Johannes Brahms

Symphony No. 4 in E minor, Op. 98

    Description by Michael Rodman

    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.

    Parts/Movements

    1. Allegro non troppo
    2. Andante moderato
    3. Allegro giocoso
    4. Allegro energico e passionato - Più allegro

    Appears On

    Year Title Label Catalog #
    2016 DG Deutsche Grammophon 4795805
    2016 Estonian Record Productions ERP 9016
    2016 Analekta AN 28782
    2016 Klanglogo KL 1514
    2016 Warner Classics 0190295975104
    2016 Audite AUDITE 95642
    2016 Detroit Symphony Orchestra
    2016 Warner Classics 0825646767717
    2016 ABC Classics 4814413
    2016 Profil - Edition Günter Hänssler PH 13037
    2016 SWR Music SWR 19022CD
    2016 Decca / Philips 4788977
    2016 DG Deutsche Grammophon 4795553
    2016 DG Deutsche Grammophon 4796018
    2015 DG Deutsche Grammophon 4795448
    2015 BR Klassik 900140
    2015 Harmonia Mundi HMA 1951884
    2015 Oehms Classics OC 1813
    2015 DG Deutsche Grammophon
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    2015 Channel Classics CCSSA 35315
    2015 Sony Classical 88843072592
    2015 AAO Music MCRP 2689272
    2014 DG Deutsche Grammophon
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    2014 Les Dissonances LD 004
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    2014 Haenssler / Hänssler Classic 93313
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