the first interval of which, a descending leap from the third to the leading tone, always seems to make a distinct appeal.[265] After the customary transition appears the second theme, announced by the pianoforte in measure 50, e.g.,
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showing Brahms's fondness for contrasted rhythms—three notes to a beat in one hand against two in the other. After a repetition by the violin there is a spirited closing theme in measure 75, of great importance later. The Development, one of Brahms's best, manifests real organic growth; there is nothing labored or perfunctory. It is based on the first theme and the closing theme of the Exposition, e.g.
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The Reprise beginning in measure 158, shows the usual treatment. The Coda, from measure 219, is long and, like codas of Beethoven, has features of a second development. The movement ends with brilliant arpeggios in the pianoforte against octaves and double stops in the violin. In the second movement, Andante tranquillo, in F major, Brahms fuses[266] together the moods usually associated with the slow movement and the scherzo, playing one off against the other; the slow theme appearing three times—at its final appearance with eloquent modulations—and the rapid one twice, with contrast gained the second time through pizzicato effects on the violin. The two themes are as follows:—
