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with the same 6/8 accompaniment, followed by hemiola passages at bars 43-4, 47-8, 55, and 63-

4. The two metres are brought together in the coda at 66-68, the exact place where the C-A

conflict is also resolved.

The Rhapsody, for Brahms, implied an expansive piece with a variety of moods, but not

having a free form like those of Liszt. He applied his ideal of strict formal design to this genre as

well, as his earlier Op. 79 Rhapsodies have sonata-form built into their structures. The Rhapsodie

in Op. 119 is an example of ‘a dramatic figure of the sonata tradition brought into the context of

the piano miniature’ (Musgrave, 1985: 263), and contains variation in a broader structure, with a

symmetrical scheme ABCBA-coda, where the A sections themselves have ABA form (shown in

Fig. 15). The proportions of the sections exhibit an interesting pattern, the return of the A section

having the most ‘weight,’ being counter-balanced by the coda, which in fact carries motifs from

all three sections. The return of the A section is varied, both in key and in rhythmic structure

(shown in Fig. 16/4), being extended to almost twice its original length. The inner B section also

undergoes variation, developing through numerous flat-keys and suggesting E-flat minor, thus

foreshadowing the final key of the piece. The two central sections, B and C, have regular phrase

lengths, whereas the outer sections are more adventurous, the main theme having 5-bar units,

sometimes being cut off to form shorter phrases. There are motivic relations among the sections,

and the coda, which can be considered another developing variation of the initial theme,

combines aspects from all sections, acting as an all-unifying and resolving conclusion (Fig. 16/5).

The theme has large-scale harmonic implications, moving through the keys A-flat and C

minor (bar 7), with a bar of G-7th, as if cadencing into C. In fact, the two contrasting sections B

and C are in the keys of C major and A-flat major respectively; the overall key scheme hence

moves first down, then up two successive thirds. A-flat major also plays a transitional role,

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