Overture in F Major, Op. 34
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Variations (6) on an original… | Details | AllMusic
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Brahms transcribed the quintet into a sonata for two pianos in which form Brahms and Carl Tausig performed it before giving it its final form. Brahms destroyed the original version for string quintet, but published the Sonata as Op. The outer movements are more adventurous than usual in terms of harmony and are unsettling in effect.
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The introduction to the finale, with its rising figure in semitones, is especially remarkable. Piano and strings play an equally important role throughout this work, which Swafford notes for its "unity of expression" and a consistently dark mood: This movement begins with a unison theme in all instruments. It is notable that Brahms' other F minor sonata-form first movements — from the Sonata Op.
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A peaceful post-recapitulory coda in F major is cut short by a return to the stormy first theme. This movement shows the influence of Franz Schubert 's String Quintet. The last movement "begins slowly and gropingly," with "the most melancholy moments in the entire work. After a cadence on the dominant C, the cello introduces the first theme of the sonata-allegro, which owes its simplicity to Brahms's interest in Hungarian folk music.
A vociferous, stormy bridge connects the first theme to the second theme, which is in the minor-mode dominant key C.