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The second subject group can start in a particular key and then modulate to that key's parallel major or minor. In the first movement of Brahms' Symphony No. 1 (in C minor), the second subject group begins in the relative E ♭ major and goes to the parallel mediant E ♭ minor.
The second movement is in ternary form (or sonata form without development [4]).It opens with a highly ornamented lyrical theme in 3 4 time in F major (mm. 1–16). This is followed by a more agitated, 5-measure transitional passage in D minor (mm. 17–22) accompanied by quiet parallel thirds, followed by a passage full of thirty-second notes in C major (mm. 23–31). [4]
The second subject focuses on rapid scales and leads to a perfect cadence in G major, ready for the development section. The exposition is repeated, which is standard for sonata form . The development begins in G minor uses the opening theme to follow a series of ascending arpeggios in several keys before moving towards G major and then back to ...
Examples in the works of later composers include Polyphonie X and Structures I by Pierre Boulez, Sonata for Two Pianos by Karel Goeyvaerts, and Punkte by Karlheinz Stockhausen. [11] [clarification needed] Opening of Bach's Fugue No. 2 in C minor from The Well-Tempered Clavier, Book I, BWV 847, showing the subject, answer, and countersubject [12]
Brahms' antiquarian interests, his studies of music from the Renaissance to the Classical periods, show in his work — he edited and helped publish a two-chorus motet by Mozart Venite Populi, he had a collection of sonatas by Scarlatti — and in his composition, his motets Op. 74, his interest in the fugue and the passacaglia (outside of organ music such as Josef Rheinberger's Sonata No. 8 ...
The Sonata in the Classic Era: The Second Volume of a History of the Sonata Idea, second edition. A History of the Sonata Idea 2; The Norton Library N623. New York: W. W. Norton. ISBN 0-393-00623-9. Newman, William S. 1983a. The Sonata in the Baroque Era, fourth edition. A History of the Sonata Idea 1. New York: W. W. Norton. ISBN 0-393-95275-4.
It is more of a sonata movement with very substantial fugal sections, however. The opening theme, which bears a resemblance to one of the Contrapunctuses (Contrapuncti?) from the Kunst der Fuge, does develop fugally until into the G major second subject group, a section which is much more conventionally (if wonderfully) treated.
It is in sonata form with the exposition concluding in the major-mode submediant (D ♭), which is approached through a second subject in its enharmonic parallel minor (C ♯). The first theme's heavy emphasis on D ♭ prepares and smooths out this modulation, as well as its reversal with the approach to the expositional repeat.