Insert CD 5 and bring up Contents. Click on Brahms’ Symphony No Insert CD 5 and bring up Contents. Click on Brahms’ Symphony No. 4, first movement (CD 5, 1), and then minimize it.

Chapter 27 Late Romantic Music Begins on page 235

Brahms: Symphony No. 4 Used classical forms First movement: sonata form Second movement: slow Third movement: playful, like scherzo Fourth movement: Chaconne – variations on eight-measure theme Brahms was considered somewhat out of step with other composers in the Romantic period because of his frequent use of classical forms. Symphony No. 4 is a good example of this. The first movement is in sonata form, the second is a beautiful slow movement in an sectional arrangement, the third is scherzo-like, and the fourth is a set of variations on a eight-measure theme. The fourth movement is exceptional in symphonic music. The chaconne theme contains only one note per measure for its eight measures. It is sounded alone, and is then followed by 35 variations and a coda. The variations include a number of slow variations in the middle, with a restatement of the chaconne theme before the final group of variations, which gives the movement a large A B A pattern. Copyright © 2010 by Schirmer Cengage Learning

Brahms: Symphony No. 4, First Movement Longer than movements in classical symphonies Third theme added Three motives extracted from themes The first movement of Brahms’ Fourth Symphony is almost twice as long as those of Mozart, Haydn, and some by Beethoven. In this respect, he was a typical Romantic. He adds a third theme to the exposition, but does not develop it. Brahms extracts two motives from the first theme and one from the second to use in transitions, coda, and development sections. The first theme is like one by Mozart or Haydn in the sense that it is a group of short melodic ideas that are put together for a theme. The second theme is much more romantic in character with its flowing, impassioned melody played by the cellos and French horn.

Brahms: Symphony No. 4, First Movement Seamless connections between sections of the form Achieves both unity and variety Diminution Augmentation Unlike composers in the Classical period, Brahms does not set off the sections of sonata form with clearly marked cadences. Instead, he makes his music almost seamless as it smoothly moves from theme to transition to another theme. He achieves this by the use of motives from the themes and then expanding on them with other material. The result of using the motives in different settings and guises is that the music contains both unity and variety; it’s sort of the same but then it’s sort of different. One of the compositional devices is to sound the motive at twice its original speed (diminution) or in long notes at half its original speed (augmentation). Teaching Tips: The first two themes for the movement could be played for the class, either on the piano or using the CD. Then the class might listen to just the exposition so that it becomes more established in their ears. Then the class might listen to the entire first movement while following the Listening Guide on pages 236-237. The students should be urged to download the Listener’s Score that is available under “Student Resources” on the http://www.cengage.com/music/hoffer/mlt4e web site. A computer needs to have an Acrobat Reader for this. One can follow a simplified score while listening to the first movement on the CD player.

What to Listen for in Brahms’ Music Beautiful, sensuous music Skill in use of themes and forms Optimistic quality Noble quality One can listen to Brahms’ music for its sensuous qualities, or for his skill in working with themes and using forms. Of course, it’s best if one can listen in both ways. His music has a positive, optimistic quality about it. Most of the time it seems to give impression that things are all right and will continue that way. “Noble” is a word that can defined as “possessing outstanding or superior qualities.” It certainly suits Brahms’ music very well. There is something about it that has superior qualities.

Dvořák : “American” Quartet, First Movement Much chamber composed during Romantic period Quartet was composed in America, but is more Bohemian in character Sonata form Fragments of first theme dominate New theme in development section The Romantic period is well known for its big works such as symphonies and operas. But much chamber music was also written during this time. Dvořák’s “American” Quartet was his twelfth quartet. It was composed in Spillville, Iowa during the summers that headed the Conservatory of Music in New York. Actually, the music is more Bohemian in character than American. The first movement of the quartet is in sonata form. The first four measures of the first theme provide motives that are heard intermittently throughout the movement. Romantic composers were more free in following the traditional forms. Dvořák introduces a new theme in the middle of the development section of this quartet. Teaching Tips: Play the exposition of the first movement (CD 5,16). Then ask the students how the first and second themes differ from one another. Then play the development section and ask how the new theme differs. You might encourage some discussion by asking if they think Dvořák was a happy man. (Answer: We really don’t know, because he is not around to ask him. But certainly his music sounds like he was a happy man.) Copyright © 2010 by Schirmer Cengage Learning

Tchaikovsky: Symphony No. 4, Fourth Movement Basically in sonata form Vibrant, fiery quality Second theme is Russian folk song Much contrast between themes Music from introduction to first movement appears in development section This movement basically in sonata form, although it is followed more freely than the typical symphony of Mozart and even Beethoven. The first theme consists of rapidly moving scales; it demonstrates the fiery side of Romantic music. The second theme is a Russian folk song, “The Birch Tree.” It is in minor and a simple binary form in which each line is repeated. It is the antithesis of the first theme. More and more Romantic composers did what Beethoven did in the fourth movement of his Symphony No. 5: Insert a theme from a previous movement into another movement. In this case it is from the introduction to the first movement. It has a fanfare-like quality. Teaching Tip: The first theme is virtually unsingable, which can be pointed out to the class. But the second theme certainly is. The students can sing along on it on a neutral syllable such as “lah.” They can be asked about other differences between the first and second themes. Teaching Tip: Romantic composers are especially good at the long, slow build-up to a climactic point. A good example of this occurs at 7:25 (1:39 after track 9) in the movement. The build-up lasts for almost 40 seconds. It can be played for the class, and then they can be asked what Tchaikovsky did to achieve such a climactic point. (Answer: The pitch level gradually gets higher, the dynamic level grows louder, and the exchanges among the instruments become more rapid. Finally, just about when one expects the theme to enter, Tchaikovsky makes listeners wait a bit longer as the violins play rapidly moving scales.)

Summary Brahms: Symphony No. 4, first movement What to Listen for in Brahms’ Music Dvořák: “American” Quartet, first movement Tchaikovsky: Symphony No. 4, fourth movement Potential examinations material Terms Diminution Augmentation Chaconne Information Similarities and differences between the symphonies of Classical period and the symphonies of Romantic period Who Brahms was Who Dvořák was