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[ClassicalPlanet] Brahms-Symphony No 1 Overtures [DVD-Audio DTS]

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[color=red][size=4]Brahms - Symphony No.1 Overtures[/size][/color]





























   1. Un poco sostenuto – Allegro – Meno allegro (C minor)

   2. Andante sostenuto (E major)

   3. Un poco allegretto e grazioso (A-flat major)

   4. Adagio – Più andante – Allegro non troppo, ma con brio – Più allegro (C major)









Brahms began composing his first symphony in 1854, but much of his work underwent radical changes.[1] The long gestation
of the symphony may be attributed to two factors. First, Brahms' self-critical fastidiousness led him to destroy many of
his early works. Second, there was an expectation from Brahms' friends and the public that he would continue
"Beethoven's 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.



The value and importance of Brahms' achievements were recognized by Vienna's most powerful critic and staunch
conservative, Eduard Hanslick.[1] The conductor Hans von Bülow was moved in 1877 to call the symphony
"Beethoven's Tenth", due to perceived similarities between the work and various compositions of Beethoven.[2]
It is often remarked that there is a strong family resemblance between the main theme of the finale of Brahms' First
Symphony and the main theme of the finale of Beethoven's Ninth Symphony, the last symphony Beethoven composed. Also,
Brahms uses the rhythm of the "fate" motto from the opening of Beethoven's Fifth Symphony. This 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."[3] Nevertheless, this work is still often referred to as "Beethoven's
Tenth"[4]. However, Brahms' horn theme, with the "fate" rhythm, was noted in a letter to Clara Schumann
(dated 1868), overheard in an alphorn's playing.[5]



Fritz Simrock, Brahms' friend and publisher, did not receive the score until after the work had been performed in three
cities (with Brahms still wishing trial performances in at least three more still).



The manuscript to the first movement apparently does not survive, yet the remainder has been reproduced in miniature
facsimile by Dover Publications.



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 movement is a large orchestral sonata, wherein musical ideas
are stated, developed, and restated with altered relationships among them.



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 Beethoven's later works: the late quartets and Missa
Solemnis. The third, scherzo-like movement, has an easy spirit yet is full of complex rhythms and interwoven
textures.



The fourth movement begins with a slow introduction, where a new melody competes with "gloomy dramatic
rhetoric."[1] In the Piu andante 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!"[1] 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.



Brahms stated that when he was writing the first theme of the last movement in C major played by the strings, he was
thinking of John 14:10: "I am in the Father, and the Father is in me."











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