SYMPHONY NO. 4 in E MINOR, OP. 98
Recording: Berlin Philharmonic, conducted by Claudio Abbado
[DG 435
683-2]
Published
1886.
Brahms began
composing
his last symphonic masterpiece at a mountain retreat in 1884,
about a
year after completing the Third
Symphony. Brahmsians often label
it as the composer’s “magnum opus,” although the German
Requiem competes for that
designation. It was composed specifically for the
Meiningen Court
Orchestra, led by his friend Hans von Bülow, rather than for
Vienna. Brahms was concerned from the outset about the
work’s
accessibility, but audiences responded enthusiastically.
It is
quite serious and even tragic. Although the third
movement
competes with the finale of the Second Symphony for sheer
exuberance,
this only emphasizes through contrast the severity and
strictness of
the finale. The chains of thirds introduced in the first
movement, as well as the emphasis on the note C in all four
movements,
characterize the symphony. Bülow, only half-jokingly,
remarked after the first movement was played on two pianos at
a private
gathering, “For the whole movement I had the feeling that I
was being
given a beating by two incredibly intelligent people.”
It is the
only one of Brahms’s symphonic first movements to avoid
repeating the
exposition, although the development begins with the first
theme in its
original form. The second movement is known for its
suggestions
of the Phrygian mode. The first two movements also have
notably
unusual final cadences. The only third movement in the
symphonies
that actually sounds like a scherzo is paradoxically the only
one to
avoid the three-part scherzo-like form. The introduction
of the
triangle is the only time in the symphonies that a percussion
instrument other than timpani is used. Although it seems
anomalous, the movement does have clear references to the
other three,
even suggesting the theme of the finale’s variations in the
alternating
high and low chords in the coda. The extraordinary
finale is a passacaglia
or chaconne (Brahms
used the latter
term), a form common in the early eighteenth century. It
is a
series of 30 continuous variations on an eight-bar stepwise
rising
theme. Said to be derived from a Bach cantata
(specifically
Cantata #150), Brahms gives the theme its essential character
by making
the fifth note and its harmonies chromatic (outside the
E-minor
scale). The variations can be split into four sections
roughly
corresponding to the first theme group, second theme group,
development, and recapitulation of sonata form (used in all
three of
the other movements). The brief coda ends the symphony
with a
powerful impact. Though intellectually and emotionally
somewhat
challenging, the symphony’s greatness was already acknowledged
by
Brahms’s death a decade later. The orchestra is of
standard size,
with double woodwind, four horns, two trumpets, and
timpani.
Contrabassoon, piccolo, and triangle are used in the third
movement. Three trombones (and contrabassoon) are used
in the
fourth movement.
IMSLP
WORK PAGE
ONLINE
SCORE
FROM
IMSLP (First Edition from Brahms-Institut Lübeck)
ONLINE
SCORE FROM IMSLP (from Breitkopf &
Härtel Sämtliche Werke)
1st Movement: Allegro non troppo (Sonata-Allegro
form). E MINOR, Cut time [2/2].
EXPOSITION
0:00 [m. 1]--Theme
1.
With no introduction at all, the main theme begins with a
violin
upbeat, almost in mid-thought. The melody consists of
upbeats
leading into downbeats, continually reversing direction.
The
pitches actually form a chain of thirds, descending in the
first four
bars and ascending in the second four. The violas and
cellos
accompany with harmonized arpeggios, while flutes, clarinets,
and
bassoons provide punctuating weak beat chords, the horns
sustaining
chords and octaves.
0:19 [m. 9]--Theme 1
continues
as the violins now stick to the note “C” on long notes with
winding
three-note upbeats. The bass line now moves up
chromatically (by
half-step). The wind chords are less detached.
0:27 [m. 13]--The
violin
figures become shorter, with two upbeats in each bar.
This leads
to two smoother four-note descending lines, an octave leap
(echoed by
the oboe) and a cadence that merges with the following varied
statement
of the theme.
0:38 [m. 19]--Varied
statement
of Theme 1. The upbeats and downbeats are played in
broken
octaves. Violas and woodwinds play new descending scale
lines,
and the weak beat punctuations are in low strings.
0:52 [m. 27]--The
second part
of the theme now slides upward by half-steps (from the initial
C) on
the long notes and steadily builds in volume.
0:59 [m. 31]--The
shorter
figures now lead into a huge expansion. This reaches a
loud
volume level, with more woodwind participation.
1:13 [m. 39]--The
expansion
continues with a syncopated descending line and more agitated
short
figures. The harmony moves toward the minor version of
the
“dominant” key of B. The climax is reached with two
large
descending lines merging into dotted (long-short) rhythms.
1:37 [m. 53]--Transition.
The
extended transition begins with fanfare-like figures,
including a
triplet rhythm, in the woodwinds. The full orchestra
provides a
descending response in dotted rhythm. There follows a
very broad
cello melody doubled by horns. The remaining strings and
winds
provide a strongly rhythmic accompaniment of four punctuating
harmonized descents of four thirds each (B minor).
1:56 [m. 65]--The
cello melody
is transferred to the violins in octaves. The full
orchestra
except violins takes the punctuating descents of thirds.
The last
of these is extended to five thirds in the low strings.
This last
bass note helps to avert an expected strong arrival on a
B-minor
cadence.
2:09 [m. 73]--The
expected
cadence on B minor is thwarted by a sudden and strong
re-appearance of
the woodwind fanfares, this time underpinned by loud
syncopated chords
in the strings, on G major/minor. An accented descent
leads to a
repetition of the same fanfares on C major/minor. This
then
dissipates into a series of detached two-note figures passed
between
plucked (pizzicato)
strings
and woodwinds, both in unison and leading back to B.
2:31 [m. 87]--Theme
2.
The arrival is in the major key. The strings continue to
pluck
leaping figures, now in harmony, as the winds enter with
syncopated
chords. The violins then emerge with a warm, rich
descending
melody in dotted rhythm accompanied by pulsating triplets in
violas and
cellos. This diminishes suddenly in volume (B major).
2:46 [m. 95]--Flute,
clarinet
and horn present a new melody that includes triplet
rhythms. The
strings accompany with short pairs of repeated notes.
The oboe
and horn then merge into the descending melody in dotted
rhythm.
The short pairs continue in the strings. The dotted
melody
reaches a point of repose, with three-note figures passed
between horn
and flute, both underpinned by the oboe.
3:08 [m. 107]--Closing
Section. The repose of the second theme is interrupted
by a
sudden dissonant (diminished) chord on G-sharp. The
volume
remains quiet, but the calm is disturbed by a timpani roll
(the drums
making their first entrance here) and the fanfare rhythm on
the
trumpet. Under the held wind chord, the strings play a
unison
arpeggio that arches upward, then down as the bass slides down
to
G. The closing theme itself, a quiet major-key version
of the
wind fanfare with isolated three-note interjections, follows.
3:21 [m. 114]--The
wind
fanfares are interrupted by another quiet diminished chord
(this time
on E-sharp) with drum roll and trumpet fanfares. The
string
arpeggios are extended to nearly twice the length, with more
short
descents. The bass slides down by half-steps as the
oboe,
bassoons and horn slide up. The volume swells.
After
reaching C-sharp, the bass moves back to E-sharp. Then
the
B-major fanfares enter again, this time forcefully on the
strings with
trumpet and horn punctuation, followed by a joyous arching
wind
response in triplet rhythm.
3:40 [m. 125]--The
string
fanfares suddenly shift up to D major. Other winds join
in the
punctuations. The fanfares and triplet rhythms become
even more
insistent as the harmony moves back to B major. The
climax comes
with an exuberant dotted rhythm.
4:00 [m. 137]--The
expected
strong and forceful cadence on B is again somewhat averted,
this time
by a sudden soft volume as it is reached. Harmonized
upbeat
descents reminiscent of Theme 1, beginning in flutes and
bassoons, but
then incorporating the other winds, bring the exposition to a
quiet
close. They are accompanied by arpeggios in low strings
and
detached weak beat echoes in the violins. Three figures
lead to a
sustained wind chord that starts to propel the music back to
the home
key of E minor. The pattern is repeated a step lower,
leading to
a highly unstable and dissonant chord (a diminished seventh).
DEVELOPMENT
4:16 [m. 145]--The
previous
passage is set up in a way that makes an exposition repeat
expected. Brahms plays a formal game here by beginning
the
development section as if it were
an exposition repeat. His only symphonic first movement
to lack
such a repeat thus deceives the listener into thinking that
there is
one. The first eight-bar phrase with its chains of
thirds is
heard as it was at the movement’s beginning.
4:31 [m. 153]--The
arrival of
the long C’s with winding three-note upbeats diverges from the
exposition. The harmonies are new from the outset and
lack the
rising chromatic bass line, and the weak beat wind chords drop
out in
favor of a smooth clarinet descent.
4:38 [m. 157]--The
winding
upbeats develop into a flowing line with syncopations over bar
lines. It is passed between violin groups. The
flutes and
bassoons, later joined by oboes, introduce three-note stepwise
patterns
harmonized in thirds and sixths. The clarinets later add
a
flowing accompaniment that dovetails with the violin
lines. These
patterns begin in G minor, but move toward A-flat major.
The long
notes with winding upbeats return in the woodwinds in A-flat,
accompanied by violins and filled with quiet tension.
4:59 [m. 169]--Suddenly,
there
is a huge outburst in the strings. Groups of three
powerful
chords are passed between the violins and the low strings as
the winds
and horns alternate a neighbor-note figure in dotted
rhythms.
These powerful three-note groups begin on the last upbeats of
the bars,
so the downbeat is obscured. The passage vacillates
between the
related keys of B-flat minor and D-flat major before pivoting
to B
minor/major (approached by its alternate identity as
C-flat). At
the end, the strings gradually come together as the winds
abandon their
dotted rhythm and take over the alternation from the low
strings.
5:26 [m. 184]--As at
2:09 [m.
73], an expected arrival on B is thwarted by a deceptive
motion to G,
but this time it is suddenly quiet as well (pianissimo). The
passage is a
sort of mixture between those at 2:09 [m. 73] and 3:08 [m.
107].
The fanfares and triplets are heard in the strings with their
typical
major/minor mixture, but the drum roll, sustained horn octave,
and
mysterious character recall the later moment.
5:33 [m. 188]--Very
quietly,
flutes, clarinets, and bassoons play the fanfares in unison, sotto voce. These
lead to the
quiet string arpeggios as heard at 3:08 [m. 107].
Figures
reminiscent of Theme 1 are heard in the oboes. These, as
well as
the sustained bass note and the arpeggio, suggest C
minor. Other
winds then enter as the bass note shifts up a half-step.
5:49 [m. 196]--The
string
arpeggios and oboe figures are again played over the new bass
note
(C-sharp). The other winds again shift the bass note
upward to
D. It remains there much more briefly before a
harmonized oboe
and horn descent helps it move up one more half-step, to
D-sharp.
There, the string arpeggios dissipate under a drum roll.
The
“mysterious” fanfares and triplets are now played by the
winds,
arching up and back down in yet another attempt to establish
the
“dominant” harmony of B major/minor.
6:10 [m. 206]--In a
sudden
outburst, the fanfares blast forth in their original character
in the
strings, with trumpet and horn responses. The winds then
join as
the fanfares gradually move to A-flat major. The triplet
figures
begin a boisterous descent in the winds and brass as the
fanfare rhythm
continues in the strings. The strings then lead another
descent,
with the winds responding. A-flat major is changed to
G-sharp
minor (same keynote), where a strong cadence is reached.
6:27 [m. 217]--The
winds begin
a long passage in G-sharp minor of stepwise triplet motion
harmonized
in thirds. After two loud punctuations, they become
quiet.
Clarinets and bassoons, then oboes, then clarinets again, play
the
sinuous thirds. Against this, and quite surprisingly,
the
violins, playing pizzicato,
present the first phrase of Theme 1 in its entirety, all
played on the
offbeat and harmonized by violas and flutes, the cellos and
basses
providing a plucked foundation on the downbeats.
6:45 [m. 227]--Re-transition.
The
second
part of Theme 1, the long note with the winding three-note
upbeat, is heard in two sequences with the four-note groups
passed from
the flute to three string sections (violas, then cellos, then
violins),
the other strings and winds alternating on the background
harmonies. The second sequence is a step higher than the
first.
7:00 [m. 235]--Four
shorter
sequences follow, each with a winding figure played by a wind
instrument followed by a descending figure played by a string
group. The first two alternate clarinet and violins, the
third
one oboe and violins, and the last one (with the same pitches
as the
third) clarinet and violas. The other winds and strings
provide
background harmonies, again in alternation. These
sequences
become very quiet. The entire passage from 6:45 [m. 227]
has
moved from G-sharp minor in rising sequences to arrive back
home at E
minor.
7:18 [m. 243]--After
the last
sequence, the winds drop out and the strings very quietly
(triple piano), led
by cellos, bridge into
the mysterious beginning of the recapitulation, hanging on the
“dominant“ chord.
RECAPITULATION
7:27 [m. 247]--The
moment of
return is disguised, as the development began with Theme 1 in
its
original form. The original notes of Theme 1 are heard
in oboes,
clarinets, and bassoons, but they are twice as long, quiet,
mysterious,
and sustained. At the arrival of the fourth note, there
is a link
to previous passages such as 3:08 [m. 107] and 5:33 [m.
188]. The
note is underpinned with a new harmony (a C major chord
colored by a
pervasive foreign note, A-flat), quiet string arpeggios, and a
drum
roll, and is sustained for three bars.
7:40 [m. 253]--The
same process
occurs for the next four notes (completing the “descending”
portion of
the chain of thirds). The fourth note is underpinned by
harmony
and arpeggios suggesting G major or E minor (the home key),
with the
“color” note of D-sharp.
7:54 [m. 259]--After
the
disguised beginning, the recapitulation slides into its
normally
expected path, picking up with the “ascending” chain of thirds
and then
continuing as at 0:19 [m. 9] and 0:27 [m. 13].
8:20 [m. 273]--Varied
statement
of Theme 1, as at 0:38 [m. 19] and 0:52 [m. 27].
8:41 [m. 285]--The
expansion
from 0:59 [m. 31] and 1:13 [m. 39] is greatly curtailed.
The
removal of ten bars from the passage allows it to remain at
home in E
minor for the transition and second theme group.
9:01 [m. 297]--Transition
from
1:37 [m. 53] now in the home key. Woodwind fanfares and
triplet
rhythms, followed by horn/cello melody with rhythmic
accompaniment
(four groups of four descending thirds).
9:21 [m. 309]--Continuation
of
melody on violins, as at 1:56 [m. 65]. Averted arrival
on an
E-minor cadence.
9:33 [m. 317]--Fanfares
and
syncopated chords, as at 2:09 [m. 73] on C minor/major, then F
minor/major. This is followed by detached, unison
two-note
figures passed between plucked strings and woodwinds, leading
back to E.
9:55 [m. 331]--Theme
2, as at
2:31 [m. 87], now in E major.
10:10 [m. 339]--Continuation
as
at 2:46 [m. 95], with the roles of the woodwind
instruments
somewhat reversed. Arrival at point of repose.
10:32 [m. 351]--Closing
section,
as at 3:08 [m. 107] and 3:21 [m. 114]. The fanfare
figures are played by a horn instead of a trumpet. The
diminished
chords and string arpeggios are on C-sharp (sliding down to
C), then
(following the major-key version of the fanfare and triplets)
on
A-sharp. Drum rolls, as before. The sliding bass
descent is
again followed by the joyous outburst of fanfares with
trumpets and
horns, followed by the arching wind response in triplets.
11:04 [m. 369]--This
passage
diverges from 3:40 [m. 125]. The shift of the fanfares
is to
G-sharp, a half-step higher than the expected (and analogous)
G.
The climactic passage is extended. Whereas the
corresponding
passage in the exposition moved back to the major key after
the shifted
fanfares, it now moves back to E minor (instead of major),
since the
end is approaching and this ultimately tragic movement must
conclude in
minor where it began. This occurs via the related key of
G major.
11:22 [m. 381]--The
closing
section is further extended with accented, syncopated string
triplets,
passing down through F major (and including a last wind
fanfare) to
arrive, finally, on E minor. The triplets become more
and more
forceful and dramatic, culminating on two harmonized wind
descents
(punctuated by two loud outbursts) and a tremolo string arpeggio
leading
into the powerful coda. The end of this passage is
surprisingly
similar to the quiet one at 6:27 [m. 217] in the
development.
This earlier passage was underpinned by the quiet weak beat
plucked
string version of Theme 1, whose apotheosis follows here.
CODA
11:42 [m. 394]--Theme
1 is
presented in imitation with low strings and horns answered by
the rest
of the orchestra. It is stark and powerful. After
four
bars, the leading voice (low strings and horns) begins to play
in
syncopation. The Theme 1 material continues with the
following
elements (long notes with winding three-note upbeats, then the
short,
detached upbeat figures), working toward a climax.
12:12 [m. 414]--The
large
descending lines from the climax of Theme 1 before the
transition in
both the exposition and recapitulation now become the climax
of the
movement. They lead to accented, tragic short descents
from the
winds and low strings against a powerful violin tremolo arpeggio.
This
material builds even more intensity in the full orchestra over
thundering timpani rolls before a powerful E-minor cadence.
12:45 [m. 436]--Five
punctuating chords from the full orchestra mark the
arrival. Then
the movement closes with a broad plagal
cadence, with a sustained “subdominant” (A-minor) chord over
four
thumping timpani beats moving to the final E-minor
chord. Such a
plagal cadence was originally planned by Brahms to open the
movement
before he deleted it in favor of the more direct beginning.
13:05--END OF MOVEMENT [440
mm.]
2nd
Movement:
Andante moderato (Varied Sonata form without
development). E
MAJOR, 6/8 time.
EXPOSITION
0:00 [m. 1]--Introduction.
The
introduction
actually anticipates Theme 1, but these austere slow
fanfares, played first by a solo horn which is then joined by
the other
winds (excluding clarinets), are not in the “right” key.
The
fanfares begin on E, but the notes used are those from C
major.
The fanfares are actually in the Phrygian
mode, which has a half-step between the first and second notes
of the
scale. This mode is often associated with the note E
because it
has no sharps or flats when centered there.
0:30 [m. 5]--Theme
1. The
absence of the clarinets in the preceding fanfares is
explained by
their leading role in presenting the full theme that is
derived from
their distinctive dotted rhythms. They share this very
quiet
presentation with plucked violins. The remaining
accompanying
strings are also plucked. Bassoons and later flutes
provide
further accompaniment. While the theme is now clearly in
major
because of the notes F-sharp and G-sharp, the persistent
C-natural and
D-natural are vestiges of the Phrygian introduction.
1:18 [m. 13]--The
horns take
over the presentation of Theme 1 from the clarinets and
plucked
violins, with counterpoint from bassoons and continued plucked
string
accompaniment.
1:30 [m. 15]--Suddenly,
the
clarinets re-enter alone with the bassoons. They now
strongly
play the fanfares with the persistent foreign (“Phrygian”)
notes.
The plucked strings have short punctuations. The other
winds
enter on forceful rising arpeggios. These respond to the
clarinet/bassoon fanfares twice in sequence, the first
suggesting B
major and the second G major. Clarinets and bassoons
then play
trailing passages in groups of three that diminish in
volume. The
horns enter in preparation for another statement of the theme.
2:08 [m. 22]--The
trailing
clarinets and bassoons have moved back toward E. Theme 1
begins
another full statement. The plucked strings play as
before, but
the horn, clarinet, and bassoons that support them drop out
two times,
leaving the plucked strings exposed as they complete the first
phrase.
2:32 [m. 26]--The
clarinets,
bassoons, and horns re-enter at the end of the first phrase,
and the
plucked strings drop out. The clarinets lead again for
the second
phrase of the theme. The plucked strings make a
tentative
appearance toward the end of the phrase. The leading
clarinet
then suddenly and unexpectedly abandons the modal inflections
and moves
to a full cadence in E, which has thus far been avoided.
2:57 [m. 30]--Theme 1
finally
flowers into a beautiful, warm melody in E major. It is
played by
the violins, bowing for the first time in the movement.
Violas
and cellos, still plucked, provide accompaniment in rising
triplet
arpeggios. The winds also accompany with mildly
syncopated
lines. The violins then plunge downward in arpeggios
before a
change of key to the “dominant” of B, the line quickly rising
again to
an expectant repeated note. Here, the remaining strings
take up
their bows for the first time.
3:35 [m. 36]--Transition
theme.
Beginning halfway through the bar, the woodwinds present
an austere and dramatic harmonized melody in detached triplet
rhythm. The strings then reply. This pattern is
repeated
with altered harmony (natural instead of melodic minor).
A single
horn begins to pulse on a syncopated repeated note under three
rising
woodwind chords. The horn is isolated, quickly
diminishing, then
the three chords are repeated an octave lower, stretched out,
and at a
quiet volume, leading into Theme 2 (B minor).
4:02 [m. 41]--Theme
2.
The cellos play a very warm and beautiful major-key theme,
slowly
rising and falling in a stepwise motion. All winds
except
bassoons drop out. The violins provide a decorative
accompaniment
characterized by short rests. The bassoons and violas
provide a
counterpoint to the cellos. The theme reaches a full
cadence (B
major).
TRANSITION TO RECAPITULATION (in lieu of Development Section)
4:56 [m. 50]--The
cadence of
Theme 2 merges into echoes from clarinet, violins, bassoons,
and then
cellos again. The strings then lead an extension of the
theme,
rising and falling in pitch and volume. This is echoed
by flutes,
clarinets and bassoons, the strings continuing with rising
two-note
figures.
5:34 [m. 57]--The
music
dissipates into the rising two-note figures, passed from
strings to
woodwinds. The flute is then isolated in alternation
with the
violins. The violas take over the alternation from the
flute. The violas then expand the two-note figures into
a
sweeping, but quiet arpeggio, passed to the violins, who move
up and
back down twice The arpeggios are accompanied first by
solemn
horns and bassoons, then by oboes and clarinets with
bassoons. A
harmonized rising line from the flutes leads to the
recapitulation.
RECAPITULATION
6:14 [m. 64]--Theme
1.
The theme is rescored. The violins are still plucked, as
are
cellos and basses, but the violas are not. They
substitute for
the clarinets in presenting the melody. The woodwinds
themselves
pass harmonized descending groups (usually thirds) between
them.
Flutes, clarinets, horns, and bassoons are heard, but oboes
are
not. The timpani are heard for the first time on soft
rolls.
7:00 [m. 72]--Horns
begin
another presentation of Theme 1 with bassoons and plucked
strings (now
including violas), as at 1:18 [m. 13].
7:12 [m. 74]--The
fanfares
enter again as at 1:30 [m. 15], but now all woodwinds play
together in
unison. The violins (bowed) take over halfway through
the first
statement. A very active counterpoint with shorter notes
takes
over in the violas. This then moves to the violins as
well, as
the woodwinds enter with their response to the fanfares.
The
response suggest B major, as before.
7:23 [m. 76]--The
second
statement of the fanfares is taken by the low strings.
The
following response continues the active, rapid motion in
shorter notes,
mostly in arpeggios, expanding on what was heard in the
exposition, but
still suggesting G major. The winds drop out, and the
strings
continue, the violins playing the fanfare rhythms in a
descending
sequence before passing them to the low strings and moving to
the
faster notes with the violas. The passage moves to
B-flat.
7:43 [m. 80]--A
harmonized
blast of the fanfare from winds and horns is followed by a
string
response. The strings forcefully continue, and the winds
then
respond to them. The strings begin another sequence, but
they
continue with a resumption of the rapid motion, including
triplets in
the violas, as the winds respond with the fanfare
rhythm. This
passage moves from B-flat to B and builds to a climax.
8:06 [m. 84]--Transition
Theme.
The preceding development has replaced the last statement
of Theme 1 from 2:08 [m. 22] and its more melodious variation
at 2:57
[m. 30]. Now the transition enters in the home minor key
(E
minor), played forcefully by the whole orchestra, including
thundering
timpani. This is the climax of the movement. The
triplet
rhythm is extended by half a bar, but there is only one
statement of
the three rising chords (in their longer version), now from
horns and
bassoons without the repeated pulsation.
8:32 [m. 88]--Theme 2,
in the
home key of E major. The violins play the melody.
The
decorative accompaniment with the rests is absent, and the
cellos play
the counterpoint formerly taken by the bassoons. The
winds are
completely absent until the end of the melody, where bassoons
and
clarinets, then flutes and oboes enter in syncopation in
thirds and
sixths, while violins and violas suddenly and actively descend
over a
dramatic crescendo.
9:36 [m. 98]--Theme 2
is given
a new and dramatic variation in place of the previous
transition to the
recapitulation. It is played in exuberant syncopation
from both
strings and woodwinds with timpani rolls.
10:01 [m. 102]--This
suddenly
breaks off. The strings quietly begin the second half of
the
theme. Then clarinets and bassoons, accompanied by a
horn, take
over in thirds with four rising figures containing dotted
rhythms as
the strings begin to pluck, leading into the coda. The
clarinets
and bassoons then play the three slow, syncopated rising
chords from
the end of the transition.
CODA
10:28 [m. 106]--The
low strings
play a sustained note (the dominant note, B), while the
violins and
violas play mysterious arpeggios (marked triple piano) on a diminished
chord and
the timpani begins a soft roll. The clarinets play
fragments of
Theme 1 similar to those heard at 2:32 [m. 26]. The oboe
later
takes over the fragments. This moment is reminiscent of
the
similar “mysterious” passages in the first movement.
11:02 [m. 111]--The
rapid, soft
arpeggios and the timpani roll break off. After a
notated general
break, the principal clarinet resumes the Theme 1 material
with string
accompaniment, slowing to a satisfying resolution and cadence
on E.
11:22 [m. 113]--At the
moment
of the cadence, the horns suddenly start to blast out the
original
fanfares as heard in the introduction. They are
accompanied by
rising lines in bassoons, violins and violas, and rising
triplet
arpeggios in the cellos. The accompaniment, still in E,
clashes
with the “Phrygian” horns. The woodwinds join with the
horns on
the fanfares. Now, the Phrygian mode is re-interpreted
as C major
mixed with E major. C begins to function as a “dominant”
chord,
suggesting the previously unheard F major.
11:44 [m. 116]--The
fanfares
end and the music again quiets down. Three rising
arpeggios
follow with an unusual harmonic sequence. First, the
cellos play
one in C major. Then the clarinets in E major.
Finally, the
flute and oboe play over a timpani roll in F major, a harmony
strongly
implied earlier. This F-major arpeggio slides down to
the final
E-major chord. This cadence is known as a “Phrygian”
cadence, and
is highly appropriate given the use of that mode in the
movement.
The final chord is sustained by woodwinds and horns.
Strings
(with timpani) punctuate it three times, the last time plucked
12:09--END OF MOVEMENT [118
mm.]
3rd
Movement: Allegro giocoso (Sonata form with foreshortened
recapitulation). C MAJOR, 2/4 time.
EXPOSITION
0:00 [m. 1]--Theme 1,
Part
1. Brahms adds piccolo, contrabassoon, and triangle to
the
orchestra. The opening is played by the full orchestra
in a loud,
exuberant manner. There are two lines in contrary
motion,
descending steps from the higher instruments and ascending
steps from
the lower ones. These change direction on longer
notes.
They are arrested by an accented loud chord with a drum roll
0:09 [m. 6]--Theme 1,
Part
2. The theme resumes with detached repeated chords,
beginning
with a short-short-long rhythm and continuing with faster
notes than at
the opening.
0:12 [m. 10]--Theme 1,
Part
3. A very abrupt harmonic shift leads to a loud fanfare
in E-flat
major with descending neighbor-note turns. The accents
are very
strong and on the weak beats of bars. There are more
drum
rolls. A descending string arpeggio in triplets leads
back to C
major.
0:21 [m. 19]--Theme 1,
Part 2
resumes after the interruption of Part 3, now played more
smoothly and
quietly, without the short-short-long repeated notes. It
is
greatly extended. A long crescendo begins, culminating
in an
extended timpani roll and downward-arching, rushing string
scales.
0:37 [m. 35]--Theme 1,
Part 1,
now inverted with the higher instruments moving up and the
lower ones
moving down. The arresting loud chord is now more fully
harmonized, and marks the first entrance of the ringing
triangle.
0:43 [m. 40]--Transition.
Theme
1, Part 2 seems to begin again with the triangle, but its
direction is altered, and there is a motion toward the
“dominant” key
of G major. All instruments except the low strings drop
out. They descend by thirds in the short-short-long
repeated
notes, quickly diminishing in volume. The violins and
violas play
another chain of descending thirds with the repeated
notes.
Finally, the flute, clarinet, and bassoon play a longer chain
of
descending thirds in single notes, the repeated notes
continuing in the
violas.
0:54 [m. 52]--Theme
2. A
more gentle and graceful, but jaunty melody from the first
violins with
light accompaniment from the other strings and running
responses from
piccolo, flute, clarinets, and bassoons. A trill leads
to the
next phrase (G major).
1:06 [m. 63]--The
winds take
over the melody, straightening it out and passing it between
them. The strings play a more rhythmic accompaniment,
all plucked
except for a bowed triplet rhythm counterpoint in the
violas. The
triangle enters here with light rhythmic tapping.
1:20 [m. 77]--The
strings, all
bowed, begin a closing phrase that develops into a
re-transition.
This becomes more ominous, and the whole orchestra enters,
including a
large timpani roll, over a huge crescendo. The motion is back
to C
major and to Theme 1.
DEVELOPMENT
1:32 [m. 89]--Theme 1,
Part 1
begins as at the start of the movement. The “arresting”
chord is
now expanded and passed between two large groups. The
first
includes strings, bassoons, horns, and timpani. The
second
includes the other woodwinds, trumpets, and a prominent,
rolled
triangle. Clarinets play in both groups. The first
group
plays loudly, the second softly for two rising sequences.
1:45 [m. 100]--The two
large
groups unite and play alternating low and high chords for
three rising
sequences. Timpani are only played on the low chords;
flute,
piccolo, oboes, trumpets, and triangle only on the high
ones.
Following these sequences, Theme 1, Part 2 begins. It is
interrupted by two large, syncopated chords (with triangle and
timpani
rolls), then continues and is developed, moving to the related
minor
key, A minor.
2:01 [m. 117]--Further
development of Theme 1, Part 2. Fragments are passed
between
strings and winds, the latter accompanied by plucked
strings. The
strings and winds then unite, playing in counterpoint on the
material
of Theme 1, Part 2. This passage moves from A minor to E
major.
2:23 [m. 139]--Development
of
Theme 1, Part 1 in C-sharp minor (the relative key to the
previous E
major). First the winds play the “inverted” version in
harmony,
with syncopated accompaniment from violas and cellos (playing
with the
bassoons). Then the strings play the original
“descending”
version in stark unison. The groups join for a brief
bridge
before the winds drop out completely.
2:36 [m. 151]--Further
development of Theme 1, Parts 1 and 2 in C-sharp minor by
strings
alone. This becomes ever quieter, trailing off to triple
piano. The
fragments become
shorter, the low strings begin plucking, and all is suspended
on a
plucked unison C-sharp from all strings before a pause.
2:55 [m. 168]--The
triangle
punctuates a very quiet, syncopated entry of Theme 1, Part 1
played by
all winds and horns. This is in D-flat major (the
major-key
version of the previous key; C-sharp and D-flat are the same
note). The “arresting” pause from the plucked strings
leads to a
trailing, descending bassoon line with chords from the other
winds. The strings then enter, bowed, as does a timpani
roll for
two quiet transitional chords.
3:11 [m. 181]--Re-transition.
Brahms
marks
this passage Poco meno
presto. It is a moment of respite, despite the
transitional character. The horns, bassoons, and
clarinets begin
a very tranquil version of the formerly boisterous Theme 1,
Part 3 in
D-flat major, accompanied by plucked strings. The oboe
then takes
over the melody. The strings take up their bows as the
music
moves away from D-flat. Flute and piccolo enter.
The music
is passed between strings and winds, and moves to the
expectant
“dominant” chord of the home key, C major. This passage
is
somewhat reminiscent of the main theme from the second
movement.
RECAPITULATION
3:38 [m. 199]--The
expected
arrival on C at the moment of the recapitulation is thwarted
by the
sudden blast of Theme 1, Part 3 in its original form and in
its
original key of E-flat (as at 0:12 [m. 10]). We thus
hear two
very different versions of this material juxtaposed. The
beginning of the recapitulation here also indicates that the
openings
of Parts 1 and 2 of the theme at the beginning of the
development
constituted their “reprise.” Compare the first movement,
whose
development also begins with the main theme.
3:47 [m. 208]--Theme
1, Part 2,
as at 0:21 [m. 19], with some very minor variations in the
string
figuration.
4:03 [m. 224]--The
“inverted”
version of Theme 1, Part 1 from 0:37 [m. 35] is stretched to
twice its
length and mixed with the “original” version before the large
“arresting” chord with triangle.
4:13 [m. 233]--Transition.
It
begins
a fourth higher, so that the music can remain in the home key
rather than moving to G major. There is also some slight
variation, including some jaunty syncopation. The
descending
thirds from the low strings, then the violins and violas, are
heard. Clarinet and horns insert a slight extension
before the
longer chain of thirds in the winds. Here the oboe takes
over
from the clarinet. The repeated notes are not heard in
the violas
here.
4:27 [m. 247]--Theme
2, in the
home key of C major. An oboe joins the violins in the
presentation of the jaunty melody. The running responses
are
heard from the same instruments as before. There is some
new
harmony in the horns. The previous quiet trill is
replaced by a
large swelling and a timpani roll.
4:39 [m. 258]--The
passage from
1:06 [m. 63] is transformed into a very martial passage with
triplets
in the character of Theme 1, Part 3. The material still
belongs
to Theme 2. The passage is also extended with new
chromatic
harmonies. There is a steady buildup of energy and
excitement.
4:58 [m. 276]--The
closing
phrase from 1:20 [m. 77] is now played in loud, punctuating
two-chord
descents from the whole orchestra. These seem to be
leading to a
strong cadence, but diverge over a bass line that descends in
half-steps. The harmony moves to the “dominant” chord in
this
transition to the coda.
CODA
5:04 [m. 282]--Very
suddenly
and quietly, the short-short-long rhythm begins to be tapped
on the
timpani. This continues at some length. The string
basses,
later joined by cellos, start a long series of repetitions of
the note
G. In G minor, fragments of Theme 1 are heard passed
between the
instruments. This builds in volume with loud horn
blasts, the
timpani beats and low string thumping on G remaining constant.
5:27 [m. 305]--C major
seems to
emerge over the thumping G’s, which are joined by horns and
trumpets. The thumping G’s are suddenly abandoned, and
the music
is unexpectedly diverted to the “subdominant” key of F major,
where
Theme 1, Part 1 is heard and reaches a full cadence.
5:39 [m. 317]--The
F-major
cadence merges with sequences of high and low chords similar
to those
at 1:45 [m. 100]. All instruments play on the high
chords, and
only the flute, piccolo, and triangle drop out from the low
ones.
There are five chords, high-low-high-low-high.
5:49 [m. 326]--Loud
statements
of Theme 1, Part 2 developed in B-flat major (reached from F
major by
the preceding chords), then a half-step lower, in A
major. The
B-flat major portion has thumping timpani and ringing triangle
on the
short-short-long rhythm.
6:00 [m. 337]--The
purpose of A
major is revealed: The relationship of A to C is the same as
that from
C to E-flat. The A major was to prepare for the sudden
entrance
of Theme 1, Part 3, heard for the first time in the home key
of C
rather than E-flat, the key of its two previous (equally
sudden)
appearances. The difference here is that the preceding
music is
also strong and loud. Theme 1, Part 3 itself is
therefore
intensified with ringing triangle rolls. The strings
play
flourishes of Theme 1, Part 2 underneath it.
6:09 [m. 347]--Final
appearance
of Theme 1, Part 1. The strings now play only the
descending line
in unison. The longer chords are harmonized. The
winds
gradually enter. A violin flourish with a timpani roll
leads to a
joyous chord with triangle roll. Three short chords with
triangle
and timpani bring the movement to a close.
6:25--END OF MOVEMENT [357
mm.]
4th
Movement: Allegro energico e passionato - Più Allegro
(Passacaglia [Chaconne] with coda). E MINOR, 3/4 and
3/2 time.
FIRST SECTION (Theme and Variations 1-11), 3/4 time.
0:00 [m. 1]--Theme. Brahms
retains the
contrabassoon from the previous movement and adds three
trombones, not
heard in the other movements. The eight-bar Chaconne
theme is
presented by the winds and brass. It is an ascending
scale to the
fifth degree (B), with a chromatic note (A-sharp) on the firth
bar. The theme ends with a motion back to E. The
harmonization of the theme is very ambiguous and suggests A
minor
almost as much as E minor (the first chord is an inversion of
A
minor). The entrance of timpani and trumpets on the
fifth
(chromatic) note gives it the emphasis that will reach its
full
fruition in the coda.
0:19 [m. 9]--Variation 1. The
theme is
broken up. Timpani and horns play on the first beat of
each bar,
plucked strings (with trombones in the first four bars) on the
second
beat, and there is a rest on the third. The harmony is
unchanged.
0:34 [m. 17]--Variation 2. The
upbeats to
this variation dovetail with the end of Variation 1. The
oboe and
clarinet begin a smooth line. They are joined by the
other
winds. Plucked strings continue. The harmony is
less
ambiguous now, more clearly in E minor (confirmed by the
“dominant”
chord in the seventh bar).
0:51 [m. 25]--Variation 3. The
full
orchestra plays on this variation, which is louder than the
preceding
Variation 2. The winds introduce a three-note (or
three-chord)
lower neighbor motion. The upper strings continue to
play plucked
notes, but the cellos and basses play bowed arpeggios. E
minor is
even more clearly established here, already in the second
bar
There is a timpani roll in the seventh bar.
1:06 [m. 33]--Variation 4. With E
minor now
established, the first violins begin a broad, arching melody
above
second violins and violas, who play on syncopated off
beats. All
strings are now bowed. Bassoons are the only winds
present.
The “theme” itself is now moved to the bass instruments in
downward
octaves.
1:26 [m. 41]--Variation 5.
Flowing
naturally out of Variation 4, the broad melody is embellished
with
extra notes. All notes have smaller duration
values. The
winds add descending embellishments, some in a clashing
3-against-2
triplet rhythm.
1:41 [m. 49]--Variation 6. The
contour of
the broad melody is changed so that it mostly arches
downward.
The violins and violas still play the melody. Cellos
play triplet
arpeggios. The wind commentary is more sparse, largely
in
two-note descents. The oboes double the second violins
in the
last four bars.
1:56 [m. 57]--Variation 7. The
motion is
more rhythmic and heavily dotted (sharp long-short
figures). The
violins again lead, with woodwind responses. The “theme”
in the
bass also uses these dotted rhythms. The violins
introduce a hemiola
(two 3/4 bars rhythmically
re-arranged to suggest one 3/2 bar) in the sixth and seventh
bars.
2:12 [m. 65]--Variation 8. The
violins play
with even faster notes in a rapid oscillation with the lower
notes
moving steadily downward. These oscillations are broken
twice. The wind accompaniment is slower. In the
second
half, the variation becomes suddenly quiet, and a descending
chromatic
(half-step motion) flute (and viola) line is added to the
violin
oscillations, along with a soft timpani roll. The
harmony and the
notes of the theme itself in the bass are altered to suggest a
motion
to A minor.
2:28 [m. 73]--Variation 9. This
is
essentially an embellished version of Variation 8 (compare
variations 4
and 5). It introduces triplet motion, even faster than
what was
heard in Variation 8. The sudden quiet in the fifth bar
is
preserved. Oboe and bassoon (the latter in contrary
motion) are
added to the descending chromatic flute line, but the violas
no longer
play it. This soft timpani roll is played in the same
place. The oscillations in the second half are now on
octaves (on
E) rather than the downward-moving lower line.
2:45 [m. 81]--Variation 10. The
first of
two transitional variations. It begins in A minor,
following the
endings of Variations 8 and 9, which were in that key.
It is
played very quietly, with alternations between string and wind
chords
with no brass. A motion back to E minor at the end is
sidestepped.
3:01 [m. 89]--Variation 11. This
also
begins in A minor. The soft chords from Variation 10 are
broken
up. The first and third bars use triplet rhythm.
There is
much emphasis and playing on the second half of each beat,
especially
in the violins and violas during the last four bars.
Winds and
strings play mostly together here, and horns are added in the
first
four bars. The actual “theme” is still in the low
strings.
The last bar appears to be moving toward E minor again, and
while this
motion is not sidestepped, the preparatory “dominant” harmony
is
delayed until the last bar so that the arrival of E minor at
Variation
12 is stronger.
SECOND SECTION (Variations 12-15), 3/2 time.
3:20 [m. 97]--Variation 12.
Although these
variations seem to be at a slower tempo, in actuality the bars
are
simply twice as long. Brahms specifically indicates that
the
speed of the notes should be the same. This variation is
a very
expressive flute solo with short off-beat accompanying chords
from
violins, violas, and horns. The theme is embedded in the
long and
beautiful, but somewhat halting flute melody.
4:03 [m. 105]--Variation 13. This
is the
first variation in the major key (E major). The violins
and horns
continue their soft, detached off-beat chords. The
clarinet and
oboe pass gentle rising and falling lines between them.
The
cellos and violas add upward winding lines. In the last
four
bars, the flutes join the oboe and clarinets, and all play the
off-beat
chords as the strings, including violins, continue with the
upward
winding lines. The notes of the theme are buried
inconspicuously
in the musical texture. A descending oboe line leads to
the next
variation. The resolution through a plagal cadence is
delayed.
4:38 [m. 113]--Variation 14. The
end of the
oboe line merges with this variation, also in major. The
trombones, heard for the first time since Variation 3, enter
in a very
solemn chorale with expressive rests. They are joined by
bassoons
and horns. The violas and cellos play short rising
arpeggios
against the trombone chorale. The resolution in the last
measure
is delayed, again using a plagal cadence (motion from A to
E). A
horn line similar to the preceding oboe line in Variation 13
provides a
similar bridge.
5:14 [m. 121]--Variation 15. The
chorale
continues (still in major), but now the woodwinds (except
flutes), join
the brass instruments, including now trumpets. The
violins join
the other strings on the short responses, the violas and
violins
playing descending lines against the rising lines of the
cellos.
The resolution of a plagal cadence is again delayed, and this
time it
is not fulfilled at the beginning of the next variation.
The
flute enters with a similar descending transitional line, but
then it
breaks off at a pause on A minor before the sudden and
powerful entry
of the next section. This prepares for the opening
A-minor chord
of Variation 16, which is highly similar to the original
Theme.
THIRD SECTION (Variations 16-23), 3/4 time.
5:55 [m. 129]--Variation 16. With
great
force, the winds begin the variation, back in 3/4 and back in
the minor
key. It opens as had the original Theme, but with
somewhat
different harmonization (still beginning on A minor, though,
now with A
in the bass). The strings enter with a new and powerful
descending scale in the last four bars. The timpani roll
begins
in the same place and is now more sustained. The last
chord, with
an F-sharp in the bass, is more dissonant and unstable than it
was in
the original Theme
6:08 [m. 137]--Variation 17.
String tremolos
swell from a quiet volume. Flute, oboe, and bassoon play
unison
two-note phrases on weak beats. The original theme is in
the tremolo cellos,
but, as at the end
of Variation 16, the F-sharp bass at the end reveals this
group of
variations as developmental and less stable.
6:19 [m. 145]--Variation 18. The
tremolos
continue in the violins and violas. Bassoons, horns,
cellos, and
basses alternate with flute, oboe, clarinet, another horn, and
trombones on a swelling up-down neighbor-note motion with
dotted rhythm
on the second and third beats. The trombones drop out
and the
instruments come more together in the second half of the
variation. This one, unlike the previous two, ends with
an
E-minor chord.
6:30 [m. 153]--Variation 19. Strings and
horns now
alternate with woodwinds four times on a detached, moving
line, arching
in the strings and more angular in the winds. In the
last two
alternations, the winds play the more arching version.
The
strings take the angular version in the last
alternation. The
cellos and basses, along with trombones, provide a solid
foundation to
the first three string alternations. This, as with
Variations 8,
9, and 13-15, ends with an A-minor chord.
6:41 [m. 161]--Variation 20. A
feverish
triplet motion begins in strings, winds, and horns.
There is a
strong syncopation with a trombone blast on the second beats
of the
first, third, and fifth bars. The strings play the
triplets
continuously, while the winds and horns break in the second
and fourth
bars. In the last three bars, the winds abandon the
triplets
entirely in favor of punctuating chords. This variation
also ends
on an A-minor chord, as does the next one.
6:52 [m. 169]--Variation 21. The
tension
increases greatly here, as the flutes and violins play
sweeping upward
scales against swelling wind lines, viola tremolos, and
timpani
rolls. This occurs in the first and third bars.
The
trombones play weak beat blasts on the second beats of the
second,
fourth, fifth, and sixth bars. The fourth, fifth and
sixth bars
consist of punctuating chords from winds and strings on the
first and
third beats, interrupted by the trombone blasts. The
last two
bars are suddenly very quiet. The sweeping, rapid scales
are
passed between the strings over a soft timpani roll and
sustained wind
and brass chords.
7:04 [m. 177]--Variation 22. This
variation
is quiet throughout. Trombones drop out
temporarily. The
strings pass an oscillating triplet rhythm from cellos to
violas to
violins. The winds play off-beat chords in straight
rhythm.
The strings come together in the fifth bar. In these
last four
bars, the triplet oscillations and off-beat chords alternate
between
strings and winds. This variation ends on E minor.
7:15 [m. 185]--Variation 23. This
variation
is transitional and louder than the last one. The
strings play
upward arpeggios in triplet rhythm, alternating with
oscillating motion
in the winds, also in triplet rhythm. The horns play the
first
six chords of the theme very distinctly. A strong
timpani roll is
heard in the fifth bar (against the “chromatic” fifth note, as
before). The last three bars alternate the string and
wind
triplets at the distance of one beat before they come together
in the
last bar. These last three bars are on a sustained
preparatory
“dominant” harmony, similar to the end of Variation 11.
There is
a dramatic pause at the end.
FOURTH SECTION (Variations 24-30)
7:27 [m. 193]--Variation 24.
The
structure is quite similar to that of Variation 1, but the
character is
entirely different. The downbeats are played by horns
and
trumpets with a timpani roll. For the first six bars,
this is a
unison E. The responses (which carry the notes of the
theme) are
from the strings with a downward neighbor-note figure in
triplets. These are supported by trombone chords and
repeated
chords in straight rhythm from the woodwinds. The
variation is a
powerful moment of arrival.
7:39 [m. 201]--Variation 25. This
variation
is essentially a more powerful version of Variation 2.
Like that
variation, it begins on the upbeat from the previous
variation.
The oboe and clarinet line is transferred to forceful violins
playing
in tremolo,
supported by
oboes and bassoons. The triplets from the previous
variation, now
in repeated chords, are played by brass, timpani, flutes, and
clarinets. The low strings play with these triplets, but
they
play rising octaves in straight rhythm. After this
variation, the
trombones drop out until the coda.
7:52 [m. 209]--Variation 26. This
variation
is similar to Variation 3, but it takes the opposite path from
the
previous variation, and is more subdued than Variation 3 had
been. The horns take the slow lower neighbor-note
motion.
The strings play in quietly oscillating triplets
underneath. In
the second half, the oboes in thirds take over the
neighbor-note
figures from the horns. The most important difference is
the
harmony, which is shifted to C minor/major. The basses
hold that
note for the first four bars, and the variation ends on the
“dominant”
chord of C. This harmonic shift helps build tension in
the final
variations.
8:05 [m. 217]--Variation 27. This
variation,
in full C major, is entirely new. Flutes, oboes, and
clarinets
play long two-note descents harmonized in thirds. The
low strings
are plucked on the two weak beats. The violas and some
cellos
play decorative lines that begin on an off-beat. In the
last four
bars, the violins join with a slow arching motion, also
harmonized in
thirds. The variation is quiet and gentle.
8:17 [m. 225]--Variation 28. This
also
begins in C major. The flutes, clarinets, and bassoons
play a
smooth line, still harmonized in thirds, but including many
biting
chromatic notes. The low strings continue to be plucked,
but move
to the first two beats. The violas and violins pass
arching
triplet arpeggios between them. The last four bars move
strongly
from C back to E with a bass line rising in half-steps.
Despite
its transitional and chromatic nature, the variation is one of
the most
beautiful since the “slow” section.
8:28 [m. 233]--Variation 29. In
the
penultimate variation, which returns to the home key of E
minor, Brahms
makes a reference to the main theme of the first
movement. The
strings, playing in plucked unison off the beat, play a
continuous
chain of descending thirds in the first four bars, a major
characteristic of the first-movement theme. Against
this, the
flute, supported by clarinets and bassoons, plays two-note
rising leaps
that obscure the bar line. In the last four bars, the
strings
take their bows, a horn enters, and all instruments play in
smooth,
partly chromatic lines, the winds moving up at the end while
the
strings turn downward.
8:40 [m. 241]--Variation 30. The
last
variation makes the descending third chain even more
explicit. It
is played loudly and with heavy accents. The low strings
lead the
violins in imitation on the descending third chain at the
distance of
one beat. The winds and violas play sharp chords off the
beat
(where the plucked unison strings had played the descending
thirds in
Variation 29). The fifth bar of the variation changes to
strong
upward leaps in the violins, the off-beat chords continuing in
the
winds and violas. The timpani and trumpets enter in the
sixth bar.
8:52 [m. 249]--In a
dramatic
extension to Variation 30 that acts as a transition to the
coda, the
eight-bar units are finally broken. The leaping violins
and
cellos widen to octaves and tenths. The horns also play
octaves. These are held across bar lines, first in the
horns and
low strings, then in the violins, then horns and low strings
again,
creating cross rhythms and a hemiola
(four 3/4 bars clashing with two implied 3/2 bars). The
winds
play chords with the violins. The violas are isolated,
playing
thirds in faster syncopation. The timpani beats become
faster and
louder, emerging in a roll, and the tempo slows just enough to
prepare
the coda. The last bar is on a striking “augmented”
chord that
suggests both E major and C major.
CODA--Più Allegro
9:00 [m. 253]--The
tempo speeds
up slightly for the coda. It begins with what sounds
like
“Variation 31,” with full winds and brass (including
trombones)
blasting the harmonized theme against cascading string
arpeggios played
tremolo. It
stalls,
however, on the fifth bar, the dissonant note A-sharp (now
notated as
B-flat) This note, and the chords supporting it, are
stretched
out to four bars with two strong timpani rolls and two
dramatic pauses.
9:08 [m. 261]--In what
sounds
like “Variation 32,“ the B-flat slides up to B-natural in a
chord with
winds and plucked strings. This slides again up to C in
a second
chord, yet again giving that note and that harmony
emphasis. The
bass continues to move chromatically upward with both
half-steps and
leaps (usually of a fourth) against strongly arching violin tremolo arpeggios.
The
trombones enter in the fifth bar. The “variation” is
extended
four bars, vacillating strongly between E major and F major (a
key
introduced by the C and the B-flat). It increases
steadily in
intensity.
9:21 [m. 273]--“Variation 33”
brings the music back to the realm of A minor and E minor,
despite
beginning with a strong implication of F. The trombones
play a
rising line that clearly recalls the Theme. Strings and
winds
play punctuating chords separated by rests. This creates
another hemiola,
with eight 3/4 bars
re-arranged into four implied 3/2 bars. The trombone
lines are
extended by longer chords and drum rolls. The
“dissonant” note is
still notated as B-flat rather than the A-sharp used
throughout the
variations. The “variation” is an extension of the first
four
bars of the Theme, facilitated by the implied 3/2 bars.
9:28 [m. 281]--“Variation 34”
begins with a drop in volume, but steadily and dramatically
builds. The violins and winds lead an exhilarating
alternation of
ascending and descending harmonized three-note groups.
Timpani,
trumpets, and horns punctuate this while the violas play
shimmering
repeated thirds in triplets. This passage is the last of
the
“pseudo-variations” in the coda.
9:35 [m. 289]--The
winds appear
to play the Theme in faster notes. A loud syncopated
accent from
the rest of the orchestra on the “dissonant” note, again
notated as
A-sharp, finally interprets the harmony underneath it as a
“German
sixth” chord, which leads to the “dominant” chord of E minor,
then
strongly resolves there. The sequence is repeated a
second
time. This confirmation of E minor has a severe, even
“tragic”
effect.
9:42 [m. 297]--The
last bars
consist of a fast and syncopated version of the Theme, then a
series of
five cadence gestures beginning with three-note upbeats, all
confirming
E minor. The last of these is extended, winding
downward. The
final two chords strongly punctuate the arrival with a timpani
roll.
10:02--END OF MOVEMENT [311
mm.]
END OF SYMPHONY
BRAHMS LISTENING GUIDES HOME