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Cello Sonata No. 2 (Brahms)

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Cello Sonata in F major
No. 2
by Johannes Brahms
The composer c. 1885
Native nameSonate für Klavier und Violoncello
KeyF major
Opus99
Composed1886 (1886)
DedicationRobert Hausmann
Published1887 (1887)
Movementsfour

Johannes Brahms's Cello Sonata No. 2 in F major, Op. 99 (1886)[1] followed his first by over twenty years and was published in 1887.[2] It was written for, dedicated to, and premiered by Robert Hausmann, who had championed the earlier sonata and later premiered the Double Concerto with Joseph Joachim.

Musical description

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There are four movements:

  1. Allegro vivace
  2. Adagio affettuoso in F major[2]
  3. Allegro passionato in F minor[2]
  4. Allegro molto

I. Allegro vivace

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The Allegro vivace is a sonata form opening with a fragmented cello theme over a tremolo piano part.[3] Its bipartite exposition somewhat unusually traverses F major, C major, and A minor;[4] Roger Graybill argued that the tonal plan may be read as ultimately returning to F major, given the intricate motivic structure of its voice leading.[5]

II. Adagio affettuoso

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Adagio affettuoso, with the cello part opening in a pizzicato exposition of the main theme over piano chords.[6] The central section is in F minor.[7]

III. Allegro passionato

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Allegro passionato in F minor, with a more songlike trio section in F major.

IV. Allegro molto

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Allegro molto; a rondo.

Notes

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  1. "About - Johannes Brahms - Cello Sonata No.2 in F, Op.99". All Music Guide. 2008. Retrieved 2013-02-26.
  2. 1 2 3 IMSLP2 score.
  3. Woodstra, Chris; Brennan, Gerald; Schrott, Allen (2005). All music guide to classical music: the definitive guide to classical music at Google Books, page 191. Hal Leonard Corporation. ISBN 0-87930-865-6.
  4. Graybill 1988, 43.
  5. Graybill 1988, 49–51.
  6. Page 13 of 32 of IMSLP2 first score - first two bars of Adagio affettuoso.
  7. All music guide; IMSLP2 score.

Bibliography

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  • Graybill, Roger. 1988. "Harmonic Circularity in Brahms's F Major Cello Sonata: An Alternative to Schenker's Reading in Free Composition". Music Theory Spectrum 10(1):43–55. doi:10.1525/mts.1988.10.1.02a00040.
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