sinfonía 1 de brahms analisis

7/24/2019 Sinfona 1 de Brahms Analisis

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SYMPHONY NO. 1 in C MINOR, OP. 68

Recording: Vienna Philharmonic, conduced !" #eonard $ern%ein& 'erhar He(el, )iolin %olo *+nd

Mo)emen. #i)e -erormance rom 1/80 2' 231+4 ++5

Published 1877.

The extremely long gestation of the First Symphony has almost legendary status. While somespeculation is probably romanticized hyperbole, it is certainly true that Brahms approached thecomposition of this hallowed genre with extreme respect (as he had similarly done with the stringuartet!. "lready proclaimed by Schumann as the heir to Beetho#en in the $%&'s, Brahms newthat his first symphonic effort would be sub)ect to intense scrutiny and high expectations. Thus, hewent through a long process of preparation that included such wors as the First *iano +oncerto,the two serenades, the erman -euiem, the short choral wors from the p. &'s, and the /aydn0ariations, all of which sharpened his sills in orchestration. The piano concerto e#en started its lifeas a symphony, and the First Serenade was originally called 1Symphony2Serenade.3 When, aftermore than twenty years as an acti#e composer, Brahms published the First Symphony, it wasinstantly hailed as a supreme masterpiece. The ey of + minor with an ending in + ma)or drewimmediate comparison to Beetho#en4s Fifth. The complexity of the first mo#ement, with its denseweb of moti#es and lac of singable melodies, was balanced by its exciting climax and passionateenergy. Brahms also followed Beetho#en in shifting the weight toward the finale, a huge mo#ement

with a large double introduction. The second part of the introduction, with its e#ocati#e horn andflute parts, uses a familiar 1alphorn3 or 15ondon chimes3 melody that Brahms had used as a greetingfor +lara Schumann. When the main part of the mo#ement arri#es, it is with what might berecognized as the composer4s most inspired theme, the 1big tune3 that immediately drewcomparison to the 1)oy3 theme of Beetho#en4s 6inth (whether his comment that 1any ass can hearthat3 was meant as an acnowledgement of the similarity or as an obser#ation about those whomade the comparison is still debated!. The ending has genuine and well2planned moments oftriumph. The mo#ement4s form, with a conflated de#elopment and recapitulation, has long been afa#orite for analysis. The middle mo#ements also ha#e notable features, such as the nebulousphrase structure of the slow mo#ement, along with the metrical distortions of the middle section andthe #iolin solo at the end. The solo was an atypical romantic indulgence for the mature Brahms.The third mo#ement has structural resemblance to a scherzo and trio, but this is no scherzo. Themoderately2paced 1scherzo substitute3 would set the precedent for the Second and Third

symphonies as well. ne inno#ati#e aspect of the o#erall design is the symmetrical progression bythirds (ma)or thirds! between the mo#ements7 +, 8, "2flat, +, an unusual layout. The FirstSymphony is more than a legend and more than one Big Tune. 9t is, with respect to :ahler4s1Titan,3 the greatest First Symphony e#er written, from the pounding timpani of the first mo#ement4sintroduction to the blazing +2ma)or chords at the end. The standard orchestra with four horns andtwo trumpets adds contrabassoon and, in the last mo#ement, three trombones.

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$st :o#ement7 ?n poco sostenuto 2 "llegro (Sonata2"llegro form with introduction!. + :96-, @A%

time, with one A% bar.96T-C?+T96 2 ?n poco sostenuto0:00 [m. 1]22The opening is incredibly powerful and asserti#e. "ttention is drawn to the pulsatingtimpani, who steadily play on the home eynote, +. "gainst this, the #iolins and cellos begin withone of the symphony4s main ideas, three ascending notes, each a half2step apart. The winds and#iolas play descending chords against this. The string basses and contrabassoon )oin with thetimpani beats. "n important rhythm, three shorter notes, follows in the ascent. The #iolin line ishighly syncopated.0:10 [m. 3]22The syncopation in the #iolins continues. The winds begin to play new figuresharmonized in thirds. They are based on a long note followed by three ascending shorter ones.
http://imslp.org/wiki/Symphony_No.1,_Op.68_(Brahms,_Johannes)http://imslp.org/wiki/Special:ImagefromIndex/23098http://imslp.org/wiki/Special:ImagefromIndex/317803http://imslp.org/wiki/Symphony_No.1,_Op.68_(Brahms,_Johannes)http://imslp.org/wiki/Special:ImagefromIndex/23098http://imslp.org/wiki/Special:ImagefromIndex/317803


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The #iolins and cellos begin to wor with the rhythm of three shorter notes, often in widely leapinglines. The music remains strong and asserti#e, and the timpani continue to beat loudly. This allapproaches a half2cadence with a punctuating trill. 9t is prepared by a single drawn2out A% barinserted into the context of @A%.0:37 [m. 9]22"fter the half2cadence, the music cuts off sharply and mo#es directly to a series ofupbeat figures that begin to sound lie they start on strong beats and thus obscure the sense ofpulse. These figures are groups of three repeated notes in the strings, all pluced, and passedbetween instrument groups. The winds support the groups with longer syncopated notes thatmatch the changes. There are two downward leaps, the second a third lower, between the groups.These figures merge into 1sighing3 figures with bowed strings. These are also highly syncopatedand include chromatic notes. They also reach a half2cadence.0:56 [m. 13]22The pluced groups of repeated notes begin again, this time in F minor and stillsupported by winds. The following 1sighing3 figures are also analogous to the passage )ustcompleted, but they are extended by two more bars and begin to build up. 8#entually, they leap anocta#e at the top of the buildup. There is then a scale descent in #iolins, bassoons, and flutes thatagain recedes. The scale still suggests F minor, but the following music is bac in + minor.1:33 [m. 21]22The strings begin an ominous anticipation of the widely2spaced Theme $, which willappear in full in the exposition. The arpeggios become gradually faster and are the impetus foranother strong buildup, both in #olume and pitch. ?nder the strings, the timpani begin again topulse, and there is light wind support, but that support does include trumpets along with horns,

clarinets, and flutes. ?nder the buildup and the increased speed of the arpeggios, the timpani beatsare also played twice as uicly.1:49 [m. 25]22The buildup flowers into an e#en more powerful statement of the opening music,which now begins on the 1dominant3 note instead of +. ?nder this statement, the timpani nolonger pulsate, but rumble in an extended roll. The pulsation remains in the string basses andcontrabassoon. This climax continues as had the opening at '7$' Dm. E, including the wind figuresin thirds, but it is sharply cut off before the string elaboration of the short2note rhythm. The earlycutoff allows the same half2cadence as before, since the passage began at a higher le#el than atthe opening.2:07 [m. 29]22The sharp cutoff isolates an oboe, which plays a melancholy and meandering melodythat includes wide leaps, including a leap up an octa#e to a descending scale. The oboe line issupported by horns and bassoons, later clarinets, and the uiet le#el reflects that of the plucedrepeated notes following the pre#ious cutoff. The 1meandering melody3 do#etails briefly into a flute

line before being passed bac to the oboe.2:25 [m. 33]22The oboe line do#etails into an entry of the cellos, who tae o#er the 1meanderingmelody,3 including the leap up the octa#e to the descending scale. The winds drop out, the clarinetsexiting last. The upper strings pro#ide a uiet bacground to the cello line. "t the end, a uiet andhighly anticipatory half2cadence is approached by an isolated pluced note in the cellos followingtheir completion of the 1meandering melody3 and a gentle descent from a long2held first #iolin note.ne more pluced cello note on the 1dominant3 pitch of creates a great sense of anticipation forthe arri#al of the exposition.8G*S9T96 2 "llegro2:47 [m. 38]22The exposition begins with a powerful sort of 1motto3 rather than directly with Theme$. " low unison + punched out by timpani, cellos, horns, and winds is followed by music that ishighly similar to the opening of the introduction. 8ach wind group except bassoons di#ides so thatthe top instrument mo#es up and the bottom one mo#es down. Both bassoons mo#e down, along

with a pair of unison horns. The upper line is the rising three2note half2step idea. 9t is immediatelyfollowed by a uic turning f igure that is clearly deri#ed from the faster 1short2note3 rhythm from theintroduction, expanded to include the following downbeat. "t this point, the strings enter, echoingthe turning 1short2note3 rhythm with punctuating brass and a full cadence.2:53 [m. 42]22Theme $. The first #iolins present the theme, which begins with a rising arpeggio. 9tsoars abo#e pulsating second #iolins and #iolas. ?nderneath it, the cellos and bassoons play the1motto,3 with the three rising half2steps and the faster turning figure. The soaring arpeggio isfollowed by a more detached descent. The theme begins again a fifth higher, still with the 1motto3 inthe low instruments, but now with wind support. 9nstead of mo#ing to the descent, the theme isslightly extended with #iolin syncopations and a strong half2cadence. The low instruments play


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more 1turning figures3 under this extension (+ minor!.3:04 [m. 52]22The strings play two downward leaps beginning on upbeats, the second a third lower.These are in unison. They echo the pluced string figures from the introduction at '7EH Dm. . 5iethose, these are followed by 1sighing3 gestures with chromatic notes. The winds )oin and the stringsharmonize on the 1sighing3 gestures. The low strings play more downward leaps under them. Theyare cut off by decisi#e and detached notes with timpani beats.3:12 [m. 58]22:ore downward leaps and 1sighing3 gestures echo the F2minor harmony andstructure of '7&@ Dm. $E from the introduction. The 1sighing3 gestures are extended, as they arethere. They are first played by the low strings, then taen o#er by the #iolins and horns. The #iolinscontinue to play the downward leaps o#er the sighing gestures from the low strings, and the windswith low strings play the downward leaps when the #iolins tae o#er. "lready loud, the music buildsto a fe#erish full cadence in + minor that is emphatically emphasized with the 1short2note3 turningfigure in the #iolins along with brass chords.3:28 [m. 70]22The winds, beginning with clarinets and bassoons, start another tentati#e statement ofTheme $ that blossoms into a full statement, including the detached descent. The #iolins, #iolas,and timpani play pulsating repetitions that begin to sound lie the da2da2da2C?: 1fate3 rhythm fromBeetho#en4s Fifth Symphony. The low strings play an in#ersion of the 1motto,3 with the half2stepsand turn figures, but their direction is re#ersed so that the half2steps mo#e down and the turningfigures mo#e up.3:38 [m. 79]22The strings, including low strings, tae o#er and extend the Theme $ material. The

winds play extended #ersions of the in#erted 1motto.3 The brass and timpani now greatlyemphasize the 1fate3 rhythm. /ea#y syncopation, drum rolls, and the forceful detached descent allmo#e to another full cadence.3:52 [m. 90]22Transition. The full orchestra follows the cadence with a series of strongsyncopations, mostly detached from each other and with the winds and strings staggered. Theyculminate in a powerful detached descent in long2short rhythm. This descending arpeggio greatlydiminishes in #olume. The long2short rhythm continues in a series of uestioning gestures fromstrings and winds. " gentle arching line follows, and the music begins to mo#e toward the relatedma)or ey of 82flat.4:13 [m. 105]22The music is now e#en uieter. The strings put down their bows and begin to plucon the long2short rhythm, which is still #ery detached. The winds play isolated and uiet chords.The strings bow again when the winds introduce the 1gentle arching line3 again. This is extendedand emerges into soft and isolated exchanges between pluced higher strings and short wind

chords. The cellos continue to pulsate.4:30 [m. 117]2282flat ma)or has now arri#ed. The first #iolins and cellos begin a murmuring line,o#er which a solo horn plays a distincti#e falling call. The call is then taen by the woodwinds for asecond statement.4:36 [m. 121]22"fter a brief brea, the murmuring line continues in the second #iolins and #iolas.The first oboe and horn then lead the other winds, who harmonize as they play the three2note half2step figure four times in rising succession. ?nder these statements, the cellos play a ma)or2ey#ersion of Theme $4s opening arpeggios. This is passed to the #iolins on the third statement, andthe low strings mo#e to one in#erted (descending! and one original (ascending! three2note half2stepfigure. The fourth oboe statement is short, and it settles down with the falling strings to a half2cadence anticipating Theme I.4:51 [m. 130]22Theme I. 9t is almost entirely deri#ed from the downward leaps from E7'J Dm. &Iand earlier in the introduction with the pluced repeated notes. 9t has now been transformed into a

wistful, gentle, albeit highly chromatic melody presented by first oboe. ?nder the melody, the #iolasha#e started to pulse on repeated notes, and the clarinets, bassoons, and cellos pro#ide additionalsupport (82flat ma)or!.5:01 [m. 139]22"fter two phrases, the clarinets begin to echo the oboe line, which they do twice.The horns also )oin at this point, playing upward neighbor2tone gestures while harmonized in thirds.The oboes then appear to abandon the theme, answering a clarinet imitation with the openinggesture and then a slower, partly syncopated descent that seems to trail off.5:12 [m. 146]22The #iolins tae o#er from the oboes and clarinets. They appear to turn the oboedescent around, but in reality they are playing the three2note half2step figure. This is immediatelyanswered by a lo#ely cadence gesture from a clarinet, which is nothing more than the 1tail3 of the


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Theme I phrases. The clarinet is answered by a horn, and they pass the gesture bac and forthtwice. Finally, the flute and oboe play the cadence gesture together, and they are answered ando#erlapped ominously by the clarinet and bassoon. These entries add a descending octa#e. 5ast,the low horns answer the gesture, o#erlapping clarinet and bassoon. They reach a #ery low octa#e,and the bass harmony below shifts to 82flat minor.5:33 [m. 157]22+losing Theme. Two isolated three2note minor2ey descents in the #iolas begin,punctuated by pluced chords from other strings. Then the rest of the strings tae the bows andpass the three2note descents down from #iolins to #iolas to cellos, o#erlapping their entries andcreating a pileup effect. This builds tremendously as the winds creep bac in (82flat minor!.5:37 [m. 161]22The descent is de#eloped into a powerful melody led by the #iolins andcharacterized by its increasingly wide leaps and plunging arpeggios. The low strings and bassoonsha#e a prominent, somewhat slower counterpoint to the #iolins that usually mo#es in the oppositedirection. ther winds add support to the melody4s off2beat accents and syncopation. The 1fate3rhythm is pre#alent.5:46 [m. 169]22The parts are re#ersed. The low strings and bassoons now play the faster melodywith wide leaps. The #iolins in octa#es, with support from most woodwinds, play the slowercounterpoint, which now taes center stage. "pproaching the climax, the faster melody creeps upto the second #iolins, who brea from their lower octa#es with the first #iolins.5:56 [m. 177]229n an enormous climax, the first #iolins begin an extremely syncopated cadencephrase. The low strings first play 1in#erted3 three2note ascents, then 1original3 descents. The horns

play blasting calls with strong falling octa#es against this. There are fi#e of these, the last threeo#erlapping. "fter a strong cadence in 82flat minor, the winds and strings twice alternate ahammering third beginning on an upbeat. The strings then reiterate this third three times beforedescending and pi#oting bac to the exposition repeat.8G*S9T96 -8*8"T8C6:10 [m. 189, first ending, replacing m. 38]22The pi#ot bac to + minor is accomplished by arather )arring half2step descent following the hammered thirds. The first ending has two bars (mm.$%a and $'a, corresponding to mm. E%2E!, but the only difference is that all strings play on theinitial thumping unison +, coming as they do from their descent. From that point, the opening1motto3 continues as at I7JH. The repeat sign goes bac to m. J'.6:15 [m. 42]22Theme $, with rising arpeggios o#er the 1motto,3 as at I7&E.6:26 [m. 52]22Cownward leaps on upbeats and 1sighing3 gestures, as at E7'J.6:33 [m. 58]22Cownward leaps and 1sighing3 gestures in F minor, then buildup and cadence, as at

E7$I.6:48 [m. 70]22Tentati#e wind statement of Theme $ o#er 1fate3 rhythm and in#ersion of 1motto,3 as atE7I%.6:58 [m. 79]228xtension of Theme $ material with in#erted 1motto,3 1fate3 rhythm, and cadence, asat E7E%.7:11 [m. 90]22Transition with syncopation, huge descent, long2short rhythm, and mo#e to 82flat, asat E7&I.7:31 [m. 105]22*luced long2short rhythm and isolated stringAwind exchanges, as at J7$E.7:48 [m. 117]22:urmuring string line with falling horn and woodwind calls, as at J7E'.7:54 [m. 121]22/alf2step moti#es from oboeAhorn and ma)or2ey #ersion of Theme $ arpeggios, asat [email protected]:09 [m. 130]22Theme I. Cownward leaps presented by oboe with pulsating #iolas, as at J7&$.8:20 [m. 139]22+larinet echoes, horn gestures, and syncopated descent, as at &7'$.

8:30 [m. 146]220iolin ascent, cadence gestures, large descent with octa#es, and motion to minor, asat &7$I.8:50 [m. 157]22+losing Theme. :inor2ey descents and then o#erlapping descents, as at &7EE.8:55 [m. 161]22*owerful melody with wide leaps, plunging arpeggios, and slower counterpoint, as at&7EH.9:04 [m. 169]22-e#ersal of parts and approach to climax, as at &[email protected]:13 [m. 177]228normous climax with syncopation, blasting horn calls, and hammering thirds, as at&7&@.C8085*:86T9:27 [m. 189, second ending]22The last descent is a whole step rather than a half2step, causing a


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motion at the de#elopment to B instead of to the + of the exposition. 9n B ma)or, the stringselaborate on the opening arpeggio from Theme $. This is supported by wind chords and is at full#olume. "fter eight bars, the familiar descent and half2cadence from Theme $ is heard, still in B.9:39 [m. 197]22The strings are suddenly hushed, and the #iolins begin to play in tremolo. The #iolaspulsate. " solo bassoon plays a slower elaboration of the Theme $ material in counterpoint withanother line in the low strings. There is a subtle shift from B ma)or to B minor, and the higher windsmae an unobtrusi#e entrance to help mar another half2cadence in B minor.9:49 [m. 205]22The #iolins begin the tremolomotion again. The slow elaboration on Theme $ isagain heard, but it is now flute and oboe, rather than bassoon, who play in counterpoint with the lowstrings. The harmony maes an almost imperceptible digression from the pre#ious passage, andthe material is extended. The harmony mo#es away from B, first seemingly bac home to + minor,which is strongly implied by the low2string arpeggios. "t that point, the timpanist enters with 1fate3rhythms and rolls. The music becomes uieter, then maes another harmonic digression down, toB2flat minor.10:17 [m. 225]22The closing theme maes an unmistaable entry in B2flat minor. 9t builds rapidly, asthis theme always does. The isolated three2note descents and their extensions are heard as in theexposition. The theme seems to continue, but on the third upward leap, it suddenly pauses. Therefollows a new, warm, and melodious phrase from the strings in 2flat ma)or (which is not too fardistant from B2flat minor!. This phrase seems to expand on the non2melodic detached syncopationsfrom the beginning of the transition at E7&I and H7$$ Dm. '. "gainst this, the horns, then other

winds, play the 1fate3 rhythm.10:31 [m. 237]22The closing theme again begins in B2flat minor without its opening gestures, andthe new melodious 2flat phrase follows, now in the winds. The strings almost rudely cut the windsoff, and through a simple manipulation mo#e the phrase down to " ma)or. The 1fate3 rhythms arestill heard, now from trumpets as well as horns. The winds echo the end of the "2ma)or melody, andthen the strings tae o#er for yet another statement of the phrase, now in + ma)or. 1Fate3 rhythmscontinue in the horns.10:49 [m. 253]22The winds pass the opening three chords of the 1melodious phrase3 to the stringstwice. The winds then seem to begin another alternation, but they isolate the 1sighing3 figures of thephrase, stating them four times, with the last two a step higher, mo#ing away from +. The strings

)oin them in harmony on the last two, and the music has again arri#ed at B2flat minor. The 1fate3rhythm is loudly blasted by the horns under these last two 1sigh3 figures.11:00 [m. 261]22The return to B2flat minor has been an illusion. The closing theme gestures begin

again in the strings, at a powerful le#el, but the contour of the theme immediately places the musicbac in + minor. The horns and timpani powerfully state the 1fate3 rhythm, and the rising half2stepmoti#e is heard in the low strings. The winds then echo the strings with the top #oice a third lower.The strings mae another statement a third higher than the first one, and the winds again echo it athird below. The second low string statement of the rising half2steps remains anchored, mo#ing tothe 1dominant3 note.11:09 [m. 269]22The music suddenly uiets down, and the #iolins mae a f inal effort at the closingtheme at a lower le#el. *ulsating #iolas and continuing 1fate3 rhythms are heard as the musiccontinues to diminish. The rising half2step moti#e, so per#asi#e in the mo#ement, is heard twomore times in the low strings, still remaining anchored to the strong motion into the 1dominant3 noteof + minor (!.11:15 [m. 273]22" long bass pedal on the dominant note begins. The cellos pass the 1fate3rhythm to the timpani and bac, both remaining anchored to the note. The half2step moti#e now

comes to the forefront. The #iolins state it, then in#ert it, mo#ing gradually down. They do this asecond time, still mo#ing downward. The in#ersion follows the second statement as it had the first,but it is stretched out, with a longer second note. "ll of these statements are syncopated o#er barlines, and winds and #iolas ha#e downward mo#ing lines in thirds against all of them.11:27 [m. 282]22The last 1stretched out3 in#ersion of the half2step moti#e turns around on its finalnote and begins another series of downward2mo#ing statements that follows the same pattern asbefore7 statement, in#ersion, second statement, stretched2out second in#ersion. The winds stillha#e their generally downward2mo#ing thirds, but the #iolas now )oin the first #iolins, the second#iolins ha#ing dropped out. The cellos and timpani continue to pass the 1fate3 rhythm, which is stillon the note . "fter the last in#erted statement, the strings pause, then descend with syncopated


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notes, stopping )ust short of the 1goal3 note, +. The 1fate3 rhythm stops, and the music, now #eryuiet, becomes nearly motionless.11:44 [m. 294]22-e2transition. 9t is of unusual length. The preparatory 1dominant3 has already beenin the bass 1fate rhythm3 for a while. 6ow, at the moment of greatest uiet and stillness, begins aslow and massi#e buildup. Beginning with F2sharp leading into the dominant note , the three2noterising half2steps are heard in the bass with the first note held o#er the bar line. They are followed bya near2repetition that leaps an octa#e from the second note. "bo#e this, the #iolins and #iolas, withall but first #iolins in tremolo, follow behind the bass with a #ariant of the figure that replaces thesecond half2step with a rising third. The two bass patterns repeat a half2step higher. The 1faterhythm3 in horns and timpani is heard, and then the three2note descent with turn from the closingtheme follows in the clarinets, harmonized in thirds.11:55 [m. 301]22"s the second bass pattern with the leaping octa#e concludes, the 1fate3 rhythm isagain heard from the horns (now without timpani!. The pattern of alternation between this and thethree2note descent with turn continues. The descent and turn wors steadily upward, alternatingbetween oboes and clarinets. The bass pattern now wors upward steadily by half2step, but thethree2note rising figure is abandoned after the preceding second statement, and only the figure withthe rising octa#e continues the ascent. The higher strings with tremolocontinue in their pattern, butbegin to rise more steadily. Three alternations between 1fate3 (in horns! and 1descent and turn3 (fora total of four, two each in clarinets and oboes, all harmonized in thirds! are heard as the bassrises. The #olume also steadily and inexorably builds.

12:12 [m. 313]22The bass pattern with the rising octa#e settles on +2sharp mo#ing into C, where itis heard a total of four times. "t this point, the trumpets )oin the horns on the 1fate3 rhythm, and the1descent and turn3 with which it alternates is now played by flutes and oboes in thirds, the clarinets

)oining the bassoons with harmony supporting the bass. When the fourth bass statement on +2sharp and C is reached, after three more alternations, the tension is extreme. The 1fate3 rhythmand the 1descent and turn3 )oin together for two statements, and the bass mo#es down by thirdsfrom C, forming a chord on and re2establishing the 1dominant.3 The first #iolins also brea awayfrom their pattern with wider leaps o#er the tremolo.12:22 [m. 321]229n a massi#e upbeat, the timpani )oin the horns and trumpets on the 1fate3 rhythm,and they continue to pound it during the ensuing climax, which is the high point of the entiremo#ement. The thundering 1fate3 rhythm again stays anchored to the 1dominant3 note, . "bo#ethis, the #iolins begin to play music that incorporates the 1uic turns3 from the motto. "ll windszigzag downward on the slower 1descent and turn,3 all of them still harmonized in thirds. The mood

is fe#erish and extremely intense.12:32 [m. 328]22The winds now blast out two statements of the harmonized three2note half2stepfigure. ?nder this, the strings collapse into rushing scales out of the 1uic turn3 rhythm. The windsretain the characteristic syncopation. They stall after the second statement on the 1dominant3chord, which is blasted four times as the timpanist breas into fe#erish rolls. 9t seems that Brahmscould not anticipate the return more strongly than this, but he has one more surprise in store for thisenormous re2transition.12:41 [m. 335]229n a shocing digression, Brahms drops the bottom out of his transition by mo#ingthe bass down to F2sharp, where the ascent began. /ere, the lower strings play the 1uic turning3rhythm again, and the #iolins )oin the winds for two more statements of the half2step figure.Trumpets and horns blast two more 1fate3 gestures. The harmony actually mo#es from B minor to Cminor, ascending by thirds from the pre#ious .-8+"*9T?5"T96

12:47 [m. 340]22The border between re2transition and recapitulation is uite nebulous here. "t thispoint, another half2step figure begins another third higher, on F minor, continuing the pre#iouspattern. But this statement of the figure de#elops into the 1motto3 with the 1uic turning3 figures. 9tis also gi#en great weight by a more slowly descending bass that includes one of only two duplerhythms that straighten out the @A% meter in the mo#ement. The 1motto3 loses its opening thumped+ as well as the first wind descent under the first note, but the F2minor harmony matches thesecond chord of the exposition4s 1motto,3 so Brahms simply cuts the first chord, and therecapitulation has begun. The winds and strings ha#e a near role2re#ersal from the exposition, andthe end of the 1motto3 is underpinned by a timpani roll.12:53 [m. 343]22Theme $, with rising arpeggios o#er the 1motto,3 largely as at I7&E and @7$& Dm. JI,


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but gi#en more richness by the winds, who )oin the second #iolins and #iolas on their pulsations.13:04 [m. 353]22Cownward leaps on upbeats and 1sighing3 gestures, as at E7'J and @7I@ Dm. &I,again with richer scoring, the winds )oining the leaps and the horns adding weight to the 1sighing3figures.13:11 [m. 359]22Cownward leaps and 1sighing3 gestures in F minor, then buildup and cadence, as atE7$I and @7EE Dm. &%. "gain, the winds )oin the leaps, and the horns )oin the low strings as well asthe #iolins on the 1sighing3 figures13:25 [m. 370]22Transition. The expected cadence is cut off by an unexpected rising half2step. Thisleads directly into the huge descending arpeggio in detached long2short rhythm from the transitionafter E7&I and H7$$ Dm. ', here analogous to m. H. Thus, the entire second statement of Theme$ with the in#erted 1motto3 and 1fate3 rhythms has been sipped, as well as transition4s openingsyncopations (which became the 1melodious phrase3 in the de#elopment section!. The1uestioning3 gestures and arching line follow as expected, but of course the displacement allowsthe music to remain in + rather than mo#ing to 82flat.13:37 [m. 378]22*luced long2short rhythm and isolated stringAwind exchanges, as at J7$E and H7E$Dm. $'&. The scoring is now somewhat lighter than in the exposition.13:54 [m. 390]22:urmuring low string line with falling horn and woodwind calls, as at J7E' and H7J%Dm. $$H. 9t is now in + ma)or instead of 82flat, and #iolas instead of first #iolins 1murmur3 with thecellos.14:01 [m. 394]22/alf2step moti#es from oboeAhorn and ma)or2ey #ersion of Theme $ arpeggios, as

at J7E@ and H7&J Dm. $I$. First and second #iolins, rather than second #iolins and #iolas, ha#e the1murmuring3 line.14:17 [m. 403]22Theme I, as at J7&$ and %7' Dm. $E', now in + ma)or. There is minimalrescoring, including the absence of cellos and the redistribution of their line to flute, first bassoon,horn, and isolated #iolin entries. The oboe still carries the main melodic line as before.14:27 [m. 412]22+larinet echoes and syncopated descent, as at &7'$ and %7I' Dm. $E. TheclarinetAoboe alternation is preser#ed, but again the cellos are absent, and new lines are heard in#iolins and flutes. The horns also ha#e new, call2lie material that is different from their gestures atthis point in the exposition.14:38 [m. 419]220iolin ascent, cadence gestures, large descent with octa#es, and motion to minor,as at &7$I and %7E' Dm. $J@. The clarinet and horn alternate on the cadence gestures, as before.The final three o#erlapping gestures are rescored. The first is for oboe and clarinet rather than fluteand oboe. The second is for horns alone rather than clarinet and bassoon, and the last is for

bassoons rather than horns. The music in + here is lower than the exposition4s 82flat, and thebassoons are more suited for the lowest pitch.14:59 [m. 430]22+losing Theme in + minor. The minor2ey descents with pluced punctuation andthen the o#erlapping descents are scored largely as at &7EE and %7&' Dm. $&H, with addedbassoons.15:04 [m. 434]22*owerful melody with wide leaps, plunging arpeggios, and slower counterpoint, asat &7EH and %7&& Dm. $@$. /ere, there is no ma)or rescoring.15:13 [m. 442]22The re#ersal of parts and approach to the climax are analogous to &7J@ and 7'JDm. [email protected]:22 [m. 450]22The climax in + minor largely follows the scoring and pattern of &7&@ and 7$E Dm.$HH, including the blasting horn calls. Trumpets and timpani now support the strings on thehammering thirds. The descent after the hammering thirds is narrower than both the first andsecond endings after the exposition, with two half2steps leading down to B2flat (the first ending had

a whole2step and a half2step, the second two whole2steps!.15:36 [m. 462]22The recapitulation is gi#en an extension with more windAstring alternation onhammering thirds echoing the pre#ious music. These hea#ily emphasize harmonies suggesting Fminor, and are supported by blasting horn chords, trumpets, and timpani. The hammering gesturesstart to turn around and wor upward by half2steps. The winds do this while the string responsesstill descend and become wider. The same material is then compressed into tighter time frameswith the wind and string lines coming together into three2note groups. They approach a powerfularri#al on +, but this is immediately di#erted by another hammering third from the whole orchestrathat )ars e#erything toward B2flat minor.+C"


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15:52 [m. 475]22The strings begin to pluc. They reiterate the hammering thirds on B2flat andrapidly diminish, the upper instruments slowly dropping out and lea#ing only cellos. The hornssoftly enter on a held third. The #iolins then begin to bow the per#asi#e three rising half2steps.They #eer toward F minor and ma)or before maing their way bac to +. The half2step moti#eblossoms into two genuinely melodic phrases, the second a step higher. ?nder them, the celloscontinue to gently pluc the third, which shifts up a half2step, then expands to a fourth on + underthe second phrase. Flutes, clarinets, #iolas, and horns pro#ide syncopated held thirds in support.Bassoons double the cellos, as they often ha#e in the mo#ement.16:08 [m. 486]22" long, descending, diminishing #iolin line completes the melodic statement begunby the phrases based on the half2step motion. This line reaches a clear cadence in + minor, and isharmonized by second #iolins, #iolas, and winds. The pluced cello line is interesting. 9t continuesfirst with the pre#ious fourth based on +. This fourth is then turned around so that F is on thebottom and it is a fifth. Then comes another fourth based on with + on top. "t the end of thephrase, this is also expanded to a fifth based on , which creates the 1dominant3 before thecadence. "t the same time, the plucing is smoothed to a straight rhythm (the mo#ement4s secondsuch instance!, which helps bridge to the ensuing slower tempo.16:27 [m. 495]22"t the cadence, there is a large2scale tempo change to 1:eno "llegro3 (originallymared as the 1*oco sostenuto3 of the introduction!. The 1fate3 rhythm alternates between hornsand timpani. The cellos hold a low +. The winds (except flutes!, led by the oboes, state the three2note half2step moti#e and then turn it bac down to +, gi#ing it closure. #erlapping with this turn,

the strings, led by #iolins (who are doubled by flutes!, also begin the moti#e and turn it bac to theclosing +. " second oboe statement, the third o#erall, again o#erlaps with the turn. The music ishushed and slower, but still intense.16:48 [m. 502]22Following the pattern, the strings (without flutes! again o#erlap the oboe statementto begin a fourth one. This time, howe#er, the statement stalls. The second and third notes areboth lengthened, and o#er them, clarinets and bassoons surreptitiously begin to state the openingarpeggios of Theme $. The flutes and oboes )oin them after one bar. Then the third note of theascending half2step moti#e is repeated. Finally, taing the place of the 1closing3 turn to +, thestrings play the Theme $ arpeggios. 9n an incredible surprise for a mo#ement so persistently inminor, they are played not on + minor, but on + major. The entire phrase, including the 1fate3rhythm in horns and timpani, builds toward the +2ma)or cadence.17:10 [m. 508]22The 1fate3 rhythm breas off, and there is a general pause. The cadence wasstrong, but the mo#ement ends uietly. The winds and timpani softly reiterate the +2ma)or chord

and the strings follow. The winds repeat the chord again, and the strings follow below them, alongwith a gentle timpani roll. " pluced + from the strings cuts off the chord and ends the mo#ement.17:36!"# $% &$'!&!"( [511 mm.]

Ind :o#ement7 "ndante sostenuto (Ternary form D"B"4 with coda !. 8 :"K-, EAJ time.A Section0:00 [m. 1]22The first part of the theme is played by the strings. " bassoon doubles the #iolinmelody. The initial statement is a gentle rise and fall with a dotted rhythm (long2short! on the fall.Three low repeated horn octa#es bridge to the answer, which also incorporates a dotted rhythm andis gi#en a dar, minor2ey color. The horn octa#es contribute to this 1darening3 in the answer.0:23 [m. 5]22The theme continues with a new phrase. 9t begins on an upbeat syncopation with tworising and swelling half2steps (the first mo#ement4s 1motto3! from the first #iolins, harmonized by

second #iolins and #iolas (with half2steps in the opposite direction!. The bassoon has dropped out.The first bar has no bass line pro#ided by the low strings. They enter in the next bar with a surgingtriplet rhythm as the #iolins play a falling dotted rhythm. The surging bass is heard again a steplower under another #iolin dotted rhythm with a wider leap. The #olume has swelled to a louderle#el than the opening. 9n the next bar, all the instruments settle down, the #iolins sliding down indotted rhythm while the cellos play rising triplets.0:44 [m. 9]22The arri#al point of the pre#ious phrase merges with a new one in which the first #iolinshesitantly slide up by half2steps. They repeat this 1motto3 gesture three times, with new harmoniesunder each. The cellos still punctuate the downbeats with triplets. When the #iolins reach their highpoint, flutes, oboes, and clarinets mae a somewhat dramatic entrance to support the harmony.


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The winds exit after two bars. The strings continue with sighing gestures that lead to anotherstatement of the 1dar3 answering phrase from the opening, now with bass imitation and richerharmony. 9t is extended with a #iola echo and a half2cadence.1:28 [m. 18]22The oboe enters on an upbeat with the second theme of theAsection. The strings,except for light #iola support, drop out, and other winds pro#ide the harmony. The oboe melodyincorporates the sighing falls and dotted rhythms of the pre#ious theme, but it is more dynamic.

"fter two statements of the opening gesture, it rises to a full2hearted high point. ?nder this highpoint, the strings surreptitiously enter in unison with the opening rise and fall of the main theme.The oboe trails after this.2:01 [m. 24]22The 1dar3 answering phrase is played by strings with its original harmony. " bassoonagain doubles the first #iolins, and there is horn support. The phrase is cut off before its last sighinggesture, and is interrupted by a new syncopated descent beginning off the beat. This is slightlyaccented. Then, the answering phrase begins again, but it is transformed into a satisfying ma)or2ey cadence gesture that reaches a full close in 8 ma)or. This closes theAsection and mergesdirectly into the Bsection.B Section, Part 12:22 [m. 28]22ut of the cadence, the first #iolins lead into a lilting, leaping dotted rhythm thatcontinues from the upbeat into the next bar. The second #iolins and #iolas follow on the liltingdotted rhythm as the first #iolins wor upward by half2steps in syncopation. They then turn bacdownward as the low strings enter. They wor bac upward, now with the dotted rhythm displaced

by syncopation. The second #iolins and #iolas continue with the original figures. There is then ahuge swelling as the bassoons and horns enter with the dotted rhythm. The music suddenlydarens and turns to the related +2sharp minor.2:50 [m. 34]22"t the high point, when +2sharp minor is reached, the second #iolins and #iolas rushdownward under the slower first #iolins. The dotted rhythm is now played by the low strings andsuddenly taes on the character of a funeral march, a complete transformation from the lilting,graceful figures )ust heard. The upper strings continue to wor downward, and only slightly diminishas the low strings mo#e to soft plucing. This stormy passage culminates in a strong half2cadencethat rapidly diminishes, leading into *art I of the Bsection.B Section, Part 23:13 [m. 39]22The principal oboist, who has a long, gentle solo in +2sharp minor, enters on theupbeat of the half2cadence. The #iolins and #iolas begin a series of harmonized and highlysyncopated gestures, all of which begin off the beat. The first oboe note is sustained for a full

measure, and it only mo#es after the downbeat of the next bar. This, combined with the syncopatedaccompanying string figures, as well as the construction of the melody itself, causes the meter anddownbeat to become highly obscured. The oboe melody meanders downward, then has an octa#eleap, after which it begins to pi#ot to "2flat ma)or. The principal clarinet enters with a held note onan upbeat as the oboe wends its way downward.3:32 [m. 44]22The clarinet taes o#er the melody from the oboe and taes a somewhat brightertone, mo#ing to C2flat (or +2sharp! ma)or. The syncopated gestures from #iolins and #iolas begin toha#e some stepwise motion rather than simply repeating notes. The clarinet breas, then has awide rising figure. ?nder this, the low strings ha#e entered. They tae o#er the figuration of themeandering melody as other winds also enter for a cadence.3:52 [m. 49]22The winds drop out. The syncopated gestures begin a new phrase, and theysuddenly begin to outline the contour of the 1answering3 phrase from theAsection4s main theme.The winds protest with descending lines that attempt to retain the ma)or ey, but the strings become

more insistent, and the winds gi#e in, )oining them on the urgent syncopations and using the darcharacter of the 1answering3 phrase to firmly mo#e bac to minor. Strong accents on wea beatsprolong the obscured meter and downbeat.4:08 [m. 53]22"t the high point, where minor is established again, the strings finally brea from theoff2beat syncopated gestures. "ll strings play the original oboe melody in unison with an insistentcharacter. The winds play melancholy, wailing gestures abo#e them in octa#es. The strings thendepart from the oboe melody, expanding it with an upward sweep and breaing into harmony whilethe winds mo#e to syncopated thirds. The higher strings re#erse direction while the lower stringstae the upward sweep.4:23 [m. 57]22The strings continue to descend. The second #iolins and #iolas mo#e to undulating


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figuration, and the clarinets and bassoons follow the descent in thirds. The top #iolin line becomesmore syncopated, and the music becomes more urgent as it descends, leaping upward to postponeit. Finally, things start to settle down, the winds tae o#er, and the music mo#es bac to ma)or, thistime to the home ey of 8. Flutes and oboes, then #iolins and #iolas, then clarinets and bassoons,then upper strings again are isolated on harmonized four2note gestures. 0iolas and cellos thenclose with a uiet, slower off2beat descent.4:48 [m. 63]22-e2transition. #erlapping entries on rising, then falling figures, first in strings, then inwinds, further obscure the meter. "lready beginning off the beat, they fall into groupings of fournotes that clash with the EAJ bars. " soft timpani roll begins during the string descent. "t that point,slight syncopation and extension help to restore a sense of pulse. The passage is uiet andmysterious, and becomes more so when the timpani roll is suddenly isolated.A Section5:09 [m. 67]22The winds brightly enter on an upbeat that is held o#er the bar. The theme emergesin the oboes and clarinets, but is obscured by the flutes, who play an upper harmony. The stringsenter )ust after the winds, halfway through the upbeat, and play a sweeping line that also obscuresthe appearance of the main theme. The cellos play pluced arpeggios in triplet rhythm. nly withthe falling dotted rhythm is it clear that the theme has arri#ed. The timpani roll ends, and thecontinuing string line, rather than solemn horn octa#es, bridges to the answer, which is now statedclearly by flute, clarinet, and bassoon. The low strings add an echo to the end of the answeringphrase that was not heard at the beginning.

5:37 [m. 72]22This music is essentially analogous to '7IE Dm. &, but the sliding half2steps are nowplayed by oboe. The other winds pro#ide the harmony in the opposite direction. The strings add anentirely new element, rapid pluced rising arpeggios, then short notes leading into the next bar. "tthe point where the low strings enter with the surging triplet motion, the music appears to want tofollow theAsection, but a new and strong turn to the 1dominant3 ey of B ma)or and a higher reachtoward a descent pre#ent this.5:57 [m. 76]22"nalogous to '7JJ Dm. , but not only is the ey now B ma)or, the sliding half2stepsare embellished with triplet rhythm. The winds are now present throughout for support. The three1motto3 statements become progressi#ely softer. The third suddenly and dramatically swells to thehigh point, which is warm and rich in comparison to the sighing gestures heard in theAsection. 9t isalso extended by a bar as the music uicly settles down again and the triplet rhythm stops. The1dar3 answering phrase is then heard essentially as it was at this point before, only now in the newey and without the #iola echo or half2cadence.

6:40 [m. 85]22"n new wind interpolation here is almost otherworldly in effect. The wandering motionwas already anticipated in the extended high point, and the descending half2steps heard against thewandering motion re#erse the 1motto.3 The strings bring things bac to earth with the falling figuresthat introduced the statement of the answering phrase )ust before. These lead to a full cadence in Bma)or that is o#erlapped by the upbeat entrance of the solo #iolin that begins the second theme.7:10 [m. 91]22The approach to the second theme is on the same harmony, but with a differenteffect. -ather than against a half2cadence, it now enters on a full B2ma)or cadence. Thus, the pi#otbac to the home ey of 8 adds fulfillment to this arri#al. The theme itself, formerly played by oboealone, is now )oined by a solo #iolin and horn. The part for solo #iolin persists until the end of themo#ement, as the concertmaster separates from the rest of the #iolins. The theme follows $7I% Dm.$% rather closely, but in addition to the melodic doubling, there is a richer accompaniment, withimitati#e rising gestures first from the remaining #iolins and #iolas, then from flute and clarinet. Thecellos ha#e pluced triplet arpeggios. The main theme still maes its entrance (without the

preoccupied cellos! at the high point, which is now much stronger.7:46 [m. 97]22"nalogous to I7'$ Dm. IJ, but the first statement of the answering phrase is nowplayed by flute and clarinet. The syncopated interruption is gi#en by the solo #iolin and oboe, withpluced cello triplets maing a last appearance. The cadence statement is again taen by flute andclarinet, but it does not reach completion. 9t merges directly into the coda, as the pre#ious passagehad merged into theBsection, but other than in the bass, the final motion to the cadence isa#oided. The strings and timpani begin the off2beat triplet figures that will underlie the opening ofthe coda.Coda8:06 [m. 101]22The solo horn begins the coda with a full statement of the first two gestures from the


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second theme. Strings and timpani continue with the off2beat triplet figures, now with flutes, and thelow strings (with the second horn! ha#e a long, sustained eynote. The solo #iolin adds highlydecorati#e commentary to the horn statement, breaing into groups of six (sextuplets! against thesecond gesture. The clarinets now tae o#er the triplet arpeggios that had )ust been heard frompluced cellos.8:26 [m. 105]22The winds lead into the high point of the main theme as the strings drop out. Thehigh point stalls, and the initial falling figure is passed from flute to #iolins (without the solo! a stephigher, with accompaniment from other strings. The winds, with flutes leading, then play the figureagain, now a step lower than the first statement, and the strings repeat this. Finally, the solo #iolinand clarinet extend this falling figure, which diminishes and reaches an anticipatory pause o#erfading strings and bassoons.9:04 [m. 112]22The bassoons play the answering phrase, imitated closely by the oboes, with hornsupport and a surprising entrance from the trumpets. The flutes )oin at the cadence, which o#erlapswith an unexpected reminiscence of the Bsection4s first part as the #iolins and #iolas play the liltingdotted rhythm. The winds then fall from the cadence, and the lilting strings slow down.9:30 [m. 117]22n an upbeat held into the next bar, a chord, punctuated by a timpani roll andtopped by the solo #iolin, introduces one more statement of the half2step 1motto.3 9t is harmonizedby the now2familiar contrary motion. The bass instruments, who dropped out under the liltingrhythm, re2enter at the top of the moti#e, which is followed by a warmly sweeping #iolin line, with thesolo an octa#e abo#e the others. The 1lilting3 rhythm then enters on the same pitches as before, but

now played by winds (without oboe!.10:03 [m.123]22"s before, a chord enters on an upbeat held into the next bar with a timpani roll.This time all instruments except the solo #iolin participate. The 1motto3 is beautifully transformed totwo whole2steps instead of two half2steps, leading to a gorgeous cadence. "s it arri#es, the strings,from low to high, play pluced arpeggios in triplets, supported by timpani beats. "t the top, the solo#iolin, contrasted from the others by using the bow, rounds off the triplets. n its last note, thewinds play their penultimate chord. The strings, now using bows, softly confirm that chord, then allinstruments, including the timpani with a roll, reiterate it again. nly the solo #iolin holds its lastnote o#er both of these reiterations.10:57!"# $% &$'!&!"( [128 mm.]

Erd :o#ement7 ?n poco "llegretto e grazioso (Ternary form D"B"4 resembling a scherzo and trio!.

"2F5"T :"K-, IAJ and @A% time.F9-ST S8+T96 or 1Scherzo3 ()!, IAJ time0:00 [m. 1]22First part (a!. The main melody is a gently wandering phrase played by clarinets.Bassoon, horn, and pluced cellos add harmony and counterpoint. The pluced cellos establish asteady pulse, which they almost constantly maintain. The upper strings enter at the end of thephrase. They, along with the second clarinet, extend the phrase to a fifth bar while the first clarinetsustains the last note. The second phrase is an exact in#ersion (upside2down melody! of the first,with oboe added to the scoring.0:17 [m. 11]22The answering phrase is in 82flat. Winds (without oboes! descend in a dotted (long2short! rhythm, harmonized in thirds. Two two2bar descents are followed by more arching figures,still in the dotted rhythm. The strings, including the cellos, add sweeping arpeggios as acounterpoint to the wind descents, and horns hold longer notes. The strings )oin the dotted rhythmin the second half. The steady plucing, now more static, is transferred to the string basses, who

add short breas in the second half.0:30 [m. 19]22The opening melody returns, now played by the #iolins. The cellos return to theirsteady plucing, and the first clarinet, which had presented the melody, plays a bouncy counterpointin triplet rhythm. Flutes and oboes enter for the prolongation of the phrase, stretched to se#en totalbars by internal half2step motion. The second phrase, which is still an exact in#ersion, lacs thebouncy clarinet line, adds a horn harmony, and adds oboes and bassoons (instead of flutes! at thethree2bar prolongation. The prolongation leading into the answering phrase has rising half2stepsthat recall the 1motto.30:54 [m. 33]22The answering phrase in 82flat begins as before, with the two descents. The secondhalf is altered. The strings maintain their arpeggios rather than )oining the dotted rhythm. The oboe


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enters as a participant, alternating with flutes and clarinets on the dotted rhythm. 9nstead of turningbac home to "2flat, the music instead turns to the related minor ey, F minor. This happens in afour2bar extension in which both the strings and winds (first clarinets and bassoons, then flute andoboes! descend a scale o#er two octa#es.1:13 [m. 45]22Second part (*!. "t the F2minor cadence, the strings begin a distincti#e pulsation,with low strings on the first and last notes of uic four2note units, while #iolins and #iolas play themiddle notes of these units. The clarinet begins an agitated melody that seems deri#ed from bothphrases of a. Flute and oboe tae o#er the melody after two bars. They greatly swell in #olume.

"n answering phrase erupts in flutes, clarinets, and bassoons, all playing in thirds. This phraseturns to + ma)or with some minor2ey inflection, and is uite exuberant. The strings ha#e someminor departures from the constant pulsation.1:28 [m. 54]22The oboe plays a new phrase of the agitated melody that goes in basically theopposite direction from the original, a #ersion of which is heard against it in the low strings. " horn

)oins after two bars. The pulsations continue, now with groups of three off2beat notes, and themusic builds again. The exuberant answering phrase arri#es, but stays in F minor and is cut offafter three notes by murmuring #iolins and #iolas. These diminish. " clarinet echo of the threeanswering notes is heard, continuing the downward motion. The murmuring stings again respond,bridging to the opening melody.1:41 [m. 62]22Third part (a+!. The opening melody returns in its original instruments, clarinets andhorns. The motion from F minor bac to "2flat happens smoothly in the pluced low strings. To

these elements is added the murmuring #iolinA#iola line, continuing from the end of *. "fter the firstphrase, the pre#ious extension from the fifth bar is used to begin a bridge to the Trio section. Thesustained notes and flowing motion under them are extended. Finally, the murmuring #iolins and#iolas stop. The clarinets and horns, followed by #iolins, play a slow descending arpeggio on the1dominant3 chord, 82flat, while the cellos pluc an upward arpeggio on that chord. The bridgediminishes in #olume, merging directly into the Trio.S8+6C S8+T96 or 1Trio3 (!, B ma)or, @A% time1:56 [m. 71]22*art $. 82flat is re2interpreted as C2sharp, maing a transition to the remote ey of Bma)or for the trio. The basic material is three repeated notes or chords in the winds beginning offthe beat, alternating with descending broen chords in the strings. Two of these alternations arefollowed by a buoyant wind phrase with string support. This pattern then happens again, now withhorns and bassoons on the repeated notes and with a turn to C2sharp minor (and bac to the 1pi#ot3note from the opening!.

2:10 [m. 79]22*art $, #aried repetition. The first four bars are as before, but the second statementof the pattern is shifted down a half2step and changed in character to mo#e to C ma)or instead of C2sharp minor. 9t also dramatically increases in #olume.2:24 [m. 87]22*art I. The basic pattern is stated two more times in a more dynamic manner as themusic taes a path bac to B ma)or with a detour through . The orchestration of the openingrepeated notes is richer. The second statement of the pattern greatly builds, and the 1buoyant windphrase3 expands into a climax with string arpeggios played in a shimmering tremolo. ?nder thisbuildup, the bass line starts to mo#e by half2steps, and there are strong, but brief suggestions ofanother detour, this time to + ma)or.2:43 [m. 99]22The climax arri#es with highly syncopated wind instruments o#ercontinuing tremolostring arpeggios. "t the top, the trumpets, who ha#e had a supporting role, )oinbrightly on the 1buoyant phrase.3 "fter this, the basic pattern is stated one more time, now with theinstruments re#ersed. The strings tae the repetitions and the winds the descending broen

chords. Following this, the strings again tae the broen chords and run them together, obscuringthe meter. Strong syncopation in all instruments leads to a strong cadence. /orns and trumpetsplay a suddenly uiet harmonized arpeggio to lead bac to the repeat.3:01 [m. 87]22*art I repeated. Buildup toward climax, as before.3:20 [m. 99]22+limax, as before. 9nstead of the transition bac to the repeat, the horns andtrumpets play the 1repeated note3 pattern on an octa#e. The flutes, oboes, and bassoons thenrestate this. The note C2sharpA82flat is again used as a pi#ot, and this begins the re2transition bacto the main 1scherzo3 music.T/9-C S8+T96 or 1Scherzo reprise3 ()+!, IAJ time3:38 [m. 109]22-e2transition. The music shifts bac to IAJ. The strings play a strong hint at the


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opening of the main theme, but in "2flat minor rather than ma)or. +arrying o#er from the 1trio,3 thewind instruments (except clarinets! continue to play the 1repeated note3 pattern in octa#es. This isnow notated in triplet rhythm, effecti#ely remaining in the pre#ious @A%. Finally, the strings, inpluced harmony under held winds, play a descent in "2flat minor leading to the return of the maintheme. This pluced descent is #ery similar to the descending line that will open the lastmo#ement. 6otes are reiterated and rapidly diminish.3:51 [m. 115]22The reprise is abbre#iated, and the middle section (*! does not appear again. "t themoment of return, the clarinets, with the horn and pluced cellos, play as at the opening. The ma)ordifference is that flutes and oboes abo#e them are now playing the 1repeated notes3 from the 1trio3in triplet (@A%! rhythm. They e#en recall the 1buoyant phrase.3 The melody and contour of the firstphrase are unchanged.3:59 [m. 120]22The second phrase, which had been a melodic in#ersion, is now completelychanged in character. 9t is transferred from the clarinets to the first #iolins, who decorate and alter itin a manner that anticipates a ma)or portion of the finale4s main theme (the 1big tune3!. The plucedcellos continue, and the second #iolins add syncopation. +larinets and bassoons play harmonizeddescending lines in triplet rhythm, taing that motion o#er from flutes and oboes. The phrase isextended from fi#e to six bars. Flutes and clarinets play a harmonized arpeggio leading into the1answering3 material.4:09 [m. 126]22The 1answering phrase3 is uite similar to its earlier statements, and starts on thesame pitch le#el, but the harmony remains in "2flat rather than mo#ing to 82flat. The #iolin and #iola

arpeggios are played o#er more static plucing from cellos and basses. "fter the first two descents,the familiar 1arching figures3 begin in the dotted rhythm as expected, with the entrance of theoboes. These, howe#er, expand powerfully in intensity. The string arpeggios become morefreuent, and the strings do not participate in the dotted rhythm as they had pre#iously done. Thelow plucing, howe#er, does add the expected breas.4:28 [m. 138]22" small climax arri#es. Flutes, oboes, and horns play a three2note descent that is#ery similar to the one heard in the transition from *to aat $7I% Dm. &J. ?nder this, the strings playpluced arpeggios, mo#ing from low to high and becoming uieter and slower as they go. Theseintroduce chromatic harmonies hinting at C2flat ma)or and continue for a bar after the descent. "second three2note descent is heard o#er another pluced arpeggio. Finally, a third descent withnotes twice as slow is played by horns and clarinets. nly the cellos pluc underneath them, nowwithout the initial faster notes.4:39 [m. 144]22?nder a sustained note from bassoons, horns, and first #iolins, the other strings

uietly play a darer #ersion of the main theme in unison. The instruments holding the note beginto mo#e in the third bar to create harmony, and the second #iolins lea#e the unison statement to )ointhem. The unison statement is answered brightly by the winds with the 1answering phrase.3 Thebassoons ascend against the other winds. Finally, the strings tae o#er the phrase, the clarinetsholding o#er from the winds. 0iolins and clarinets ascend and the lower strings descend as theyapproach an apparent cadence.5:01 [m. 154]22Coda. Brahms indicatespoco a poco pi tranquillo, a direction that seems to meanboth gradually uieter and slower. This already applies to the last statement of the answeringphrase. Brahms a#erts the cadence by bringing bac the music of the 1trio,3 notated with triplets.0iolins play a harmonized 1repeated note3 gesture, and the lower strings, with #iolas addingharmony abo#e them, play the descending broen chords. These mo#e briefly to C2flat. Flutes,clarinets, and bassoons answer them with the formerly 1buoyant3 phrase, now #ery gently played,mo#ing bac to "2flat.

5:11 [m. 158]22The 1trio3 pattern is heard again, now e#en more gently, with high winds playing the1repeated note3 pattern instead of the #iolins. The horns and bassoons now add harmony to thedescending broen chords. The #iolins and #iolas tae the answering phrase under windsyncopations. They briefly build the tension toward a 1dominant3 chord, held by the winds, thenpluced by the strings. This tension is finally relei#ed with a delayed cadence, punctuated by a lastdescending broen chord from the low strings.5:37!"# $% &$'!&!"( [164 mm.]

Jth :o#ement7 "dagio 2 *iL "ndante 2 "llegro non troppo, ma con brio (0aried Sonata2"llegro form


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with de#elopment and recapitulation combined, and with large two2part introduction!. + :"K-(with +2minor opening!, JAJ time, mo#ing to +ut Time DIAI at the *iL "llegro coda.96T-C?+T96Part 1, "dagio, + minor0:00 [m. 1]229n the ominous opening, the #iolas and low strings play a four2note descent.#erlapping with this, the #iolins, wind instruments, and timpani enter with an anticipation of themain theme in a dar, tragic #ersion. They swell forward on this, and then rapidly diminish, with thebassoons and #iolas trailing down as the #iolins play despairing echoes. The descending windsrecall the introduction of the first mo#ement.0:48 [m. 6]22The strings begin a strange passage ofpizzicato(completely pluced in allinstruments!. They pass two2note figures between instrument groups, beginning #ery uietly. Thepluced strings #ery gradually gain momentum and #olume as they mo#e through minor, 82flatminor, and F minor. "t the end of the passage, they are mo#ing uite uicly and press forward to achord that is suddenly cut off.1:17 [m. 12]22The winds return to the slow tempo and, in a wailing three2note descent, lead intoanother statement of the 1dar3 anticipation of the main theme. This time, the #iolins and #iolasstate this at the same pitch le#el where it will be heard in the exposition. They are bowed againafter thepizzicatopassage. boes, horns, and bassoons play the trailing lines, and there is asingle string echo.1:49 [m. 16]22" second passage ofpizzicato, #ery similar to the first, now has the low strings

leading in the passing of two2note groups. "gain, the passage builds and speeds up, much moreuicly this time, as the passage is shorter than the first one. The eys that are now suggestedafter + minor are B2flat minor and the remote "2flat minor. Thepizzicatois now cut off after fourbars.2:15 [m. 20]22The low strings hold a note as the flutes and oboes play a sighing response. The lowstrings then surge slightly forward before they wait for another string response. They then surgeforward again. The music has mo#ed bac to + minor.2:26 [m. 22]22The winds now press forward with the same material, building rapidly in #olume. Theother strings )oin in on the 1surging3 figures. There is mild syncopation in both winds and strings.2:34 [m. 24]22Beginning in F minor, the strings now play a series of broen, rapid descending lineswith light wind support. These lines diminish before a sudden upward surge with brass and winds.They then descend and diminish again. Finally, the flutes, oboes, and bassoons begin to play awailing three2note descent that will soon be re#ealed as the 1alphorn3 figure that will dominate the

second part of the introduction. With the entry of a powerful timpani roll, this steady surge issuddenly cut off. The +2minor ey is somewhat sidestepped at this point, but the low strings holdon, diminish, and descend, leading into the new tempo and +2ma)or ey for the introduction4ssecond part.Part 2, *iL "ndante, + ma)or3:04 [m. 30]22#er a soft timpani roll and the first entry of the trombones, the horns enter with asuddenly noble and grand presentation of what Brahms called the 1alphorn3 tune or what othersha#e labeled as the 15ondon chimes3 melody. "fter a bar, the #iolins and #iolas begin to play ashimmering tremolounderneath the tune. The horns pass the melody between themsel#es tomaintain breath support. The main characteristic of the melody is its opening descent withprominent short2long rhythm. The melody is nine bars long, with two longer notes in the secondphrase extending it a bar more than expected.3:45 [m. 38]22"s the horns reach their cadence, the flutes enter in o#erlap with their famous

presentation of the 1alphorn3 melody. 5ie the horns, they pass it between each other to maintainfull breath and tone. The trombones are largely absent now, but other instruments, such asbassoon and horn, ha#e prominent motions, including half2steps, under the flute melody, and thereis a trumpet echo. The shimmering, hushed string tremolo continues along with the timpani roll(which swells slightly!, and the flutes play the complete two2phrase melody without any o#erlap atthe end.4:31 [m. 47]22The trombones, with bassoon support, intone a solemn chorale. This chorale will notappear again until the #ery end of the mo#ement, at the moment of triumph, but its isolatedpresentation here is uite memorable. The last leap downward of the chorale is punctuated byanother timpani roll.


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4:58 [m. 52]22The horns, along with one flute and one clarinet, pass the first bar of the 1alphorn3melody among themsel#es. The string tremoloand timpani roll surge forward in #olume. "fter fourbars, the second half of the melody, beginning with its highest note, is heard. The prominent half2step motions are played by the trombones. The end of the melody is fragmented and repeated, andthe #olume settles bac down rapidly. "t the end, the horns play a last echo of the tune with thetrombones and hold it o#er as the other instruments, except for the timpani, drop out. /orns andtrombones are isolated on a preparatory 1dominant3 chord. This anticipatory pause ualifies as oneof the most 1golden3 moments in all of music.8G*S9T96 2 "llegro non troppo, ma con brio, + ma)or5:42 [m. 62]22Theme $. 8merging out of the 1golden moment3 is the 1big tune,3 the one that wascompared with the 1)oy3 theme of Beetho#en4s 6inth. The #iolins, in their rich low register, presentthe glorious melody while the low strings pluc beneath them, horns and strings adding support.The opening upbeat leap is distincti#e, and the connection to the 1dar3 anticipation at themo#ement4s opening is clear. /alfway through the melody, in the second phrase, is a melodic turnthat is most reminiscent of the Beetho#en melody. This second phrase delays its cadence by a baras the oboes )oin in to support it. This creates a $H2bar melody.6:25 [m. 78]22"s the theme reaches its cadence, a second statement, or counterstatement,o#erlaps it. This statement of the theme is led by the winds, most of whom play at least fragmentsof it in gentle harmonies. 6ow all strings pro#ide a pluced accompaniment, and they aresupported by the timpani. Small rolls punctuate the timpani part. "t the end of the statement, the

#olume increases #ery dramatically. "s the cadence is approached, the #iolins and #iolas tae uptheir bows to reiterate and support it.7:01 [m. 94]22Transition. What sounds lie it will be a third statement of the theme, this time agrand one from the full orchestra, is instead almost immediately fragmented, mainly isolating theopening three2note turn figure. The motion toward ma)or begins. There are two large descentson C minor and " minor with surging bass lines. The passage is richly scored and hea#ily accentedthroughout.7:22 [m. 106]22The transition continues with running scales in strings and bassoons. Winds, brass,and low strings add loud punctuations against these scales. The motion to ma)or is delayed by amo#e bac to +.7:37 [m. 114]22The 1alphorn3 theme from the introduction appears in its original instruments, fluteand horn. The horn imitates the flute on fragments of the tune. The strings continue against thiswith agitated arpeggios, and the cellos and basses add pluced punctuation. The motion to

ma)or is finally completed.7:45 [m. 118]22Theme I. The low strings establish an 1ostinato3 bass on the same four2notedescent that opened the mo#ement and is also implied within the 1alphorn3 theme. The #iolinsbegin the theme, which winds downward, leaps bac up, and then flows forward. The #olumeincreases somewhat and the music hints at the related ey of 8 minor. The winds then enter with acontinuation of the theme. The strings reco#er this and build again. The low strings finally mo#eaway from their anchor, mo#ing their four2note descents up a fifth. This buildup leads to a smallclimax with a descending syncopation and then a sipping dotted (long2short! rhythm ( ma)or!.8:10 [m. 132]22The oboe leads a continuation of Theme I that is again uiet and gentle. 9tincorporates a triplet rhythm, then mo#es to upward leaps. ther winds support the line, and the#iolas ha#e a pulsing syncopation. The low strings add a distincti#e foundation to the ascendingoboe leaps. This passage mo#es to the related ey of 8 minor, where the closing material is heardand where the exposition will end.

8:31 [m. 142]22+losing material. The #iolas begin withtremolo

arpeggios that steadily build. 0iolins)oin them. /orns and trumpets begin to add punctuations. 8#entually, the strings )oin in a powerfuldownward2arching unison that leads to a soaring, sighting dotted rhythm. Winds and brass addloud cadence figures to this. This material briefly suggests C ma)or, but as the sighing figures wortheir way downward, the minor ey is again firmly established (8 minor!.8:55 [m. 156]22The orchestra cuts off, and the oboe leads another statement of the 1soaring,3sighing figures. 9t begins more subdued. To these are added brief figures in triplet rhythm, first inthe #iolas and then, more loudly, in #iolins and lower strings. These 1sighing3 figures again suggestC ma)or. The loud cadence figures incorporate the triplet rhythm. The oboe taes up thecontinuation with the triplet figures again in the #iolas. This continuation is passed to the flute, and


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the music again seems to mo#e to ma)or (with minor inflections!, the ey of Theme I.9:09 [m. 164]22The triplet rhythm now completely taes o#er. The #iolins and #iolas uietly begin tobuild on it in ma)orAminor. Suddenly, the whole orchestra bursts forward with ascending tripletgroups harmonized in thirds. The #iolins play a powerful hammering dotted rhythm against this,then tae up triplets themsel#es in a slightly syncopated continuation. This firmly re2establishes 8minor. This seuence of hammering figures and the syncopated continuation is heard again at ahigher le#el, leading to a solid 82minor cadence.9:30 [m. 176]22The cadence is gi#en a strong reiteration by the full orchestra, including trombones.

" hea#ily syncopated leap is supported by rising triplet figures in the winds and also thumpingtriplets in the timpani. The strings then firmly state the cadence. The syncopated leap is reiteratedtwice more, and then the winds and strings play an extended #ersion of the 82minor cadence thatadds strong, isolated final chords. 9mmediately after this powerful cadence, the horn, oboe, andfinally flute and clarinet play uiet rising figures leading to the return of the 1big3 main theme.-8+"*9T?5"T96AC8085*:86T9:48 [m. 186]22Theme $. This is the last time the 1big tune3 will be stated in its entirety. This time,the scoring is much richer. The #iolins still carry the melody, but there are new short, punctuatingchords in the winds, along with timpani beats and rolls, and the horns double and harmonize thetheme itself. The trumpets also add punctuation. The theme4s material follows its first statementuite closely until the end. The oboe enters to support the cadence, as expected, but it di#erts theharmony to a new ey, 82flat ma)or, indicating that this is de#elopment as well as recapitulation.

The #iolins confirm the motion to 82flat and bring the theme to a cadence. This extends the endingof the theme by two bars.10:27 [m. 204]22The theme has a counterstatement, as before, but it already appears to begin the1de#elopment3 portion. Beginning in 82flat in the winds, with pluced string accompaniment, it issuddenly arrested by a horn echo that turns to minor. There follows a section of pluced stringfigures passed from #iolins to low strings that is highly reminiscent of the twostrangepizzicatopassages from *art $ of the introduction. This rapid plucing is supported bychords in horns and bassoons, later trumpets as it builds.10:41 [m. 212]22The ey turns up smoothly to F2sharp ma)or, where the winds attempt to 1reco#er3the counterstatement. This time, the clarinets and bassoons play 1trailing3 lines. The strings eep a#estige of the more rapid pace )ust heard with notes after the beats in second #iolins and #iolas. "sbefore, a turn to minor, now from a clarinet and bassoon echo, leads to a rapidpizzicatopassagereminiscent of the introduction. /orns and oboes )oin the clarinets and bassoons as it builds. 5ow

strings and #iolins are re#ersed in position, and the harmonic motion is more dynamic than the firsttime.10:55 [m. 220]22Transition. The digressions of the counterstatement pro#e to be anticipations,rather than the beginning, of the de#elopment portion. The rapid plucing leads bac to the homeey of + ma)or, and the transition begins with the grand statement of the theme and the continuation

)ust as it was heard at H7'$ Dm. J, through the large descents on C minor and " minor. The bassline of the latter is slightly shifted.11:15 [m. 232]22The 1de#elopment3 actually begins here. The transition is interrupted by two barsof hea#ily accented notes with longer echoes, all in the strings, where the running scales would beexpected. The scales do begin after these bars, passed between #iolins and lower strings, withwind support as before, but the harmonic motion is different, settling this time on C minor. They arerichly harmonized. The scales retain a descending motion throughout and taper off rather thanbuilding up.

11:35 [m. 244]22The scales continue uietly in the strings. Figures deri#ed from the opening 1turn3figure of the main theme are passed between oboe and flute, still in C minor. Then the winds turn toa soaring line, o#er the continuing scales, that maes a turn bac to + ma)or.11:44 [m. 249]22The 1turn3 figures, now including bassoon, are played by two instruments at a time,still with do#etailing o#erlap. The scales are only in the #iolins now, the cellos playing plucedarpeggios. The ey is F minor. The winds again turn to the 1soaring3 line, which first mo#es to 8ma)or. 9t is gi#en a second statement that mo#es bac to +.11:59 [m. 257]22"fter a brief breath, a powerful passage begins. 9t starts with figures reminiscent ofthe two descents that ended the transition passage. 9t then incorporates the descending scales,which are passed between wind and string instruments with full harmonies and hea#ily accented


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supporting chords. Finally, the strings tae the leaping descents while scale fragments are passedamong the wind instruments. The entire passage #acillates between + minor and F minor.12:17 [m. 268]22Beginning on an upbeat, the winds begin to blast out the turn figures deri#ed fromthe main theme. They are supported by brass chords and timpani rolls. The strings play isolateddescending scale fragments against each arri#al point of the turn figures. Two pairs of thesepatterns begin to wor upward. " third pair has the #iolins taing the turn figures o#er from thewinds, and flutes )oining the scale fragments. Then, building toward a climax, the turn figures arepassed between the high strings and high winds, the lower instruments of both groups pro#idingsupport in long2short rhythm. The figures remain static for three bars before mo#ing upward in thestrings. Timpani beats and rolls underscore the buildup.12:37 [m. 279]229n a tremendous climax, the full orchestra blasts out descending figures that arederi#ed from the 1alphorn3 melody. These begin off the beat, creating a highly disorientingsyncopation. They are in + minor, where the pre#ious buildup has arri#ed. Timpani rolls supportthe climax, and the trombones mae their first entry since the end of the exposition. The figures arepassed between strings and winds with full support. The strings then mo#e downward, seeming tomo#e toward B2flat minor.12:50 [m. 285]229n one of the most remarable moments of the symphony, the opening of the1alphorn3 theme is blasted by the #iolins, but the underlying harmony, a 1diminished se#enth,3 gi#esit a dar, highly tragic uality, and this is underscored by a thundering timpani roll and full brass.

"lmost immediately, the bass instruments descend and the #olume rapidly diminishes. The #iolins

play another statement of the 1alphorn3 gesture an octa#e lower, this time with its warm, familiarma)or2ey surroundings. This direct )uxtaposition of agitation and peacefulness is both striing andhighly unexpected.13:02 [m. 289]22The horns lead a full statement of the 1alphorn3 melody that initially follows the linesof the transition to the 1golden moment3 and the main theme at the end of the introduction from J7&%Dm. &I. ?nlie that passage, this one does not ha#e the shimmering string tremolo. There areinstead smoothly mo#ing harmonies in #iolas and cellos, and the #iolins participate in the 1alphorn3statement. "t the moment where the 1golden moment3 would be expected, the #iolins tae o#er,and they extend the anticipatory passage. Brahms mars this 1calando3 (1dying3!, and the stringsslowly descend under pulsating timpani. This extension and alteration ser#es to prepare Theme Iinstead of the main theme.13:45 [m. 301]22Theme I. The theme appears and pics up the recapitulation again. This time, ithas an introductory bar that introduces the descending four2note 1ostinato3 in all strings before the

actual theme begins. "fter this new introductory bar, the theme follows the pattern from H7J& Dm.$$%, now in the home ey of + ma)or, and with some significant changes in scoring. :ost notableamong these is that e#ery other statement of the descending 1ostinato3 is now played by windinstruments (flute, clarinet, and bassoon!, alternating with the low strings four times. " continuationpre#iously taen by winds is played by #iolins and #iolas. The descending syncopations andsipping dotted rhythms are largely as before.14:10 [m. 316]22The continuation from %7$' Dm. $EI is also rescored. The uiet and gentle line withthe triplet rhythm is now played by #iolins. When the upward leaps arri#e, the responses to themare played by horn as well as the original instrument, the oboe. "t the #ery end of the line, analteration and expansion of the final fall pre#ents the ey change that happened here in theexposition, which would ha#e placed the closing theme in " minor. This alteration allows the musicto remain in +, shifting from ma)or to minor.14:32 [m. 326]22+losing material. This is analogous to %7E$ Dm. $JI, with no significant alterations

other than ey. 9t is in + minor, and not the expected and analogous " minor, as the symphonymust end in +. The ey that is briefly suggested at the loud cadence figures is B2flat ma)or.14:55 [m. 340]22The passage from %7&& Dm. $&@ is restated here with some changes in scoring. "flute )oins the oboe on the 1soaring, sighing3 figures. The triplets are played by both #iolins and#iolas from the outset. The continuation that was passed from oboe to flute is now taen by clarinetthroughout, first doubled by horn and then by oboe at the point where it had been passed to theflute.15:09 [m. 348]22The material from 7' Dm. $@J, with the buildup on the triplet figures and thehammering dotted rhythm, is gi#en with no significant changes other than ey.15:29 [m. 360]22The strong reiterations of the cadence with syncopated leaps from 7E' Dm. $H@


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are gi#en, but this time without the entry of the trombones or timpani. The first statement of thecadence after the first syncopated leap is, howe#er, more richly scored, with full winds. Theextended cadence, now in + minor, follows, and the timpani mae a later entrance at the end wherethey had not played before, perhaps to compensate for not playing the triplets under the syncopatedleaps.T-"6S9T96 T +C"15:42 [m. 367]22#er tremolo#iolas, the horns, then #iolins, and finally clarinets, play the gentleand uiet ascending figures that had led into the restatement of Theme $ before. 0iolins then )oin inthe tremolo, trombones mae a subdued entrance, and the winds play ominous descending lines,all at a hushed le#el.15:59 [m. 375]22Trombone, contrabassoon, and low strings play the opening of the main theme in asimilar manner to the darer #ersion heard in the introduction. There begins a long timpani roll.The winds play soft echoes, and the #iolins play ascending arpeggios in tremolothat arereminiscent of the 1closing3 material. "fter two statements of this material, it is wrenched upward ahalf2step for a third statement. Then e#erything is abbre#iated, the arpeggios, the Theme $fragments, and the wind responses. There is a huge buildup in #olume as well as speed (mared1stringendo1!. The figures become faster, shorter, and syncopated, finally culminating in se#enrapidly hammered chords, the timpani breaing the roll to )oin.+C"16:24 [m. 391]22The tempo changes to 1*iL "llegro3 and the meter is changed to cut time DIAI to

reflect this acceleration. The music turns strongly bac to the ma)or ey. There, the strings,supported by timpani, begin churning on three notes deri#ed from the main theme4s 1turning3 figure.

"gainst this, the winds and brass play two powerful and )arring 1diminished se#enth3 chords thatresol#e to more pleasing harmonies. The 1churning3 music gi#es rise to more melodic figures thatare passed between winds and #iolins, the lower strings and timpani maintaining a steady beat.Finally, as the tension and buildup ha#e reached their maximum le#el, the winds begin to 1churn3 onthe 1turning3 figure, punctuated by timpani beats and hammering string falls.16:42 [m. 407]22The tension is released in the symphony4s highly dramatic 1moment of triumph.3 "llbrass and strings )oyously proclaim the 1chorale3 theme that was only heard before in the secondpart of the introduction, at J7E$ Dm. JH.17:04 [m. 417]22The music regains its momentum by isolating an upward turning figure from the1chorale3 and )oyously pressing forward in a broad triplet rhythm. The strings begin this, the windsadding syncopated chords, and then the winds tae the turning figure themsel#es along with both

low and high strings. This music is reminiscent of a moment from the end of Beetho#en4s 6inthSymphony where the chorus sings the words 1was die :ode streng geteilt3 in unison.17:13 [m. 427]22The strings now play faster triplet figures that are reminiscent of the ascendingtriplets from the end of the 1closing material3 in the exposition and recapitulation. Winds and lowstrings continue the harmonies and slower triplets. 8#erything is then arrested in a strange unisonstatement of an downward arching figure that is supported by timpani rolls. This is gi#en twice. 9t isreminiscent of both the 1alphorn3 melody "6C a line from the main theme of the first mo#ement. 9tseems to begin a third time, with an entry of the trombones, but it follows a more pleasingdownward path, leading to three short, strong chords on the expectant 1dominant3 harmony.17:34 [m. 447]22The 1churning3 deri#ed from the main theme begins the closing passage. 9t issupported by loud brass and wind chords. 9t wors its way upward. " timpani roll is heard o#er apowerful ascending arpeggio from the bass instruments. This leads to three short and strong +2ma)or chords from the whole orchestra, followed by the final long, extended chord, under which is

another timpani roll.17:53!"# $% &$'!&!"( [457 mm.]!"# $% -&/$"

sinfonía 1 de brahms analisis

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