You are currently browsing the daily archive for May 13, 2011.
The finale begins with an extended slow introduction based on several pregnant thematic ideas. The first, high in the violins, is a minor-mode transformation of what will become the main theme of the finale, but here broken off by an agitated pizzicato passage. A tense section of rushing scales is halted by a timpani roll leading to the call of the solo horn, a melody originally for Alphorn that Brahms collected while on vacation in Switzerland. The introduction concludes with a noble chorale intoned by trombones and bassoons, the former having been held in reserve throughout the entire Symphony just for this moment. The finale proper begins with a new tempo and one of the most famous themes in the repertory, a stirring hymn-like melody that resembles the finale of Beethoven’s “Choral” Symphony. (When a friend pointed out this affinity to Brahms he shot back, “Any fool can see that!”) The movement progresses in sonata form, but without a development section. The work closes with a majestic coda in the brilliant key of C major featuring the trombone chorale of the introduction in its full splendor.
bleatmop
Mystro
Dead Wild Roses 
Your opinions…