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but which he nevertheless acknowledged—"any ass can see that". The theme is introduced in the violins and violas in alto register accompanied softly by horns and underpinned by pizzicato bass. After a few bars, the strings undulate through the second phrase with support from the bassoons. The woodwinds then pick up the song, with the strings in pizzicato accompaniment with gently trilling timpani. Finally, the full orchestra is unleashed in an energetic rendition which quickly fragments into transitional struggle. A passage led by arpeggio strings accompanied by bassoon and contrabassoon follows, including a brief variation of the
Alphorn tune leading directly to the second theme.
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974:' theme. This is followed by a passage of pizzicato string notes, plucked in two-note groups passed between the high- and low-pitched instrument sections, which rises in tempo and volume until the prior tragic theme re-emerges in a short reprise. This is followed by a second passage of pizzicato strings, which is resolved in a sudden shift to a rising set of modulations in the woodwinds followed by a set of rapid arpeggios in the strings leading to the grand entrance of the Alphorn theme in C major.
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striding tune". This finally leads back to a rendition of the
Alphorn theme, which begins tragically in the strings, but is recovered by a soothing harmonic motion initiated in the winds and followed by a major key restatement in the horns, this time without the shimmering strings of the introduction. The music begins to lose momentum as the strings play a descending procession that sounds as if it may lead to closing material for the section.
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1058:. Such a comparison rather annoyed Brahms; he felt that this amounted to accusations of plagiarism, whereas he saw his use of Beethoven's idiom in this symphony as an act of conscious homage. Brahms himself said, when comment was made on the similarity with Beethoven, "any ass can see that". Nevertheless, this work is still sometimes (though rarely) referred to as "Beethoven's Tenth".
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of phrases in the melody. These are parried between the winds, led by flutes, and (softly) by the horns and bassoons with pizzicato strings providing additional momentum. An energetic restatement of the theme by the orchestra follows, but this quickly digresses into a section marked by string arpeggios and the arrival of a new thematic element for further development.
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performance of the
Alphorn tune, it is given to the flutes to recite. This leads to a mellow chorale in the brass, to be concluded with the transition to the exposition. The first three notes of the Alphorn theme create are presented in a swelling crescendo which resolves in a drawn out conclusion over pounding timpani followed by a quiet chord dying in the brass.
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was moved in 1877 to call the symphony "Beethoven's Tenth", due to perceived similarities between the work and various compositions of
Beethoven. It is often remarked that there is a strong resemblance between the main theme of the finale of Brahms's First Symphony and the main theme of the finale of
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This return of the main theme is 'richly scored', with full strings carrying the tune supported by 'punctuating chords' in the winds and gently rolling timpani. The oboe leads a transition to E-flat and a development-heavy section marked by key instability and fragmented restatements and elaborations
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used to open the movement, is carried out in the wind section, led by oboe and clarinet with support from the bassoon and eventually the French horns. Strong intervention from the violas ends this peaceful passage with a descending minor key sequence which opens to a new closing theme leading up to a
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The turning motif returns in a thrilling rendition led by the horns, followed by a nearly unrecognizable recapitulation of the first theme, with powerful syncopated descending figures which are traded between the strings and the wind instruments, over a bassline that is based on the "famous, grandly
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The second theme arrives as a falling four note figure related to the opening sequence and related to the
Alphorn tune. The theme is introduced softly in the low strings, and elaborated upon by the violins. The second statement of the theme is joined first by the bassoons, followed by the flutes and
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After a short transitional passage, the oboe introduces a rising, song-like theme which is initially accompanied only by the violas and the other winds. As the theme moves through a sweeping crescendo, the rest of the strings provide lush harmonic support. As before, this theme is ushered out with a
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The second and third movements are lighter in tone and tension than the first and last movements. The slow movement, Andante sostenuto, exhibits gentle lyricism through three sections, the third of which is a new treatment of the themes from the first. The long violin solo is reminiscent of some of
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The main theme commences immediately in C major, a "famous, grandly striding tune" which was likened by many to
Beethoven's Ninth Symphony "Freude" theme; mainly because it was the "solitary one among hundreds...great enough to suggest the resemblance". This was an assertion which irritated Brahms,
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In a quasi-recapitulation, the winds enter brightly on a theme which is closely related to the movement's opening. After a series of passages which parallel—but do not echo—the opening A section, the principal violin enters with a rendition of the first oboe theme, this time with soft accompaniment
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Part II. The oboe again emerges with a long, gentle solo in C-sharp minor. It is again initially paired with delicate support from the strings. This time, however, the clarinet picks up the main theme as the mood brightens briefly. After a short while, supporting action from the woodwinds is joined
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The symphony begins with a broad introduction wherein three key elements are heard simultaneously: the low drumming, the rising figure in the strings, and the falling figure in the winds. This introduction was constructed after the remainder of the piece had been scored. The
Allegro section of the
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A rising, flowing theme is introduced by the strings, initially doubled by bassoon. The initial phrase is finished by a darker, falling dotted rhythm passage underpinned by low horns. A swelling second phrase follows, featuring syncopated interplay of the higher strings set against the low strings
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pattern accompanying the winds. Movement from the major mode to F minor also marks these sections as apart from preceding material. This obvious contrast in character and mood can lend one to think of the C and D sections as a sort of trio within the first
Allegretto section in the larger ternary
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Instead, the second theme immediately follows in a full recapitulation in C major, which is restated with little change from its original appearance in the exposition. However, after the theme's restatement is complete, a subtle change in the final passage avoids the key modulation taken in the
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and the earlier iterations of A is the lingering effect of the trio upon the movement. The monotone call from the opening of the trio melody appears over the clarinet melody in the flute, oboe, and bassoon. The rhythmic effect of triplets also invades the pure eighth-note world of the A theme,
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Part II (Più andante – C major). The horns, including the first entry of the trombones, introduce the
Alphorn theme with a "noble and grand presentation" over a "shimmering cloudscape" of strings, in "one of the classic orchestral moments of the nineteenth century". As the horns conclude the
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A somewhat nebulous start to the recapitulation is followed by a foreshortened restatement of the first theme, allowing the music to proceed in the tonic, rather than taking up the tonal progressions originally followed in the exposition. The coda begins with pizzicato strings which quickly
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Part I. A "lilting, leaping dotted rhythm" is introduced by the strings. As the theme rises, the violins and violas develop it further, before it turns downwards to be joined with the low strings. Eventually, the mood darkens into C-sharp minor leading to the section's second part.
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occupies a significantly larger space of the reprise than it does in the previous
Allegretto. It leads through an extended transition to the last, quiet statement of A in unison by the strings. Strings of dotted eighth notes end the movement proper with ideas from the B theme.
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535:, each seeming to lead further away from the tonic, eventually leads the path back to the recapitulation. Starting with a murky rumble in the basses, the music gathers strength with a thrilling set of arpeggios in the violins with support from the brass, which repeat the "
158:. Brahms spent at least fourteen years completing this work, whose sketches date from 1854. Brahms himself declared that the symphony, from sketches to finishing touches, took 21 years, from 1855 to 1876. The premiere of this symphony, conducted by the composer's friend
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As with the first movement, Brahms begins the final movement with a formal introduction in C minor. The finale, noted for its "vast scope" resolves all the tensions that the first movement had raised but was (magnificently) unable to dissipate. Except for the cut-time
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The exposition begins abruptly, echoing the introduction's plucked final note with an orchestral exclamation, followed by a short motto which leads to the main theme, which is initially played, stridently, by the violins. The overall mood is "savagely energetic" and
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sketching the Alphorn tune which would emerge in the symphony's Finale, along with the famous message "Thus blew the shepherd's horn today!" Despite the evidence of the work's development, the symphony would not premiere for eight more years, in 1876.
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Unique among Brahms symphonies, the First Symphony is ushered in via a formal introduction (an 1862 score of the symphony originally started with the second, Allegro, section). After a processional "poco sostenuto" opening section featuring chaotic
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major and begins with a calm, stepwise melody in the clarinet. The four-bar figure is extended to an irregular five bars through a small bridge between the phrases by the strings. The clarinet rounds off the A theme in the Allegretto with an
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section, the horns and timpani introduce a tune that Brahms heard from an Alpine shepherd with the words, "High on the hill, deep in the dale, I send you a thousand greetings!" This movement contains melodies reminiscent of Beethoven's
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and the movement ends with the gentle throbbing of triplets quoted from the trio section. The final few bars end somewhat abruptly with the downward arpeggio of the strings in the trio finishing on the downbeat of a new bar.
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by string accompaniment, but the woodwinds eventually drop out, leaving the strings to move to darker harmonic territory. Finally, the music moves into a softer, mysterious transitional session, leading to the final section.
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871:. These two motives make up the bulk of the trio material. Restatement and development of those themes ensue until the brass and winds join for a final repeat of the melody. The second ending brings the orchestra back into
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oboes. After an energetic transitional passage in the strings, the oboe continues with an inverted variation of the theme in G major but eventually modulates to E minor, leading to the conclusion of the exposition.
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exposition section, which allows the recapitulation to end in C minor. A lengthy coda follows without pause, which returns to C major, restates the chorale from the introduction, and ends with a triumphant pair of
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Part I (Adagio – C minor). The extended introduction begins with a murky and ominous descending four-note sequence in the strings, which is followed by a tragically-rendered "anticipation" of the movement's joyous
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time. As the responsibility for the main theme shifts from the violins to the woodwinds, the strings and timpani begin to sound out a da-da-da-DUM rhythm which is strongly reminiscent of the "fate" rhythm of
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With the finale we come again to Beethoven...partly because Brahms's big allegro melody suggests...Beethoven's 'Ode to Joy". When the likeness was pointed out, Brahms simply said, 'Any ass can see that.'
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inheritance" and produce a symphony of commensurate dignity and intellectual scope – an expectation that Brahms felt he could not fulfill easily in view of the monumental reputation of Beethoven.
200:, Brahms's friend and publisher, did not receive the score until after the work had been performed in three cities – and Brahms still wished trial performances in at least three more.
837:. This key movement balances with the C and D sections in F minor, also a minor third away from the home key but in the opposite direction. The time signature changes from a stately
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Although Brahms commonly specified "natural" (valveless) horn tunings in his compositions (e.g., Horn in F), performances are typically delivered on modern valved French horns.
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It was probably 1868 when Brahms finally realized what would become the final structure of his First Symphony. In September of that year, he sent a card to his lifelong friend
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of the theme we expect in the second phrase of A, the strings take over and offer an entirely different melody, but with essentially the same contour as the inversion. B
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The C and D themes differ from the first two in that they are shorter and more angular rhythmically. The A and B themes feature an almost constant eighth-note
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of G and supported by rolling timpani, is finally followed by further melodic introductions played by oboe, flute and cellos before resolving in a drawn-out
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strings play with thematic phrases to be fully explored in the following exposition. A short and stormy return to the original development, this time in the
1101:. The last section—Allegro non troppo, ma con brio—contains a grand melody in a major key, as the novel, Beethoven-like main subject of the grand finale.
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closes off the first major section with the clarinet stating the first theme, much as it did in the beginning, finishing with a transition to the trio.
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The first movement is in sonata form with an extended introduction, featuring a drawn-out and highly elaborated variation of the movement's theme.
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The brief development section begins with a full restatement of the movement's main theme; the last time it will be heard in its entirety.
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Solo horn quotes the beginning of the movement's second "oboe" theme, which is subsequently elaborated by the principal violin in solo.
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final bombastic passage wrapping up the exposition. The score then calls for a full repeat, which requires an abrupt return to C minor.
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2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, Contrabassoon, 4 Horns, 2 Trumpets, 3 Trombones (fourth movement only), Timpani and Strings
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pattern in the flute, clarinet, and bassoon with the strings echoing the rhythm in rising and falling figures. After eight measures, A
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Brahms began composing a D minor symphony in 1854, but this work underwent radical change before much of it was finally recast as his
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867:. The flute, oboe, and bassoon introduce a joyful melody in stepwise motion as in the A theme. The strings add a downward three-note
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The action in the development section begins with a full step descent into B major, and instability ensues as interplay between the "
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The manuscript to the first movement apparently did not survive, yet the remainder has been reproduced in miniature facsimile by
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The fourth movement begins with a slow introduction, where a new melody competes with "gloomy dramatic rhetoric". In the
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form displayed by the movement as a whole. The symmetry within one section reflects the symmetry of the whole.
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Brahms - Symphony No. 1 – A Beginner's Guide – Overview, analysis and the best recordings – The Classic Review
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major which in turn introduces the flowing and heart-easing second theme. This theme, which is related to the
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Cambridge: Cambridge University Press (1997). "Brahms’ First Symphony has been hailed as Beethoven’s Tenth."
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Samarotto, Frank (2008). "Fluidities of Phrase and Form in the 'Intermezzo' of Brahms's First Symphony."
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Pascall, Robert (October 1981). "Brahms's First Symphony Slow Movement: The Initial Performing Version."
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Musgrave, Michael (July 1983). "Brahms's First Symphony: Thematic Coherence and Its Secret Origin."
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somewhat darker, falling passage, which is resolved with a closing statement led by the strings.
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Grove, George (June 1, 1905). The First Symphony of Brahms. (In C Minor, Op. 68.) (Concluded)."
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1089:-like movement, has an easy spirit yet is full of complex rhythms and interwoven textures.
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The Trio offers a change of key, as well as a change of time. The key moves to B major, an
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Symphonies and other orchestral works : selections from essays in musical analysis
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Like the second movement, the third movement is in ternary form. It is composed of the
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1054:. Also, Brahms uses the rhythm of the "Eroica" motto from the opening of Beethoven's
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207:. The autograph manuscript of the second, third, and fourth movements is held by the
1420:"Program Notes of the Chicago Symphony Orchestra: Symphony No. 1 in C Minor, Op. 68"
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408:— Più andante — Allegro non troppo, ma con brio – Più allegro (C minor – C major)
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1237:, Yale Music Masterworks, New Haven and London: Yale University Press, p.
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and phrases from the original theme are played off each other. A series of
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IV. Adagio — Più andante — Allegro non troppo, ma con brio — Più allegro
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in the strings, whereas C and D are more complex with an interlocking
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The value and importance of Brahms's achievements were recognized by
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680:. A notable aspect of this movement is Brahms's careful attention to
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1401:(May 1, 1905). "The First Symphony of Brahms (In C Minor, Op. 68.)"
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time, it possesses a "profound, but essentially lyrical" character.
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trio section, followed by a reprise of the Allegretto material and
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1306:(Revised ed.). New York, London: W. W. Norton. p. 298.
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bridge section that extends the phrase structure to seven bars. B
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appears with the violins iterating the first theme and a longer,
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transitional passage ending with a plucked G note in the cellos.
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Brahms, Johannes. With an introduction by Margit L. McCorkle.
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Symphony no. 1 in C minor, op. 68 : the autograph score.
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rhythms underpinned by pulsating timpani, the woodwinds and
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The B theme enters in measure 11 and features a descending
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An extended transition leads to the arrival of the key of E
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IV. Adagio — Più andante — Allegro non troppo, ma con brio
170:. A typical performance lasts between 45 and 50 minutes.
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1041:'s most powerful critic, the staunchly conservative
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1387:in association with Dover Publications, c. 1986.
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1209:Listening Guides to the Works of Johannes Brahms
946:) Più allegro coda, the movement is in common (
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1458:, vol. 122, no. 1664, pp. 664–665, 667.
1171:(1st ed.). Schirmer. pp. 246–251.
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383:– Meno allegro (C minor, ending in C major)
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2092:International Johannes Brahms Competition
1898:Variations and Fugue on a Theme by Handel
1490:International Music Score Library Project
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1276:. Mineola, New York: Dover. p. 197.
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1990:"Wiegenlied (Lullaby)", Op. 49, no. 4
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1407:, vol. 46, no. 747, pp. 318–320.
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1002:Development, recapitulation, and coda
1977:Two Songs for Voice, Viola and Piano
1514:, Indiana University School of Music
1512:William and Gayle Cook Music Library
1892:Three Intermezzi for piano, Op. 117
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1205:"Symphony No. 1 in C Minor, Op. 68"
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958:Introduction (Adagio — Più andante)
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1449:, vol. 2, no. 2, pp. 117–133.
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1138:Liner notes for the 1998 recording
639:III. Un poco allegretto e grazioso
306:Problems playing these files? See
269:III. Un poco allegretto e grazioso
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162:, occurred on 4 November 1876, in
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1905:Variations on a Theme of Paganini
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1331:Symphony No. 1 in C minor, Op. 68
852:to a more pastoral and dancelike
747:The Allegretto is in the key of A
743:A theme as stated by the clarinet
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1414:, vol. 46, no. 748, pp. 397–399.
1303:The Lives of the Great Composers
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924:The entry to the coda is marked
694:The form could be described as:
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1067:movement is a large orchestral
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765:B theme as stated by the flutes
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315:The symphony is scored for two
1852:Four Pieces for Piano, Op. 119
1607:Variations on a Theme by Haydn
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758:of the first five bars heard.
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414:I. Un poco sostenuto — Allegro
233:I. Un poco sostenuto — Allegro
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2181:Symphonies by Johannes Brahms
1882:Six Pieces for Piano, Op. 118
1142:Pittsburgh Symphony Orchestra
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1465:, vol. 22, pp. 117–143.
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898:A major difference between A
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2067:Brahms Museum, Mürzzuschlag
1811:Two String Quartets, Op. 51
1480:Morgan Library & Museum
1233:Brahms: The Four Symphonies
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209:Morgan Library & Museum
16:Symphony by Johannes Brahms
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2057:Brahms House (Baden-Baden)
1572:Academic Festival Overture
1427:Chicago Symphony Orchestra
1111:Symphony No. 3 (Beethoven)
926:poco a poco più tranquillo
499:Beethoven's Fifth Symphony
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1597:Symphony No. 4 in E minor
1592:Symphony No. 3 in F major
1587:Symphony No. 2 in D major
1582:Symphony No. 1 in C minor
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1418:Huscher, Phillip (2021).
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144:Symphony No. 1 in C minor
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109:4 November 1876
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1363:for David Lee Brodbeck,
1229:Frisch, Walter (2003) ,
1136:Burkat, Leonard (1998).
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1013:A distinctive 'turning'
894:Return of the Allegretto
366:The symphony is in four
347:(fourth movement only),
2191:Compositions in C minor
2062:Brahms Museum (Hamburg)
1928:Fest- und Gedenksprüche
1922:Eleven Chorale Preludes
1887:Sixteen Waltzes, Op. 39
1506:, with introduction by
1385:Pierpont Morgan Library
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549:Recapitulation and coda
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1365:Brahms: Symphony No. 1
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1270:Tovey, Donald Francis
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570:(A–B–A'). Written in
562:II. Andante sostenuto
370:, marked as follows:
251:II. Andante sostenuto
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1958:Liebeslieder Waltzes
1796:String Quintet No. 2
1791:String Quintet No. 1
1786:String Quartet No. 3
1633:Piano Concerto No. 2
1628:Piano Concerto No. 1
1558:List of compositions
1482:'s music manuscripts
1298:Schonberg, Harold C.
1203:Hansen, Kelly Dean.
180:first Piano Concerto
168:Grand Duchy of Baden
1984:Vier ernste Gesänge
1826:Violin Sonata No. 3
1821:Violin Sonata No. 2
1816:Violin Sonata No. 1
1806:String Sextet No. 2
1801:String Sextet No. 1
1761:Piano Quartet No. 3
1756:Piano Quartet No. 2
1751:Piano Quartet No. 1
389:sostenuto (E major)
22:Symphony in C minor
2097:Musical cryptogram
2087:German Romanticism
1972:Two Motets, Op. 74
1915:Other compositions
1877:Rhapsodies, Op. 79
1872:Piano Sonata No. 3
1867:Piano Sonata No. 2
1862:Piano Sonata No. 1
1847:Fantasies, Op. 116
1726:Cello Sonata No. 2
1721:Cello Sonata No. 1
1359:2009-03-18 at the
1341:2008-01-25 at the
1335:The Kennedy Center
1165:MacDonald, Malcolm
822:
767:
745:
227:
211:in New York City.
205:Dover Publications
160:Felix Otto Dessoff
135:Felix Otto Dessoff
2186:1876 compositions
2146:
2145:
1966:Neue Liebeslieder
1676:Gesang der Parzen
1504:Universal Edition
1476:Manuscript images
1455:The Musical Times
1412:The Musical Times
1404:The Musical Times
1283:978-0-486-78452-6
1077:the late quartets
907:. Instead of the
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2050:Related articles
2024:Named for Brahms
1951:Geistliches Lied
1857:Hungarian Dances
1842:Ballades, Op. 10
1781:Piano Trio No. 3
1776:Piano Trio No. 2
1771:Piano Trio No. 1
1736:Clarinet Sonatas
1731:Clarinet Quintet
1664:
1657:A German Requiem
1565:Orchestral works
1542:
1535:
1528:
1519:
1518:
1488:: Scores at the
1440:
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1433:
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1383:New York :
1368:
1354:Back cover blurb
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1062:Musical elements
1045:. The conductor
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2045:
2036:Brahms (crater)
2019:
2001:
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1709:
1648:
1642:
1638:Violin Concerto
1623:Double Concerto
1611:
1602:Tragic Overture
1560:
1551:
1549:Johannes Brahms
1546:
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1376:
1374:Further reading
1371:
1361:Wayback Machine
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1470:External links
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1446:Music Analysis
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1082:Missa Solemnis
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1052:Ninth Symphony
1047:Hans von Bülow
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2082:Brahms-Preis
2041:Brahms Inlet
2014:F-A-E Sonata
2012:
1994:
1982:
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1935:Fünf Gesänge
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1430:. Retrieved
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1212:. Retrieved
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1050:Beethoven's
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568:ternary form
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422:Introduction
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143:
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2031:1818 Brahms
1943:Fünf Lieder
1835:Piano works
1704:Triumphlied
1647:Vocal works
1616:Concertante
1094:Più andante
905:polyrhythms
831:away from A
829:minor third
775:eighth-note
556:decrescendo
533:modulations
519:Development
184:Beethoven's
154:written by
2175:Categories
1257:2003104448
982:Exposition
903:producing
826:enharmonic
820:Trio theme
735:Allegretto
718:– trio – A
659:Allegretto
622:A' Section
481:-like" in
465:Exposition
436:syncopated
394:allegretto
308:media help
113:1876-11-04
1945:, Op. 105
1937:, Op. 104
1746:Horn Trio
1577:Serenades
1478:from the
1432:March 21,
1033:Reception
954:) meter.
909:inversion
794:pizzicato
783:chromatic
756:inversion
609:B Section
596:A Section
440:pizzicato
377:sostenuto
368:movements
345:trombones
325:clarinets
164:Karlsruhe
150:68, is a
131:Conductor
125:Karlsruhe
85:Movements
2128:Category
2102:Three Bs
1979:, Op. 91
1960:, Op. 52
1463:Intégral
1357:Archived
1339:Archived
1300:(1981).
1272:(2015).
1167:(1990).
1105:See also
869:arpeggio
834:♭
750:♭
682:symmetry
542:♯
507:♭
444:dominant
399:♭
392:Un poco
375:Un poco
351:and the
343:, three
341:trumpets
329:bassoons
152:symphony
121:Location
101:Premiere
62:Composed
2110:(Berio)
1690:Rinaldo
1337:, 2006
1087:scherzo
972:Alphorn
479:scherzo
387:Andante
381:Allegro
349:timpani
335:, four
174:History
111: (
93:Scoring
75: (
67: (
2151:Portal
1391:
1310:
1280:
1255:
1245:
1214:25 May
1175:
1169:Brahms
1069:sonata
1039:Vienna
771:dotted
730:– coda
537:eroica
525:eroica
406:Adagio
402:major)
339:, two
327:, two
323:, two
319:, two
317:flutes
46:Brahms
2138:Audio
1683:Nänie
1500:Score
1423:(PDF)
1117:Notes
1015:motif
706:C D C
698:A B A
529:motif
512:motto
337:horns
321:oboes
73:–1876
27:No. 1
1434:2021
1389:ISBN
1308:ISBN
1278:ISBN
1253:OCLC
1243:ISBN
1216:2015
1173:ISBN
1079:and
920:Coda
812:Trio
678:coda
631:Coda
362:Form
142:The
106:Date
88:four
77:1876
69:1855
65:1855
53:Opus
148:Op.
32:by
2177::
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1502:,
1436:.
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1333:.
1329::
1251:,
1241:,
1239:56
1207:.
1187:^
1150:^
1124:^
1029:.
890:.
684:.
527:"
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379:—
355:.
331:,
146:,
57:68
2153::
1541:e
1534:t
1527:v
1395:.
1316:.
1286:.
1218:.
1181:.
970:'
938:(
913:2
900:3
888:3
879:4
860:8
845:4
806:2
804:A
787:1
779:1
773:-
728:4
726:A
724:2
722:B
720:3
716:2
714:A
712:1
710:D
708:1
704:1
702:B
700:1
669:8
651:4
578:4
489:8
477:"
454:8
310:.
115:)
79:)
71:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
