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<div>Dear list,</div>
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<div>As long as we are admitting internal movements, I will take this opportunity to bring up the extraordinary Adagio affettuoso from Brahms's Cello Sonata, Op. 99—where key is very much an issue.</div>
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<div>The sonata as a whole is in F major, of course, but the slow movement is in F# major (or is written that way, at least!). This allows Brahms some striking play with the sonority of the instruments—just one example, the opening chord: the cello has the
low F# pizzicato, while the piano has a "6-4" chord above it. But the main tension comes with the middle section (of this overall ternary form): It is in F minor, but hardly touches in the tonic of that key. Instead, coming from the tonicized V of F#, it reluctantly
pulls toward V of F minor (the cello melody quoting Tristan?) but seems unwilling to stay there, preferring D-flat instead. The result is that the key more comfortable for the cello is made an object of unrest (there is an incredibly tense moment with the
cello's low C) and the key more awkward refuses to relinquish its primacy (I.e., D-flat representing V of F# major). </div>
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<div>I've hardly touched on all that is here. Over the years I've been over this movement with many students (who seem to be drawn to it) and feel I have sharply exhausted it. Enjoy!</div>
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<div>Best,</div>
<div>Frank</div>
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<div style="font-family: 'Adobe Garamond Pro'; ">Frank Samarotto</div>
<span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; ">Associate Professor of Music Theory</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; "><br>
</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; ">Jacobs School of Music</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; "><br>
</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; ">Indiana University Bloomington</span><span class="Apple-style-span" style="font-family: 'Adobe Garamond Pro'; "><br>
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