Symphony No. 4 (Brahms)

The Symphony No. 4 in E minor, Op 98 is the last symphony written by Johannes Brahms.

  • 4.1 documents
  • 4.2 Further Reading

Formation

Accurate dating is not possible because Brahms did not make any written communications about the composition process and also on the manuscript of the work a date is missing; also have been handed sketches of the Symphony no. There can be only Brahms's personal calendar found that the first two movements of the symphony in 1884 emerged and the last two sentences in the following year 1885. During this second production phase was the final first.

After completion of the Symphony Brahms asked the friend of him Elizabeth of Herzogenberg to their opinion of his symphony and wrote: " In general, the pieces are unfortunately from me more comfortable than I, and you will find less to correct it? But in this neighborhood the cherries are not sweet and edible - if the thing does not taste so, so do not feel embarrassed. I 'm not eager to write a bad # 4. " This comparison of the symphony with the climate in the Austrian Miirzzuschlag, the place of his summer vacation, there is also in a letter to Hans von Bülow and leaves as time of origin for the symphony the time suspect between June and mid-October 1884, between late May and September 1885.

About the Music

Occupation

Two flutes, two oboes, two clarinets, two bassoons, a contrabassoon, four horns, two trumpets, three trombones, Triangle (only in the third set ), timpani, strings.

1st movement: Allegro non troppo ( E minor )

The theme consists of a concise sequence descending thirds (eg, descending from the dominant to the underlying minor third ) and rising sixths exist (eg rising lying on the minor tonic to about the sixth), and is in the course of the entire Symphony varied several times. Brahms had this technique, for which the music theorist Hugo Riemann the term curtain ' introduced, already used in his last symphonies.

According to the musicologist Egon Voss at these additional consisting of thirds and sixths subjects can not be attributed -creating motifs on the main theme of the first movement in the course of the symphony as a unit. Argue against this assumption, as Voss, will that be arbitrarily changed between major and minor third and each time using a different key and rhythm should be different in each case; the complete absence of the subject in the second set, providing further evidence.

The first set follows the conventional scheme of the sonata form. The model of the corresponding point in Beethoven's Symphony No. 9 following, Brahms, however, obscures the start of the implementation by allowing sound to the beginning of the main theme in the tonic, thus giving the impression that it would only take place the repeat of the exposition. The main theme and the secondary theme swap their roles by lyrical take on the main theme and the secondary theme passionate character. Held, figurative moving chords let the flow of the music and finally also the main theme of the flag, so that even the beginning of the recapitulation takes place imperceptibly. In the coda of the original flow is taken up again, and the set developed an increase in dominating the main theme.

2nd movement: Andante moderato ( E major )

The main subject is first presented in unison E- Phrygian and then modulated by the clarinets tender to E major. Under the Phrygian idea makes Brahms contemporary and archaic harmonies meet.

Very lyrical in dark held Bläserklang the Eduard Hanslick as " Elegy " designated record developed increases and leads to a caressed by the violins Cantilena the cellos. After a short middle section, the previous development repeated. At the end, the C major motive dry and the lyrical, after the final chord forming E major sounds rub against each other again.

3rd movement: Allegro giocoso - Poco meno presto - Tempo I ( C major )

Abruptly, it comes with the third set in a bustle -like C major mood on that really and even sarcastic occurs in the context of the symphony and what also can not be canceled by the triangle addition Brahms has completely untypical instruments piccolo and said Triangle and the symphony orchestra actually too bright sounding C -Clarinet occupied. As a short middle section sounds slowed the modification of a subject in a romantic sound of horns, but before this idyll can unfold, the cynical storm sweeps over them. Towards the end of the sentence sounds to the main theme of the last movement before the noisy hubbub comes to an end.

4th movement: Allegro energico e passionato - Più allegro ( in E minor )

For the final movement of Brahms uses the strict form of a baroque Passacaglia or Chaconne with 30 variations. For this purpose, processed Brahms to the bass theme from final chorus from Bach's cantata after thee, O Lord, verlanget me BWV 150 ajar issue after he had received from Philipp Spitta a copy of the cantata. Opposite Hans von Bülow and Siegfried Ochs expressed Brahms in January 1882: " What do you mean when you were writing about the same subject once a symphonic movement. But it is too bulky to straight. One would have to somehow change chromatically "

Brahms learned before the second half of October of the year 1884 by the cantata, as this was in fact published in Volume 30 of the " issue of the Bach-Gesellschaft ", whose subscriber was Brahms. At this time the first two movements of the symphony had already composed. In all likelihood, Brahms decided only at this point to this conception of the finale. Then on the one hand indicate the unconventionality of such a set design sheet and their close relationship, to Bach's cantata.

A wide range of musical expression is placed over the recurring cantus firmus. In the first part vigorously ahead driving, melodic and choral -like and at the end of a powerful Schlussteigerung zustrebend in the slow middle part, the set comes in an E minor, which brightens up one iota, rugged to an end.

Effect

At first broke the uncompromising manner in which the work is designed disconcerting. When Brahms played for the symphony friends on two pianos together with Ignaz howler, responded inter alia Clara Schumann and Brahms's later biographer Max Kalbeck with rejection. Eduard Hanslick said to have exclaimed: "All set on I had the feeling as if I was thrashed by two terribly witty people." Elizabeth of Herzogenberg described the work as " a small world of the wise and knowing ones, to which the people, walked in the dark, could have only a weak proportion ".

The first performance of the symphony was on 25 October 1885 Brahms ' line in Meiningen instead. A week later, Hans von Bülow conducted the work on a tour with the Meiningen Court Orchestra by West Germany and Holland.

Brahms ' longtime friend Joseph Joachim, however, was the composer of the dress rehearsal report positive news:

" My esteemed Master! If I was not, in fact, my high level of enthusiasm about your latest symphony just after the first test print, so my large work load of the last days is to blame (vide the one that came program at all hours after a long absence ). We now have your wonderful creation today by playing at rehearsal and I can hope that it can be played at night with safety and devotion. She has me and the orchestra lowered deeper into the soul. The downright thrilling train the whole, the tightness of the invention, the wonderfully intricate growth of the motifs even more than the richness and beauty of individual sites have me 's just about done, so I almost think the E minor is my favorite among the four symphonies. I also think, to see who has eyes and a musical mind, can not easily be mistaken as a conductor there. "

While the symphony was a success on von Bülow's world tour, singing after the first performance in Vienna by Hans Richter, the musicians on the first, consisting of descending thirds and rising sixths bars of the piece suitable to the music words " It was / him as = / the times / no one / ". When Brahms in 1897, shortly before his death, attended a performance of the symphony as a listener, he earned a standing ovation from the audience in Vienna, which was preserved her perfectly working until today.

1974 adapted the Yes keyboardist Rick Wakeman on the album " Fragile" the third movement of the symphony for various keyboard instruments.

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