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The fusion of the development with the recapitulation is skillfully handled, and the motto is proclaimed, beginning at measure 298, in a series of ascending strata, with overwhelming force. The third part, with slight abridgment and necessary adjustment of key-relationship, conforms exactly to the exposition. There is the same agitato closing portion as before, and then the Coda proper, beginning at measure 421, emphasizes with fiery accents the mood of storm and stress characteristic of the movement as a whole. After the fury has subsided, the dramatic motto asserts itself in the closing measures, poco sostenuto; the problem is still unsolved and the last C major chord is but a ray of light cast on troubled waters.
The second movement, andante sostenuto—in three-part form—begins with a tender melody expressing a mood of deep resignation and religious hope. No sooner has it started, however, than there creeps in the sinister motto, as if to remind us that life is undeniably stern and grim, e.g.
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In measure 17 there enters a closing theme, sung by the oboe, of ineffable beauty which is used in the third part as the climax of the movement. It surely seems to come from another world and is one of the most sublime melodies by Brahms or any one else. Its climax is impressively united with the main theme in the bass, e.g.
