Piano Sonata No.2 in F sharp minor Op.2 (1852)

“I felt certain that there would suddenly emerge an individual fated to give expression to the times in the highest and most ideal manner, who would achieve mastery not step by step but at once, springing like Minerva fully armed from the head of Jove. And now here he is …His name is Johannes Brahms.” Schumann’s announcement of his discovery of a young genius in the Neue Zeitschrift für Musik in 1853 must be one of the most prophetic of all examples of music criticism. Robert and Clara had entertained the 19-year-old Brahms for some weeks at their home in Düsseldorf in the previous year and had been won over by their “young eagle’s” earliest works including (in order of composition) the three piano scores, the Scherzo in E minor Op.4, the Sonata No.2 in F sharp minor Op.2 and the Sonata No.1 in C minor Op.1.

While the truth is that it was actually “step by step” rather than “fully armed” that Brahms had achieved this mastery – there were at least three discarded earlier sonatas – it is more interesting that Schumann greeted him as “an individual fated to give expression to the times in the highest and most ideal manner.” Schumann (succeeded after his death by Brahms) and Liszt were regarded as the leading representatives of opposite sides in the growing division between conservatives and progressives in the music of Germany and central Europe. And yet the Brahms Sonata in F sharp minor, which so delighted Robert and which was dedicated to Clara (no Liszt admirer) on its publication, has far more Liszt in it than Schumann.

It is unlikely that Brahms had heard Liszt’s Sonata in B minor, which was written at much the same as the younger composer’s in F sharp minor but not published until 1854. He had recently met Liszt and, as is clear from the violently brilliant double octaves at the beginning of the Allegro non troppo ma energico, he had been thrilled by his piano music. Liszt comes to mind at several other points in this highly dramatic structure based on the first subject rising quietly from the bass and the reckless second subject throbbing with triplet rhythms.

The Andante con espressione B minor is more characteristic of the later Brahms in that it is a series of free variations on an old song (attributed to the Minnesinger Kraft von Toggenburg).

Increasingly extravagantly scored, the three variations end on a low F sharp on a pause and are followed without a break by the Scherzo, which turns out to be another variation on the Minnelied with a slower trio section in a charming sicilienne rhythm in D major. The Finale begins with a slow introduction combined with cadenza, which is followed by an Allegro with a main theme happily chosen for its function but curiously halted more than once by a series of chords in minims. The introduction and cadenza are recalled and extended at the end.

Gerald Larner © 2017