There is resemblance in the matter of rhythm, but the up-beat in Beethoven constitutes a marked difference; and, besides, the succession of notes differs in each case.  Brahms’s theme, already at the eighth bar, recommences in a key a tone lower; a similar proceeding, by the way, is to be found in Beethoven’s Sonata in G (Op. 31, No 1).  After a few points of imitation, and digression through various keys, we meet with a new theme in A minor, the soft, tender character of which contrasts well with the bold opening one.  But unity amid diversity is Brahms’ aim; and here the contrast does not prevent a certain kinship between them—­one, however, which can be felt rather than explained.[105] Of another pianissimo phrase, still in A minor, much use is afterwards made.  The prominence given in the exposition section to the subject-matter styled “secondary,” and still more so in the development section, is peculiar; this feature had certainly not been copied from Beethoven, who, as a rule, made his first theme of first importance.  Brahms concludes his exposition section in the opening key of the movement,—­a return to early methods; Beethoven adopted a similar course in the first movement of his Op. 53.  Brahms’ development section is comparatively short.  Of counterpoint we get a good illustration in the combinations of both first and second themes; of colour, in the presentation of the mournful minor theme in the major key; and of originality, in the bars leading to the recapitulation.  In this last instance, the idea of gradually drawing closer together the members of a phrase was borrowed from Beethoven, but not the manner in which it is carried out.  In the earlier master it often stands out as a special feature; here we have, besides, counter rhythm, and ambiguous modulation.  When the principal theme returns, it is clothed first with subdominant, then with tonic minor harmony.  The movement concludes with a vigorous coda evolved from the opening theme.  Five bars from the end, the first two bars of that theme are given out in their original form; and then, as if repetition were not sufficient, a thematic cadence is added, in which the notes are given in loud tones, in augmented form, and, in addition, with slackened tempo (largamente).  The slow movement (Andante) was, we believe, one of Brahms’ earliest efforts at composition; it is said to have been written by him at the age of fourteen.  It consists of a theme with variations; and the former is based on an old German Minnelied.  The words of the folk song are written beneath the notes, as if to put the listener into the right mood.[106] We need not dwell on the variations, in which Beethoven and Schubert are the prevailing influences, though not to any alarming extent.  The music is by no means difficult; for Brahms, indeed, remarkably easy.  The movement opens in C minor, but closes in C major.  A Scherzo follows (E minor, six-eight time; Allegro molto e con fuoco); it has a trio in C major.  The Scherzo, with its varied rhythm, is full of life; the Trio, interesting in harmony, and also in the matter of rhythm.  The Finale (another Allegro con fuoco; the young composer has mounted his fiery Pegasus) opens in C, in nine-eight time, thus—­