Brahms Symphony No.1 in C minor, Op.68 – Movement 4

The Romantic era offers music that was inspired by literature, history, nature and human emotion[cite: 28]. Heine wrote: "Classical art had to express the finite....romantic art had to represent the infinite and the spiritual"[cite: 29].

Of all the social changes related to music, the eventual decline of the old system of patronage was probably the most important[cite: 32]. Commercialism flourished with freer markets, state support, commercial concerts, and the travelling virtuoso[cite: 63].

There was a greater freedom of form and design, and formal distinctions between the movements of the symphony began to breakdown[cite: 41, 42]. Closer links with the other arts gave rise to programme music, such as the symphonic poem, programme symphony, and concert overture[cite: 43].

Further organisation and unity were brought to compositions through recurring themes that were developed and transformed, such as Berlioz's idée fixe, Wagner's leitmotif, and Liszt's thematic transformation[cite: 44].

The orchestra expanded, with improvements in instruments (notably brass) [cite: 47]. The orchestral palette was extremely rich and colourful, capable of massive dramatic contrasts, power, and extreme delicacy[cite: 48].

Composers included unexpected and adventurous modulations, with chords becoming increasingly complex, bold, and chromatically inflected[cite: 55]. In works by composers like Wagner, the sense of tonality began to breakdown due to dissonance and avoidance of regular key-defining cadences[cite: 56].

The growth of Nationalism in the works of certain composers was seen as a reaction against German influences in music[cite: 62].

Johannes Brahms (1833-1897) was born in Hamburg but lived mostly in Vienna[cite: 65]. He is considered both a traditionalist and an innovator, and his music contains both Classical and Romantic elements[cite: 67, 68].

His music is rooted in the past, specifically in the structures and compositional techniques of the Baroque and Classical eras[cite: 68]. He was a master of counterpoint and development as seen in Haydn, Mozart, and Beethoven[cite: 69].

Brahms was a perfectionist who often destroyed pieces he thought were not up to standard[cite: 74, 75]. It has been said that he papered the walls of his room with 20 self-rejected string quartets before he felt happy enough to publish one[cite: 76].

In 1853, Brahms visited Robert and Clara Schumann[cite: 79]. He played them some piano pieces which they described as "veiled symphonies", sparking the project to write his first symphony[cite: 80, 81].

Some contemporaries considered his music too academic, and modernist composers like Liszt and Wagner rebuked his more traditional writing[cite: 85, 86]. Later composers like Schoenberg and Elgar admired his craftsmanship[cite: 87].

Brahms remained a traditionalist and, along with Joachim, opposed the programmatic working of the "new" German music influenced by Liszt and Wagner[cite: 99, 101]. He wanted to redress the balance against Romantic works that suffered from a loss of structure[cite: 102, 103].

He was particularly influenced by Beethoven in his sense of form[cite: 105]. He expanded sonata form with "magnificent success" (Charles Rosen), following the external overall structure and emphasising the outer movements [cite: 106, 107].

Exam prompt: Comment on Brahms' approach to sonata form in this movement. [cite: 732]

He followed the classical tradition of a slow 2nd movement with monothematic outer sections and a contrasting central section[cite: 108]. He never called his third movement a "scherzo", but blended features of a minuet, scherzo, and Austrian Ländler[cite: 109].

Thematic material is treated intensely through the constant transformation of themes in developmental passages, even in the opening sections[cite: 115]. He was a master of variation[cite: 116].

Exam prompt: Discuss Brahms' manipulation of motivic material in this movement.

In the finale of Symphony No. 1, we encounter a fusing of the development and the recapitulation section[cite: 117].

Exam prompt: Comment on Brahms' approach to sonata form in this movement.

His 2nd subjects are subsidiary and support the first subject material[cite: 120]. The idea of the second subject as a contrasting subject was replaced by variation and transformation of earlier ideas[cite: 122].

He favoured the use of cyclic devices. The lengthy slow introductions to both movements I and IV provide the main source of musical content for the subsequent thematic argument[cite: 124, 127].

He was fond of using a harmonic tonal scheme where keys depart from and return to the tonic by major 3rds (e.g., C-E-Ab-C). Even within movements, his reliance on mediant relationships is noteworthy[cite: 129, 130].

Exam prompt: Describe the overall structure, including an explanation of the key structure (in terms of tonality).

He widened the harmonic range by concentrating on the dominant minor more than any previous composer, sometimes making it a full secondary tonality in its own right within the exposition[cite: 133, 134, 138].

He utilises incomplete chords to leave the tonality sounding ambiguous at times[cite: 140, 141]. Often, the harmony and melody are out of phase, with the harmony moving to the next step before the melody gets there (harmonic anticipation)[cite: 146, 147].

Melodies are frequently built around triadic formations, arpeggio-type extensions, and wide spacing of broken harmony[cite: 149].

Brahms revitalised the rhythmic language of the 19th century. He used complex combinations of different rhythms, polyrhythms (triplets against duplets), and syncopated whole measures and phrases [cite: 156-158].

His avoidance of regularity is achieved through: opposing rhythmic ideas, augmentation/diminution, sforzandi, "hocket" techniques, hemiolas, irregular phrase lengths, and conflicting layers of rhythmic activity [cite: 165-172].

His scoring is often dense, favouring the doubling of melodic lines in 3rds and 6ths. He found his perfect symphonic sound in a "Classical" orchestra with double woodwind, abstaining from the strongly coloured pictorial instrumentation of his contemporaries [cite: 175-177, 183-184].

Brahms nursed the sketches of his first symphony for many years with great trepidation, famously saying: "You have no idea how hard it is for our kind to hear the tramp of a giant like him [Beethoven] behind us" [cite: 209-211].

In 1862, Clara Schumann wrote to Joseph Joachim about the first movement, noting: "The movement is full of beauty and the themes are treated with a mastery which is more and more individual"[cite: 220, 221].

By 1868, he sent Clara Schumann the famous horn solo from the finale, an alpine tune to the words: "High on the mountain, deep in the valley, I greet you many thousand times"[cite: 223].

The premiere was held in November 1876 in Karlsruhe to avoid immediate comparisons with Beethoven. Hans von Bülow famously tagged the symphony "Beethoven's Tenth"[cite: 229, 231].

The symphony is orchestrated for: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings [cite: 234-244].

Unlike most symphonies of the time which were weighted towards the opening movement, the finale of this symphony is the longest part, and the drama is intense from the start [cite: 251-252].

This finale is the longest part of the symphony. In most symphonies of the time, structural tensions were worked out in the first movement, but here the drama is intense from the start of the finale, forecasting the trajectory of the whole movement.

The structure exhibits a noteworthy digression from usual sonata form as the Recapitulation immediately follows the Exposition. The music fuses the recapitulation with the development, creating a hybrid sonata/rondo form.

Exam prompt: Comment on Brahms' approach to sonata form in this movement.

The finale derives its entire thematic substance from what Tovey describes as "a magnificent cloudy procession of ideas" presented in the Adagio introduction. This technique was possibly influenced by Schumann's 4th and 2nd symphonies.

Exam prompt: Discuss Brahms' manipulation of motivic material in this movement.

Brahms continues to develop material even in the recapitulation, using it as a starting point for continued invention rather than a simple restatement. By the coda, he alludes only to the rhythm without repeating the theme.

Exam prompt: Discuss Brahms' manipulation of motivic material in this movement.

There is a highly obvious recollection of Beethoven's "Freudenthema" (Ode to Joy) from his 9th Symphony in the main theme (S1). Brahms reticently acknowledged this, quipping: "Every fool notices that...".

Similarities to Beethoven's theme include: simple/hymn-like style, opening dactylic rhythm (long-short-short), repeated melodic supertonic at the end of the first 4-bar phrase, stepwise/conjunct movement, narrow range, and major key.

While Beethoven's ostinato provides a thematic climax, Brahms' idea is part of a process that reaches its conclusion only in the final cadence of the theme. It is also partly modelled on the preceding alphorn theme.

Other allusions refer to Brahms' pre-occupation with Baroque ground bass structures. The ostinato of S2 has been compared to Bach's Cantata No. 150 ("Nach dir, Herr, verlanget mich") and Cantata No. 106 ("Gottes Zeit ist die allerbeste Zeit").

C major; Allegro non troppo ma con brio. We arrive at the primary theme, the broad and distinctive first subject which has been so often compared with the 'Joy' theme of Beethoven's 9th symphony.

S1 is played by the violins in their low register. The subject is based on 4 musical phrases, though the conclusion in bar 78 has been delayed by a bar with the entry of the oboes.

Exam prompt: Describe the musical content of the first subject section, giving an outline of the bar numbers, and explanation of the thematic material.

The texture is homophonic. The violins are accompanied by violas, pizzicato string bass, and additional support in the horns.

Exam prompt: Describe the musical content of the first subject section, giving an outline of the bar numbers, and explanation of the thematic material.

As the music approaches the cadence, it is overlapped by a counterstatement of S1 in the woodwind (no clarinets at first). This is heard against light pizzicato strings and timpani with shorter rolls.

The working and presentation of the counterstatement is straightforward in melodic and harmonic terms. It concludes with a crescendo as strings revert to arco, ending with a perfect cadence in C major.

This begins a third statement of the theme, heard ff by the whole orchestra and labelled animato. However, it fragments and develops quickly.

Exam prompt: Explain the function of the Transition section, outlining all features of particular musical interest

The head motif is isolated and captured in diminution by upper strings/violas. Meanwhile, an ascending scalic idea in the contrabassoon and string bass acts as an inversion of fig 'x' (the tetrachord), briefly taking the music to G major.

Exam prompt: Explain the function of the Transition section, outlining all features of particular musical interest

The 2nd phrase begins in bar 97, featuring a passing modulation to E minor in bar 99. Bars 98-101 repeat the earlier idea (the head motif in diminution, now ascending).

The music moves through D minor. We hear two noticeable violin descents spanning two octaves over chords of D minor and A minor (bar 104), counterbalanced in contrary motion by dramatically rising bass lines.

Material reminiscent of bar 20 from the introduction returns: the semiquaver figuration of fig 'x' (tetrachord) is heard in inversion (106) and imitation (108). Winds, brass, and low strings offer staccato punctuation against the scalic movement.

The first four bars of the 'alphorn' theme are played by the original instruments (flute and horn, with horn imitating the flute line). It is accompanied by violins in descending semiquaver arpeggio figuration and pizzicato cellos/basses.

Diminished harmonies in bars 115/116 lead to a D7 chord in bar 117. This acts as V7 of G major, functioning as dominant preparation for the key of the second subject (S2).

The second subject is in the dominant key of G major. It features the descending four-note motif (fig 'x') used as an underlying ostinato pattern.

Exam prompt: How does Brahms achieve contrast in the second subject section?

The new theme in Violin 1 is disjunct but is actually an arrangement of the notes of fig 'x' (E-D-F#-G-G-F#-E-D). Thus, both the melody and ostinato are built from the same material.

Exam prompt: How does Brahms achieve contrast in the second subject section?

Fig 'x' is taken up by the winds (up a 5th in the bass). The ideas are chromatically altered, utilizing an augmented 2nd interval. It builds to a high, syncopated climax in the violins with a long-short rhythmic pattern resembling accelerated dactylic rhythms from S1.

Exam prompt: Describe features of motivic and rhythmic interest in bars 118-183.

The oboe introduces a second section of the S2 group that develops into a "real tune." It is gentle, uses triplet rhythms moving upwards, and is supported by syncopated violas and a dotted minim-crotchet string bass rhythm.

S2 is transformed in diminution in the strings (violas, then 2nd and 1st violins). The key of E minor is firmly established.

Strings join in a strong descending/ascending unison. This leads to a fortissimo passage based on introduction material (bars 22-24) with loud cadential figuration briefly suggesting D major.

The orchestra subsides, leaving a subdued, 'sighing' transformation of S2 in the oboe, later taken by the flute. Triplet accompaniments in violas grow, arriving on V9 of E minor (bar 160).

At bar 168 (with emphasis on C major), triplet rhythms harmonized in 3rds dominate. A syncopated leap appears in violins and low strings. A final accented version of S2 brings the exposition to a conclusive end in E minor.

Exam prompt: Describe features of motivic and rhythmic interest in bars 118-183.

As viola notes are sustained, the horn plays a quiet rising 4th (the opening interval of S1). Woodwinds ascend to build a G7 chord, preparing the return of the principal theme.

Links have also been made between Brahms' slow introduction and Schubert's slow introduction to his "Great" C major Symphony, as well as Schumann's 2nd Symphony in C major.

C minor; Common time; Adagio. The gloomy opening is full of drama, recalling the mood of the first movement in key, chromaticism, and instrumentation. It is in three segments: A(1-5), B(6-12), A1(12-15), B1(16-19), A2(20-21), B2(22-29).

The movement opens with violas and lower strings playing a four-note descending motif (tetrachord) piano. This is labelled figure 'x'. As they reach the dominant pedal, violins and horns enter anticipating the main theme.

Exam prompt: Outline and explain all the noteworthy motivic ideas presented by Brahms in the Introduction section of this movement.

Descending chromatic crotchets in winds (minus clarinets) recall the opening of the first movement and anticipate the descending tetrachord that underpins S2.

Exam prompt: Describe the writing for orchestra in Part 1 of the Introduction section.

An attempt to break the ominous mood features strings (pizzicato) passing the 2-note figure between instruments. The texture gains momentum in tempo (stringendo), pitch, and dynamic. The idea ascends in a reversal of fig 'x'.

There is a sudden stop with an ff chord in the strings. This is a Neapolitan sixth chord (in first inversion) in C minor. The tempo reverts to the opening adagio.

The descending Ab-G in clarinets and horns echoes the movement's opening Eb-D. However, bar 13 is approached by a strong G - Ab major harmony in bar 12, sounding like an interruption. Brahms re-orchestrates bar 12 to highlight the G to C leap.

A second pizzicato passage features a descending bass. Bars 18-19 use F flat major harmony, which enharmonically becomes E major harmony in bar 20 in preparation for the tonicisation of A minor.

The oboe attempts a 3rd statement of the descending tetrachord (E-D-C, forecasting the alphorn theme). It is interrupted by cellos and violas with ascending scales built around a tonicisation of A minor (20) and F minor (21).

Exam prompt: Outline and explain all the noteworthy motivic ideas presented by Brahms in the Introduction section of this movement.

Following rapid ascending scales in violins, the full orchestral texture erupts in a series of diminished 7th chords, the last above a chromatic ascending bass line. The music is cut off with an ff timpani roll on the tonic.

Exam prompt: Describe the writing for orchestra in Part 1 of the Introduction section.

C major; Common time; Più Andante. This may be organised as a small rounded binary form: Section C (30-37), Section C (38-46), Section D (47-51), Section C1 (52-61).

The bass and timps descend onto G (dominant pedal). The bright key of C major brings the 'alphorn' theme, an 8-bar phrase played by horns and accompanied by muted tremolando strings and trombones.

Exam prompt: Comment on Brahms' use of melody and texture in the second part of this Introduction section.

This is a 9-bar phrase where the flutes take the theme. Horns and bassoons accompany with chromatic inflections, echoed by the trumpet in bar 44. Tremolos continue in strings, supported by a timpani roll.

A solemn chorale played by trombones and bassoons. It has an archaic/modal flavour. Though opening on A major, a strong cadential gesture in F major suggests a brief tonicization of the subdominant. The theme is a re-arrangement of fig 'x'.

Exam prompt: Outline and explain all the noteworthy motivic ideas presented by Brahms in the Introduction section of this movement.

The alphorn theme returns in C major with overlapping entries in horn, solo flute, and clarinet, providing subtle textural variety. The timpani roll moves upwards to the tonic in bar 56.

Exam prompt: Comment on Brahms' use of melody and texture in the second part of this Introduction section.

The end of the melody is fragmented and repeated with a decrescendo. Horns play a quiet echo of the oscillating motif, drawing to a close with an imperfect cadence. The anticipatory pause prepares for the Allegro.

A new version of the head motif (diminution of the opening of S1) is heard in dialogue between oboe and flute over continuing imitative scalic passages. The flute movement is a subtle reference to the start of the alphorn theme (E-D-C) [cite: 620-622].

The section explores harmonic colours with Neapolitan flavours alternating with C (Db/C), then C# to F#m (253). Chords of E6/4 to B lead us to expect E major, but an interrupted cadence takes it back to C major, highlighting mediant relationships (C-E-C) [cite: 623-627].

Exam prompt: Describe how Brahms further develops the thematic material in bars 232 - 256.

A strong forte passage in strings and bassoons features descending 3rds with invertible counterpoint, as the top and bottom parts are switched. The descending scales (fig 'x') dominate the texture, with harmony moving between C minor and F minor [cite: 629-632].

An anacrusis brings a version of the head motif of S1, heard ff in unison winds. It is a one-bar idea, repeated, then heard a tone higher in sequence, supported by timpani rolls, brass chords, and scalic string descents [cite: 633-636].

A ff climax is reached with a chromatic variant of the alphorn theme in diminution and inverted in low strings and contrabassoon. Marcato ideas and descending figures feature syncopation (beginning off the beat) in C minor [cite: 649-652].

After a crotchet rest, the 'alphorn' theme is played ff by the violins against fierce diminished 7th harmony. It remarkably fuses the head motif and descending tetrachord (fig 'x') with the alphorn theme, assuming a darker quality [cite: 656-659].

The dynamic falls as the bass descends to Eb, and the alphorn theme is repeated by violins in the peaceful major key. It is then taken by horns with an inversion of fig 'x' as accompaniment (289-292) before descending gently (Calando) over a tonic pedal [cite: 660-671].

Marked animato, S2 is now heard in the tonic key (C major). The ostinato figure is echoed by winds on alternate bars. Material previously in the oboe is taken up by violins, and the horn joins in bar 320 [cite: 673-678].

Harmonic adjustments keep the music in the tonic, but it shifts to the minor mode (C minor). Cadential figures in bars 334-335 briefly suggest Bb major [cite: 680-683].

The music moves straight into the Recapitulation (there is no separate development). It begins in C major. S1 is orchestrated more fully than in the exposition, supported by horns, trombones, and timpani.

Exam prompt: Compare the re-statement of S1 in bar 186 with its first appearance in the Exposition section.

When the oboe joins to support the final cadence, the harmony twists, taking a new direction to establish Eb major by bar 204.

The counterstatement is played in Eb major on woodwind with pizzicato strings. At bar 207, the horn interrupts, shifting to the minor mode (Eb minor).

The music moves abruptly to B major (down a major 3rd from Eb, considered enharmonically). This sudden shift highlights Brahms' heavy reliance on mediant relationships.

Exam prompt: Describe the overall structure, including an explanation of the key structure (in terms of tonality).

After C major is re-established, heavily accented string notes function as a harmonic cycle of 5ths (B-E-A), preparing for D minor.

Exam prompt: Describe Brahms' use of harmony, bars 240 - 249.

Scalic material corresponding to the second transition theme is heard descending. The harmony is modulatory, following a cycle of 5ths: D minor -> G minor (237) -> C major (238) -> F major (239).

Most material here is built on the intervals of a falling 3rd (or its inversion, a rising 6th). The semiquaver figuration acts as a decorated form of these 3rds, descending to the dominant of D minor (A major) in bar 243.

Exam prompt: Describe how Brahms further develops the thematic material in bars 232 - 256.

S1 is played by trombone, contrabassoon, cellos, and double bass, giving a depth reminiscent of the movement's opening. It is underpinned by a long timpani roll on the dominant pedal (G) [cite: 691-692].

The progression moves sequentially through mediants: Ebm to C half-diminished to F, then Dbm to Bb half-diminished to Eb. An enharmonic change of Cb to B (bar 378) leads to Em (377) and C major (380) [cite: 697-701].

Cut common time, triumphant move to C major. Notes 2, 3, and 4 from S1 are heard in strings in diminution. Woodwind and strings present melodic ideas antiphonally above an inverted alphorn figure [cite: 704-706].

A sublime interruption occurs as the religious-like 'chorale' phrase from bar 47 returns in augmentation, supported by strings in a powerful ff delivery [cite: 708-713].

Exam prompt: What is the significance of the passage heard in bars 407-413? Explain the harmonic content of this phrase.

The animated mood returns, pressing forward rhythmically with triplet movement, syncopation, and exuberance [cite: 718-719].

Notes 2-4 of S1 bring the movement to an end. A perfect cadence (I6/4 - V4/3 - V - I) occurs in bars 444-447. The movement concludes with a plagal progression (IV-I) across the final five tonic chords, supported by a timpani roll [cite: 721-724].