broadly sung by the solo instruments in octaves.
The finale (Vivace non troppo, A minor, 4-4), which has been called the “clearest of rondo types,” abounds in thematic material. The first subject
announced by the ’cello and repeated by the violin, has the gypsy flavor so dear to Brahms. It can be detected in another melody assigned to the clarinets and bassoons against rising arpeggios by the solo instruments, which is prominent in the development. The coda, tender at first and then exuberantly joyous, concludes the double concerto, and at the same time the composer’s employment of the orchestra, in a triumphant A major.
Transcriber’s Notes
- A few palpable typos were silently corrected.
- Illustrations were shifted to the nearest paragraph break.
- Copyright notice is from the printed exemplar. (U.S. copyright was not renewed: this ebook is in the public domain.)