Brahms: Symphony No. 4 in E minor, Op. 98 (with Score)
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Johannes Brahms:
Symphony No. 4 in E minor, Op. 98 (with Score)
Composed: 1884-85
Conductor: Simon Rattle
Orchestra: Berlin Philharmonic Orchestra
00:00 1. Allegro non troppo (E minor)
13:23 2. Andante moderato (E major)
25:37 3. Allegro giocoso (C major)
32:04 4. Allegro energico e passionato (E minor)
That Brahms initially approached the symphonic form with trepidation is fairly evident from the chronology of his works. It wasn't until the age of 43 that he completed his First Symphony. Indeed, the composer's output to that point suggests a conscious process of self-education. A number of smaller-scale orchestral works, including the Variations on a Theme of Haydn and the proto-symphonic Piano Concerto No. 1, suggest preparation for what Brahms clearly saw as the elusive of compositional enterprises. He was to meet the challenge with a skill and individual spirit, one of Classicism refracted through the prism of high Romanticism, that led many to pronounce him heir to Beethoven.
Brahms' Fourth Symphony (1885), his last, provides with its serious tone, striking complexities, and inspired construction a fitting valedictory to his work in this genre. That its impact was immediate if initially puzzling is clear from the account by the biographer Max Kalbeck of its first run-through (at two pianos) for a small and distinguished audience:
"After the wonderful Allegro...I expected that one of those present would break out in a loud 'Bravo.' Into his blond beard [conductor Hans] Richter murmured something that from afar would be taken as an expression of approval.... The others remained persistently quiet.... Finally Brahms grumbled, "So, let's go on!" and gave a sign to continue; whereupon [eminent critic Eduard] Hanslick heaved a sigh and quickly exploded, as if he had to relieve his mind and yet feared speaking up too late: 'For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people....'"
Each of the movements bears the distinct stamp of the composer's personality. The first begins with a theme in E minor based upon the interval of a third, which also provides a structural and motivic foundation for the remainder of the work. There is a notable sense of unrest from beginning to end, and the tragic, even fatalistic atmosphere is further and stunningly underlined by the final, minor-key plagal (IV-I) cadence. The second movement, which opens with a brief, melancholy sort of fanfare, gives way to the quietly accompanied winds in perhaps one of the loveliest of any of the composer's themes, granted particular plangency through the use of the flat sixth and seventh scale degrees borrowed from the minor mode. This material is gradually developed into soaring, tutti lyricism that fades into ethereal quiet. The third movement, a lusty, stomping, duple dance, proved so popular in Brahms' lifetime that audiences constantly demanded that it be repeated. The last movement is perhaps most notable of all, cast as it is in the "archaic" Baroque form of a chaconne -- variations over a ground bass. The chaconne's subject is in fact a slight modification of that used by Bach in his Cantata No. 150; though deceptively simple -- essentially an ascending minor scale segment from the tonic note to the dominant, then a leap back to the tonic -- Brahms uses this skeleton as the basis for an increasingly elaborate and thematic harmonic framework. From its first presentation, which is not as a bass line, but as a theme in the winds, Brahms gradually weaves some 34 variations that steadily build in intensity, as though in defiance to the oppressive, insistent rotation of the ground. The final variations lead directly into an ending which reconfirms the weight of tragedy and pathos borne by the first movement.
Пікірлер: 178
1 часть тГП 1 элемент 00:06 тГП 2 элемент 00:22 вводный мотив в побочную 01:42 1 тПП 01:49 2 тПП 02:53 Начало разработки либо 04:06, либо 04:22 Кульминация 2 раздела 06:16 3 раздел 06:52 Начало репризы 07:40 Кода 11:58 2 часть Вступительные такты 13:23 тГП 13:45 тПП 17:16 3 часть тГП 25:37 тПП 26:24 Переход к репризе 28:47 Реприза 29:18 4 часть Тема 32:04 Вариации: 1 32:20 2 32:35 3 32:52 4 33:08 11 35:03 12 35:21 13 36:06 14 36:46 30 41:01 Кода 41:20
I listen to this with headphones and follow the scor and I am close to tears about this masterpiece.
@Franz_Liszt_Korean
3 ай бұрын
😭
@user-fo6og1ky7k
2 ай бұрын
17:13 - Хорал
One of the best symphonies.
Для викторины: 1 часть 0:08 ГП 1:43 СП 1:50 ПП 1 2:38 ПП 2 6:53 ГП в репризе 12:00 Кода 2-я часть 13:24 ГП 17:18 ПП 3-я часть 25:38 ГП 27:22 ПП 27:38 Разработка 4-я часть 32:05 и до конца
This piece is possibly the most well constructed work of art I have ever listened to. I swear, it's like Brahms doesn't even misplace a note. He uses every idea so much until it is rearranged and/or stripped completely clean of fat. How does he manage to make so much out of so little?
@pmlouisjuste
Жыл бұрын
it's superbly crafted and inspired but Bach did compose incredibly well constructed masterpieces as well, the Goldberg variations for example.
@L1102
Жыл бұрын
@@pmlouisjuste yes also kunst der fuge and mass in b minor are incredibly well crafted, almost godly
@L1102
Жыл бұрын
His craftmanship is inspired by Monteverdi, Heinrich Schütz and of course Bach, who he studied intensively in the time he composed the symphony. He was strongly moved and inspired by those old masters whose craftmanship and perfectly balanced contrapuntal works arguably has never ever been surpassed. His goal with this symphony was to incorporate the incredible counterpoint, motivical work and double-choir-idea of their music into an piece for orchestra.
@Whatismusic123
11 ай бұрын
So delusional. The piece is not structured at all, there is no form. The counterpoint is terrible. The development of themes is nonexistent, all he does is repeat them with slight variation. Why do you believe so much? It's very clear you know nothing about what you speak of.
@fazivles
11 ай бұрын
@@Whatismusic123 Ah, it seems that poor old Brahms is still hearing criticisms he received even during his time! A lot of what I'm talking about is mainly related to his use of developing variations, which is widely considered as something being created by Brahms. This symphony is absolutely full of it! I will admit myself that developing variations is still something I don't fully comprehend, especially when the developing takes place on the microscopic, eighth note by eighth note level like how Brahms can sometimes do! Its so interesting to see how his different themes transform and take new contexts throughout the symphony, but especially in the first movement! In fact Leonard Bernstein did a commentary on the construction (and genius) of the first movement, and perhaps listening to that could give you a new perspective!
Хвоина 1Love 1 часть: 0:08 ГП 1:43 предыкт к ПП (фанфарная тема) 1:50 ПП 7:42 реприза (ГП в хоральном варианте) 12:00 Кода (канон на теме ГП) 2 часть: 13:24 вступление 13:48 ГП Реприза 21:50 ПП 3 часть: 25:38 ГП 26:22 ПП 4 часть: 32:05 тема 34:45 лирическая вариация 35:22 вариация с соло флейты
MVT I: Allegro non troppo EXPOSITION 0:06 - Theme 1. Falling, then rising thirds. At 00:23 motif (a), C-B-C-A and C-A-E-D. Motif (b) at 00:30 , falling fourths. 00:41 - Theme 1 is repeated with embellishment. 00:56 - Transition. Motifs (a) and (b) are used to reach B minor. 1:28 - Theme Group 2, Theme 1. The cadence is frustrated and ends up in D major. 5 descending notes and a fourth, then fast upwards arpeggio and the theme is repeated in G major. 1:42 - Preview of TG2, T3. In B minor, a military like fanfare with triplets and dotted rhythms. Still not fully developed. 1:49 - TG2, T2. Dance-like melody in the cello, then repeated in upper strings. Reminiscent of a tango. Falling thirds in the bassline. 2:15 - TG2, T3. The offbeat syncopation is presented. Note motif (c), arpeggiated triad. 2:44 - T3. In F-sharp major (!). Gliding high strings, followed by sweet flute and oboe melody. At 3:15 motif (d), mysterious arc 3:21 - Preview of Closing Theme. (d) follows and transitions to 3:37 - Closing Theme. Triumphant, based on TG2, T3. B major DEVELOPMENT 4:06 - Transition back to E minor using head of Theme 1 4:23 - Theme 1. (a) is used to transition to 5:05, which leads to G major at 5:33 - where TG2, T3 takes the shady character of (d). At 5:41 the woodwinds introduce a diminished version. 6:17 - The dramatic diminished version of TG2, T3 comes in with fortissimo, and at 6:29 motif (e), E-D-C, D-C-B, etc. triplets. 6:38 - (e) morphs into a tender melody with T1 in pizzicato strings (!). At 6:52 (a) is used to transition from B major back to E minor 7:40 - The slowed down first part of theme 1 (falling thirds) the woodwinds is fused with (d) in the strings. RECAPITULATION 8:10 - Theme 1 picks up again just like in the exposition, with the embellished repeat. 8:52 - Transition 9:04 - TG2, T1 in E minor/G major 9:19 - Transition using TG2, T3 9:25 - TG2, T2 in E minor 9:51 - TG2, T3 10:19 - T3 in B major. At 10:49 (d) used to transition to closing theme, which erupts at 11:11 - Again the triumphant closing theme, but now repeated in G-sharp minor, which leads to CODA 11:28 - The diminished version of the Closing Theme, as presented in the development. (e) is presented in the strings in imitation displaced by 3rds, and accompanied by (c) 11:48 - Inversion of (e) leading to fortissimo, aggressive repeat of T1 at 12:00. (b) is used to transition to 12:30 - TG2, T1 in a completely opposite manner as presented before, with piercing strings and woodwinds. At 12:41 a VI - i progression with syncopation is introduced, as well as dotted G-F#-E closing motif 12:54 - The G-F#-E motif is repeated in high register, while bassoons and basses imitate it offbeat, climbing higher every time, leading to the final cadence, and the notorious iv - i resolution
@Formulaeagle161
11 ай бұрын
Gogachad
@mountchoco8174
11 ай бұрын
Small, pedantic correction- the iv-i 😅
@stupid_and_happy
Ай бұрын
bro...
1 часть 0:08 гп 0:45 1:29 кульминация 1:43 сп 1:50 пп 1 тема 2:54 пп 2 тема 3:22 мотивное развитие 4:07 зп 4:13 Р азработка (с тем же инструменталом) 4:46 1 раздел 5:34 2 раздел 6:20 (6:53 мотив из гп) 7:42 Реприза гп 9:19 пп 1 тема (виолончель) 10:14 пп 2 тема (?) 10:56 12:00 Кода 2 часть 13:24 вступление 13:48 гп 14:50 вариационное развитие гп 16:15 вариационное развитие 16:55 17:18 пп 19:36 Реприза 21:50 пп кода (?) 24:51гп 3 часть 25:38 гп 26:22 пп 26:40 27:08 27:38 Разработка 28:48 центральный раздел 29:44 кульминация 1 тема 29:51 кульминация 2 тема 30:45 4 часть 32:05 1 тема 32:40 2 вар 34:00 35:24 2раздел 12 вар
What a fantastic piece and wonderful playing by the Berlin Philharmonic under Simon Rattle.
@christianweatherbroadcasting
3 ай бұрын
Repent and trust in Jesus. We all deserve Hell for our sins, such as lying lusting coveting and more. We can't save ourselves, but Jesus can save us. He died on the cross to save us for our sins and rose from the grave defeating death and Hell. You must put your faith in him only. He is the only way to Heaven. Repent and trust in Jesus. Romans 6:23 John 3:16❤❤
This is some of the most incredible music that a living being could ever create. Every single moment is amazing. I'm hoping I get to perform this with my youth orchestra eventually!
1 часть тГП 1 элемент 00:06 тГП 2 элемент 00:22 вводный мотив в пп 01:42 1 тПП 01:49 2 тПП 02:37 Начало разработки 04:22 Кульминация 2 раздела 06:16 3 раздел 06:52 Начало репризы 07:40 Кода 11:58 2 часть Вступительные такты 13:23 тГП 13:49 тПП 17:16 3 часть тГП 25:37 тПП 26:24 Переход к репризе 28:47 Реприза 29:18 4 часть Тема 32:04 вар 1 32:20 вар 2 32:35 вар 3 32:52 вар 4 33:08 вар 11 35:03 вар 12 35:21 вар 13 36:06 вар 14 36:46 вар 30 41:01 Кода 41:20
Many thanks! Infinite gratitude!
Interesting that the variation at 34:12 bears so much similarity to the e minor fugue of Bach’s well tempered clavier
@leoribic1691
11 ай бұрын
It's probably not a coincidence! Brahms studied Bach religiously, (NPI) and drew much inspiration from him. The final movement is essentially just a passacaglia/chaconne!
the 2nd movement tears me up the ending
21:49 is just unbelievable, particularly in this recording. Like a warm, loving blanket of strings.
Thaaankk youuu!!!!! I have been waiting for a score video of this for so long!!
@claudiodalicarnasso6594
3 жыл бұрын
me too!!!!
@talavb9301
3 жыл бұрын
Guys, I love this upload too, but there's been a score vid of Brahms' fourth on YT for years lmao Edit: Granted, the sound quality on this one is prolly superior
@detectivehome3318
3 жыл бұрын
@@talavb9301 *a new one
I am awe-struck. This symphony is just..... a masterpiece. No other word to describe it. By the way, I have just realized that the theme of the second movement is suspiciously similar to the theme of the opening movement of Dvořák's Cello Concerto..... It could be a coincidence, but nonetheless, the similarity is striking. Thank you for this upload! The score is perfect, and extremely useful! Keep up the great work!
@filippoarena454
Жыл бұрын
Dvorak wrote that concerto 10 years later then Brahms compose this Symphony
@abrahamjh5742
9 ай бұрын
The reason why is probably because that Brahms was Dvorak’s teacher
@Whatismusic123
7 ай бұрын
masterpiece? lmao this is the lowest of the low garbage. Also comparing it to Dvorak is like comparing trash to garbage.
@dn7778
6 ай бұрын
You're suggesting Dvorak couldn't remember something from that long ago...? Seems a bit ludicrous
@sneddypie
5 ай бұрын
@@dn7778i think they were saying that if there is a connection, dvorak took from brahms, not the other way around
I think this video sets the record for the most commercials in any classical music video ever. At least they took the time to put most of them between movements or themes.
@pyotr-ilyich-tchaikovsky
Жыл бұрын
It's often not the uploader's fault; if a video is copyright claimed (which I believe this one was) KZread puts ads automatically and none of the revenue goes to the uploader
@PinacoladaMatthew
5 ай бұрын
this made me reinstall adblock
That was beautiful
Very nice recording, thank you!
Great symphony… I like it.
That's wonderful!
1 ч, е-moll: 0:08 ГП e 1:43 СП Fis 1:50 ПП 1 h 2:38 ПП 2 H 6:53 ГП в репризi 12:00 Кода 2-га ч. Е: 13:24 ГП Е 17:18 ПП Н 3-тя ч. С: 25:38 ГП С 27:22 ПП G 27:38 Розробка 4-та ч. е: 32:05 - тема варіацій на basso ostinato, е 35:21 - середина, 12-та варіація е
Amazing counterpoint in romantic era
@theorymaster6310
Жыл бұрын
Classical era
@chrismcdonald9120
Жыл бұрын
@@theorymaster6310 this was pretty deep into the romantic era
@theorymaster6310
Жыл бұрын
@@chrismcdonald9120 Yes, I don’t know what I was thinking, probably an accident. Sorry.
@chrismcdonald9120
Жыл бұрын
@@theorymaster6310 its all good lol
@Eunannos
Жыл бұрын
It is Brahms...
what an interpretation!
2:59 except 🎻 33:10 excerpt 🎻
violin excerpt starts @ 11:56 for those who need it
36:38 trombone excerpt
The finale is basically variations on a short theme
Great version!
omg thx for doing without ads, got a sub. Good recording as well. Need to do one with Mutti
36:59 Bar 117 sounds a lot like the opening bars of tannhauser. If you look at bar 4 beat 3 of the horn part, the notes, and timbre are very similar. Though the rhythm is different, I believe wagner uses a similar rhythm to the one brahms uses here
@calebhu6383
9 ай бұрын
You're correct
@isaacgraham4867
5 ай бұрын
Beautiful soft horn/trombone textures in both compositions 🥰
33:27 33:36 33:39 33:43 33:47 33:50 33:54 34:10 Runs 34:26
Flute excerpt-35:00
Thank you
MVT 1 3 bars before [E] : 3:14 [P] 11:33 For now practice at 112 bpm.
Как же потрясающе звучит валторна в самом начале второй части … !
11:56
19:35 - 20:40 my practice area💪🏻
I love you. THANKS!!!!!!!!!!!!❤️❤️❤️❤️
ラトル指揮のベルリン・フィル。典雅な演奏。音がきれいでテンポが丁度いい。一昨年、福岡でベルリン・フィルの演奏を生で聴いた印象からすると、今現在の彼らもこれと似た演奏をすると思う。その時聴いたのはブラ４ではなくてブル８だったけど。
Audition reference: 33:25
6:36 such a lovely
🤩
17:10 excerpt
19:35 - 21:04
20:53 is very reminiscent of Mozart K394.
@kofiLjunggren
Жыл бұрын
Ooh
33:08
0:10 1:43 1:50 2:55 4:08 12:01 13:49 17:18 7:43
1. 3:38 2. 9:33 3. 11:30 4. 12:12 5. 27:36 6. 33:17 7. 39:00
19:36-20:44
7:47 sounds straight out of a Space movie.....
7:46
34:40 35:00
4 ч 35:20 2раздел 12 вар 38:39 16 вар, (1 репр), 3 раздел
17:17 33:25
브람스_교향곡 4번 교향곡 4번은 본인의 모든 방법을 보여주는 종합판임 (실내악 작곡가) em 쓰는건 흔하지 않음 4번 4악장 샤콘느(파사칼리아) 정해진 베이스 선율에 변주하는 형식
33:39
20:30, 41:20
8:02 30:50
8:02
solo flute 35:15
11:50
0:07
32:02 movt 4
O for the days when even chaconnes were written eruditely!
Brahms in e minor...beethoven in c minor mozart in d major and bach in d minor.
what does H mean
@MrBrandenBurn
2 жыл бұрын
H=B, B=Bb
@iijace9138
2 жыл бұрын
oh thanks
@pyotr-ilyich-tchaikovsky
Жыл бұрын
H is a letter used in German notation to represent B as the letter B already respresented Bb. Because of this, Bach was able to write his name in music, I would recommend checking out a piece be wrote based on his name.
@iijace9138
Жыл бұрын
@@pyotr-ilyich-tchaikovsky NO WAY TCHAIKOVSKY U'RE MY FAV COMPOSER
why is rattle？😂
Urgh adverts at the beginning, in between mvts and in the MIDDLE of mvts. Great job.
36:48 isn't it beautiful
Great symphony 😂.
2:54 2тПп 3:36 зп
@user-rc4kq2iu4o
2 ай бұрын
5:05 тГп в 1р разр
@user-rc4kq2iu4o
2 ай бұрын
6:17 2р разработки
@user-rc4kq2iu4o
2 ай бұрын
6:26 2р разр хр тема у альтов и скрипок
@user-rc4kq2iu4o
2 ай бұрын
6:53 3р разр, предыкт к репризе 7:40 реприза, тема гп хорал
@user-rc4kq2iu4o
2 ай бұрын
2 часть фанф мотив мзлагающийся имитационно - 14:50 сп - 16:14 тПп H dur - 17:16
I struggle to understand... for example 0:40 to me doesn't sound like counterpoint, but just like an orchestra playing a mess. Unless thats the effect brahms wanted? And why do I find none of the themes particularly beautiful. For example 1:49 the theme starts so strong, but then it gets lost to my ears? :(
@aliciadalbey1201
10 ай бұрын
maybe find a different recording? at 0:40 it might not be counterpoint in a fugal sense but its objectively polyphonic with accompaniment in the bass, the main melody in the strings and the second shorter more motivic melody heard mostly in the winds. At 1:49 the melody is repeated twice very clearly once in low strings and then in the high strings. It then gets adsorbed by the fanfare esc theme from before. If you don't find them beautiful thats fine, I think Beethoven doesn't have many things that are actually beautiful.
idk why but in my opinion the very end isn't powerful enough for a piece like this. it just seems a little too small.
This is so terribly who even is brahms
@segmentsAndCurves
2 жыл бұрын
B(r)ased
@supasayajinsongoku4464
Жыл бұрын
@@segmentsAndCurves *this is what the comments section is for*
@segmentsAndCurves
Жыл бұрын
@@supasayajinsongoku4464 Absolutely
@playitsofast
Жыл бұрын
🤣😂
@scottmichaelawaken
Жыл бұрын
You are the weakest link. Goodbye. Ignorance is not a strength.
Swear this guy just copied Bachs cantata 150 🙄
@josephreuss3762
2 жыл бұрын
Yeah he’s actually so shit
@name-ng7mk
2 жыл бұрын
what are you fuys talking about?
@emanuel_soundtrack
2 жыл бұрын
in which movement?
@brambakker5253
2 жыл бұрын
@@emanuel_soundtrack 4th movement
@andrewpenny4984
2 жыл бұрын
@Fin Taylor, don't even try to call Maestro Johannes Brahms "this guy"!!
1 часть тГП 1 элемент 00:06 тГП 2 элемент 00:22 вводный мотив в побочную 01:42 1 тПП 01:49 2 тПП 02:37 Начало разработки либо 04:06, либо 04:22 Кульминация 2 раздела 06:16 3 раздел 06:52 Начало репризы 07:40 Кода 11:58 2 часть Вступительные такты 13:23 тГП 13:45 тПП 17:16 3 часть тГП 25:37 тПП 26:24 Переход к репризе 28:47 Реприза 29:18 4 часть Тема 32:04 Вариации: 1 32:20 2 32:35 3 32:52 4 33:08 11 35:03 12 35:21 13 36:06 14 36:46 30 41:01 Кода 41:20
20:35
25:37
42:07
35:00
16:14
30:53
33:26
20:43
41:21
33:09
33:09
33:22
30:05
6:53 9:20
7:41
@tyty2tiethr335
11 ай бұрын
9:19
@tyty2tiethr335
11 ай бұрын
17:10
@tyty2tiethr335
11 ай бұрын
20:33