Annotated Study Edition (9)

We should not be surprised that Brahms writes yet another variant of the opening material. 44 Finally, a melodic ascent of an octave (B-B) in the top line, instead of the expected minor seventh (B-A). We could play this in one of two ways, by making an enthusiastic hairpin crescendo from low B to high B or by doing the opposite and floating the line softly and gently to the top note, giving it plenty of space (an effect known as a “Russian crescendo”). Hold RH top B beyond the pedal change on the second beat to preserve its full length. Many players view this spot as the climax of the piece.
From here until the end, the material is identical to the opening A section.

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