Symphony #4

BRAHMS 1833-1897

Symphony No. 4 in E minor was Brahms’ last work in this form. Together with his previous symphony, it completed a pairing similar to his first two symphonies. In each case the works were composed at nearly the same time, but exhibit contrasting moods. Additionally, the minor key of the last symphony symmetrically completes the cycle that began with the minor key of the first symphony. The somewhat somber tone of Symphony No. 4 ushered in the style which characterized many of Brahms’ mature later works.

Brahms himself conducted the first performance at Meiningen on October 25, 1885. It was preceded by a so-called “open rehearsal,” at which the young Richard Strauss was present. The symphony was enthusiastically received and shortly thereafter performed in Leipzig and Vienna. They continued performing on a three-week tour through Germany and Holland during which the symphony was featured and Brahms conducted. Despite its popularity, Brahms had severe doubts about Symphony No. 4. Several like-minded friends thought he should replace the last two movements, but Brahms resisted.

The work opens with violins presenting a direct statement of the principal theme. With the appearance of a second subject in a major tonality, the dark mood brightens. This movement is unique among Brahms’ symphonies in that there is no repeat of the exposition. Furthermore, the development is unconventionally similar to a set of variations. The second movement begins with a horn call, but quickly gives way to a quiet clarinet melody accompanied by pizzicato strings. A triplet passage leads to a second subject, a broad and serene melody in the cellos. After a succession of beautiful developmental passages, the movement quietly concludes with a reference to the opening horn call.

In the third movement, Brahms enlarged the orchestra with the addition of a piccolo; contra bassoon; third timpani; and, for the first and only time in his symphonic music, a triangle. This movement is as close to a scherzo as one can find in any of Brahms’ symphonies. This movement’s most unusual feature is its form know as passacaglia. The theme is an adaptation of a passage from Bach. It forged an unmistakable connection with traditions of the past that were so important to Brahms. The German critic, Hermann Kretzchmar, expressed the opinion that this last movement, “Is a great autumnal landscape, a composition based upon a theme which filled the soul of Brahms as formerly it filled the soul of Bach.”

— Jim Keays

Concert Performance

Orchestration

2 flutes (2nd doubles piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, strings