a section which is much more conventionally, if wonderfully, treated. The development opens with descending octaves — the first half of the fugato theme — under statements of the triplet theme which is its second half, in imitation between piano and cello. This leads to C minor, to an inverted statement of the fugue, to another episode-like section (bar 95, based on a part of the fugal opening first heard in bar 16; if this is not a fugue it is indeed very like) and after a brief section again in fugal imitation to a tense and tension-gaining section in true sonata style (bars 105–114, returning us to E minor, again based on the bar 16 figure) and a return to the main key, the second theme instead of the first, in triplets. After a repeat of the second theme, the opening fugato (what one calls a fugal section that's part of a larger movement rather than itself a fugue) returns, quoted in its entirety but staying in E minor rather than modulating to G, leading to the Più presto coda. It has been suggested that a sonata by Bernhard Romberg also helped inspire this work. However, given that the Romberg work in question, his Sonata in e minor, op. 38, was originally published as a trio for viola and 2 cellos in 1826 and later arranged as a sonata for cello and piano by Friedrich Gustav Jensen c. 1877, this theory is untenable. Notes and references External links Performance by Wendy Warner, cello and Eileen Buck, piano from the Isabella Stewart Gardner Museum Cello sonata 1 Brahms 1 1865 compositions Compositions in E minor