B - major (transitional)
Of all of the themes in the first movement, 2c is probably the most well evolved, used and developed. Incredibly, parts of this theme are introduced in a transitional form before 2c is even introduced (known as transition x in this research). One might question why it is only a transition in earlier appearances instead of a new theme. The best answer for this comes from Brahms' lack of melodic completion in the early appearances. The woodwind entrances in m. 5 and 6 are not found in transition x, and bring resolve, and completion to the theme. This theme is also a great example of the intense chromatic element within this work. An argument could be made for the piece having some 20th century qualities in that the harmonic movement within the piece is never confined to diatonic boundaries. (There is even some evidence of jazz harmony: altered sevenths (b5, and #5) and major sevenths.) At any rate, within this 6 bar theme, some of the most reoccurring ideas in the movement are found. Immediately after the 6th bar, one expects to hear the theme repeated (sequentially), but instead, Brahms uses the material transitionally into the development.
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