The first theme group of this movement starts from measure 1 to measure 52, in which a transitional passage is included (mm.38-52). Several motives that frequently occur later in this movement are found in this theme group, particularly in the opening theme of piano and clarinet.

Motives found in the first theme

Figure 1

The opening theme presented by the clarinet from measure 5 to measure 12 is the other motive resource that several ideas are to be borrowed later in this piece. The most prominent examples are the rhythmic combination of half and quarter, and a triplet pattern occurred first on the last beat of measure 11. The arpeggio accompaniment pattern supported by the piano part also occur frequently either in this original form or its variation (see figure 2).

Figure 2

Another rhythmic pattern first occurring at measure 12(see figure 3) is also a significant element that is used throughout this piece.

Figure 3

A few motivic elements that exist in the first theme group may also be found in the transitional passage (mm.38-52). One example is at measure 39 where the clarinet melody (eb-bb-db) first appears. The other motive at measure 38 where the right hand part of the piano suggests a descending scale from ab, gb, f, to eb, originated from the opening theme (motive a’), is also a prominent component that occurs frequently in this movement (See the figure 4).

Figure 4

Other than the motives found in the first theme group, hemiola, cross rhythm (breaking meter of three to two) and pitch /harmonic relation of thirds, which represent typical Brahms’ compositional vocabulary, also appear quite often throughout this movement. For example, the first appearance of hemiola can be found in the clarinet part from measure 21 to 22, where its accompaniment part shows how a cross rhythmic pattern (mm.20-23) is incorporated (see figure).The melodic motion of thirds first can be seen at the opening statement in the piano part at measure 2 and 3, where c goes up to eb, bb goes up to d, and c goes down to ab (see figure 5).
 

Figure 5

Based on the motives found in the first theme group, an examination in terms of the relationships between motives and their development will be presented in the following discussion.

Motives and their development

Exposition(mm.1-38)

Motive (a’) at measures 1 and 2 consisting of a descending tetrachord (f-eb-db-c) also has several reappearances in the following part of this movement.Its first reappearance is at measures 11 and 12 where the right hand chords of the piano part progress from f-eb-db-c.In the transition (starting from measure 38) motive (a’) is employed again in the accompaniment part (right hand chords progression) starting at the pitch of ab going downwards to gb, f, and eb.

The main melody in the second theme group is primarily constructed by the inversion of motive (a’). The original descending tetrachod scale now is transformed into an ascending scale in both the clarinet and piano parts. This melody is then presented alternatively between the clarinet and piano in various ways.One example is that by means of augmentation, this on-measure melody is lengthened to two measures (mm.61-62).

The original form of motive (a’) appears (staring at the pitch of ab) at measure 67. This descending scale is then used in the following closing section in a variety of ways. At measure 68 motive (a’) is carried by the soprano line of the accompaniment in the manner of broken chord staring with the pitch of ab. A sequence of this motive is followed at the level of one pitch higher.The clarinet part then takes over this melody at measure 73, in which a third pitch below is added for a melodic and rhythmic interest. A relation between the clarinet and the piano part is found remarkable at the same passage where motive (a’) is presented in both parts in cannon with two beats apart.

Motive (b), a third relationship of pitch progression is originated from the c-eb, d-bb, and c-ab at the opening theme.The motive of third relation is immediately employed at measures 5 when the clarinet melody is introduced with the rhythmic motive of half plus quarter, motive (c).Adding a third to embellish the original melody of motive (a) is the other example how Brahms is fond of using the cycle of thirds. Same ideas can be found in many places in the exposition section as notated on the score.

Motive (c), a rhythmic combination of half note and quarter note, is one of the prominent rhythmic motives used throughout this piece. Its variation and inversion also are used quite often in this movement.An intricate cross rhythm relation happened in the beginning part of the transition (mm.38-41) interweaves this motive in both hands of the piano part.

Motive (d), the arpeggio pattern in the accompaniment, is the other melodic contour that reoccurs pretty often in the exposition. Its first transformation is found at measure 25 where the arpeggio is re-grouped into two sets of triplet -- motive(e). As the second theme is introduced, motive (d) appears in both the original form and its inversion (m.57)

Motive (f) is another rhythmic pattern that is significantly employed in this piece. The rhythmic combination ofis first presented at measure 12 and then at measure 53, where it becomes part of the melody of theme 2 and an important element throughout the second theme area.

Motive (g) is the last motivic material that is found in the first theme area. Although this melodic contour only appears in the transition of the exposition, it is used later in the development and recapitulation and thus is worthwhile to mention.

Development (mm.90-137)

Several motivic materials are subtly presented in the beginning of the development (mm.90-100). The bass line (mm.90-93) states the opening theme—motive (a) from measures one to three with the accompaniment of right hand chords –motive (a’) in a cross- rhythmic structure somehow reminds of the transition(mm.38-52). This is especially true when motive (g) is presented at measures 92-97. What makes this passage (mm.92-97) interesting is the frequent appearance of the combination of motive (c’) and motive (g), which happens again in the beginning of the E major section.

An imitation of the opening theme –motive (a) between the piano and the clarinet takes over the melody. It is one of Brahms’ writing idioms that by changing the texture of the presentation, the motives or old materials may have a new outlook. This idea is particularly helpful in the development since it is a section of departing from and elaborating of the exposition.

Motive (a) and (a’) are the primary motivic ideas that are found from measure 112 towards the end of the development (m.137). These two major ideas that are either transformed into groups of triplets – motive (e) or placed within a dotted rhythm frame-motive (f) lead to the climax of this movement. After all a highly energetic passage, an announcement of opening theme (mm.1-5) reenters in the piano part at measure 130 with a full sonority of chords and strong dynamic mark suggesting the closing of this section.

Recapitulation (mm.138-213)

Materials from the first theme group are presented in the recapitulation in tonic (f minor) from measure 138. Triplet, motive (e) is the technique Brahms uses to make variations of the original melody.The transition is presented earlier than that in the exposition. Same motives are included within this passage. Theme 2 group, like its previous occurrence in the exposition, primarily consists of motive (a’), (d), and (f). A cross rhythmic passage (mm.183-186), derived from motive (a’), has one more pitch added to each original tetrachord and becomes two descending pentatonic scale.

A passage from measure 202 to 213 containing motive (c), motive (d), motive (e), and their various plays both the function of terminative for this recapitulation and a transition (elision) to Coda (mm.214-36).

Coda (mm.214-236)

Although new mood is presented in the coda, old materials can still be found here. The most prominent ones are motive (a), (b), (c), (d), and (e) as marked on the score. The opening theme of the piano part here (mm.227-233) is stated first by the piano part and the clarinet echoes this melody in the following measures.