Symphony No. 3 I.

Allegro Con Brio

II. Andante

Johannes Brahms (1833-1897) III. Poco Allegretto IV. Allegro

Johannes Brahms is generally acknowledged to be one of the true masters of the German classical school. Indeed it is not uncommon to hear him mentioned in the same breath as Bach and Beethoven. His devotion to tonal harmony, counterpoint and traditional form juxtaposes a rich Romantic imagination, creating the immediately recognisable genius of his music. A controversial yet revered character, Brahms style was at odds with many of his contemporaries. His heated arguments with Wagner are well documented, and at times almost lead to duels. One could almost say that Brahms was born out of his time. He most admired the works of the early Romantic masters, Beethoven and Robert Schumann. In fact Brahms mysterious relationship with Schumanns widow Clara greatly affected his musical and personal life. The Third Symphony was written at the height of Brahms artistic powers. In contrast to the twenty years it took him to produce Symphony No. 1, the tour de force we hear tonight was composed over a period of just a few months. This symphony is perhaps the most organic and elegant of all Brahms major orchestral works. Clara Schumann was enthralled by the work, commenting that all the movements seem to be of one beat of the heart. The influential critic Eduard Hanslick saw it as artistically the most nearly perfect of all Brahms creations. The symphony opens with a bold statement of the hopeful motto Frei aber Froh (free but happy). Musically Brahms realises this with a rising F-A-F figure, which returns throughout the symphony. The usually enigmatic Brahms makes this clear statement as a riposte to the rather more downcast maxim of his friend, the violinist Joseph Joachim. The phrase Frei aber einsam (free but lonely) was the theme of a violin sonata composed for Joachim by a pupil of Schumanns, giving the Third Symphony a poignant connection with Brahms foremost muse. As the opening movement develops two distinct characters emerge. The first subject is a grand and soaring melody carried by the upper strings, reminiscent of a beautiful eagle gliding high over the Rhenish countryside. The lilting clarinet melody which follows is a playful contrast, a field mouse running through lush German grasslands, perhaps. This section illustrations both Brahms musical imagination and his skill at contrapuntal composition. These ideas interweave deftly during the development and recapitulation, heading towards a tumultuous coda. The movement seems destined for a cacophonous conclusion, with intricate arpeggio figures in the strings neatly dovetailing a sustained wind fortissimo. But just as we reach the rinforte denouement, as the eagle snatches the mouse, the mood calms and the texture clears. We are left with a final reminder of the opening theme, the eagle silhouetted against the evening sun. The interior movements provide magnificent contrast. The second is a wonderfully simple chorale, enriched with Romantic harmony and precise orchestration. Expansive woodwind passages are mirrored by more refined string melodies, gentle yet heart-warming. The slower finale draws together the disparate ideas in a chromatic and colourful wash, a strangely prescient nod to modern film music.

At the time Brahms published his Third Symphony, most composers included a light and jolly Scherzo in a major orchestral work. Obtuse as usual, Brahms ignores this custom, opting instead for a painfully wistful Poco Allegretto. The yearning theme evokes a deep nostalgia, while bittersweet tonality infuses every chord. This movement perhaps best encapsulates the spirit of Brahms himself, inexplicably profound. The final Allegro has something of a magical quality. The quietly energetic opening motif is nimble and sprite-like. Soon this effervescence pervades the whole orchestra, fairy dust glinting through a moonlit house. Virtuoso passages intermingle with understated countermelodies, as the undulating dynamics hold the listeners attention in a vice-like grip. The movement reaches its zenith with a furious dialogue between wind and strings, a giants steps terrifying the agile nymphs. As the symphony nears its end, Brahms has a final opportunity to challenge the musical establishment. Most symphonies of the period come to a grand and triumphant conclusion, a firework display of sound. But Brahms, as always, finds a deeper and more fulfilling approach. As the final bars approach, themes from across the symphony are subtly reprised. The second movement chorale emerges shimmering in leprechaun gold, with just a hint of the allegrettos melancholy. We are left with an almost imperceptible reminder of the symphonys opening brushstroke, rippling down the strings. The closing chords have a magnificent stillness, overflowing with the spiritual contentment that only music can provide.