This violin sonata is one of the most lyrical compositions among all of Brahms’ instrumental works. The violin always has the leading voice, and the piano writing is always so clear and transparent that an imbalance never exists between the two instruments. There are only three movements, not the usual four frequently considered traditional for a sonata; Brahms wrote to his publisher, clearly in jest, that since he came up one movement short, he would therefore accept 25% less than his usual fee for this work.
As in many of Brahms’ compositions, the movements are intimately interrelated. A three-note figure is common to all three movements. A mood of gentle nostalgia permeates the first movement, Vivace ma non troppo, and sets the tone and character for the entire sonata. Brahms here works much like Beethoven had before him: he introduces a germ out of which the themes for the whole movement eventually evolve and grow.
The second movement is a solemn and dramatic Adagio.
The third, a rondo, Allegro molto moderato, contains an episode in which Brahms brings back the lovely slow movement theme. The principal melodic material of this movement, however, comes from a related pair of his songs, “Regenlied” (“Rain Song”) and “Nachklang” (“Reminiscence”), Op. 59, Nos. 3 and 4.
Here is violinist Elizabeth Batiashvili to play this sonata for you:
