Brahms- Quintet for Clarinet and String Quartet, op. 115 Part IV
The final theme and variation movement from Brahms’ Clarinet quintet.
IV. Con moto
Theme and Variation form
The principle theme is introduced in the violins, colored with lazy clarinet descents. At 0:32 the clarinet plays the theme to lyric string accompaniment. The second phrase in the strings extends the first melodic idea before a brief coda-like segment with both clarinet and violin lines ending in a brief pause.
The second variation (1:06) is a cello showcase, with conservative accents by the strings and clarinet on certain beats of the melody. The cello variation does not contain notes of irregular length from the cello- it is very straight and regulated.
Variation three (2:09) begins with a troubled violin ascent, repeated with the last note sequenced higher to create a sense of urgency. The low strings play busily as the clarinet interjects with a long arpeggiated descent, answered by a rising cello. The opening motive is repeated in the viola (2:22), after which the quintet crescendoes into a calm, seemingly carefree clarinet section (2:35). This is revealed as a farce, as the clarinet soon realizes the urgency and plays the tense opening motive, this time with an arpeggiated violin descent. The lyric clarinet returns again soon after, but again returns to the mood set by the violin.
Variation four (3:22) is a strange, dance-like variation with the melody initially played in the violin over quiet but plodding accompaniment from the low strings. The clarinet enters with a portion of the melody which soon returns to the violin. The first phrase is repeated before a cheerfully leaping clarinet solo at 3:53 lightens the mood. Again this is for naught, as the clarinet then takes up the violin’s opening melody. The dialogue between the clarinet and violin descends but once again returns to the clarinet solo before one last repetition of the opening melody.
Variation five opens with the alternating motive from the third movement at 4:47 as a dialogue between the clarinet and violin. Quiet accompaniment supports the clarinet in a series of open intervals before the variation is repeated.
Variation six (6:11) features the viola and three-note pizzicato ascents from the strings. Decorative clarinet figures dance around the melody, which is joined by the violin in the following phrase. This variation is based heavily off of theme one from the first movement with its rising and falling melody. The theme is stated explicitly in the violins at 7:03 with pulsing accompaniment from the low voices.
The coda is theme one, movement-one based, with motives appearing in all instruments of the quintet. At 7:40 the clarinet plays a descending and ascending line, repeated lower in the register and followed by a triplet ascent and more theme one, movement one motives. The tempo slows as the clarinet sounds its final notes before one last bleak string chord ends the quintet on a low F#.
The opus 115 Clarinet Quintet is Brahms’ greatest chamber work and one of the pillars of the repertoire. It was premiered in Berlin on December 12, 1891 with Richard Muhlfield and the Joachim String Quartet.
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If you are interested in listening to a recording, I recommend Stanley Drucker’s
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