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The middle portion, beginning in measure 38, is a meditation—in dialogue form—for solo oboe and clarinet, worked up to an eloquent climax in the key of the relative minor, C-sharp. The third part, beginning measure 66, with the addition of some lovely modulatory changes, corresponds to part one; save that the melody is varied by Brahms's favorite device of three notes to a beat in one voice against two in another. Beginning in measure 90, the wondrous closing theme of the first part is sung by a solo violin, reinforced by oboe and horn. It is finally entrusted, in the home key, to the horn alone, above which the solo violin soars in ecstacy, e.g.
Some diminuendo, descending passages lead to a reminiscent portion of the first theme and then, in measure 116, the grim motto enters, but this time without prevailing; for, in measures 122-124, it is finally exorcised and the movement closes with the seraphic calm of a soft, rich chord in E major, above which is heard a star-like note on the solo violin.
The third movement is an Allegretto; it being Brahms's custom in each[259] of his symphonies to substitute a movement of this type in place of the conventional Scherzo or Minuet. This movement clearly in three-part form, is thrown in to furnish relief after the emotional tension of the movement preceding. It has no obvious organic connection with the other movements, but is just the right thing in its surroundings, with a note of vitality which does much to brighten the scene and to prepare the way for the Finale. The opening theme in A-flat major is in two phrases of five measures each—a favorite rhythm with Brahms—given out by the clarinet over a pizzicato bass in the 'cellos. The melodic formation is unusual in that the latter phrase is an inversion of the first, e.g.
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After some descending passages in thirds and sixths—one of the characteristic[260] effects in Brahms's style—the theme is repeated in the violins with richer scoring. The descending passage returns and this time leads to the entrance of a subsidiary theme in F minor. In measures 50-51 occurs one of those cases of melodic germination which entitles Brahms to be called a genuine creative artist. The melody with its dashing, Hungarian zest sounds like something brand-new and yet is logically derived from the main theme by diminution, e.g.
