CHAPTER 7-FINALE: ALLEGRO CON BRIO

As the last movement begins, it seems that the clouds have parted and the darkness has been resolved. This will, it seems, be a hunting rondo in the classical horn tradition - the type of movement that ends all the Mozart Horn Concerti, for example. It will be simple, full of joy and playfulness and perhaps some mild lyricism. The dark half steps are dead and gone, and now we can just sit back and have some fun. We can recover.

Happily, it is not quite so easy.

As we shall discover, the half steps are merely lying dormant. As the movement progresses, they will influence every level of the music, from the most passing melodic gestures to the underlying key structure. The half steps do have an opponent, however, that eventually succeeds in driving them away. Appropriately enough, the opponent of the chromaticism is natural horn music, which appears in various guises, such as the opening two measures of theme 1 (all open tones) and the rising fourth and fifth horn calls.

Form of Fourth Movement;

Let us track this conflict. It affects the form on the largest scale, as can be seen in table 4. Instead of the rondo form that one might expect, Brahms chooses a sonata structure, complete with repeated exposition. This makes sense for two reasons. First, the lack of sonata form in the first movement can be seen to affect the form of both the scherzo and finale. Second, and perhaps more important, sonata form is metaphorically about conflict and resolution. The choice of sonata form is entirely appropriate to a movement that is, in many ways, the climax of the conflict that runs through the entire trio.

The exposition, familiarly, uses keys that spell out the Eb major and minor triads. In this case, f#(gb) serves a slightly different role than it has usually. With the sole exception of section B’ in the first movement, gb/Gb has always been heard, locally, in terms of the tonic, as biii/bIII. Here, as in the first movement, it is heard as bvi/bVI of the dominant, first as a local color (m. 46) and then as a confirmed key area (m. 55). If we remember the importance of the key B/b as bVI/bvi of the tonic, this makes perfect sense (and in fact, the key of b makes a brief appearance in the exposition of the last movement). This is another manifestation of the semitone above scale degree 5, which originated all the way back in theme b of the first movement, and which is here affecting the dominant.

The exposition contains many local manifestations of the half steps. The first theme itself, however, is void of any prominent semitones. As we hear theme 1, we realize that we have heard it before. It is the haunting theme 3 of the third movement. It has now, of course, a completely different character, a galloping playfulness. Yet underneath the surface, there is a suggestion of something darker. The middle of the theme, measures 3-6, consists solely of minor harmonies, including a tonicization of iii (g). It is only at the end, with the rising fifth horn calls of measures 7-8, that we return to the major mode and joy.

The horn calls get extended in the first transition (m. 17), which confirms the key of g that was suggested in theme 1. The calls alternate with a winding melody in the violin over a hemiola in the piano (m. 19). At first, this music is very playful, but in measure 25 it turns dark. The winding figure that appeared in the violin in measure 19 gets taken up by the piano. Now, however, it is pure half steps winding around scale degree 5. This is an exact inversion of the dark half steps from theme b of the first movement. They have returned, and they continue into measures 27-28 and 31-32, where they surround the rising D major triad in the piano. They are particularly highlighted by the change from staccato to legato music in the piano in measure 25.

It is important to note that the half steps appear in this passage as accompaniment to the horn calls. It is precisely how these two ideas play off each other that defines the conflict of the last movement. In the end of this passage, the horn calls win out and a final statement of theme 1 music (mm. 37-43) closes off the first theme group.

In the second theme group (m. 45), the half step becomes part of the main melodic idea. Theme 2 closes in measures 48-51 with a repeated statement of the half step 1-7. What is particularly noteworthy is that this half step, which is accompanied in thirds, is responded to by the 5-b6 half step in the piano. Remember, there has been a consistently strong use of b6 in both key area and melody throughout the Horn Trio, and it returns here. In measures 55-60, the alternation is turned on its head, with the piano playing 7-1 followed by b6-5. The 7-1 gets repeated dramatically, taking over the texture in measures 59-60. This time, unlike the first transition, it is the half steps that win out.

With theme x (m. 61), the half steps really jump out and assert themselves. The 7-1 that ended theme 2 gets reinterpreted here as 5-b6 in bb. The 5-b6 alternation is repeated several times, after which there is a descent stepwise from b6 down through 1 to 5, with each scale degree being colored by its lower half step neighbor. It is a somewhat ironic moment - b6 gets resolved, in a sense, down to 1, but only in the midst of an overload of half steps. The half steps are especially emphasized because, with each one, the horn plays one open and one stopped tone. The intense syncopations add to the insistence of the music.

After this victory, the half steps seem to be momentarily released. The music of measures 67-82 is simply stuffed with melodic half steps, much as the adagio was. The violin melody is half step after half step, and is echoed by the half steps in the horn. It is accompanied by descending half steps in the right hand of the piano, and, towards the end (m. 75), by an oscillating half step in the left hand of the piano that is reminiscent of the last measures of the adagio. Here, however, the oscillation is between scale degrees 5 and b6, which should not surprise us. When b6 resolves to 5 in measure 81, it is strongly reminiscent of the resolution of b6 to 5 in the horn in measures 40-42 of the third movement.

After such intensity, the closing music of the exposition is especially sweet (m. 83). Bb is confirmed with some of the most gentle music of the piece. A floating hemiola glides over a purely diatonic descent, and the absence of chromaticism is touching. With the first ending (m. 91), however, the hemiola gets intense as darkness begins to return with shades of eb minor. Bb becomes V7 of the tonic, and we start the exposition again.

In the development, the conflict between the half steps and the horn calls comes to the fore. Underneath a new theme (theme 3, m. 113), there occurs a giant chromatic climb in key areas, moving up a minor ninth from e (m. 113) to F (m. 142), half step by half step. This climb in key areas affects, of course, local melodic motions. Look, for example, at the left hand of the piano (mm. 129-141) and at the horn part (mm. 132-138). Also note the use of the important 5-b6 in the accompanimental figure that begins in the piano in measure 111 and passes to the violin in measure 121.

The horn calls that follow (mm. 145-168) are a serious attempt to defeat the nefarious influence of the semitone. The calls begin with pure natural horn music, with no stopped tones for the first four measures. It is a battle cry of natural horn and its open intervals against those pesky chromaticisms. The horn continues to insist on the rising fourth horn call, which is also the interval that began the movement. Underneath, in the piano, is the rising arpeggio of theme 2, which first introduced Gb in measure 46. Here again it moves from Bb to Gb (m. 153), reinforcing the importance of Gb as bVI of the dominant, and reminding us that the half steps are still waiting in the background.

The arpeggios and the horn calls, completely devoid of foreground half steps, finally succeed in forcing the mad frenzy of semitones to take a break. The music literally grinds to a stop after a gradual ritardando (mm. 153-160). The key at this moment (m. 161) betrays that the semitones are still present in the background - D is, obviously, the leading tone to the tonic. The air seems clear, however, so things can resume, and the recapitulation ensues in measure 169.

The recapitulation is straightforward. The second theme group appears here in the tonic (m. 213), with a noteworthy result. The alternation between i/I and bvi/bVI that occurred in the exposition in the dominant, occurs now in the tonic. Similarly, the melodic descent from b6 to 1 that occurs in theme x is now in the tonic (mm. 229-235). The importance of b6 in its harmonic and melodic manifestations is thus brought back home to the tonic key, where it awaits a final resolution.

This resolution occurs in the coda. There is a direct juxtaposition of Eb (I) and Cb (bVI) that repeats (mm. 263-276). The music is the same rising arpeggio that introduced bVI of bb in measure 46, and that accompanied the horn calls in the development (mm. 145-160). This is the final appearance of the dark half steps: their final, failing attempt to affect the key area. After a strong resolution in Eb (m. 277), they are banished for good. Theme 1 returns to finish things off, with a brief excursion to our familiar closing key of Ab.

This whole final section is firmly in the realm of the natural horn. From measure 248 to the end, there are only eight stopped tones out of one hundred fourteen, or seven percent. In the larger scheme of things, the whole movement is much more open than any of the previous movements. The finale, then, confirms the world of natural horn and the defeat of the half step.

With all the preceding in mind, let us now start afresh and examine the music in a less formal manner, focusing particularly on specific performance suggestions. The first theme group has several distinct musics and moods, and it is essential for the performers to be aware of these and emphasize their differences.

Theme 1 is a transition from one type of music to a contrasting type. At the beginning, everything is light and fun. The galloping rhythm in a piano staccato, with accented offbeats, makes for an almost sneaky sense of playfulness. With the crescendo through the minor harmonies, we move to a very different type of music - the horn calls. The rising fifths and fourths are always noble and strong, and must be played boldly. The calls, throughout the movement, can generally increase in intensity to the third call. It is important to remember that this music will take center stage in the development, where it is a battle cry against the half steps.

The transition (mm. 17-44) begins with a direct alternation between the horn calls (mm. 17-18) and the sneaky, fun music (mm. 19-20). This contrast is highlighted by the use of hemiola in the latter music as well as the change in articulation and instrumentation. The horn player can help by playing his/her calls with an earnest seriousness, and the violinist and pianist should really feel the swing and fun of the hemiola. There is also an acoustic drop in dynamic when the horn stops playing, and it is not inappropriate for the pianist and violinist to emphasize this change by dropping a little themselves.

In measure 25, of course, things get darker with the aforementioned entrance of the half steps. The horn calls should be particularly intense here, but must allow the piano part to really come through. The second set of calls, in measures 29-30, presents a slight problem. The violin part drops an octave into a register that is difficult to hear clearly in this texture. It is very helpful for the hornist and pianist to play this second set of calls as somewhat of an echo, while the violinist belts out his/her part as best (s)he can. Brahms perhaps expected this, as he rewrites a forte marking in the pickup to measure 33.

The sense of play begins to return in measure 33, with the return of the falling arpeggios in the piano and the playful alternation of the horn and violin in measures 35-36. These closing measures of the first theme group should be triumphantly joyous.

In the second theme group (m. 45), remember, the half steps pretty much take over, and the playfulness is banished. There should be a serious change in color, and Brahms supplies several tools for achieving this. There is, for example, a drastic change in articulation in the piano part, and the hornist and violinist can gather some hints from this. The rising arpeggio in the violin in measure 47 is an answer to that in the piano in the previous measure. The violin part is not slurred, as was the piano part, but the notes should definitely be on the legato side of things in order to effectively respond to the piano, and the repeated horn eighth notes must match those of the other instruments. The musicians should be very aware of this change in the length of eighth notes from the first to second theme groups.

Another tool is, of course, the half steps themselves. If the musicians are aware of how they take over the texture, and add a little extra darkness and intensity to them, it will help tremendously in achieving an appropriate contrast between the theme groups.

Theme x (m. 61) presents special problems for ensemble playing. This music is difficult to get together, but there exist some helpful techniques. Pianists have a tendency to wait for the other instruments, but they must not - they must strictly keep time. The musicians should try rehearsing the passage with all the ties broken, so that the music is a steady flow of eighth notes. Also try thinking of the articulated eighth notes as upbeats to, and not afterbeats from, the piano chords, as this helps push the music forward. And, as always, slow practice with a loud metronome is essential.

It is very important that the larger shape of theme x not get lost in the difficulties of performance. The musicians should be aware of the large scale descent from b6 through 1 down to 5. Do not merely play a string of rhythms - play the larger phrase.

After theme x (m. 67), the music and half steps begin to take on a tender, lyrical color. Feel the presence of the half steps, but really sing this music. The piano pedal should float under the texture, and the horn half steps should be the sweetest commentary. In measure 75, with the half step in the bass and the move toward b minor, there is a definite shade of darkness that should be emphasized. The resolution of the half step and the return toward Bb in measure 81 can then feel extra relaxed and resolved.

The closing section (mm. 83-91) speaks for itself. It is a tremendously special music. Just make sure to really feel the hemiolas, and above all, float.

In the development (m. 103), darkness and intensity return. The hemiolas from the previous closing music are maintained in the piano (mm. 103-106), under a statement of theme 1 that leads to a climax in m. 109. The following music returns to a sneakiness reminiscent of the opening, only much darker. There is here again a contrast between staccato and legato musics, and the musicians must emphasize this. Those who have the slurred melody (horn and violin in mm. 112-119, piano in mm. 122-129) should really sing espressivo as Brahms indicates. The music always moves to the dotted half notes, particularly the second and third ones. The accompaniment should be a very light staccato. Although the violin part in measures 121-131 is not marked thus, it should certainly match the piano accompaniment of measures 111-121.

It is very important not to crescendo in this section. This should feel like the calm before the storm. The more repressed and hushed it feels, the better. In measure 132, where the crescendo is written, all the pent up energy can begin to be released. The giant chromatic rise must be felt as a huge escalation, which leads to the dramatic statement of the horn calls.

The beginning of the horn calls (mm. 145-151) can be good and raucous. The modern horn player should try holding down the first valve and practicing these measures on natural horn, in order to hear the somewhat edgy tone quality that results (only the written F and Eb are stopped). The music is four groups of two measures, with each pair of calls increasing in intensity to the cadence in measure 151. Remember, this is a battle cry.

One thing that is particularly interesting about these measures, and that rarely comes through in performance, is that the piano begins piano in measure 145, with a crescendo to measure 151. The pianist should not worry about being too soft under the forte horn solo. The accompaniment should grow out of the texture, pushing, like the horn, to the cadence in measure 151.

The following ritardando works well if it is rather extreme. It is effective if the music literally comes to a stop, and this also makes sense given the conflict between the half steps and horn calls - the calls halt the music in order to clear the air. When the music starts back up again in measure 161, it is like clockwork gradually being wound up. It is a return to pure joy that initiates the recapitulation.

After the recapitulation takes us through familiar territory, the coda (m. 263) brings us toward a resolution. Over piano hemiolas in measures 263-267, the horn and violin reach a giant climax, with the horn hitting the highest note of its tessitura (heard only once before, in the climax of the third movement). This music cannot be too grand.

The following alternation of Cb and Eb (mm. 267-277) pushes forward to its final resolution in measure 277. It is customary and appropriate to pull back somewhat in measure 276, in order better to emphasize the importance of this moment and initiate the close of the piece.

From here to the end it is pure, unmitigated joy. Note that the offbeat accents from theme 1 have found their place as onbeats in measures 279-284. It is common practice to drop in dynamic in measure 289, to help create a final, exciting crescendo. The movement, and the piece, closes with an incredible, joyous energy.

With these observations behind us, let us examine the issue of tempo. It is tempting to play the movement as quickly as possible, due to the marking "allegro con brio," in order to add excitement, and as a personal challenge. This is, to my mind, inappropriate. "Con brio" means, of course, "with life," and is thus a marking that concerns character more than speed. A tempo that is too quick usually feels scattered, and robs the music of all the wonderful play: the hemiolas, the offbeat accents, and the like. This is also tremendously difficult piano writing, and it is essential that the pianist not sound as if (s)he were losing control. Choose a tempo that allows you to have fun, and not one that you can barely hold on to.

In the end, the Horn Trio is a piece about contrasts. In particular, we have seen the great importance of the contrast between the open intervals of the harmonic series and the dark half steps that arise from the chromaticism of Brahms’ harmony. What is most important, however, is the related contrast of emotional worlds. The contrasts between joy and sorrow, play and pain, and light and darkness, run throughout the piece and are resolved only in the closing measures of the finale. The resolution is one of such wondrous joy that a successful performance of the Horn Trio can create an emotional response far surpassing most music written for the horn. And the more we know about the music, the better chance we have to begin to understand and convey faithfully the deepest art that lies within the notes on the page.

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