Chapter 39 Absolutely Classic: Brahms and the Nineteenth Century Symphony
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This document provides an overview of Johannes Brahms and his contributions to the nineteenth-century symphony. Brahms sought to synthesize classical forms with Romantic tendencies in his compositions. He composed four symphonies and many other orchestral, chamber, and solo works that expanded on classical structures but incorporated colorful harmonies and expressive themes. Brahms aimed to avoid the radical changes pursued by Wagner and Liszt, preferring recognizable tonality and form over extramusical associations or extreme emotionalism. The document discusses Brahms' life and influences as well as characteristics of his influential symphonies and other compositions.
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Chapter 39 Absolutely Classic: Brahms and the Nineteenth Century Symphony
- 1. THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis THIRD EDITION Lecture Slides
- 2. Chapter 39 Absolutely Classic: Brahms and the Nineteenth-Century Symphony
- 3. Two Movements in Mainstream Concert Music • Radical: led by Wagner – Form of music subservient to emotional expression – Wandering tonality – Loose, vague forms – Reliance on extra- musical associations – Music dramas, operas • Traditional: led by Brahms – Forms and tonality still important; should be recognizable – Minimal extramusical associations – Minimal emotionalism – Chamber music, solo concertos, symphonies
- 4. The Romantic Symphony • Increased orchestral size • Lyrical themes, colorful harmonies, expanded proportions • Overall structure as in eighteenth century • Movement order varies Brahms: Symphony No. 1
- 5. Johannes Brahms (1833-1897) • Born in Hamburg, Germany, Son of shiftless double-bass player • A pianist who toured with the violinist, Remenyi, at age 20 • Went to Düsseldorf to study with Robert Schumann (and met his wife, Clara, with whom he maintained a close relationship). • Moved to Vienna--never committed to a single job. • Destroyed compositions he felt were inferior along with many personal documents.
- 6. Johannes Brahms (1833 - 1897) • Lived his life as a veritable recluse--a very private individual. • Robert Schumann, praised him as the “savior of music.” • One of the “three B’s” of German music--Bach, Beethoven, and Brahms • Interested in the music of the past • His music synthesized ideas from past and from the current time.
- 7. Johannes Brahms(1833-1897) • “A Classicist adrift in the torrents of Romanticism” • No opera or tone poem • 4 symphonies, solo piano & chamber music, Leider • Romantic tendencies
- 8. Brahms’ Music: Characteristics • Imitated Beethoven’s symphonies, but not innovative like Beethoven. • Audiences called his 1st symphony, “Beethoven’s 10th.” • Avoided extreme changes in musical expression (like those of Liszt and Wagner). • Used and expanded classical forms. • Used recognizable tonality with some chromaticism.
- 9. Johannes Brahms Other Compositions • Symphony no.1 in C Minor • Symphony no. 2 in D Major • Symphony no. 3 in F Major • Piano Concerto no. 1 in D Minor • Piano Concerto no. 2 in B-flat Major • Violin Concerto in D major • Academic Festival Overture • Clarinet Quintet in B Minor
- 10. Ein Deutches Requiem • Composed early in career, 1868, after Schumann’s death • Does not involve traditional Latin text • Personal statement of faith based on German verses, Old & New Testament • 7 movements; bass, soprano soloists; chorus; orchestra • 4th movement: How Lovely is Thy Dwelling Place; chorus & orchestra
- 11. Ein Deutches Requiem • https://www.youtube.com/watch?v=Iw6KTCFH31
- 12. Brahms with friend, Johann Strauss, Jr.
- 13. Brahms: Symphony No. 3 in F Major, Third Movement (Listening Guide) • Written at age fifty • Classical in form, Romantic in tone • Cyclical structure
- 14. Symphony No. 3, Movement III • https://www.youtube.com/watch?v=xt_DEczhSjY
- 15. Santana, “Love of My Life” • https://www.youtube.com/watch?v=BA266naCH_
- 17. by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides THIRD EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2
Editor's Notes
- ■ Composers continued writing instrumental music without a program (absolute music) throughout the nineteenth century, which included symphonies, concertos, and chamber music. ■ Romantic symphonies were characterized by lyrical themes, colorful harmonies, expanded proportions, and larger orchestras featuring new instruments. ■ Johannes Brahms continued the Classical traditions of the Viennese masters in his four symphonies. His Third Symphony is Classical in structure but Romantic in tone.
- The symphony became the highest form of absolute music beginning in the Classical era. It continued to develop in the Romantic era, moving from the palace to the public concert hall. Although the form of the symphony continued to follow the Classical multimovement cycle, the orchestra was greatly increased in size and instrumentation, and the symphonies themselves were more lengthy with lyrical themes and new, more colorful harmonies In the Romantic era, the usual number and tempo of the movements was not always followed. Sometimes a symphony might have five movements or end with a slow movement, such as works by Beethoven and Tchaikovsky. Musical example: Brahms: Symphony No. 1. [link to excerpt]
- Brahms wrote his Third Symphony in 1883 when he was fifty years old. It is the shortest of his four symphonies, Romantic in tone, though Classical in structure. It follows the structure of eighteenth-century form, but it is cyclical—that is, themes or sections tend to return in part, as a whole, or in variation in subsequent movements. Listen for a lyrical melancholic melody with waltzlike feeling and arched regular phrases. The meter is triple at a moderate tempo. The rhythm patterns are complex with three against two patterns and syncopation. The key alternates from minor to major and back to minor, with a chromatic middle section. The movement is in a three-part structure (A-B-A’) with arched dynamics and subtle rubato. Woodwinds are featured in the middle section, and French horns bring the return of the A section.
- Listening Guide 27—Brahms: Symphony No. 3 in F Major, III