Brahmss Symphony: 1st Movement - Research Paper Example

? Brahms’s Symphony N0. 2, 1st Movement Other (s) Brahms’s Symphony N0. 2, 1st Movement Johannes Brahms was a renowned German pianist and composer during the Romantic period. Born in Hamburg, Brahms was brought up in a humble family where he spent much of his early life learning music through his father who was also a musician. Johannes Brahms’ musical prowess is widely believed to have been heavily influenced by the prevailing socio-cultural and political environment of the 18th and 19th century. According to Beller-McKenna (33), his earlier interest in music may have been influenced by the popular German music culture of the time. On the other hand, the existing of social classes during the period could have also played a critical role in his desire to be a composer as opposed to a performer. As a composer, Brahms particularly wrote a number of symphonies, piano works and choral compositions among other pieces. However, his greatest pieces were primarily those based on symphonic and sonata styles. Brahms’s second Symphony was one of the most successful pieces of Brahms’ compositions. Compared to the nearly fifteen years it took Brahms to do his fist symphony, the composition of the second symphony was relatively brief since it only took one year to be completed (Frisch 68). The first movement sonata form which is also known as “allegro non troppo” begins with double bases and cellos. Without any introduction, the first movement opens just with a Basic motive. The Basic motive generally assumes diverse rhythmic shapes and is gradually shifted to the other measures in order to effectively pervade the movement. In the Allegro non troppo, the double bases art and the cellos begin the initial movement in a sonata form. Although the composition has no separate tempo designation, the opening movement initializes with a slow introductory section those thematic composition keeps on repeating itself frequently. The tranquil mood is overtaken by introduction of the horns as the standard theme. After around every 50bars the lively main theme that is particularly marked to be played gently and sweetly (dolce) is slowly introduced with the first violin sounds followed by marked cantando in the cellos. Johannes preserved almost every aspect of the structural principles based on the classical masterpiece. In this musical composition the two lively external movements frame slows while the second movement is overtaken by a slightly shorter scherzo. A number of musical frame works in the concerto No. 2 1st movement makes this musical flow fabulous. For instance, Brahms bases most of his movements in this concerto on a melody he had formerly tranquil for the Wiegedlied Op.49 often referred to as the “Brahms’s lullaby”. In the symphony No.2 1st movement, Brahms’s tune introduces an 82 bar and is continually brought back into existence, re-shaped and restructured both harmonically and rhythmically. In addition, Brahms has also effectively developed the section in a more unique instrumental join that gradually progresses into a full bodied forte in between bar 57 and 58. Much like was in his first symphony, Brahms ha a primarily used simple unifying motive in the first movement of his second symphony. For example the two main unifying motives in the first movement include a half note that is followed with a quarter note and an interval above or below the 1st and 3rd notes (MacDonald 98). As the first movement gradually progresses, the two motives increasingly become more altered, embellished and enterwined. However, these modifications are carefully juxtaposed against the original motives in order to provide a sense of continuity and preserve the fluidity of the piece. For example, in some cases, the second motive occasionally undergoes tonal mutation and transforms into a series of flowing octaves. This is particularly evident in measures between 21 and 28. On second Codetta in the first movement is based on a ground motive with some imitations in the upper part and a uniquely syncopated rhythmic accompaniment. At measure 35, the original motive begins to be cast aside and the first oboe and flute are then reintroduced. Although the first melody is reintroduced in the measure 44, its lushness seems to be at odds with the previous bars of the movement. Another important rhythmic tricks used by Brahms in the first movement of his second symphony is the technique of overlapping phrases in such a way that the simple rhythms assumes a complex feel (Kamien 106).This is clearly evident at the near climax measures of 246 and 258 whereby the final note of the phrase in the woodwind and brass parts takes place in the middle of the phrase of the strings part. According to Hurwitz (66), the first movement is particularly composed in such a way that the contrast between the reverie and drama is eloquently sustained throughout the movement. For example, lighter scores have been used interchangeably with creatively harmonized passages for tuba and trombones to create a unique series of spectral effects. The double bases art and the cellos begin the initial movement in a sonata form. The tranquil mood is as well overtaken by introduction of the horns as the standard theme in the symphony No.2 1st movement. The recapitulation begins in this movement at around bar 302 and finally concludes this musical composition at bar 350. Finally, with regard to the tonality and harmony of the first movement, Brahms has used a number of elements most of which are typical to his compositions. For example, at measure 44, melody one is largely based on Plagal cadence that transcends between D Major and G Major. In conclusion, Brahms composed the first movement of his second symphony based on a tune he previously composed for Wiegenlied, Op. 49, known as Brahms lullaby. The first movement of Brahms second symphony is considered to be remarkable due to the unique synthesis of mood, motives and expansive lyricism that have been effectively achieved throughout the movement. The success of Johannes Brahms’s second Symphony is particularly based on the unique tranguillo episode whereby the main theme is effectively transformed into a uniquely harmonized triplet figuration. Works Cited Beller-McKenna, Daniel. Brahms and the German Spirit. Cambridge: Harvard University Press, 2004. Print. Frisch, Walter. Brahms: The Four Symphonies. New York, NY: Schirmer Books Inc., 2003. Print. Hurwitz, David. Brahms’ Symphonies. New York: The Continuum International Publishing Group, Inc., 2009. Print. Kamien, Roger. Music an appreciation, Seventh brief edition. New York: McGraw-Hill,  2011. Print.  MacDonald, Malcolm. Brahms. New York: Schirmer Books, Inc., 2009. Print. Read More