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-- [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.]