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174
CHAPTERfi43 Absolutely Classic: Brahms and the
Nineteenth- Century Symphony
II. Brahms and the Romantic Symphony
A. Johannes Brahms (1833–1897)
1. German composer, conductor
2. mentored by Robert and Clara Schumann
3. moved to Vienna, enormously successful
4. traditionalist: absolute music, Classical forms
5. lifelong affection for folk music
6. age 40, began composing symphonic works
a. four symphonies: unsurpassed in breadth of
conception, design
b. concertos: full- scale symphonic structure
7. output: four symphonies, four concertos, major
contributions to chamber music, piano, about
200 solo songs
B. Brahms’s Symphony No.3in F Major
1. written at age 50
2. shortest of his four symphonies
3. most Romantic in tone: shifting moods, timbres,
creative invention
4. form: Classical in structure
5. opens with dramatic three- note motive
a. (F- A- flat- F) “Frei aber froh” ( Free but happy),
Brahms’s personal motto
b. permeates entire symphony
C. LG 35: Brahms: Symphony No.3in F Major, III
(1883)
1. A- B- A′, brief coda; C minor
2. moderate triple- meter waltz
3. rhythmically complex: three- against- two pat-
terns, syncopation
4. A section: opens with yearning cello melody
5. B section: major key; expressive, chromatic
accompaniment
6. ends quietly: last chord pizzicato strings
OUTLINE
I. Absolute Music in the Romantic Era
A. Multimovement genres: symphony, concerto, cham-
ber music
1. form: organ izing ele ment
2. Romantic composers: freedoms with structures
3. repertory continues to dominate orchestral
concerts
B. Form and expression in the Romantic symphony
1. music moved from palace to public concert
halls
2. orchestra increased in size
3. symphonic structure: framework for composers
a. steadily longer, more expansive
b. lyrical themes, harmonic experiments, indi-
vidual expression
c. larger orchestras, new instruments
C. The expanded symphonic form
1. mvt 1: most dramatic
a. generally retains sonata- allegro form
b. optional slow introduction
c. features long, expressive development
2. mvt. 2: loose three- part form
a. may retain slow, lyrical nature
b. whimsical and playful to tragic and
passionate
3. mvt. 3: strongly rhythmic dance or scherzo
a. overtones of humor, surprise, caprice, or folk
dance
4. mvt. 4: often in sonata- allegro form
a. dimension and character balance first
movement
b. note of triumph or pathos
Absolutely Classic: Brahms and the Nineteenth- Century Symphony | 175
program music. Eduard Hanslick, for example, went so
far as to claim that the content of music is wholly
derived from its form. Music, in other words, speaks
only of its own design, and nothing else. Do you agree
with this idea? Can music truly be absolute? Why or
why not?
2. Compare Berlioz’s and Brahms’s approaches to sym-
phonic writing. How does the music of each embody
the traits of Romanticism? Would you call one more
Romantic than the other? Why?
TEACHING CHALLENGES
Introducing Brahms as a Romantic composer who embraced
the traditional formal designs of the Classical era might be
confusing to students. Take this as an opportunity to explore
the Romantic nature of Brahms’s melodic and harmonic lan-
guage, as well as his orchestral scoring.
SUPPLEMENTAL REPERTORY
BIBLIOGRAPHY
Frisch, Walter. Brahms: The Four Symphonies. New York: Schirmer
Books; London: Prentice Hall International, 1996. A fairly con-
YOUR TURN TO EXPLORE
mony, and timbre) does the composer employ to emphasize
those wordless meanings? How do these meanings influence
the overall effect of the song?
OVERVIEW
This chapter explores the continuing relevance of absolute-
music genres in music of the Romantic nineteenth century.
Brahms’s Third Symphony is a landmark of the evolving
absolute- music symphonic tradition established by Haydn,
Mozart, and Beethoven.
LEARNING OBJECTIVES
1. To understand the continuing importance of absolute-
music genres in instrumental music of the Romantic era
2. To understand melodic lyricism and the expansion of
form, instrumentation, and harmonic color as style char-
acteristics of Romantic symphonies
3. To recognize Brahms’s Third Symphony as both a con-
tinuation of the absolute symphonic tradition established
by Haydn, Mozart, and Beethoven and a con temporary
statement of musical Romanticism
the second theme. Ask students to consider the thematic
content and key area. What kind of form is being revealed
2. Before listening to the third movement of Brahms’s
Third Symphony, map the large- and small- scale form
connect an instrument or group of instruments that carry
the theme to each section of the form. Ask students to
identify the variety of orchestration choices as they
ASSIGNMENT SUGGESTIONS
1. Some nineteenth- century proponents of Brahms went
to great lengths to assert the validity of absolute over
176 | Chapterfi43
guitar solo takes on a dif fer ent meaning: Berry becomes the
an autobiographical perspective. In this way, the wordless
guitar solo provides a power ful sense of realism to the nar-
rative of song.
MODEL RESPONSE
Johnny, go!”) here in a story about the promise of a talented
guitar- playing country boy making it as a big- time star per-
former. When we see Berry performing this song live, the
