Brahms' Symphony No. 1, Op. 68: Structure & Analysis

Brahms' Symphony No. 1 in C Minor, Op. 68: An In-Depth Look

Beethoven greatly admired Brahms. Brahms was slow in writing his first symphony, taking 14 years. The language of Brahms and treatment of the innovative musical form, though looking to the past to the music of the great composers.

Instrumentation

• 2 Flutes
• 2 Oboes
• 2 Clarinets
• 2 Bassoons
• Contrabassoon
• 4 Horns
• 2 Trumpets
• 3 Trombones
• Timpani
• Strings

Formal Structure

C minor, E major, A-flat major, C major (related by thirds)

1st Movement (C Minor)

Starts with an introduction on a tonic pedal, stubbornly repeated. Several lines overlap, and expressive dissonance is present. The second idea is soon to be reminded further and provides a reason of Brahms's own. The transport turnover is repeated, after the tone in G major, then on the oboe. D major exposes another melody that ends in a pause on the dominant.

A complex sequence of chords of the wind instruments leads to the affirmation of D major. Afterward, it continues with the variant of the idea that appeared in the introduction, which leads to a cadence in D major, and there is a transition to the second theme.

The second theme, a short sentence, exposes the tuba and is answered by E-flat major, confirming the oboe, but more clear is a combination of the chromatic figure. With the polyphony of the wind instruments and reduction of the sentence on a plea to the jump of the fourth, it seems to have come to the conclusion of the exhibition, but unexpectedly with a change to E-flat minor, tense strings introduce a rhythmic figure character on the music near the beginning of the G in E-flat minor exposition. After repetition of this occurs, exposition presented findings of all elements present motives.

A new idea in G-flat major, from there a slow and powerful orchestral crescendo leading to the start of the recapitulation that begins in the middle of a sequence that remains linked to the end of development. It follows the pattern of exposition with E-flat major sections and summarized in C major, E-flat minor, and G major. An inspired coda begins that, at the end, is reminiscent of Beethoven's great symphonic movements.

2nd Movement (E Major)

The sequence is recalled, being transported from the starting line with exposition.

3rd Movement (A-flat Major)

Takes the place of a scherzo, but it is *not* a scherzo.

4th Movement (C Major)

It begins with an introduction with multiple sections to prepare the allegro in C major. The first melody occurs in C major in the tuba, then the flute repeats the melody (skiing item), and a chorale is seen in the trombones. In the exposition, the similarity with Beethoven's "Ode to Joy" is enormous. Then begins the elaboration of the main reason. The item that represents the beginning of the transition bridge reappears. The alpine theme that occurs after the second item at G major is developed on an ostinato that leads to the key of the conclusive group in E minor.

Instead of continuing with the development, it leads to the reshipment of the first item and then produces the central D-flat major. The second issue is in G major, but the movement ends in C Major.