CHAPTER 4-ANDANTE

Let us begin our examination of the first movement of the Horn Trio with a look at its unique form. It is the only first movement in Brahms’ instrumental output not in sonata form, and the only one not in a fast tempo. Instead of sonata form, Brahms opted for a version of expanded ternary form (A B A B A), a form frequently used for slow movements in nineteenth century symphonies.

As mentioned in the previous chapter, feelings of return are important to the trio. The form of the first movement was, I believe, chosen in this spirit. In sonata form, the two main theme groups are presented in the exposition, developed, and then returned to for one last statement in the recapitulation. In expanded ternary form, the opening section returns not once, but twice, doubling the number of departures and returns in the highest structural level. In addition, the departure in sonata form (the development) usually concerns related, developmental material, while in expanded ternary form the departure (the "B" section) is usually music that is markedly different. As a result, the feeling of departure is intensified, and this in turn heightens the feeling of return.

Table 1 gives an overview of the first movement in the important areas of form, theme, harmony and key, and it is important to refer to this table and a score in the following discussion. Let us begin with the most general description of form and then move on to smaller scale details.

Immediately under the measure numbers are the sections of the large scale form, separated by double lines. We can see that both the A (andante) and B (poco più animato) sections hold within them smaller scale departures and returns.

The first A section (mm. 1-76) contains within it a smaller scale ternary form (theme groups 1-2-1). The first part of that ternary form is itself composed of an aaba’ form, which again is a departure and return.

The first B section (m. 77) contains a departure and return of a different sort. Here we have theme groups 3-(4)-3. The four is in parentheses because it is not so much a completely new theme group as a developmental departure.

. Form of First Movement;

When the opening A section returns in measure 131 (A’), we can see that it has been abbreviated. The shaded part of the first A section (mm. 21-60) is eliminated, and with it disappears the ternary structure of the theme groups - 1-2-1 becomes just 1. Brahms manages to retain all three versions of theme a (a, a’ and a’’) by a wonderful manipulation - aaba’ becomes a(a+a’)ba’’.

The return of the B section in measure 167 (B’) contains a similar abbreviation. Here the shaded part of the first B section (mm. 85-109) gets replaced with four measures confirming Gb (mm. 175-178). As with the return of the A section, this abbreviation eliminates the ternary structure of the theme groups 3-(4)-3 becomes just 3. Another important change is that the music occurs up a minor third, in bb minor.

The final A section (A’’, m. 200) similarly begins up a minor third, in Gb major. Now the sense of departure, which was mitigated by the aforementioned abbreviations, returns with a vengeance. Here, theme b takes over, expanding from its normal four measure existence to an eleven measure sequence (mm. 208-219). When theme a returns in measure 220, it likewise expands with an enormous development of its material that lasts to the end of the movement.

I have briefly mentioned that the last statements of the B and A sections appear up a minor third. The return of material up a minor third occurs on a smaller scale as well. Note that theme a’’ (m. 21) moves theme a up a minor third, while retaining the same key. As a result, when theme a returns in Gb in measure 200, it occurs on the same pitches that theme a’’ did in Eb in measure 21.

The use of minor third modulations has a tremendously interesting result. The major key areas of the movement, because of these modulations, are Eb, Gb, g, and bb. The key structure of the movement, then, spells out the Eb triad in both of its manifestations, major and minor. These keys will return as important areas in all four movements of the trio.

The interplay of Eb major and minor can also be found on a smaller scale. At the end of section A, for example, beginning in measure 69, we move momentarily from Eb major to minor, then back to major. In the last two measures of the section (mm. 75-76), the third of the chord drops out, leaving an ambiguity as to the mode. When the violin enters with its pick ups to the next section, it plays F# and G, alternating between the minor third (F#=Gb) and major third of Eb.

When the same music appears at the end of section A’, beginning in measure 163, the alternation of Eb major and minor is made more explicit. Here, the horn plays the major third for two measures, and then simply drops to the minor third for two measures. This is a key moment in the harmonic life of the movement - an easily audible manifestation of the large scale harmonic structure, and the horn player should give a very special warmth to the Gb. In a natural horn performance, this change is highlighted by the change from an open note (G) to a stopped note (Gb).

The movement’s concern with Eb major and minor lends a new insight into Brahms’ decision to keep all four movements of the piece in Eb. Just as the first movement is harmonically about the key of Eb (major and minor), so the keys of the four movements are about the same thing.

One final observation about the large scale harmonic relationships is in order. It is important to note that in the B sections, the important key areas (g-Eb in section B and bb-Gb in section B’) have a relationship of i-bVI. Throughout the trio, the half step above the dominant returns as an important key area as well as an important scale degree. As we shall see, this is directly related to theme b, in which dark half steps wind around scale degree 5.

Let us now turn to a more detailed look at the music. The piece opens with a theme that presents an immediate question: where is the downbeat? To most ears, the second beat of the measure sounds like the downbeat. The placement of the piano chords on the second beats strongly implies this, as does the violin part. For the first two and a half measures of the piece, the violin plays quarter note consonances on the first beat of each measure, followed by eighth note appoggiaturas on the second. Appoggiaturas tend to convey a stress, and these appoggiaturas, over the piano chords, strongly imply a displaced bar line.

Further evidence of a displaced barline occurs in the horn statement of the theme (mm. 9-16). Here the violin plays an accompanimental rhythm that has a rest on the second beat. This same rhythm occurs later in the movement, shifted so that the rest is on the first beat, which is, there, unambiguously the sounding downbeat. The second theme group (mm. 29-60), for example, is simply stuffed with this rhythm, and it always occurs with the rest on the first beat, which is clearly the downbeat.

Similarly, a variation of this rhythmic figure appears in the piano in measure 61 as accompaniment to theme a’’, but shifted so that the rest is on the first beat instead of the second beat. As a result, the piano suggests the first beat as downbeat while the other instruments suggest the second beat as downbeat.

When theme a returns in measure 131, the piano again has the accompanimental rhythm of measures 9-16, shifted onto the first beat. These shifts add a wonderful tension to the rhythmic life of the music. They also suggest that the violinist should play his/her figure in measure 9 as it will occur later, with the rest as the sounding downbeat. By playing the figure as an afterbeat to the eighth note rest, the violin strengthens the second beat and reinforces the feeling of a displaced barline.

There is evidence within theme a itself, however, that contradicts the idea of a displaced barline. In the second half of the theme (mm. 4-7), the dissonance and consonance in the melody get switched. Here the dissonance occurs on the first beat over an implied piano harmony, and is resolved on the second beat over the piano chord. The last eighth note of each measure is now a dissonant anticipation of the following downbeat. The result is that the appoggiatura has been turned around. At the beginning of the theme there was an eighth note appoggiatura on the second beat, and here there is a quarter note appoggiatura on the first beat.

As I have mentioned, appoggiaturas tend to convey a stress. Halfway through theme a, therefore, there is a subtle shift in the feeling of where the downbeat is. This is especially true in the horn statement of the theme (mm. 9-16) where the quarter note appoggiaturas are no longer against an implied harmony, but against the actual sounding harmony of the violin part.

The change in dissonance placement is particularly audible in a performance on natural horn. The shift in dissonance placement in measure 12 is the first time that a stopped note occurs on the first beat of a measure. The resultant tone color makes the dissonance especially striking, and adds to the implication of a shift in downbeat.

Theme a is, then, quite ambiguous. As tempting as it can be, it would be inappropriate to play the theme simply as if the barline were displaced, constantly stressing the second beat as a downbeat. The change of dissonance placement in the second half of the theme, and the fact that Brahms later undermines the strength of the second beat by shifting the accompanimental figure of measures 9-16 onto the first beat, make this approach misguided. In addition, such a performance can easily make the theme sound pedantic and uninteresting, more like a beer-hall song than the elegant music it is.

A performance that strives simply to make the written barlines audible would, for the same reasons, be uninformed. It would also sound terrible. In order to overcome all the weight that Brahms composed into the second beats, the violinist and horn player would have to give strong accents on the first beats. The first beats only contain two different pitches throughout the theme, and the stress on the recurring F and C would sound quite unmusical.

What then can one do? I suggest letting the theme be what it is - ambiguous. This ambiguity means that different instruments should play their parts in different ways. The pianist should play his/her chords as afterbeats, not as downbeats. This is, I feel, at least partly what Brahms was getting at with his articulation marks of slurs over dots. By playing afterbeats the pianist can avoid making the theme sound too heavy and let the contradictions of the melody work themselves out.

Those playing the melody can serve it best by being sensitive to the dissonance placement. By savoring the appoggiaturas (but not too much!), both on the eighth note level and on the quarter note level, the musician will express exactly what Brahms wrote - a subtle shift in implication half way through the theme. And, as we have seen, those with the accompanimental figure that is first heard in measures 9-16 should play the eighth note rest as the downbeat.

It is, of course, essential to play the opening theme with the proper character. With all the appoggiaturas, it is tempting to overplay the dissonances in an attempt to be expressive. If we remember that Brahms conceived this music during an early morning stroll in the woods, we can see that too much heart-on-the-sleeve expression is inappropriate. The opening music suggests quiet contemplation, not romantic yearning. This approach has the added benefit of creating more room for contrast with the more passionate section B.

We have already seen examples of the conflict between the first and second beats throughout the movement. In one instance, Brahms explicitly writes out this conflict. In measures 139-146, Brahms has written slur marks which make the right hand of the piano change articulations on the first beats of measures, while the left hand changes on the second beats. This is wonderful evidence of Brahms’ intentional ambiguity.

The conflict between the first and second beats seems to be finally eliminated at the climax of the movement in measure 234. Here, all the instruments so strongly emphasize the barlines that there is no question that the first beat is the downbeat. This is not the end of it, however. At the very end of the movement, the ambiguity returns in the extreme. In measure 258, the piano part gets shifted a beat with the insertion of a quarter note rest, and suggests once again the second beat as the downbeat. This displacement continues to the end of the piece. While the piano is emphasizing the second beats, however, the violin and horn continue to emphasize the first beats. Even the crescendos and decrescendos of the instruments are a beat apart from each other (mm. 261-263). This alternation of downbeats quite obscures the sense of meter, and the movement ends even more ambiguously than it began.

With this glimpse of the end of the movement, let us return now back to the beginning. After two statements of theme a, we hear a completely different music, beginning with the pickup to measure 17. Theme b is a brooding, dark music that is built upon winding semitones in the bass. These half steps wind around scale degree 5, and they will return throughout the trio, affecting form, key, and melody. In many ways, the Horn Trio is about these half steps and the conflict they bring to the music, a conflict that only gets resolved in the closing bars of the finale. The half steps always have dark associations, and theme b therefore needs to be played in a way that is threatening and ominous. One thing that can help with this is to make a slight hesitation before and after the theme. This sets theme b off from the music around it, and adds to the sense of foreboding.

As can be seen in table 1, theme b returns several times throughout the movement, and some of these returns are worthy of mention. At the end of section B, in measure 123, and section B’, in measure 192, the winding half steps of theme b appear in the right hand of the piano. Pianists frequently overlook the importance of this, but it is important to bring these lines out of the texture.

When theme b returns in section A’’, in measure 208, its ominous warning becomes fulfilled. Theme b takes over, expanding from four measures to thirteen through a rising and falling stepwise sequence. It is important not to let this sequence sound like it is a natural development, as that mitigates the feeling that theme b is fulfilling its earlier threats. It is better to hesitate after the first four measures, as if the next measure would again bring us back to a statement of theme a. When we hear, instead, theme b again, up a step, played more intensely, we know that something special is happening. Indeed, this takeover by theme b initiates the huge extension of theme a that is to follow, as well as the plunge down the circle of fifths from Gb to A. All of this activity is, however, not enough to exorcise theme b. It returns in the piano in measure 246, played for the first time simultaneously with music from theme a. The pianist should really brood with this music, relaxing and lightening up only with the end of theme b and the beginning of the final cadences in Eb in measure 256.

Section A contains one last theme that we need to examine. Theme c begins in measure 29, and is the second theme group of the first A section. It takes as its starting point the very end of the first theme group: the descending Bb Ab G in the horn in measures 27-29 - but is actually a quite different music.

Theme c (the second theme group) begins on the first perfect authentic cadence in the piece. This is particularly interesting as we expect a second theme group to appear in some key other than the tonic. Here, the second theme group appears more strongly in the tonic than even the first theme group did.

Theme c is, then, an enormous arrival, and needs to be played as such. In some ways, theme c sounds as if it is really the main theme of the movement, with the first twenty-eight measures acting as an introduction. This does not make sense, however, as theme c never returns. Looking at table 1, we can see that it appears once, and only once. What exactly is this unique theme about? What does it accomplish?

Theme c provides an important sense of normalcy that helps define the music around it. It strongly defines the tonic for the first time with the perfect authentic cadence, but more importantly, it defines the meter. As we have seen, the whole first theme group is ambiguous with regard to where the downbeat is. In theme c, finally, there is little question.

Yet even here, the strength of the downbeats is undermined by the frequent presence of eighth note rests. There is a frequent tendency in performance to play over these rests, letting the sound carry through them and mitigating their effect. On the contrary, the rests are essential to the character of the music. This is a rhapsodic music that is full of motion, pulling back and surging forward in overlapping entrances, and it is in direct contrast to the more regular, simpler texture of theme a. The rests are best played like breaths, quick retakes that add to the intensity of the music.

This whole passage serves as a large departure from the first theme group, but this departure infects the following music. We can see that the pattern of a rest followed by cascading triplets that saturates the second theme group carries over into the following statements of theme b (m. 57) and theme a (m. 61). And, as we have seen, this pattern in its triplet and duple versions now serves as further information in the question of where the downbeat is.

Theme c is related to the poco più animato in an interesting way. Theme c was a music about falling through the registers. Over its course, the instruments all moved from the higher parts of their registers down to the lower parts, beginning with the descending Bb Ab G that the piano took from the horn line. The music of section B, the poco più animato (m. 77), begins with a concerted effort to rise registrally. This time, the violin again takes the descending Bb Ab G from the end of the horn line, but turns it on its head, moving from an F# anticipation to G (m. 76), then to Ab and Bb and even up to C and D.

Despite its attempt to push upwards, the music of section B consistently falls back downwards. The result is waves of music, waves that occur on many different levels. In some places, these surges occur every measure, as in the piano part in measures 85-88 and the violin part in measures 89-91. In other places they last longer, as in the one wave that moves up from measure 109 to measure 112 and then falls back down to measure 117. The performers must be aware of all these rises and falls and play them accordingly.

In only one place does the attempt to rise seem momentarily to really succeed. After the horn and violin play a wonderful game of tag (mm. 95-101), in which they get closer and closer to each other until they finally meet, the violin pushes from A flat to A natural, moving by half step to the highest note it plays in the whole of section B. This should be a triumphant moment. It is especially powerful because this music is eliminated in section B’, as can be seen in table 1. Despite its importance, the violin’s escape from gravity does not last long. The piano begins a reprise of the beginning of section B, and the waves begin again, ending with a final long descent to measure 126.

One of the more important things to notice about section B is the intrusion of the dark half steps that characterized theme b (m. 17). Notice, for example, the half step pick ups that begin section B in measures 76-77, the driving half steps in the left hand of the piano that are given their own stems in measures 85-87, the trading of half steps between the violin and horn in measures 95-101, and the aforementioned violin climax in measures 101-103. A quick scan of the section will reveal many more instances of prominent half steps. The source of all these semitones is revealed when, at the very end of the section, the piano plays an explicit statement of theme b (mm. 123-126).

After the storminess of the B section and its half steps, the return to the opening music and its rising perfect fifth is especially sweet (mm. 128-131). Similarly, at the very end of the movement, the overload of half steps (mm. 245-255) is beautifully resolved into the falling perfect fifths of measures 258, 260, and 264. Despite this resolution, the intrusion of the dark half steps will continue throughout the trio on many levels. They will be released in the third movement, and finally banished only in the closing measures of the finale.

Now that we have looked at the music of the first movement, let us discuss some things to consider in choosing tempi. It is tempting to overindulge in the opening music, setting a fairly slow tempo for section A. More often than not, this gives a stodgy, heavy feeling to the music that should be avoided. For Brahms, "andante" indicated motion more than slowness. Remember too that Brahms conceived the theme during a morning walk. Even if one wants to choose a slower tempo, it must retain the feeling of motion, a literal feeling of "andante" ("going"). One must make sure that the tempo one chooses for the opening works for the second theme group as well (m. 29), not inhibiting the motion of the falling gestures. Also note that in the very beginning, Brahms has the piano playing in two measure groupings. Thinking of the music in these groups will suggest a tempo that is not too indulgent.

The poco più animato should be just that: a little more lively. This suggests a slightly faster tempo, of course, but what Brahms’ marking indicates even more is a change in character. The operative word here is "poco." One good test of the tempo is to make sure that all the rushing eighth notes do not get glossed over, as they can in a tempo that is too fast.

The last tempo indications to consider occur at the end of the movement. In measure 223 Brahms writes "un poco animato poi a poi." It is extremely tempting to begin the acceleration earlier than it is marked, with the return of theme a material in measure 217, and this must be avoided. In fact, in Brahms’ autograph manuscript, he originally indicated the poco animato beginning in measure 230. Brahms thus already moved the animato back earlier than he initially conceived it, and we should not move it further for him. There are, of course, musical reasons for not speeding up earlier. The passage from measure 217 to measure 223 really wants to move faster. If performers do not give into this temptation, they can imbue the music with the wonderful tension of a repressed motion. Then, when they finally do begin to accelerate in measure 223, the release of this tension helps drive the music forward.

But forward to where? Brahms does not write another tempo indication until measure 247, where he marks "sempre dim. e ritard. poco a poco." It is standard performance practice not to accelerate all the way to this marking. Rather, most performances peak at the key change in measure 234, and this works very well, due to the structural importance of this moment. Not only is this the return of the tonic (for the first time since measure 166), but it is also the only statement of theme a material in which the question of where the downbeat is has been completely eliminated. The performers need to get up to a fairly rapid tempo so that this music and the piano arpeggios can passionately fly.

The final ritardando that begins in measure 247 is controlled by the pianist. The timing of it takes practice, and one word of caution is in order. Be careful not to get too slow at the end, for you risk losing the sense of motion that you have strived so hard to attain. The movement should end in a relaxed peace, not a quiet death.

We have already touched on some specific ways that a performance on natural horn affects the first movement. Let us now finish our discussion of the andante with a few other points about natural horn performance. Obviously, the best way for a horn player to really feel the effects of hand horn technique is to play through the part without using valves.

When discussing natural horn performance, it is best to look at specifics and avoid generalizations. It is tempting to think, for example, that the stopped color always adds emphasis to a note, as it seems to in the appoggiaturas in theme a. In actuality, stopped color is a tool that has many possible uses: it can add emphasis or take it away, depending on the will of the performer. In measures 95-101, for example, there is an alternation of written C-B and F-E suspensions. In the C-B suspensions, the B resolution is stopped, while in the F-E suspension, the F dissonance is stopped. In this case, then, the performer can use the stopped color to de-emphasize the resolution or to emphasize the dissonance, depending on where the stopped note occurs. Here, the stopped color is merely another tool for expressing what the music suggests.

Similarly, the use of stopped notes on fortepianos or sforzandos is inconsistent. In measure 104 Brahms writes a fortepiano on a written Eb, a stopped note, and in measure 187 he writes a sforzando on the same pitch. In these cases, the stopped color gives a real sting to the tone quality. There are, however, three other times when sforzandos or fortepianos occur on open notes (mm. 118, 122 and 191), so clearly no generalization can be made.

There are, however, passages where the use of stopped notes is consistent, and adds a special, notable color to the music. In the statement of theme b in measures 57-60, for example, each downbeat in the horn is a stopped note, which moves to an open note on the second beat. This can add to the dark, haunting quality of the music.

Hand horn technique can be used to give different themes markedly different colors. The first theme group (mm. 1-29), for example, has 48 notes in the horn, of which 18, or 37.5 percent are stopped. The second theme group (mm. 29-56) has 42 notes, of which 28, or 66 percent are stopped. On natural horn, the color of the second theme group is thus much darker than that of the first theme group. This is entirely appropriate, given the different characters of the two themes. The constant falling of the second theme group thus takes on a particularly dark color when performed on natural horn. A modern horn player can use a darker sound to try to give the music some of the color that Brahms wrote into the natural horn part.

Finally, the use of hand horn technique can really help with the control of volume and tone color. When theme a returns in Gb in measure 200, the modulation has caused a reversal in the use of stopped notes. Here, the consonant quarter notes in the first half of the theme (written F’s) and at the very end (written F’s and Eb’s) are stopped, while the dissonant quarter notes in the second half of the theme are open (written C’s). As a result, it is now the highest pitches that are stopped. This is a tremendous help for the horn player, who must now, with some fatigue, play the softest dynamic in the movement. It also helps the hornist achieve a new, tender color that is entirely appropriate for this final, somewhat melancholy return of the opening texture.

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