There is at least a suggestion that the composer turned away from the N-complex in later phases of his career. More recently, Margaret Notley has described an "inverse" Neapolitan layout in the Adagio of the F-major Cello Sonata? Her main thesis-that the movement is a revised version of a discarded movement from the E-Minor Cello Sonata-throws light on the central role the Neapolitan plays throughout the multimovement cycle.Ī common feature of these studies is their tendency to associate Neapolitan relations with the works of Brahms's first maturity. (2) He explores Schubert's influence on Brahms's Neapolitan procedures and provides insight into the historical relationship suggested by Tovey and elaborated by Webster. Christopher Wintle goes a step further and traces a "Neapolitan complex" (or N-complex) in movements from the E-Minor Cello Sonata and the A-Major Piano Quartet.
(1) Among the Brahms sonata forms that Webster analyzes, the first movement of the F-Minor Piano Quintet places greatest emphasis on Neapolitan and Neapolitan-related chords.
James Webster's seminal article on Schubert and Brahms refers to the "essential role" of Neapolitan relationships. Several recent studies have drawn attention to the importance of Neapolitan relations in Brahms's instrumental works.
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