; and the former is based on an old German
Minnelied. The words of the folk song are written beneath the notes,
as if to put the listener into the right mood.[106] We need not dwell
on the variations, in which Beethoven and Schubert are the prevailing
influences, though not to any alarming extent. The music is by no
means difficult; for Brahms, indeed, remarkably easy. The movement
opens in C minor, but closes in C major. A Scherzo follows (E minor,
six-eight time; Allegro molto e con fuoco); it has a trio in C major.
The Scherzo, with its varied rhythm, is full of life; the Trio,
interesting in harmony, and also in the matter of rhythm. The Finale
(another Allegro con fuoco; the young composer has mounted his fiery
Pegasus) opens in C, in nine-eight time, thus--

[Music illustration]

a metamorphosis, in fact, of the opening theme of the sonata. And
later on we have a similar re-presentation of subject-matter from the
first movement. This Finale is musically and technically attractive,
yet scarcely on the same high level as the first movement. But the age
of the composer must be taken into consideration; for quite a young
man, it is a wonderful production.

The 2nd Sonata (Op. 2) is in F sharp minor. The Allegro non troppo ma
energico is a movement which in its subject-material breathes the
spirit of Chopin: the weird, stormy opening in the principal key may
claim kinship with the opening of the Polish composer's "Polonaise" in
the same key; while a certain strain in the melodious second subject
brings to one's mind a Chopin Nocturne, also in F sharp minor; in
neither case, however, is there anything amounting to plagiarism. The
exposition section is not repeated. The development is clever, though,
perhaps, somewhat formal. Again here, the secondary theme occupies,
apparently, chief attention; but it is supported by a bass evolved
from a principal motive. And in transition passages of the exposition,
and also in the recapitulation section and coda--

[Music illustration]

in one or other shape, makes itself heard; so that, though outwardly
subordinate, its function is important: it binds together various
portions of the movement, and thus promotes union. The Andante which
follows, consists, as in the 1st Sonata, of a theme with variations.
There is nothing novel either in the theme or its mode of treatment.
Certain chords, cadences, figures, suggest Schubert--an idol whom
Brahms has never ceased to worship; and,