4th Movement: Allegro energico e passionato - Più Allegro (Passacaglia/Chaconne

with coda). E MINOR, 3/4 and 3/2 time.

FIRST SECTION (Theme and Variations 1-11), 3/4 time.

[m. 1] Theme.
Brahms retains the contrabassoon from the previous movement and adds three
trombones, not heard in the other movements. The eight-bar Chaconne theme is
presented by the winds and brass. It is an ascending scale to the fifth degree
(B), with a chromatic note (A#) on the fifth bar. The theme ends with a motion back
to E. The harmonization of the theme is very ambiguous and suggests A minor almost
as much as E minor (the first chord is an inversion of A minor). The entrance of
timpani and trumpets on the fifth (chromatic) note gives it the emphasis that will
reach its full fruition in the coda.

[m. 9] Variation 1.
The theme is broken up. Timpani and horns play on the first beat of each bar,
plucked strings (with trombones in the first four bars) on the second beat, and
there is a rest on the third. The harmony is unchanged.

[m. 17] Variation 2.

The upbeats to this variation dovetail with the end of Variation 1. The oboe and
clarinet begin a smooth line. They are joined by the other winds. Plucked strings
continue. The harmony is less ambiguous now, more clearly in E minor (confirmed by
the “dominant” chord in the seventh bar).

[m. 25] Variation 3.

The full orchestra plays on this variation, which is louder than the preceding
Variation 2. The winds introduce a three-note (or three-chord) lower neighbor
motion. The upper strings continue to play plucked notes, but the cellos and basses
play bowed arpeggios. E minor is even more clearly established here, already in the
second bar. There is a timpani roll in the seventh bar.

[m. 33] Variation 4.

With E minor now established, the first violins begin a broad, arching melody above
second violins and violas, who play on syncopated off beats. All strings are now
bowed. Bassoons are the only winds present. The “theme” itself is now moved to the
bass instruments in downward octaves.

[m. 41] Variation 5.

Flowing naturally out of Variation 4, the broad melody is embellished with extra
notes. All notes have smaller duration values. The winds add descending
embellishments, some in a clashing 3-against-2 triplet rhythm.

[m. 49] Variation 6.

The contour of the broad melody is changed so that it mostly arches downward. The
violins and violas still play the melody. Cellos play triplet arpeggios. The win
parse, largely in two-note descents. The oboes double the second violins in the
last four bars.

[m. 57] Variation 7.

The motion is more rhythmic and heavily dotted (sharp long-short figures). The
violins again lead, with woodwind responses. The “theme” in the bass also uses
these dotted rhythms. The violins introduce a hemiola (two 3/4 bars rhythmically
re-arranged to suggest one 3/2 bar) in the sixth and seventh bars.

[m. 65] Variation 8.

The violins play with even faster notes in a rapid oscillation with the lower notes
moving steadily downward. These oscillations are broken twice. The wind
accompaniment is slower. In the second half, the variation becomes suddenly quiet,
and a descending chromatic (half-step motion) flute (and viola) line is added to
the violin oscillations, along with a soft timpani roll. The harmony and the notes
of the theme itself in the bass are altered to suggest a motion to A minor.

[m. 73] Variation 9.

This is essentially an embellished version of Variation 8 (compare variations 4 and
5). It introduces triplet motion, even faster than what was heard in Variation 8.
The sudden quiet in the fifth bar is preserved. Oboe and bassoon (the latter in
contrary motion) are added to the descending chromatic flute line, but the violas
no longer play it. This soft timpani roll is played in the same place. The
oscillations in the second half are now on octaves (on E) rather than the downward-
moving lower line.

[m. 81] Variation 10.

The first of two transitional variations. It begins in A minor, following the
endings of Variations 8 and 9, which were in that key. It is played very quietly,
with alternations between string and wind chords with no brass. A motion back to E
minor at the end is sidestepped.

[m. 89] Variation 11.

This also begins in A minor. The soft chords from Variation 10 are broken up. The
first and third bars use triplet rhythm. There is much emphasis and playing on the
second half of each beat, especially in the violins and violas during the last four
bars. Winds and strings play mostly together here, and horns are added in the first
four bars. The actual “theme” is still in the low strings. The last bar appears to
be moving toward E minor again, and while this motion is not sidestepped, the
preparatory “dominant” harmony is delayed until the last bar so that the arrival of
E minor at Variation 12 is stronger.

SECOND SECTION (Variations 12-15), 3/2 time.

[m. 97] Variation 12.

Although these variations seem to be at a slower tempo, in actuality the bars are
simply twice as long. Brahms specifically indicates that the speed of the notes
should be the same. This variation is a very expressive flute solo with short off-
beat accompanying chords from violins, violas, and horns. The theme is embedded in
the long and beautiful, but somewhat halting flute melody.

[m. 105] Variation 13.

This is the first variation in the major key (E major). The violins and horns
continue their soft, detached off-beat chords. The clarinet and oboe pass gentle
rising and falling lines between them. The cellos and violas add upward winding
lines. In the last four bars, the flutes join the oboe and clarinets, and all play
the off-beat chords as the strings, including violins, continue with the upward
winding lines. The notes of the theme are buried inconspicuously in the musical
texture. A descending oboe line leads to the next variation. The resolution through
a plagal cadence is delayed.

[m. 113] Variation 14.

The end of the oboe line merges with this variation, also in major. The trombones,
heard for the first time since Variation 3, enter in a very solemn chorale with
expressive rests. They are joined by bassoons and horns. The violas and cellos play
short rising arpeggios against the trombone chorale. The resolution in the last
measure is delayed, again using a plagal cadence (motion from A to E). A horn line
similar to the preceding oboe line in Variation 13 provides a similar bridge.
[m. 121] Variation 15.
The chorale continues (still in major), but now the woodwinds (except flutes), join
the brass instruments, including now trumpets. The violins join the other strings
on the short responses, the violas and violins playing descending lines against the
rising lines of the cellos. The resolution of a plagal cadence is again delayed,
and this time it is not fulfilled at the beginning of the next variation. The flute
enters with a similar descending transitional line, but then it breaks off at a
pause on A minor before the sudden and powerful entry of the next section. This
prepares for the opening A-minor chord of Variation 16, which is highly similar to
the original Theme.

THIRD SECTION (Variations 16-23), 3/4 time.

[m. 129] Variation 16.

With great force, the winds begin the variation, back in 3/4 and back in the minor
key. It opens as had the original Theme, but with somewhat different harmonization
(still beginning on A minor, though, now with A in the bass). The strings enter
with a new and powerful descending scale in the last four bars. The timpani roll
begins in the same place and is now more sustained. The last chord, with an F# in
the bass, is more dissonant and unstable than it was in the original theme

[m. 137] Variation 17.

String tremolos swell from a quiet volume. Flute, oboe, and bassoon play unison
two-note phrases on weak beats. The original theme is in the tremolo cellos, but,
as at the end of Variation 16, the F# bass at the end reveals this group of
variations as developmental and less stable.

[m. 145] Variation 18.

The tremolos continue in the violins and violas. Bassoons, horns, cellos, and
basses alternate with flute, oboe, clarinet, another horn, and trombones on a
swelling up-down neighbor-note motion with dotted rhythm on the second and third
beats. The trombones drop out and the instruments come more together in the second
half of the variation. This one, unlike the previous two, ends with an E-minor
chord.

[m. 153] Variation 19.

Strings and horns now alternate with woodwinds four times on a detached, moving
line, arching in the strings and more angular in the winds. In the last two
alternations, the winds play the more arching version. The strings take the
angular version in the last alternation. The cellos and basses, along with
trombones, provide a solid foundation to the first three string alternations. This,
as with Variations 8, 9, and 13-15, ends with an A-minor chord.

[m. 161] Variation 20.

A feverish triplet motion begins in strings, winds, and horns. There is a strong
syncopation with a trombone blast on the second beats of the first, third, and
fifth bars. The strings play the triplets continuously, while the winds and horns
break in the second and fourth bars. In the last three bars, the winds abandon the
triplets entirely in favor of punctuating chords. This variation also ends on an A-
minor chord, as does the next one.

[m. 169] Variation 21.

The tension increases greatly here, as the flutes and violins play sweeping upward
scales against swelling wind lines, viola tremolos, and timpani rolls. This occurs
in the first and third bars. The trombones play weak beat blasts on the second
beats of the second, fourth, fifth, and sixth bars. The fourth, fifth and sixth
bars consist of punctuating chords from winds and strings on the first and third
beats, interrupted by the trombone blasts. The last two bars are suddenly very
quiet. The sweeping, rapid scales are passed between the strings over a soft
timpani roll and sustained wind and brass chords.

[m. 177] Variation 22.

This variation is quiet throughout. Trombones drop out temporarily. The strings
pass an oscillating triplet rhythm from cellos to violas to violins. The winds play
off-beat chords in straight rhythm. The strings come together in the fifth bar. In
these last four bars, the triplet oscillations and off-beat chords alternate
between strings and winds. This variation ends on E minor.

[m. 185] Variation 23.

This variation is transitional and louder than the last one. The strings play
upward arpeggios in triplet rhythm, alternating with oscillating motion in the
winds, also in triplet rhythm. The horns play the first six chords of the theme
very distinctly. A strong timpani roll is heard in the fifth bar (against the
“chromatic” fifth note, as before). The last three bars alternate the string and
wind triplets at the distance of one beat before they come together in the last
bar. These last three bars are on a sustained preparatory “dominant” harmony,
similar to the end of Variation 11. There is a dramatic pause at the end.

FOURTH SECTION (Variations 24-30)

[m. 193] Variation 24.

The structure is quite similar to that of Variation 1, but the character is
entirely different. The downbeats are played by horns and trumpets with a timpani
roll. For the first six bars, this is a unison E. The responses (which carry the
notes of the theme) are from the strings with a downward neighbor-note figure in
triplets. These are supported by trombone chords and repeated chords in straight
rhythm from the woodwinds. The variation is a powerful moment of arrival.

[m. 201] Variation 25.

This variation is essentially a more powerful version of Variation 2. Like that
variation, it begins on the upbeat from the previous variation. The oboe and
clarinet line is transferred to forceful violins playing in tremolo, supported by
oboes and bassoons. The triplets from the previous variation, now in repeated
chords, are played by brass, timpani, flutes, and clarinets. The low strings play
with these triplets, but they play rising octaves in straight rhythm. After this
variation, the trombones drop out until the coda.

[m. 209] Variation 26.

This variation is similar to Variation 3, but it takes the opposite path from the
previous variation, and is more subdued than Variation 3 had been. The horns take
the slow lower neighbor-note motion. The strings play in quietly oscillating
triplets underneath. In the second half, the oboes in thirds take over the
neighbor-note figures from the horns. The most important difference is the harmony,
which is shifted to C minor/major. The basses hold that note for the first four
bars, and the variation ends on the “dominant” chord of C. This harmonic shift
helps build tension in the final variations.

[m. 217] Variation 27.

This variation, in full C major, is entirely new. Flutes, oboes, and clarinets play
long two-note descents harmonized in thirds. The low strings are plucked on the two
weak beats. The violas and some cellos play decorative lines that begin on an off-
beat. In the last four bars, the violins join with a slow arching motion, also
harmonized in thirds. The variation is quiet and gentle.

[m. 225] Variation 28.

This also begins in C major. The flutes, clarinets, and bassoons play a smooth
line, still harmonized in thirds, but including many biting chromatic notes. The
low strings continue to be plucked, but move to the first two beats. The violas and
violins pass arching triplet arpeggios between them. The last four bars move
strongly from C back to E with a bass line rising in half-steps. Despite its
transitional and chromatic nature, the variation is one of the most beautiful since
the “slow” section.

[m. 233] Variation 29.

In the penultimate variation, which returns to the home key of E minor, Brahms
makes a reference to the main theme of the first movement. The strings, playing in
plucked unison off the beat, play a continuous chain of descending thirds in the
first four bars, a major characteristic of the first-movement theme. Against this,
the flute, supported by clarinets and bassoons, plays two-note rising leaps that
obscure the bar line. In the last four bars, the strings take their bows, a horn
enters, and all instruments play in smooth, partly chromatic lines, the winds
moving up at the end while the strings turn downward.

[m. 241] Variation 30.

The last variation makes the descending third chain even more explicit. It is
played loudly and with heavy accents. The low strings lead the violins in imitation
on the descending third chain at the distance of one beat. The winds and violas
play sharp chords off the beat (where the plucked unison strings had played the
descending thirds in Variation 29). The fifth bar of the variation changes to
strong upward leaps in the violins, the off-beat chords continuing in the winds and
violas. The timpani and trumpets enter in the sixth bar.

[m. 249] In a dramatic extension to Variation 30 that acts as a transition to the

coda, the eight-bar units are finally broken. The leaping violins and cellos widen
to octaves and tenths. The horns also play octaves. These are held across bar
lines, first in the horns and low strings, then in the violins, then horns and low
strings again, creating cross rhythms and a hemiola (four 3/4 bars clashing with
two implied 3/2 bars). The winds play chords with the violins. The violas are
isolated, playing thirds in faster syncopation. The timpani beats become faster and
louder, emerging in a roll, and the tempo slows just enough to prepare the coda.
The last bar is on a striking “augmented” chord that suggests both E major and C
major.

CODA: Più Allegro

[m. 253] The tempo speeds up slightly for the coda. It begins with what sounds
like “Variation 31,” with full winds and brass (including trombones) blasting the
harmonized theme against cascading string arpeggios played tremolo. It stalls,
however, on the fifth bar, the dissonant note A# (now notated as B-flat) This
note, and the chords supporting it, are stretched out to four bars with two strong
timpani rolls and two dramatic pauses.

[m. 261] In what sounds like “Variation 32,“ the Bb slides up to B-natural in a
chord with winds and plucked strings. This slides again up to C in a second chord,
yet again giving that note and that harmony emphasis. The bass continues to move
chromatically upward with both half-steps and leaps (usually of a fourth) against
strongly arching violin tremolo arpeggios. The trombones enter in the fifth bar.
The “variation” is extended four bars, vacillating strongly between E major and F
major (a key introduced by the C and the Bb). It increases steadily in intensity.

[m. 273] “Variation 33” brings the music back to the realm of A minor and E minor,
despite beginning with a strong implication of F. The trombones play a rising line
that clearly recalls the Theme. Strings and winds play punctuating chords separated
by rests. This creates another hemiola, with eight 3/4 bars re-arranged into four
implied 3/2 bars. The trombone lines are extended by longer chords and drum rolls.
The “dissonant” note is still notated as Bb rather than the A# used throughout the
variations. The “variation” is an extension of the first four bars of the Theme,
facilitated by the implied 3/2 bars.

[m. 281] “Variation 34” begins with a drop in volume, but steadily and dramatically
builds. The violins and winds lead an exhilarating alternation of ascending and
descending harmonized three-note groups. Timpani, trumpets, and horns punctuate
this while the violas play shimmering repeated thirds in triplets. This passage is
the last of the “pseudo-variations” in the coda.

[m. 289] The winds appear to play the Theme in faster notes. A loud syncopated
accent from the rest of the orchestra on the “dissonant” note, again notated as A#,
finally interprets the harmony underneath it as a “German sixth” chord, which leads
to the “dominant” chord of E minor, then strongly resolves there. The sequence is
repeated a second time. This confirmation of E minor has a severe, even “tragic”
effect.

[m. 297] The last bars consist of a fast and syncopated version of the Theme, then
a series of five cadence gestures beginning with three-note upbeats, all confirming
E minor. The last of these is extended, winding downward. The final two chords
strongly punctuate the arrival with a timpani roll.

END OF MOVEMENT [311 mm.]

END OF SYMPHONY