he last page of
the Coda, almost exclusively in double stops for the violin, brings a
rousing close to a masterpiece.

BALLADE IN G MINOR FOR PIANOFORTE

(SEE SUPPLEMENT NO. 60)

Although the most important factor in Brahms's pianoforte pieces is
Brahms himself, a careful examination of his works in this field shows
that his style is fashioned from an intelligent, and by no means
slavish assimilation of important features in the works of his great
predecessors. Thus we find the same melodic warmth as in Schubert, the
rhythmic vitality and massive harmony so prominent in Schumann and the
extended arpeggios and chords, the color and richness, peculiar to
Chopin. From among the numerous and beautiful compositions of Brahms
for solo pianoforte we have selected the Ballade in G minor because it
represents a somewhat unusual and hence seldom recognized side of his
genius--the specifically dramatic. When a composer calls his piece a
Ballade, as in the case of compositions so entitled by Chopin and
Liszt, we may assume that there is some dramatic or subjective meaning
behind the notes; and the hearer is at liberty to give play to his own
imagination and to receive the message as something more than music in
the ordinary abstract or absolute sense. From the inner evidence of
this Ballade of Brahms it seems to the writer[267] not too fanciful to
consider it a picture of a knight-errant in medieval times setting out
on his adventures. Observe the vigorous swing of the opening theme in
that five-measure rhythm so dear to Brahms. But in the middle portion,
in the romantic key of B major,[268] the woman appears--perhaps some
maiden imprisoned in a tower--and she sings to the knight a song of
such sweetness that he would fain forsake duty, battle, everything!
The contrast of opposing wills[269] is dramatically indicated by an
interpolation, after the maiden's first appeal, of the martial theme
of the knight, as if he felt he should be off instead of lingering,
enchanted by her song. Notwithstanding a still more impassioned
repetition of the song, the Knight is firm, tears himself away and
continues on his course; how great the wrench, being clearly indicated
by the unusual modulations in measures 72-76. The enchanting song,
however, still lingers with him and he dwells with fond regret upon
bygone scenes and dreams which were unattainable. In this piece is
seen Brahms's aristocratic distinction in the treatment of program
music.