There is resemblance in the matter of rhythm, but the up-beat in
Beethoven constitutes a marked difference; and, besides, the
succession of notes differs in each case. Brahms's theme, already at
the eighth bar, recommences in a key a tone lower; a similar
proceeding, by the way, is to be found in Beethoven's Sonata in G (Op.
31, No 1). After a few points of imitation, and digression through
various keys, we meet with a new theme in A minor, the soft, tender
character of which contrasts well with the bold opening one. But unity
amid diversity is Brahms' aim; and here the contrast does not prevent
a certain kinship between them--one, however, which can be felt rather
than explained.[105] Of another pianissimo phrase, still in A minor,
much use is afterwards made. The prominence given in the exposition
section to the subject-matter styled "secondary," and still more so in
the development section, is peculiar; this feature had certainly not
been copied from Beethoven, who, as a rule, made his first theme of
first importance. Brahms concludes his exposition section in the
opening key of the movement,--a return to early methods; Beethoven
adopted a similar course in the first movement of his Op. 53. Brahms'
development section is comparatively short. Of counterpoint we get a
good illustration in the combinations of both first and second themes;
of colour, in the presentation of the mournful minor theme in the
major key; and of originality, in the bars leading to the
recapitulation. In this last instance, the idea of gradually drawing
closer together the members of a phrase was borrowed from Beethoven,
but not the manner in which it is carried out. In the earlier master
it often stands out as a special feature; here we have, besides,
counter rhythm, and ambiguous modulation. When the principal theme
returns, it is clothed first with subdominant, then with tonic minor
harmony. The movement concludes with a vigorous coda evolved from the
opening theme. Five bars from the end, the first two bars of that
theme are given out in their original form; and then, as if repetition
were not sufficient, a thematic cadence is added, in which the notes
are given in loud tones, in augmented form, and, in addition, with
slackened _tempo_ (_largamente_). The slow movement (Andante) was, we
believe, one of Brahms' earliest efforts at composition; it is said to
have been written by him at the age of fourteen. It consists of a
theme with variations