Johannes BRAHMS (1833 – 1897)

Symphony No. 1 in C minor, op.68

This symphony’s composition extends over more than twenty years of work. He began composing it in 1854, shortly after his meeting with Robert Schumann, and only returned to the task of completing it between 1874 and 1876. During this period, Brahms resumed important concert tours, sometimes as a pianist, sometimes as a conductor.

Finally, Brahms performed his First Symphony on 4 November 1876, conducted by Felix Otto Dessoff in Karlsruhe (Germany).

This work was one that Brahms had been labouring over for many years, and he was not prepared to be rushed. At the same age of 43, Beethoven had composed eight symphonies; but Brahms would not agree to compete with the greatest of all symphonists until he was sure about his proficiency in this genre. “Composing a symphony is no joke,” he told friends who insisted that he create such a work. And also: “You have no idea what one experiences when one feels behind the echoing footsteps of a giant like Beethoven.”

The symphony is structured according to the classical four-movement format. The first, Un poco sostenuto – Allegro, features sonata style and begins with an introduction to the first tempo, which Brahms did not add until he had already composed the essential part of this movement. We have the impression that the work begins at a climactic passage in the midsection of a movement. The tragic theme is constantly percussed by the timpani, which gradually subsides. Still, the character does not disappear as in a symphonic introduction by Haydn or Beethoven, but this music will return to end the movement (in the coda). Though contrasted by its agitated and stormy character, the Allegro still bears a rather similar character to the introduction. The whole composition is striking because of its angst, restrained but constant intensity, the brevity of its sections and intervals, and the abundance of orchestral accents. A second oboe theme, harmonised in chorale, provides contrast, but then all of a sudden, we find a third agitated and nervous central theme in the strings. In the unfolding of the musical phrases, they become longer and ever more flexible. The re-exposition moves towards a rhythmic verticality, alternating wind and string. The coda (mentioned above) Meno allegro seems to recall the introduction, but the movement ends in major key, with a long crescendo chord and final pizzicato. The second movement, Andante sostenuto, is slow and reflective. Brahms’s most beautiful pages of romanticism, very refined and with instrumentation that brings warmth. Oboe, clarinet, horn and solo violin are the leading instruments in front of the orchestra. The movement finishes radiantly and gently. The third movement, Un poco allegretto e grazioso, is a score full of poetry and more animated than the previous movement, with a pastoral atmosphere but devoid of any rustic aspect. Here we find a quiet, candid, almost religious joy. The last movement, Adagio – Piú andante – Allegro non troppo, ma con brio – Piú allegro, is the longest, richest and most complex. So far, the trombones have rested quietly in the orchestra. Brahms, like Beethoven with his Fifth Symphony, reserves his power for the finale. The opening Adagio, sombre in the symphony’s major-minor key, is a slow progression of chords already containing the future core tune. With Piú andante, we move to the major mode, where we find the solemn horn melody, then the flute and a brass ensemble. The Allegro non-troppo is very famous for Brahms’ use of a cello melody, very similar to Beethoven’s Ode to Joy. The last tempo, Piú allegro, provides a brilliant conclusion to this magnificent symphony.