Sonata N. 3 Analysis

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Sonata N.3 in F Minor op.5

With this work, dedicated to the Comtesse Ida von Hohental, Brahms leaves the piano-sonata form to never return to it

The second and fourth movements were composed first, in the summer of 1853, the remaining ones during the fall of the same year, he was just 20.

It is the only composition Brahms showed to Schumann during its elaboration. Commentators discerned a kind of self-portrait in it and it is very diversified in its integrity. Brahms displays a very well established personal style. Five movements, instead of the usual four in the classical sonata, a cyclical, symphonic-poem like setting and a compact ecriture relying heavily on block chords, disregarding any "light" embellishments which are typical of the piano ecriture of the epoch are some of its striking
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III. Scherzo: Allegro energico

According to Clara Schumann this movement evokes a cataclysm. There is actually a kind of "darkness" in this demoniacal waltz at Allegro energico. Its chopped, jerky theme may remind Liszt.

However, the serene Trio in D-flat major, in total contrast, may recall the previous Andante.

IV. Intermezzo (Rückblick - "A look back")

This "look back" is a macabre reminiscence of the Andante.

The Andante's beautifully serene theme is now in B-flat minor and is sustained by anxious repeated note triplets at the left hand evocative of a soft timpani part. All together the "romance" theme of the Andante is here transformed into a kind of Funeral march it is a really pessimistic vision of love.

V. Finale: Allegro moderato ma rubato

A free-form Rondo, it seems to be built on the Beethovenian idea of a victory won after a through hardship. Starting in the low and dark ranges it makes its way to brightness and glory.

The first theme (Allegro moderato ma rubato), remind us the torments of the preceding Intermezzo, it starts painfully its march to the

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