Brahms - Violin Sonata No.2, Op.100, II. Andante tranquillo - Vivace

Brahms's chamber music is among the most iconic of the Romantic era, following almost entirely sonata form (sometimes opting for the theme-and-variations form that Brahms was so fond of) through most of the three violin sonatas, two cello sonatas, two clarinet sonatas, three string quartets, two string quintets, two string sextets, three piano trios, three piano quartets, a piano quintet, a clarinet trio, and a clarinet quintet!

However, Brahms would occasionally stray from sonata form. One example is the second movement of the Violin Sonata No.2, Op.100, II. Andante tranquillo - Vivace (7:59-14:16), following instead something of a binary form, in which the piece alternates between two different sections. The "A" section is marked as Andante tranquillo, featuring a sensual violin melody in 2/4 over a lyrical piano accompaniment.

Opening of "A" section in F major (mm. 1-4)*

Violinist Anne Sophie-Mutter renders the melody beautifully with her deeply emotional playing. Some listeners complain that her vibrato is too frantic or exaggerated in the first and third movements, but I really like her performance of the second movement regardless. 

The "B" section of the form, marked Vivace, returns two-and-a-half times (the "half" a time refers to the coda of the movement, which unexpectedly switches to Vivace), buoyant and fast-paced in 3/4 time. I personally love the energy; some performances turn it into a lilting waltz, but Sophie-Mutter really puts some gusto into it. Both Sophie-Mutter and pianist Lambert Orkis play the "B" section with a richness and a crispness at the same time, an extremely satisfying combination.

Opening of "B" section in D minor (mm. 16-21)*

The reprise of the "A" section is cast at first in D major, modulating into the home key of F major starting with a surprising B♭^M7 (♭VI⁴₂ in D) chord:
Chord names: A—B♭^M7—A—Gm/B♭—F/C—C⁷—F
Harmonic analysis: [in D:] V—♭VI⁴₂—V—iv⁶ [in F: ii⁶]—I⁶₄—V⁷—I

Reprise of the "A" section (mm. 72-79); modulation from D major to F major*

The reprise of the "B" section begins with pizzicato violin and syncopated piano part exchanging notes of the melody; Sophie-Mutter's aggressive chordal pizzicato is really well-placed here. The harmonic and melodic content of both iterations of the "B" section is the same; rhythmic and timbral ("color") changes account for essentially all of the musical differences. In the final measures of each "B" section (where the piano takes on a descending triplets figuration), the violin and piano swap some chordal tones, but the chords remain identical. See below comparisons for the first two systems of each "B" section iteration from the score:

Harmonic comparison of "B" sections (mm. 16-27; mm. 94-105)*

Harmonic comparison of "B" sections (mm. 28-39; mm. 106-117)*

To finish off the movement, Brahms brings back a short second reprise of the "A" section, once again reentering in D major (to resolve the A major chord which ends the "B" section reprise) and modulating into F major, this time by way of a tertiary dominant (D⁷) followed by a series of resolutions (D⁷—G⁷—C⁷) to F major. Although logical and harmonically satisfying, dominant (7^th or █⁷) chords in series is an unusual move by conservative Romantic standards.

Short second reprise of "A" section (mm. 150-154)*

To close out the movement, Brahms gives the listener almost no time to readjust to the "B" section meter and tempo before flying through the coda!

Coda in "B" section style (mm. 162-168)*

Hope you enjoyed this section-by-section overview of the piece! Leave a comment with your feedback and please share this post!

*All score excerpts taken from the C. F. Peters edition via IMSLP.org.