  Despite its major key tag the Sonata for Cello & Piano in F major, Op.99 by Johannes Brahms is a late work that is suffused with autumnal grace and melancholy – much like most of his last pieces – reflecting I’m sure the innermost thoughts, expressed musically, of a man who has arrived at the end of his life and can look back upon his deeds and accomplishments with a profound sense of comfort and serenity. Both these sensations are clearly evident in the second mvt, Adagio affettuoso where Brahms gives us one of his most deeply personal and serene melodies. And what better instrument to highlight these emotions than the haunting strains of the cello? In describing what Brahms sought to convey musically, a critic wrote: “This first part of the movement is completed by the lovely bit of fluid innocence, as of a candid child…”* There is indeed a distinct sense of the innocence of youth to the short melody that Brahms marked to be played pp , extremely softly. Heralding its arrival is a short song of such immeasurable longing and melancholy that one might spend a lifetime searching for another as beautiful and sad. It is a testament to the brilliance of Brahms (as if such were needed! ) that he chose to combine these two melodies within the fifty-three seconds of time it takes to perform them.
Snuggled up next to the wistful melody of bittersweet sadness is that youthfully inspired tune whose descending notes remind one of the faraway echoes of the carefree laughter of children. What kind of intellect could come up with such a radiant idea? From where does such genius originate? It is truly a mystery of the creative soul and Brahms has to be one of its greatest practitioners. --kak * Daniel Mason, The Chamber Music of Brahms Edwards Bros., 1933 pg. 164 
