3rd Symphony (Brahms)

Johannes Brahms (1889)

The Symphony No. 3 in F major, Op. 90, was composed by Johannes Brahms in 1883.

Emergence

Almost nothing is known about the genesis of the 3rd symphony, there are no letters, no sketches or earlier versions. It was completed in Wiesbaden , where Brahms spent the summer of 1883. The premiere took place on December 2, 1883 in Vienna under the direction of Hans Richter .

effect

The symphony was created during the so-called "music dispute" between representatives of the New German School , who saw the future of music in symphonic poetry and program music, and advocates of absolute music , including Brahms. They were of the opinion that music should not be measured by programmatic statements, but solely by internal musical artistic demands, as was customary in the Viennese classical period. The Brahms biographer Max Kalbeck reports at the premiere that the Bruckner and Wagner fans began to hiss after every sentence , but could not prevail:

“At the premiere of the F major symphony, which took place in the Vienna Philharmonic Concerts on December 2, 1883, the group of Wagner-Bruckner ecclesia militans, posted on the ground floor of the Musikvereinssaal, dared the first public foray against Brahms. Her hissing after each sentence always waited for the applause to fade before demonstratively breaking out. But the audience felt so deeply addressed by the wonderful work that not only was the opposition stifled in applause, but the homage to the composer reached a level of enthusiasm that had never been seen before in Vienna, so that Brahms experienced one of his greatest triumphs. "

The work was received predominantly, but not exclusively, positively in contemporary performances. Example of a positive contemporary criticism (report on the premiere of January 2, 1884 in "Signals for the Musical World"):

“The second Philharmonic Concert brought the latest Brahms symphony as the main number, which was received with unusual applause. After the first, third and the final movement, the composer was called repeatedly, stormy and jubilant. The highly interesting work is rounded off sentence by sentence, clear, comprehensible even the first time you listen to it, rich in surprising turns of phrase, captivating in the implementation of the main and secondary themes, as well as its instrumental beauties. The pathetic first movement is followed by the two shorter middle movements (the third a kind of intermezzo ), after which the final movement takes up the main character of the first. This time, however, it goes forward like weather lights in sharper, more dashing accents, a journey through excited elements that clash in places with elementary violence. Suddenly the threatening clouds split up and a transfigured distant picture opens up with an enchanting fade. So the splendid work, which you can feel and feel the urge to create, concludes in a conciliatory manner. Occasionally the violence of Beetvhoven, the romanticism of Schumann and Mendelssohn emerges, but without affecting the composer's own independence. If one wish remained, it would be that the two middle movements should be kept less even in character. The performance under Richter’s direction was so masterful that the work can hardly find a better one. "

Clara Schumann 1878/1879,
pastel by Franz von Lenbach

Even Clara Schumann expressed in the letter of 11 February 1884 Brahms praise:

“What a work, what poetry, the most harmonious atmosphere through the whole, all sentences as if cast from one piece, a heartbeat, every sentence a jewel! - How is one surrounded by the mysterious magic of forest life from beginning to end! I couldn't say which sentence is my favorite? In the first I am already delighted by the shine of the waking day, how the rays of the sun glisten through the trees, everything comes to life, everything breathes serenity, that is bliss! In the second the pure idyll, I listen to the praying around the small forest chapel, the running of the streams, the playing of the beetles and mosquitoes - that is a swarming and whispering around you, that you feel as if you are woven into all the bliss of nature. The third movement seems to me a pearl, but it is a gray one with tears of melancholy flowing over it; at the end the modulation is wonderful. The last sentence then follows gloriously with its passionate upsurge: the excited heart is soon appeased again, finally the transfiguration, which even appears in the execution motif in a beauty for which I cannot find an answer. "

Eduard Bernsdorf

Example of a negative contemporary criticism ( Eduard Bernsdorf in "Signals for the Musical World" for the performance on February 7, 1884):

“The writer of these lines does not want to arouse the misleading opinion through what has been said last, as if the trumpeting and drumming extra recognition for the new Brahms' symphony seemed inevitable to him because the work pleased him just as much as the cheering and clapping Parts of the public. No, on the contrary, it mainly made him uncomfortable, and he is not about to give the first two symphonies by Brahms, for which he (...) is not particularly enthusiastic either, priority over the third, both in terms of invention and what Factur concerns. The latter, in particular, is of a disjointedness and confusion that one must find almost incomprehensible in a composer who has already produced so much as Brahms, and how the numerous inventions of gold granules that appear sprinkled into the slag mass of the four movements are not at all correct Not even in the first and third sentences, which as a whole would like to be described as the relatively most enjoyable. Fortunately, the symphony is not long, but it is all the more seductive, and despite its relative brevity, it still seems boring, precisely because every moment, as they say, "the thread is all" and you step into it and has to walk with steps and heels. In terms of its overall nature and character, the new symphony does not differ in any way from the other Brahms' productions, or there are only slight external features that create a kind of diversity. (...) "

To the music

Orchestra instrumentation: two flutes , two oboes , two clarinets , two bassoons , contrabassoon , four horns , two trumpets , three trombones , timpani , 1st violin , 2nd violin, viola , cello , double bass .

Performance time: approx. 30–35 minutes

Several authors consider the symphony's low weight, movements 2 and 3 compared to movements 1 and 4, as well as the fluctuation of major and minor as characteristic of the symphony . The sentences are linked by motivic links:

Sentence 1 and Sentence 4 (head main topic from Sentence 1 at the end of Sentence 4),
Movement 2 and Movement 4 (theme of movement 2 (there from bar 40) is related to the theme of movement 4 (there from bar 18)),
Clause 3 and Clause 4 (main topic of Clause 3 is related to secondary topic of Clause 4).

The following description is to be understood as a suggestion. Depending on the point of view, other designations, delimitations and interpretations are also possible.

First movement: Allegro con brio

F major, 6/4 time, 224 bars

Allegro con brio

The winds open the symphony with the ascending, three-tone “curtain motif” f –as' '- f' '' before the whole orchestra performs the main theme forte (bars 3 to 15). This is structured in three parts: first part with a triad-like, falling motif and an upbeat second step (hereinafter: "triad motif"), underlaid by the curtain motif in the bass, second part with the now four-tone curtain motif in the wind instruments together with an ascending figure and the upbeat second step from the triad motif in the violins, the third part with the four-tone curtain motif in the winds, bass and viola, offset by a quarter, and the triad motif in the violins. The main theme is always introduced by the curtain motif in the further course of the sentence.

Even at the beginning of the sentence, the following key changes are noticeable: The curtain motif leaves the key open, in the main theme the key changes bar by bar from F major to F minor to D flat major. The basic key of F major is only reached at the end of the theme and can then quickly establish itself in the transition. The transition (bars 15 to 25) consists of an eight-bar phrase with a combination of the curtain motif and knocking quarters. The phrase is repeated in D flat major. The harmonic instability continues as Brahms changes to the median in A major, in which the secondary theme begins from bar 36. This contrasts as a "dancing clarinet theme " with its 9/4 time, the small interval steps and the accompanying strings in the pizzicato to the main theme. The theme is repeated with oboes and flutes leading the voice, spun out in C sharp major with a staccato second motif and concluded with the head of the theme in free inversion in the strings.

The final group (clock 49 to 72, now again in 6/4-clock) begins with the curtain design, then takes the movement through eighth figures and -läufe and sforzati in the bass, the curtain design continues, however, unobtrusive, occurs, (e.g., B . Bar 51 in the horn, bar 61 in the clarinet). The final group and thus the exposition , which is repeated once, ends in bar 72 .

The implementation (bars 72 to 120) continues the stormy character of the final group at the beginning seamlessly. From bar 77 the secondary theme is processed, first in viola and cello, then in the first violin. The character of the subject is now turned into a dramatic one. From bar 90 the staccato second motif from the continuation of the secondary theme appears offset in the instruments. With a contrasting character withdrawn into the calm piano, Brahms then lets the curtain motif appear twice in the wind instruments (bars 101 to 112). The same character is followed by a processing of the triad motif from the main theme, characterized by chromaticism .

At the beginning of the reprise (bars 120 to 181) the curtain motif is doubled and harmonized differently. This is followed by the main theme according to the exposition, the shortened transition, the secondary theme (now in D major) and the slightly varied final section.

At the end of the recapitulation, Brahms added an extensive coda (from bar 181). This again begins with the curtain motif, followed by an extensive processing of the main theme (omitted in the implementation) with its three parts. Then the action calms down, and in the "Reminiscence" from measure 216 the movement with the curtain motif and the smoothed first part of the main theme, now for the first time in F major, ends.

“Magnificent how, after two roaring power chords, the wind section energetically shoots the belligerent theme of the violins down, only to soar up again in proud lines. The whole sentence is created in a happy hour as if in one go. His second motif in A-flat, tender and urgent at the same time, merges incomparably with the whole. The increase in the development part rears up to tremendous height and strength, but surprisingly gives way towards the end of a gradually calmed mood, which ends in gentle beauty. "

Second movement: Andante

C major, 4/4 time, 134 measures

Andante

A part (bars 1 to 62): The main theme (bars 1 to 24) with the woodwinds leading the voice consists of four similarly structured phrases, each with an echo-like ending in the strings. Characteristic is a "second change motif" in the wind instruments in bar 2 (phrase 1) and bars 17 to 18 (phrase 4). From bars 24 to 40 the motif for alternation of seconds is spun on in combination with a sixteenth configuration and increased to the forte , the section closes with "seeping insistence on the motif for alternation of seconds". The subsequent "episodic contrast section" (bars 41 to 56) has two themes. The first from bar 40 in the woodwinds with its calm, serene character is related to the chorale-like theme from the fourth movement (there from bar 18). The second, a short melodic twist in the strings and shortly afterwards in the woodwinds, follows abruptly and contrasts with the previous event through the faster movement. In the “modulation section” (bars 56 to 62) the movement comes to rest almost completely with the start of the theme from bar 40.

In the B part (bars 63 to 84) Brahms increases the movement by using continuous triplets that are enriched with chromatics and from bar 72 onwards are combined with the alternating second motif between winds and strings. From bar 77 the sixteenth-note configuration and from bar 81 the (now stretched) head of the main theme appear above an organ point on C.

A 'part (bars 85 to 122): The stretched head of the main theme merges seamlessly and veiled into the varied repetition of the A part. The main theme (bars 85 to 108) is now underlaid with figurative sixteenth notes from the violins and viola. The theme is followed by a new continuation with the head of the main theme (bars 108 to 115), then the modulation section with the opening motif (bars 116 to 122 corresponding to bars 56 to 62).

In the coda, the clarinet takes up the head of the main theme, accompanied by the dark chromatics of the bassoon and the motif of alternating seconds in the deep brass section.

Max Kalbeck suspected that movements 2 and 3 were created in connection with Brahms' plans for Faust music. According to Christian Martin Schmidt , clues for this can most likely be found in the present sentence: The sentence does not follow a specific formal scheme, it is dominated by one (and not several) themes that are extensively varied, similar to the development of a dramatic figure.

“The“ Andante con moto ”(...) - a very simple alternating chant of the winds and the lower string instruments that take over the refrain - could be in one of Brahms' serenades . The movement is short, without any actual increase or development, but surprises in the middle with a series of magical harmonies, sound effects that remind of the interplay of gently striking, differently tuned bells. "

Third movement: Poco Allegretto

C minor, 3/8 time, 163 bars

Poco allegretto

The Poco Allegretto, like the Scherzo, which is usual as the third movement, can be seen as a “dance movement in three time with the usual formal arrangement: main part - trio - return of the main part - coda”. In terms of character, however, it is more reminiscent of the slow movement that is usual in second place:

“The third movement (Poco Allegretto), which takes the place of the scherzo, is downright a song without words in the painfully longing C minor. Without knowing the movement names, one would spontaneously mistake it for the typical slow movement, while the Andante has the leisurely serenity of a dance movement. "

“The trio, with its syncopated ticking bass figures, is perhaps reminiscent of a stylized minuet; the main theme, however, which runs through the long cantilena , is more in the character of a slow, melancholy waltz, a dreary valse in a minor, whose painful tone in parts sounds almost like Tchaikovsky . "

In the main part (bars 1 to 53) the cellos first present the main vocal theme, which is repeated from bar 12 with voice guidance in the 1st violin. The cello and first violin also lead the voice in the continuation of the theme (bars 24 to 40) with the characteristic downward sequencing of a two-bar motif. From bar 43 the main theme is taken up again, now with part leading in flute, oboe and horn. The middle section or the trio (bars 54 to 98) in A flat major is characterized by its syncope theme of the woodwind, which is performed alternately with a contrasting chromatic section for strings only. In the recapitulation of the main part (bars 99 to 150) the horn with the main theme is initially the part leading, in the repetition the oboe, in the continuation of the clarinet and bassoon theme and in the revival of the main theme cello and the octaved 1st violins. This means that the roles of winds and strings have been swapped compared to the main part. The coda (bars 151 to 163) takes up the head motif from the main theme and the syncopations of the trio theme.

Behind the apparent catchiness of the melodies of the movement, which had to be repeated when it was performed in Berlin on January 28, 1884, lies a detailed compositional work.

"The location of the Scherzo represents a volatile at Mendelssohn anklingendes Allegretto in C minor (3/8), the hindämmert with comfortable Grazie in that hybrid mood, like surrenders Brahms in his middle sets. The piece is very simply instrumented (without trumpets, trombones and timpani) and is particularly effective due to the dashing grace of its A flat major middle movement. "

Fourth movement: Allegro

F minor, 2/2 time (alla breve), 309 bars

Allegro

The main theme appears piano as a gloomy melody that encircles the C fifth of the main key of F minor in unison with bassoon and strings. The antecedent is characterized by the alternation of quarter and eighth movements, the subsequent clause by the dotted rhythm. The theme is repeated in thirds of the wind instruments with elongations in the antecedent. Unexpectedly, from bar 18 pianissimo, a chorale-like theme in clarinet, bassoon and strings follows , which contrasts with the main theme due to its carried character, but is still reduced in volume. Only in bar 30 does the whole orchestra begin the transition forte. This initially takes up the head of the antecedent of the main theme and contrasts with the previous event also through its "jagged figures" and the large leaps in intervals in staccato.

The secondary theme (bars 52 to 62) in regular quarter triplets is in the dominant C major. It is performed initially by horn and cello, then by flute, oboe, bassoon and 1st violin. It is structurally related to the main theme of the third movement. After the topic has been continued, the final group is reached in bar 70. In its dramatic and energetic character, this is similar to the transition (whole orchestra, forte to fortissimo, large interval jumps in staccato).

The development from bar 104, which follows seamlessly from the exposition, initially takes back the drama of the final group. In the first section (bars 104 to 148) it deals with the main theme. With a falling line that appears offset between the instruments (can also be derived from the main theme), the volume increases towards the forte. After a general pause , the second section (bars 148 to 171) follows with the chorale theme in the wind instruments, underlined by eighth runs of the strings.

With the increase to fortissimo, Brahms changes again seamlessly and veiled to the recapitulation in measure 172 by leaving out the main theme and chorale theme and starting immediately with the transition group corresponding to measure 30. The recapitulation is otherwise similar to the exposition: side movement bars 194 to 212, final group bars 212 to 250, with the front movement of the main theme from bar 240.

The coda from bar 250, largely calm and reserved in character, is extensive and consists of three sections: The first section (bars 250 to 280) deals with the main theme left out in the recapitulation, whereby the design of the antecedent (initially leading part of the viola) with its Triplets are reminiscent of the secondary theme, the key in measure 267 changes to F major and in some places the curtain motif from the first movement is heard (measure 273 oboe, measure 277 horn). The second section (bars 280 to 296) deals with the chorale theme and the third (bars 297 to 309) takes up the curtain motif from movement 1, underlaid by the head theme of the main theme from movement 4. This prepares the resumption of the main theme beginning of movement 1 with which the Allegro pianissimo ends.

Eduard Hanslick, contemporary music critic

“The finale (...) is again a piece of the very first order, equal to the first movement, if not superior. It rolls softly with a thunderstorm swift figure of the deep stringed instruments. This theme is by no means impressive, but it soon finds the greatest development. The eerie sultriness of the beginning is discharged in a magnificent thunderstorm that lifts and refreshes us. The music is constantly increasing; the second theme in C major, thrown out in powerful notes by the French horn, soon gives way to a third powerful motif in C minor, which storms even more powerfully. Having reached the height of this imposing development, everyone expects a brilliant triumphant conclusion. But with Brahms one is always prepared for the unexpected. Its finale slides imperceptibly from the F minor into the major key, the soaring waves of the sea soften to a mysterious whisper - muted violins and violas break softly in slightly rustling thirds and sixths on the long sustained chords of the wind instruments, and strangely, The whole thing sounds enigmatic, but in wonderful beauty. "

Individual references, comments

↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u Christian Martin Schmidt: Symphony No. 3 in F major op. 90. In Giselher Schubert, Constantin Floros, Christian Martin Schmidt (eds. ): Johannes Brahms. The symphonies. Introduction, commentary, analysis. Schott-Verlag, Mainz 1998, ISBN 3-7957-8711-4 , pages 139-210.
↑ ^a ^b ^c ^d ^e ^f Wolfgang Dömling: "Sounding moving forms." III. Symphony in F major, Op. 90. In Renate Ulm (ed.): Johannes Brahms. The symphonic work. Origin, interpretation, effect. Bärenreiter-Verlag, Kassel 1996, ISBN 3-7618-1264-7 , pages 230-239.
↑ Max Kalbeck's report on the premiere, quoted in Christian Martin Schmidt 1998, p. 169.
↑ Signals for the Musical World, 42nd year, Leipzig 1884, page 53. Quoted in Christian Martin Schmidt 1998, page 170.
^ Letter from Clara Schumann of February 11, 1884 to Brahms. Quoted in Christian Martin Schmidt 1998, page 175.
↑ Signals for the Musical World, 42nd year, Leipzig 1884, pages 196–197. Quoted in Christian Martin Schmidt 1998, page 173f.
↑ ^a ^b Alfred Beauyean: Symphony No. 3 in F major, Op 90. In: Harenberg concert guide. Verlags- und Mediengesellschaft mbH & Co Kg, Dortmund 1998, 3rd edition. ISBN 3-611-00535-5 , pages 148-150.
↑ ^a ^b ^c ^d ^e Klaus Schweizer, Arnold Werner-Jensen: Reclams concert guide orchestral music. 16th edition. Philipp Reclam jun., Stuttgart 1998, ISBN 3-15-010434-3 , pages 436-439.
↑ Klaus Döge: Symphony No. 3 in F major op. 90. In Wulf Konold (Ed.): Lexicon Orchestermusik Romantik A – H. Schott Verlag, Mainz 1989, ISBN 3-7957-8226-0 , page 83f.
^ ^A ^b Wolfram Steinbeck, Christoph von Blumröder: The symphony in the 19th and 20th centuries, Part 1: Romantic and national symphonies. In: Siegfried Mauser (Ed.): Handbook of musical genres. Volume 3.1. Laaber-Verlag, Laaber 2002, ISBN 3-89007-126-0 , pages 201-203.
↑ "curtain motif" in Dömling 1996, page 234. Other designations: "core motif" (Schmidt 1998, page 188) "slogan" (Steinbeck & Blumroder 2002, page 202) or "wind bias" (Swiss & Werner-Jensen 1998, 436).
↑ In some recordings, the repetition of the exposition is not observed.
^ ^A ^b ^c ^d Eduard Hanslick: "Concerts, composers and virtuosos of the last fifteen years." 1870-1885, Berlin 1886, pages 361-366. Quoted in Schmidt 1998, page 178f.
↑ Depending on the point of view, also "implementation", e.g. B. in Schmidt 1998, page 195.
↑ in Schmidt (1998, page 202) “contrasting middle section”.
^ Report on the performance on January 28, 1884 in Signals for the Musical World , Volume 42, Leipzig 1884, page 185, quoted in Schmidt 1998 page 172.
↑ For a detailed analysis, see Schmidt 1998, pp. 199 to 202.
↑ Alfred Beauyean (1998, page 150) interprets the passage differently: "A calming, contrasting side theme is missing if one does not want to evaluate the throw-like motif and its continuation as a side group."
↑ Depending on your point of view, the execution also begins in measure 108, e.g. B. Schmidt 1998 page 206.

Web links, notes

3rd Symphony (Brahms) : Sheet music and audio files in the International Music Score Library Project
Symphonic Summer in Wiesbaden - Article on the website of the Brahms Society Wiesbaden Rheingau eV
Johannes Brahms: Symphony No. 3 in F major, Op. 90. Dover Miniature Scores. Dover Publications, Inc. New York 1998, ISBN 0-486-40125-1 , 86 pages (pocket score)

[Schmidt-1] ↑ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q ^r ^s ^t ^u Christian Martin Schmidt: Symphony No. 3 in F major op. 90. In Giselher Schubert, Constantin Floros, Christian Martin Schmidt (eds. ): Johannes Brahms. The symphonies. Introduction, commentary, analysis. Schott-Verlag, Mainz 1998, ISBN 3-7957-8711-4 , pages 139-210.

[Dömling-2] ↑ ^a ^b ^c ^d ^e ^f Wolfgang Dömling: "Sounding moving forms." III. Symphony in F major, Op. 90. In Renate Ulm (ed.): Johannes Brahms. The symphonic work. Origin, interpretation, effect. Bärenreiter-Verlag, Kassel 1996, ISBN 3-7618-1264-7 , pages 230-239.

[3] Max Kalbeck's report on the premiere, quoted in Christian Martin Schmidt 1998, p. 169.

[4] Signals for the Musical World, 42nd year, Leipzig 1884, page 53. Quoted in Christian Martin Schmidt 1998, page 170.

[5] Letter from Clara Schumann of February 11, 1884 to Brahms. Quoted in Christian Martin Schmidt 1998, page 175.

[6] Signals for the Musical World, 42nd year, Leipzig 1884, pages 196–197. Quoted in Christian Martin Schmidt 1998, page 173f.

[Beauyean-7] Alfred Beauyean: Symphony No. 3 in F major, Op 90. In: Harenberg concert guide. Verlags- und Mediengesellschaft mbH & Co Kg, Dortmund 1998, 3rd edition. ISBN 3-611-00535-5 , pages 148-150.

[Schweizer&Werner-Jensen-8] Klaus Schweizer, Arnold Werner-Jensen: Reclams concert guide orchestral music. 16th edition. Philipp Reclam jun., Stuttgart 1998, ISBN 3-15-010434-3 , pages 436-439.

[Döge-9] Klaus Döge: Symphony No. 3 in F major op. 90. In Wulf Konold (Ed.): Lexicon Orchestermusik Romantik A – H. Schott Verlag, Mainz 1989, ISBN 3-7957-8226-0 , page 83f.

[Steinbeck-10] A ^b Wolfram Steinbeck, Christoph von Blumröder: The symphony in the 19th and 20th centuries, Part 1: Romantic and national symphonies. In: Siegfried Mauser (Ed.): Handbook of musical genres. Volume 3.1. Laaber-Verlag, Laaber 2002, ISBN 3-89007-126-0 , pages 201-203.

[11] "curtain motif" in Dömling 1996, page 234. Other designations: "core motif" (Schmidt 1998, page 188) "slogan" (Steinbeck & Blumroder 2002, page 202) or "wind bias" (Swiss & Werner-Jensen 1998, 436).

[12] In some recordings, the repetition of the exposition is not observed.

[Hanslick-13] A ^b ^c ^d Eduard Hanslick: "Concerts, composers and virtuosos of the last fifteen years." 1870-1885, Berlin 1886, pages 361-366. Quoted in Schmidt 1998, page 178f.

[14] Depending on the point of view, also "implementation", e.g. B. in Schmidt 1998, page 195.

[15] Schmidt (1998, page 202) “contrasting middle section”.

[16] Report on the performance on January 28, 1884 in Signals for the Musical World , Volume 42, Leipzig 1884, page 185, quoted in Schmidt 1998 page 172.

[17] For a detailed analysis, see Schmidt 1998, pp. 199 to 202.

[18] Alfred Beauyean (1998, page 150) interprets the passage differently: "A calming, contrasting side theme is missing if one does not want to evaluate the throw-like motif and its continuation as a side group."

[19] Depending on your point of view, the execution also begins in measure 108, e.g. B. Schmidt 1998 page 206.