[Music illustration]

a metamorphosis, in fact, of the opening theme of the sonata.  And later on we have a similar re-presentation of subject-matter from the first movement.  This Finale is musically and technically attractive, yet scarcely on the same high level as the first movement.  But the age of the composer must be taken into consideration; for quite a young man, it is a wonderful production.

The 2nd Sonata (Op. 2) is in F sharp minor.  The Allegro non troppo ma energico is a movement which in its subject-material breathes the spirit of Chopin:  the weird, stormy opening in the principal key may claim kinship with the opening of the Polish composer’s “Polonaise” in the same key; while a certain strain in the melodious second subject brings to one’s mind a Chopin Nocturne, also in F sharp minor; in neither case, however, is there anything amounting to plagiarism.  The exposition section is not repeated.  The development is clever, though, perhaps, somewhat formal.  Again here, the secondary theme occupies, apparently, chief attention; but it is supported by a bass evolved from a principal motive.  And in transition passages of the exposition, and also in the recapitulation section and coda—­

[Music illustration]

in one or other shape, makes itself heard; so that, though outwardly subordinate, its function is important:  it binds together various portions of the movement, and thus promotes union.  The Andante which follows, consists, as in the 1st Sonata, of a theme with variations.  There is nothing novel either in the theme or its mode of treatment.  Certain chords, cadences, figures, suggest Schubert—­an idol whom Brahms has never ceased to worship; and, in one place, the three staves, and a few passages, show the influence of Liszt, the pianist par excellence of the days in which this sonata was written; but the movement has, in addition to romantic charm, individuality.  It commences in B minor; then after a short expressive passage in major, an arpeggio chord leads directly to the Scherzo; the following shows the outward connection between the two movements—­

[Music illustration:  Commencement of Andante theme.]

[Music illustration:  Scherzo.]

This bright, clever Scherzo, with its soft Schubertian trio, need not detain us.  The final Allegro is preceded by a short introduction, in which the chief theme and other material of the Finale are set forth.  The connection between this and the earlier movements of the sonata is not evident, like the one, for instance, already noticed, between the Andante and the Scherzo; with research, and possibly some imagination, relationship might, however, be traced.  We are far from asserting that movements of a sonata ought to be visibly connected; after all, the true bond of union must be a spiritual one.  But if an attempt be made in that direction, surely the opening and closing movements are those which, by preference, should be selected.  In his