final sostenuto statement of the first subject across three octaves leads to a cadence in D major, which leads directly into the second movement. Second movement The second movement, in D major, is a gentle and lyrical cavatina for the violin, with the piano reduced to the role of accompanist throughout. The character is romantic and nostalgic, with the meter creating a slow waltz-like rhythm. The melody is stated espressivo by the violin in the mid-lower register and proceeds in a calm, introspective character until a sudden two-measure modulation and crescendo lead to an impassioned climax, played in double stop thirds by the violin. Following a brief interlude the melody is stated again an octave higher and with a somewhat less restrained character—it bears the characteristic Brahmsian marking poco forte (literally "a bit loud".) This time the modulation takes a different turn and the climactic theme is stated a fourth higher than before, in C Lydian dominant. As the melodic line descends and arrives back in D major, rather than playing a simple cadence the violin suddenly takes off on a rhapsodic, improvisatory arpeggiation through D major and finally reaches the triumphant third statement of the climactic theme, a third above its previous appearance and this time still in the home key of D major. A brief echo of the opening theme then leads to a final, subdued cadence. Third movement In contrast to the second movement, in the third movement it is the piano that takes center stage. The piano states the main theme, a stammering, uneasy scherzando in F minor, with the violin providing a simple accompaniment on off-beats, interspersed with brief melodic fragments. The second statement of the theme is taken by the violin, with the melodic fragments from the violin's previous accompanying figures becoming part of the melody itself. The violin then interrupts the proceedings and comes fully into the spotlight with an impassioned, rhapsodic outburst elaborated by virtuosic arpeggios, which ends with a forceful series of chords. The same material is presented again in D minor immediately thereafter. A modulation back to F minor leads into a recapitulation of the original material. The piano again states the main theme, sotto voce, while the violin accompanies with pizzicato thirds. A brief coda leads to an understated ending. Fourth movement The fourth and final movement returns to the sonata's home key of D minor. It is the