Music: An Art and a Language Part 21

This, however, is nothing against it, because equally true of large works in other fields of art, _e.g._, the Agamemnon of Aeschylus or Wagner's Tetralogy. It cannot be understood, much less appreciated, without close attention and earnest thought, for it presents the struggles and aspirations of mankind and is not meant solely to delight or entertain. When the hearer has made it his own it is a priceless possession for all time. The Prelude to the first movement, un poco sostenuto, is of impressive solemnity, developed from the motto, and based on the almost persistent iteration of the pedal notes C and G--the tonic and dominant. It proclaims that a serious meaning is to be revealed, and this meaning is accentuated by the orchestration which with its stratified grouping of melodic lines has a grim strength characteristic of Brahms.

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The first movement proper, Allegro, in complete sonata-form, begins with a _ff_ announcement of the impa.s.sioned, chromatic motto, _e.g._

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Note the cutting effect of the dissonant tones F-sharp and A-flat!

From this motto grows the melodic part of the first theme in two balancing phrases, _e.g._

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Then follow some stormy measures of dissonant chords and warring rhythms until the theme rages itself out, in measure 52. The transition begins with some sharp staccato chords, as if summoning to further attention. It gradually cools down through a series of beautiful modulations and, in measure 84, the second theme--introduced by calls on the horn and sung by the oboe--enters in the relative major key of E-flat. This also is based on the ascending, chromatic line of the _motto_; still further organic unity being gained by the ba.s.s, which has the same melodic figure as the second phrase of the first theme, _e.g._

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Much of the previous fierceness, however, has abated and the remainder of the second theme is of a rare loveliness, with mysterious answering calls between oboes, clarinets and horns. The _pp_ dominant ninth chords at the beginning of the closing portion (measures 120-122) give a positively shuddering effect and then the combat of clashing rhythms is renewed. The development begins with a series of shifting harmonies, at first _ff_ and then _pp_--a lull before the storm--as if preparing the way for a still more terrific a.s.sault upon our emotions.

It is tempestuous throughout; based at first on material taken from the preceding codetta and ending with an extended presentation of the motto over an iterated pedal note on the dominant, _e.g._

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The fusion of the development with the recapitulation is skillfully handled, and the motto is proclaimed, beginning at measure 298, in a series of ascending strata, with overwhelming force. The third part, with slight abridgment and necessary adjustment of key-relationship, conforms exactly to the exposition. There is the same agitato closing portion as before, and then the Coda proper, beginning at measure 421, emphasizes with fiery accents the mood of storm and stress characteristic of the movement as a whole. After the fury has subsided, the dramatic motto a.s.serts itself in the closing measures, poco sostenuto; the problem is still unsolved and the last C major chord is but a ray of light cast on troubled waters.

The second movement, andante sostenuto--in three-part form--begins with a tender melody expressing a mood of deep resignation and religious hope. No sooner has it started, however, than there creeps in the sinister motto, as if to remind us that life is undeniably stern and grim, _e.g._

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In measure 17 there enters a closing theme, sung by the oboe, of ineffable beauty which is used in the third part as the climax of the movement. It surely seems to come from another world and is one of the most sublime melodies by Brahms or any one else. Its climax is impressively united with the main theme in the ba.s.s, _e.g._

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The middle portion, beginning in measure 38, is a meditation--in dialogue form--for solo oboe and clarinet, worked up to an eloquent climax in the key of the relative minor, C-sharp. The third part, beginning measure 66, with the addition of some lovely modulatory changes, corresponds to part one; save that the melody is varied by Brahms's favorite device of three notes to a beat in one voice against two in another. Beginning in measure 90, the wondrous closing theme of the first part is sung by a solo violin, reinforced by oboe and horn.

It is finally entrusted, in the home key, to the horn alone, above which the solo violin soars in ecstacy, _e.g._

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Some diminuendo, descending pa.s.sages lead to a reminiscent portion of the first theme and then, in measure 116, the grim motto enters, but this time without prevailing; for, in measures 122-124, it is finally exorcised and the movement closes with the seraphic calm of a soft, rich chord in E major, above which is heard a star-like note on the solo violin.

The third movement is an Allegretto; it being Brahms's custom in each[259] of his symphonies to subst.i.tute a movement of this type in place of the conventional Scherzo or Minuet. This movement clearly in three-part form, is thrown in to furnish relief after the emotional tension of the movement preceding. It has no obvious organic connection with the other movements, but is just the right thing in its surroundings, with a note of vitality which does much to brighten the scene and to prepare the way for the Finale. The opening theme in A-flat major is in two phrases of _five_ measures each--a favorite rhythm with Brahms--given out by the clarinet over a pizzicato ba.s.s in the 'cellos. The melodic formation is unusual in that the latter phrase is an inversion of the first, _e.g._

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[Footnote 259: The only slight exception is the third movement of the Fourth Symphony which, being marked Allegro giocoso, partakes somewhat of the nature of a Scherzo.]

After some descending pa.s.sages in thirds and sixths--one of the characteristic[260] effects in Brahms's style--the theme is repeated in the violins with richer scoring. The descending pa.s.sage returns and this time leads to the entrance of a subsidiary theme in F minor. In measures 50-51 occurs one of those cases of melodic germination which ent.i.tles Brahms to be called a genuine _creative_ artist. The melody with its dashing, Hungarian zest sounds like something brand-new and yet is logically derived from the main theme by diminution, _e.g._

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[Footnote 260: "Those eternal sixths and thirds." Weingartner later publicly recanted and became a whole-souled convert to Brahms. (See _The Symphony since Beethoven_, latest edition.)]

This is real poetic creation, it being the prime object of a poet to create in music something out of apparent nothing. After these vivacious developments the first part ends with a slight repet.i.tion of the main theme. The middle part, beginning measure 71, in 6/8 time and in the enharmonic key of B major (E-flat = D-sharp) is noteworthy for its rhythmic swing, bold syncopations and contrasted accents; see especially measures 97-107. At the beginning of the third part there is an effective blending of the rhythm which has just prevailed with the graceful lines of the first theme. The fabric is made up of effective changes, modulatory and rhythmic, in the material from the first part. At the Coda, piu tranquillo, there is a delightful reminiscence of the rhythm of the middle portion carried out to the very end by the double ba.s.ses.[261]

[Footnote 261: A similar effect may be found in the closing measures of the first movement of Beethoven's Eighth Symphony.]

The Finale is one of the most thrilling perorations in music; not a perfunctory close, but a veritable Apotheosis of victorious aspiration, giving an irresistible contrast to the first movement.

Whereas, before, there was nothing but conflict, now all is triumphant joy. This movement is laid out on a vast scale, with a wealth of material, including a long Prelude with a distinct theme of its own and an extended Coda. The body of the movement is in abridged sonata form, _i.e._, there is a complete Exposition with first, second and closing themes, and the usual Recapitulation, but _no_ Development proper. This lack is made good by considerable variation and expansion in the first part of the Resume. The Prelude begins Adagio with some strains which, like smouldering embers, remind us of the sinister motto of the first movement--note the same dissonant tones A-flat and F-sharp. The following measures are of indefinite nature, beginning piano and pizzicato as if a great body were gathering headway slowly.

The pace gradually quickens and we are led through a series of impetuous stringendo runs to a _ff_ chord which, accompanied by a _ff_ roll on the kettle-drums, sounds like a clap of thunder and which, as the reverberations die away, ushers in a most moving theme[262]--given out forte and sempre pa.s.sionato on the horn over a _pp_ muted tremolo on the strings with a background of _pp_ trombones, _e.g._

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[Footnote 262: There is a striking a.n.a.logy between the intervals of this theme and those of a well-known peal in a cathedral chime, _e.g._

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In both the same elemental effect is produced by using the natural tones of the harmonic series (see page 193).]

This inspired pa.s.sage[263] has been eloquently described by W.F.

Apthorp as follows:

"Amid hushed, tremulous harmonies in the strings, the horn and afterward the flute pour forth an utterly original melody, the character of which ranges from pa.s.sionate pleading to a sort of wild exultation according to the instrument that plays it. The coloring is enriched by the solemn tones of the trombones, which appear for the first time in this movement. It is ticklish work trying to dive down into a composer's brain, and surmise what special outside source his inspiration may have had; but one cannot help feeling that this whole wonderful episode may have been suggested to Brahms by the tones of the Alpine horn, as it awakens the echoes from mountain after mountain on some of the high pa.s.ses in the Bernese Oberland. This is certainly what the episode recalls to any one who has ever heard those poetic tones and their echoes. A short, solemn, even ecclesiastical interruption by the trombones and ba.s.soons is of more thematic importance. As the horn-tones gradually die away, and the cloud-like harmonies in the strings sink lower and lower--like mist veiling the landscape--an impressive pause ushers in the Allegro."

[Footnote 263: See also a similar eulogy by Weingartner in his _The Symphony since Beethoven_.]

After the flute has repeated this theme there is an interpolation of an important choral-like phrase (referred to above), _e.g._

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for it is later used as the climax of the Finale--in fact, of the whole work--and its tone of religious fervor, accentuated by the scoring for trombones and ba.s.soons, is a clear indication of the ideal message which Brahms meant to convey. The body of the movement, Allegro non troppo ma con brio, begins with a majestic, sweeping theme[264] of great rhythmic vitality and elasticity announced by the strings, _e.g._

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[Footnote 264: There is a statement in many books that this is a reminiscence of the theme in the Finale of the Ninth Symphony. How such a legend started it is difficult to say; it must be due to what the late W.F. Apthorp called "purblind criticism." For my part I see a resemblance in only one measure--save that both melodies are in quadruple rhythm--between the theme of Brahms and the following:--

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It is at once repeated with richer scoring and then some exciting transitional pa.s.sages lead, after a slight phrase taken from the chief theme of the prelude, to the second theme, animato, in G major, _e.g._

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This has some rhythmical expansion and then a quieter part, dolce e piano, beginning measure 71. Some rushing _ff_ pa.s.sages bring us, in measure 107, to the brilliant closing theme with its staccato, triplet rhythm. The Exposition ends in E minor, in measure 122, after a series of forte, staccato chords. The Recapitulation begins at once after two modulatory chords, and though sufficient stress is laid on the _first theme_, there is so much development of previous material that it serves for both the customary second and third parts. A good deal of adverse criticism has been expended on this portion of the movement and it is possible that Brahms's remarkable technique in handling his material ran away with him. But the music is always striving toward some goal, and even if it has to plough through desperate seas, there is no weakness or faltering. This part of the work is not beautiful in the popular sense of the term, but no one can fail to be impressed with its character. A climax is finally reached, in measure 224, with a fortissimo statement of the chief theme of the prelude, and then, after this has cooled down, diminuendo e calando, the second theme enters in the home key. The rest of the recapitulation corresponds closely with the exposition. The Coda begins, in measure 306, with a shadowy outline of modulatory chords, as if slumbering forces were slowly awakening; and, becoming more crescendo and stringendo, reveals its full glory at the Piu Allegro. This portion, based on quickened phrases of the first theme, seems charged with superhuman energy, and mounting higher and higher culminates in a majestic proclamation of the choral-like motto of the prelude, _e.g._

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On hearing this it always seems as if the heavens above us really opened. The rest of the Coda is a scene of jubilation with ever more life and light. The dissonant tones of F-sharp and A-flat try to lift their heads but this time are crushed forever by the triumphant fundamental chords of C major, _e.g._

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The movement, in keeping with its serious message, ends with a prolonged and brilliant Plagal Cadence in which the double ba.s.ses and the trombone surge upward with elemental power.