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completion of the work, each of the symphony’s four movements went through multiple revisions. Vblumes of numerous drafts and Sketches were continually discarded and de- stroyed as the composer’s self-criticism induced him to spare no effort that seemed to promise even the slightest improvement. Simultaneously, Brahms attempted severai other Symphonie works, but none of them pleased him enough, and thus were abandoned before their comple tion. Finally in 1876, Brahms met his Standards and set to paper the last notes of the score of his First Symphony. Still beset by his lack of confidence in his work, rather than choosing one of the Euro- pean musical capitals to present his work to the world, Brahms opted for the small city of Karlsruhe, where the premiere took place on November 4,1876, conducted by Otto Dessoff. The First Symphony tumed out to be a magisterial work, and having overcome his fears regarding his abilities to compose in the grandest form of instrumental music, Brahms feit confident enough to write three more masterly symphonies. Brahms’ Symphony No. 1 begins with a somber and tense, yet imposing introduction, marked Un poco sostenuto. After the initial tonic octave Cs in all Instruments of the Orches tra, rises the primary motif of the entire first movement: a majestic, chromatically ascend- ing sweep of strings against an organ-like descending counterfigure for the woodwinds, as the basses, contra- bassoon and timpani reiterate a persistent C. The following Allegro marks the actual exposition of this vast sonata form. The main theme consists of two ele- ments: the chromatic motif from the introduction and a wide melodic phrase presented by the violins. A number of other lines and phrases provide the rest of the thematic material. The development section introduces dramatic and tempestuous passages that alternate with brief moments of peacefulness, marked by contrapuntal complexities. The recapitulation displays some variety in its Instrumentation and with a change to C major, the movement ends in a more hopeful mood. The second movement, Andante sostenuto, is steeped in profound lyricism. It begins with a tender melody for the first violins, continued by a solo oboe. Also introduced by the first violins, the second theme is marked by wide skips and florid figurations. The central section is introduced by the solo oboe, whose theme is taken by a solo clarinet. When the themes of the first part return their beauty is enhanced by the participation of a solo violin, doubled at times by a solo hom. The solo violin soars above the peaceful chords of the orchestra at its close. Instead of the traditional Scherzo, the third movement is an Allegretto of simple sweet- ness and grace, intended to continue the contrasting lyricism from the previous movement. The clarinet introduces the main theme, with a subsidiary descending motif in parallel chords and dotted rhythm heard in the flutes, clarinets and bassoons. A brief contrasting middle section takes the place of the trio; here the woodwinds and homs are prominent. A substantially modified and omamented version of the first section then retums, with a short coda based on the rhythmic figure of the middle section. The monumental Finale begins with a slow (Adagio) introduction that recalls the in- tensity and the somber mood of the initial pages of the first movement, a mood that had been dispelled by the inner movements. It all begins with a descending figure in the bass against which a short phrase in the violins anticipates the main theme of the Allegro that ensues. After some agitated passage work and the roll of the timpani, the mood brightens slightly with an “alphorn call” motif in the horn; the flute soon takes this motif. After the brief Interruption from a quiet and solemn chorale for bassoons and trombones, two homs resume the “alphorn call,” bringing us to the main body of the movement. Marked Allegro non troppo, ma con brig, the strings intone the majestic and hymn- like main theme, which is in turn taken over by flutes and oboes. In an animato section, this theme is then elabo- rated upon, along with a number of subsidiary motifs and melodic phrases. Following a short dolce melody for the oboe and a short, but agitated transitional passage, the secondary theme (a pattem of dotted quarters and eighth notes played as a sequence) is heard in the violins. After the oboe takes it up, this theme receives some elaboration before the trium- phant return of the main theme in the violins. After another extended development section, the horn and oboe intone the “alphorn call” again, followed by a short recapitulation of the themes. Featuring the chorale, which is now heard fortissimo in all the brass and String Instruments, a splendid coda brings Brahms’ First Symphony to its triumphant conclusion. © 2000 Columbia Artists Management Inc.
