Brahms's Most Sublime Slow Movement: Symphony No. 4, Movement 2

[@ericleiter6179]

You are absolutely NOT over analyzing this piece!!! Brahms was incredibly meticulous and I found every detail of this video fascinating and enjoyable...thank you for the time you take to help us all find our way through these masterpieces with a clear understanding of the process...I'm sure somewhere Brahms is thanking you too!

[@ericleiter6179]

I think I know where you're coming from, when I first was exploring classical music I was sort of let down by my expectations where Brahms was concerned...he sure didn't appeal to me as the great successor of the Beethoven symphonic tradition, in fact I found him boring. But after years of absorbing the repertoire and beyond, I gave him another chance and realized I was wrong by summarily dismissing him...he may be a second rate Schumann or a third rate Beethoven, but that's because he is a first rate Brahms, it's just different that's all. There is heart in his music, it's just expressed in a less obvious way and we can't let our bias prevent us from enjoying it on its own terms...to each his own

[@ericleiter6179]

@@vivianevonscharnhorst8878 I love Bruckner's 8th too, although you can do MUCH better than Celibidache's version, but I don't quite see how you find Brahms immature even though I agree the entire course of music didn't change because he wrote music...but really the same could be said of Bruckner, or about 10,000 other composers for that matter. Again it really just comes down to each individual's taste. If you limit yourself to the Titans you're still missing out on alot of cool music, so their achievements aside, one man's Bruckner is another man's Brahms...they are both overrated and they both made music worth hearing in my opinion

[@PETERJOHN101]

@@ericleiter6179 It's not that they are overrated, it's that musical appreciation is completely subjective, whether you are a musicologist or a bartender.

[@bartolo498]

14:35 I didn't recognize this 4th song in the ouverture but the joke is obviously that the text refers to the "Lied der Lieder" (song of songs) that is about to be sung, and this song is, presumeably, the most famous student song, Gaudeamus igitur that is used for the mock? apotheosis of the Academic festival ouverture.

[@TheRobyMann]

So we just get to have the incredible analysis video for free? Incredible!! Thank you Richard

[@ufukhalatoglu1505]

Finally. Please also analyse the other movements

[@LukeZX4]

I love love love the Brahms 4 so much. And this movement can move me to tears any day of the week. How does one describe the emotion of hearing 33:39 for the first time? Stormy violence gives way to a glowing chorale, before blossoming into this soaring climax whose ecstasy is so palpable it almost hurts. And of course, in peak Brahmsian fashion, they are all the same theme. To traverse such an emotional range in the space of 2 minutes and with such economy of means is incredible.

[@Richard.Atkinson]

Yes, it's amazing!

[@LukeZX4]

@@Richard.Atkinson I look forward to your analysis of the remaining movements!

[@James-ll3jb]

The first time I heard this, having heard all his other symphonies, at its crescendo I was moved to tears. Since I've heard it live twice. Try hearing it on a slow train at sunset through the Mösel valley: life-affirming!

[@msjapan112]

I always come back to Brahms in autumn. This piece is at the core of my heart every day at this monent. I like your voice.

[@kylevalorose1636]

ugh your analysis is consistently baller

[@classicallyaware2087]

Finally done with my schoolwork, and get to sit down to a fantastic gift for my labors

[@vaughangarrick]

High romantic isn't my thing so I really appreciate it when someone shows me the beauty of what I'm missing out on

[@mozartsbumbumsrus7750]

....and, as I experienced as a young boy at my first live concert performance with my parents, in San Mateo, California, my feet dangling over the edge of my seat, my uncle playing in the clarinet section, my visual images, colours were overwhelmed by the physical tingling that not only my entire spine, but cranium, entire skeletal system combined with my skin, nerves, muscles and sinews and especially my lungs, stomach and breath vibrated my entire being that hearing the recording here on my smartphone regained this physical tingling after many years of performing this sublime masterwork as Principal Clarinet, I am so blessed and grateful that I made the lifetime lifelong determined and committed decision to become a musician, a clarinettist at the age of 5 years. I still can regain the physical, mental, spiritual and transformational transcendental experience. Thus, knowing that sapiens is currently actively and aggressively becoming extinct as we destroy life on planet Earth. Well done, sapiens and thank goodness that Mother nature and evolution is ending our failed species because we will never destroy evolution or Mother nature. Give thanks and praise for the ending of our failed species as we enter dystopia and the 10 so far (count 'em) "Megathreats" (Nouriel Roubini). Smile and hold hands, if you have a hand to hold in yours.

[@RogerBesst]

This music simply washes over me, and leaves me emotionally drained. Beauty beyond words.

[@daffodilaura]

Richard, I want to say thank you. If it weren't for you breaking down classical pieces like this, explaining how motifs are used and stuff like that, I wouldn't have been able to write my own microtonal symphony over the course of a little more than a year.

[@EmanuelSpader]

Yeeees!!! I've been looking for a long time for something like this! Instantly subscribed! Awesome videos!

[@doricdream498]

43:06 actually made me yell "WHAT" at my screen. every time i feel like i've gotten used to haydn he does something utterly bizarre that leaves me dumbfounded. he was absolutely a master of comedic timing and musical theater.

[@zhihuangxu6551]

The same theme was also used in finale of Beethoven's first symphony, dedicated to his teacher Haydn.

[@Richard.Atkinson]

@@zhihuangxu6551 Every time someone mentions a connection I forgot to put in the video (or in this case, one that I’d never thought of), I get simultaneously happy and angry. 😂

[@ainjalichow]

Thank you 😍

[@johnedreslin]

This is a wonderful analysis. I have always loved this music but lack the theory background to explain how the magic happens. So many things are now made clear. Thanks so much.

[@shirleymuhleisen683]

Incredibly beautiful music makes you feel like your flying

[@trevorpsy]

You picked the perfect performance. Rattle makes everything so well defined.

[@thejils1669]

Just a little bit of observation here about the evolution of classical music. These compositions by the "Masters" are so chordally complex yet the melodies and counter-melodies fit so perfectly no matter how intricate (perfection of rhythmic modulation), the "brain-power", creativity, and attention to detail needed to pull any of this off is staggering. One can only wonder whether or not such incredible music could've ever been fashioned if during this time period human minds were polluted and completely distracted by television, sports, and social media obviously so "hypnotically" prevalent in today's world. It more than likely would've made the process that more difficult.

[@matheusmartinispier2541]

I’m so glad I find this video. This movement has been one of my favorite pieces of music for more than 10 years yet I have never found any analysis of it on KZbin, and even books or biographies never stated just how otherworldly beautiful it truly is. It’s nice to see other people impressed by its beauty too. Thank you so much for your video.

[@recapitulations]

Always love your videos. Would love to hear more of your thoughts on Mahler if you have the time and inclination!

[@bengus2069]

I'm kinda late at the video but I have to comment this since you asked if viewers would get some kind of visions about the music, perhaps similar to yours. I do get those but this time around it's a bit different, psychological. The practice letter F is my favourite spot in the movement and it really hits me in the feels. The warm and joyful revelry of the previous 4 bars (starting at 33:40) come to a sudden end as a painful memory of, perhaps a lost loved one, comes to mind at that dissonant moment in the middle of bar 102. Then, the lower woodwinds make another contrast to the previous burst of emotion. The repetition in rythm and especially the # that stands out from the horn, signal question and contemplation to me. Yet the passage becomes increasingly calm and soft, soothing even (increased by the orchestration with non-passionate sounding woodwinds). All this added together, the woodwind -passage has come to symbolize for me a spesific type of silent reflective acceptance that us people have to come to, as we struggle to move on from the pains of our lives. Cheesy, I know but this is what the music draws from me and it easily brings me to tears. It's feels strange to me that I and others have capacity to project such spesific allegory into music.

[@emilianodorantes2434]

2:57 The first cadence in the mov is in G#m and suddenly the theme starts again in EM. That's exactly the same sensation that I feel right between the movs 1 and 2. The first mov ends in Em and suddenly the second mov starts in a CM implicit harmony. It makes me cry

[@justintuccimusic]

Thank you for continually introducing me to great music!

[@enriquesanchez2001]

RICHARD: ♥ It is SO odd that throughout my 67 years, I have never developed pictographic manifestations of any of the music I have ever heard. The energies of the musical rhythms, melodies and harmonies themselves speak to me - exclusively. I often wonder if I am missing something and usually chuckle when someone relates the images that form in their minds - as if they are missing something themselves! 😏 Aside from that anecdote, I wish to thank you for your wonderful elucidation of this marvelous movement! ♥

[@Dtiaah]

You’re a really gifted listener. Leon Fleisher always argued against seeing music as additive. He always stressed that music is physics not math. Definition… Physics is the natural science that studies matter,[a] its fundamental constituents, its motion and behavior through space and time, and the related entities of energy and force.

[@enriquesanchez2001]

@@Dtiaah Thank you for that compliment. A possible reason for this is that I am a composer. ♥

[@ghuuyy-du9mf]

32:30 this part always make me cry … like remembrance

[@saschaknorrcomposer]

This is the very first Brahms movement, that made me fall in love with his music decades ago. Especially that section, where the violins play that 2nd theme always gave me chills. Thank you for this video, Richard! I am watching your stuff for many years, though this is my first comment.

[@Ivan_1791]

I'm so happy to see this video. Thank you as always man!

[@NothingFunnyAboutTheseCarpets]

16:16 ACTUALLY I guess it would be a third of the speed. I know it’s irrelevant, I was just enjoying the little pleasure of correcting the legend Mr. Atkinson

[@Richard.Atkinson]

I stand corrected!

[@TdF_101]

The ending sends chills down your spine. I really like how Brahms was consolidating the interval of 3rd for modulations and cadences, not just the V or IV degree of the scale. Reminds me of Schubert, a composer Brahms studied well.

[@grandisdavid]

You are so right, and your analysis is absolutely fantastic. I recommend your channel to all my students. Thank you for your amazing work!

[@mrwinikoffmusic6320]

Thank you!! For me also, this movement is a favorite, and revealed to me the monumental genius of Brahms; listening to it still transports me to mysterious realms. I was waiting for you to draw what for me has always been a striking parallel with the second movement of Beethoven's Fifth - similar meter, tempo, same noble wisdom.

[@MarvinFalz]

Beautiful music, especially the first theme of the Exposition. Thank you, Richard Atkinson!

[@yam2050]

Not a musician or anything, cam here by chance and got this music refreshed..heard it in an anime.❤️

[@ironmaz1]

What a symphony... I had put off listening to his fourth for way too long. Your analysis is like reading the best non-fiction book that is neither too technical nor oversimplifying stuff. As usual I love the parallels you draw. Haydn and Brahms do bring this maritime feeling :) Thank you for the video Richard! I look forward to more symphony stuff

[@c0ntemporist]

I’ve been waiting for this video for long, glad it is finally here!

[@zhihuangxu6551]

I'll provide two of my personal tangents to 9:45 - Near the end of recap section of Beethoven Op.109 piano sonata, and near the end of the middle section of Chopin etude Op.10 No.3 - amazingly, all three of them are in E major.

[@ddaneh3090]

this channel is so awesome, thank you.

[@naplau344]

It is hard to believe I can learn this amazingly in-depth analysis for free! Just want to say nothing but thank you.

[@gerbs139]

Really love the "Nintendo" pattern illustration: up-down-up-up-down-down, and then realized that at the very last appearance, there is an elongated third "down" in the horn! Another master stroke in this near-perfect creation? Not really - in fact, there's nothing "near" about it!

[@Richard.Atkinson]

I didn't say any words about that final horn "down," though I agree that it's amazing, especially because one barely notices it's happening with everything else going on in that bar.

[@IAmDylanPowers]

"Brahms' most sublime slow movement" Oh. Absolutely amazing movement. Love the horn call.

[@znotch87]

Yes, please over-analyze the Academic Festival Overture some time :)

[@claudiomayorgamusic]

Thank you!

[@brandonmartin5650]

This is one of my favourite compositions to listen to. Especially this movement. Even more so the last part of this movement, the climax of that second theme. I lose my words each time and emotion is all that takes ahold.

[@mishibird]

Thank you for this analysis. This truly is one of the most special couple of minutes in all of music. Also, thank you for using the vastly underrated Rattle/BPO cycle. The wind playing is just sublime. PS: that has got to be the most drawn out final chord of the Firebird ever!

[@krzysztofq7420]

when I hear those three falling notes at 2:44 in my head it transitions to Holst's Jupyter

[@zhihuangxu6551]

Also appears in the end of the (fugal) first subject of slow movement of Beethoven's first symphony (so many Beethoven tangents by me under these comments? That's because I'm partially a Beethoven expert haha)

[@Quotenwagnerianer]

When I was a child, 5 or 6 years old, I already listened to classical music. But with the short attention span children have of course. That means slow movements were mostly skipped or not being paid attention to. This movement was the exception. I loved it the first time I heard it and loved it ever since. That should tell you how good it is. If an easily distracted 6 year old can enjoy it. It was actually more than just enjoyment. I felt like I understood what Brahms was trying to tell me about himself.

[@DankChallenger]

We need the best movement and best of all of his symphonies, the last movement of this one!

[@Richard.Atkinson]

Oh it’s coming…

[@tygrtales6319]

Hi Richard! I love your content so much! As a young composer it’s very helpful how you break down famous works and explain what makes them amazing. My favorite piece of all time is Tchaikovsky Souvenir de Florence’s final movement. I know you probably won’t even see this but if you did a breakdown of that movement from that piece that would be AMAZING. But yeah thanks for your videos!!!

[@Ivan_1791]

The ending of this movement has to be one of my favourite moments of all music. The colour changes and the rise towards heavens is beyond words. Being the concertmaster there has to be an experience of a kind.

[@brandonmartin5650]

I fully agree.

[@Ivan_1791]

@@brandonmartin5650 Omg, I got confused with the 2nd movement of the 3rd symphony and I mixed up concepts lol. That slow movement is extraordinary as well, I even find it a great example of pointillistic music before it was a thing, and reminds me so much of Webern!

[@brandonmartin5650]

@@Ivan_1791 Haha, lol. You know how Brahms' music can meld together, because to me there seems to be not only a coherence within each particular composition, but a grand schematic formulation. Whether it be by design or arbitrary or inspired, it seems to me to pervade his music.

[@Ivan_1791]

@@brandonmartin5650 That's for sure. For example the famous series of descending thirds of the 4th symphony return in his late masterpiece song "O Tod". Almost as a self quotation. That song leaves me truly devastated.

[@brandonmartin5650]

@@Ivan_1791 It was revealed in the beginning of his career in one the movements of his two Serenades that preceded the D minor piano concerto Scherzo. I forget which Serenade it came from.

[@thomassicard3733]

Having human ears and hearing sound is what inspires all music.

[@cletusfordwicke7608]

Magnificent music and analysis.

[@TaTopePia]

The NES controller overlay made me chuckle 😂great video and explanation of one of my favorite movements.

[@thepianocornertpc]

Bravo.Great lesson.Thank you.

[@gospodine]

WOW Thank you ! So interesting!!

[@christianmaestre1465]

🎉for your work-at14:57 mes 36-40-transition (bridge of the sonata form) leads to theme2 (un green)mes41/the transition returns during the recapitulation for the climax (mes84) before theme 2 in green il the home key (mes 88)-sorry for the faults -😢

[@diegoarevalo884]

Once again, HEEEEELLYEAH. I've been waiting for so long :_)

[@Verschlungen]

@4:41 [the opening by Horns 3 & 4 in measures 1-4] "sounds like a C-major melody." Similarly, here is Malcolm MacDonald, in his book entitled Brahms, pp. 314-315: "The bardic unison horn-call that opens the Andante with overtones of epic mystery SEEMS TO SUGGEST C MAJOR [but a few moments later] the opening is revealed (even if we do not know the name for the effect) as in the Phrygian mode, on the symphony's keynote of E." I wonder if anyone else has this very different take on m. 1-4: For me, those four measures immediately register as "something modal," and not for a fleeting instant do they suggest C-major. To me, the notion -- shared by Atkinson and MacDonald -- that they "[first] suggest C-major" sounds like something a low-grade LLM would come up with -- just faking it, whistling in the dark, by the cold logic of an attorney stating: "The notes C, D, E, F, G belong to C-major." The final chord of the preceding movement is an E-minor triad. This does not predispose one to hear E (at the start of the next movement) as "part of a C-major scale." Rather, it predisposes one to hear this: "More E-minor? No, something modal BASED on E." For 70 years, that's the only way I've ever heard it (which, by the way, is one of THE magical moments in all of Western music). Both MacDonald and Atkinson seem loony to me in their assumption of first hearing C-major. Yes, we would expect ChatGPT to spew such nonsense, but for a human listener to perceive it that way. Why? (By the way, I love everything else Atkinson says, before and after m. 1-4, especially re Elizabet [sic] von Herzogenberg at the very beginning. Yes!)

[@Richard.Atkinson]

You think only ChatGPT could possibly hear an unaccompanied melody that outlines a C major triad as a C major melody? I'm baffled by this comment.

[@Verschlungen]

@@Richard.Atkinson Thank you for responding! Clearly I'm the 'loser' or odd-man-out in this debate, with both you and MacDonald (an author whom I worship) saying essentially the same thing. Let's try this: I "know a lot of music" but I am not a musicologist; I think that someone with your highly analytical approach (which we all love, btw) might be -- ironically -- misled sometimes by that very approach. The thing is, an actual C major melody does not move that way (show me one). So to make that claim, you're being theoretical, like a computer. If I knew Brahms were somehow available to settle this eventually, I would literally bet my life that he intended it to sound immediately archaic [cf. MacDonald on that topic], immediately modal, immediately Phrygian (depending on the background of the listener). Horn 3 is repeating the very same note, concert pitch E, that s/he was playing in the final E-minor chord of the preceding movement. The symphony is in E MINOR. It's all about E. How much clearer could a composer possibly be?? (And this IS worth debating because I think you might agree that m.1 of movement II is one of THE most magical moments in the whole history of Western Music. Just that measure. Not the rest of the movement, which is only a kind of comment ON that "bardic unison horn-call" as MacDonald calls it, on p. 314.)

[@Richard.Atkinson]

@@Verschlungen I very much disagree wholeheartedly with a number of things in this reply. If you want me to "show you" a melody that moves that way, just look 3 bars later in the piece, when the clarinets play the same theme in E major (exact transposition). Obviously, a melody that outlines a triad will imply that triad as its tonic, and Brahms proves this to you by transposing the opening melody into E major in bar 3, and accompanying it with E major chords (thus, immediately disproving your claim). I'll certainly concede that only a specific listener can possibly know how that listener hears a certain unaccompanied melody. For all I know, you could be imagining this melody in C-sharp major with all of its notes being non-chord tones. I'm talking about what I think most people perceive, and I don't think it's a stretch to say that a melody that outlines a triad implies that triad as its tonic, and indeed, almost all melodies "move" this way.

[@thomassicard3733]

F Major to E Major. It's a common blues phrase ending. Flat-2 (tri-tone sub for 5 chord) to 1. Yeah. Check it out: tri-tone substitutions are really cool (when they are really cool!)

[@colonelfredpuntridge8799]

My nominee for most sublime second movement by Brahms is the one in the Double Concerto (for violin and cello and orchestra) Second place: the Clarinet Quintet.

[@theoryjoe1451]

It's kind of amazing how far just looking at similar melodic fragments will get you in analysis. You don't even really need to know theory to understand the piece's construction. Of course, knowing roman numerals and certain terms helps even more. Great video.

[@jaysparc]

To me, this movement always reminds me of Schubert's 9th 1st movement. The opening horn duo, then the winds play with a string pizzicato accompaniment. Then if you add in the 2nd theme from the 2nd movement, it sure looks a heck of a lot like Johannes gave this a listen at some point.

[@Richard.Atkinson]

I'm sure he did!

[@JohannnesBrahms]

And I'll leave it there in E major with a final pluck from the strings. I suppose one of the many ways one can appreciate my music is as a reverse engineering experiment. Personally, when music comes forth from me as an expression of feeling in sound, made real in the structure I create, it is intended to bond the mind with the heart in the delight of experience. But as in all experience, one makes of it what one will.

[@danieltarr1825]

The carpet man chord is really a German 6th spelled f double sharp c natural e. This is why it makes sense to our ears.

[@danieltarr1825]

C major chord

[@Richard.Atkinson]

Yes, the flat VI chord (or just the VI chord in a minor key) is the enharmonic equivalent of a Ger+6 when you add in the seventh.

[@soutteruk1]

Excellent (as usual)! I can't wait to hear what you do with the fourth movement. Festina lente!

[@vrog]

Brahms’ second symphony, 3rd movement is my favorite allegretto of all time. Wow, it’s so amazing. But this symphony is also sublime. Thank you for the video, friend.

[@DankChallenger]

Beethoven 7? Its the best allegretto of all time. But then again, that Beethoven guy was pretty good at writing symphonies

[@vrog]

@@DankChallenger that is a nice movement, but not as entertaining imo. My favorite Beethoven symphony is 3... by far

[@amotkram99]

When I first started analyzing, I used to think all the time. Wow he borrowed this and that from whomever. Then I started composing that way, intentionally borrowing and altering it for originality. Later I became proficient at improvising (on the piano) which is really composing real time. Then I found that I would find all kinds of stuff I heard before and then through shear hours of playing I find that in a sense it all has been done before in some variation. I wonder if it is the same thing where the composer just finds stuff and later we reflect and say it is an inversion of this or that? SIDE NOTE: In those days quoting or honoring influences (those that come before) was a thing and not frowned upon.

[@mariofattori6526]

Thanks again for another chance to enhance the understanding and the listening of a piece of music. About the visualisation you talk about in the last seconds of the video, I think that listening is a sort of encounter between listener and the score, so such kind of images could be seen as a fruit of that, a way the listener links to the music. I myself feel something special toward some pieces, like the Kyrie in Mozart's last Requiem, just for this reason. I think this is ok as far as it's very borne in mind that this came from you more than from the composer.

[@tiagosantospinto]

Please do the finale of the Piano Quintet next!

[@BsktImp]

I've always felt this movement evokes similar sentiments and shares its character with the slow movement from Mendelssohn's _Italian_ symphony, No.3.

[@jonathankasdin4162]

I've always thought that at the end of the arco violin version of the first theme, the rising and falling 3rds and 4ths (measure 35) sound just like the rising and falling thirds which open the whole symphony!

[@beethovensg]

Incredible knowledge and presentation.

[@Hordenloper]

I also have a specific imaginary with this movement. I imagine Brahms having an argument with Clara towards the end of the movement and then I hear him begging for forgiveness for his stupidity when she walks away. The hair on my back rise when I hear him begging her to stay.

[@musicstewart9744]

This symphony is fantastic to hear live. Especially when played by @philorch

[@VincentGiza-Composer]

Just a suggestion, I notice we have a most beautiful passages video and a most badass passages video regarding the marvelous Beethoven symphonies, however there is only a most beautiful passages video for the Mahler symphonies! Do you think you could make a most badass passages video for the Mahler symphonies?

[@Richard.Atkinson]

I've been planning that for years, but every time I try to start, I can't decide whether to just make single videos about each movement (like I'm currently doing with Brahms). We'll see.

[@VincentGiza-Composer]

@@Richard.Atkinson Awesome! I cannot wait to see what you bring us!

[@neilsaunders6009]

Yes, this is certainly Brahms's greatest symphonic slow movement.

[@zhihuangxu6551]

37:19 does this forshadow the hendrix chord in rock music?

[@DankChallenger]

I recommend Kleibers brahms with the Vienna Phil, just for future reference (it is unrivaled in terms of genius and everything)

[@drmdjones]

Bravo!

[@michaelperrett8573]

Thanks, great video. Re tonally ambiguous beginings, I wonder if Brahms modelled the opening of the Clarinet Quintet on the Haydn Op.64 No.2?

[@henryng0725]

22:30 Don't know whether it is intentional , but it does appear frequently in previous composer's work, e.g. in the 1st mov of Beethoven's 131 as the tail of the fugue subject and later act as episodic element, and is inverted in the finale. I think that motive is later transfigured to the example you provide in op. 135 slow movement (which at first Beethoven would like to end 131 with the 135 chorale), as well as act as the head motive of the second subject of the final movement to have a "fleeing" version of it. It also appears in Bach's B minor fugue in WTC I as episodic motive, though with one note shorter. That's a long time waiting since your monumentual analysis of the first movement!! Hope that you will analyze the third and fourth movement of this symphony within this year, haha!!

[@zhihuangxu6551]

The fast transitional version of the motif in this symphony appears as early as Beethoven's Op.54 piano sonata and in similar manner, only inverted

[@caterscarrots3407]

I haven't had that programmatic association of absolute music happen with this Brahms symphony, but I have had it happen with Beethoven's Pathetique Sonata. Actually the sonata as a whole I have a programmatic association with. To me, every time I listen to Beethoven's Pathetique Sonata, I think of this: A person is injured and doesn't want to move cause it hurts so much.(Grave) But they have to, it's dangerous out here.(Allegro) They succumb to the pain.(Grave reappearance in G minor) They start moving again(E minor start to the Allegro part of the development). They succumb to the pain one last time, when they are almost to safety.(Final Grave appearance in the coda) They start moving and are finally at safety. But how long will it last?(Ending of Allegro) Safety at last, now they can rest and heal.(Adagio). Oh no, what's this darkness, do they need to get out of here?(Ab minor episode) Never mind, they can rest easy and finish healing.(E major leading back to Ab major) Oh no, the danger is back.(C minor main theme) They need to avoid getting hurt. They evade the danger for a little while(Eb major), but not for long, it comes back.(C minor) They evade it yet again and start to relax(Ab major), but it isn't long before it once again comes around.(C minor) They evade it for a third time and this time it seems like it's gone for good, like they've made it.(C major) But they haven't, it sneakily approaches them before giving chase.(Quiet diminished seventh chord brings back C minor) They are hurt yet again.(Coda) They say their goodbyes, they know they've lost the fight(Final Ab major appearance, reference to the second movement ending) and it ends as tragically as it began.(Final C minor outburst) That's just my association though.

[@jacklindahl]

I too hold this movement of this symphony above all the rest. The incredibly simple seeming two-note motto does double duty as part of the first theme and, majestically, as a magical theme of its own. And then it returns and is expanded and explored in the fourth movement, building to a heart stopping climax before settling us back into the primary theme of the first movement. Genius.

[@thomassicard3733]

"The mysterious Purple Haze". Well, ... Yeah. Dig it, dude. " 'Scuse me, while I kiss the sky! "

[@arun-544]

Great video! Any chance to see a video on a Hindemith piece? The Symphonic metamorphosis has some incredible moments and fugato!

[@alger3041]

I find the slow movement of the First Symphony his most beautiful symphonic slow movement, by far the most engaging for me. However, you are fully entitled to your opinion, as I am to mine.

[@Richard.Atkinson]

Also a sublime movement, though for me not as sublime! If you're new to the channel, you might like the video I did on that movement last year: kzbin.info/www/bejne/l6mpeHeJrMqsf6c

[@KenL414]

Wow talk about getting under the hood - fascinating, captivating content. You got a subscribe for sure.

[@geraldmackay4885]

I have never liked Brahms though I understand that many other people do. I have also disliked the influence he has had on many other composers who could have been much better if they had not tried to emulate the Brahms style. I instance another major composer, Dvorac who escaped the influence in his later works, though there is a legion of lesser composers who did not. Only when I listened to Richard Atkinson did I realise what has been happening. Such is the complexity of Brahms music that it has obviously appealed to lesser composers who appreciated the complexity without having the genius of Brahms to be able to compose in the same style eg Parry Stanford etc etc. So Mr Atkinson has shown me why I dislike Brahms. It is simply too intellectual and complex for my taste. It is significant that I enjoy the late piano pieces which he published at the end of his life. I think these were works which he intended to incorporate in more substantial compositions but did not have the time, so we have the simplicity which is absent in the major works. So thank you Mr Atkinson for your lucid explanation. Brahms is a major composer but I just don't like him.

[@Tracotel]

Richard, the way the movement ends F major -> E major is simply a phrygian cadence. This is the way Bruckner concludes his 4th symphony here: F flat major (6) -> E flat major kzbin.info/www/bejne/Y37Miq2Lba2EkLM

[@Richard.Atkinson]

Very true. I was going to include other examples, but the video was already too long!

[@Tracotel]

@@Richard.Atkinson Another phrygian passage. As a liturgical organist knowing gregorian songs and modality, that was one of Bruckner's specialty. kzbin.info/www/bejne/i4Cyg3h5m8p_lbs

[@amotkram99]

Maybe I missed it but I am surprised you have not done Dvorak 7th, 8th or especially 9th where he layers of 4-5 themes at one point. For me Dvorak 7th is the best Brahms symphony ever ;-)

[@jezt42]

I so wish I had this video to refer to when I studied Music A-Level! What is the best recording? Personally, it’s got to be Bernstein conducting the Vienna Phil. 👍🙂

[@Shi_Donglai]

24:32 How many people hear this as the Mickey House theme!! I used to watch a lot of Mickey House when I was young and when I first heard this movement like 7 years ago it immediately struck me because just how almost identical their first motif is! Here is a link to the Mickey House main theme at the start of every episode where Mickey presents his Clubhouse to the public. kzbin.info/www/bejne/f36oqK2wrqeDbdk

[@johnqpublic4662]

I love the Brahms 4th, but if you compare it to something like the Prelude to Parsifal? Forget it.

[@ilirllukaci5345]

The composer called the symphony "sour cherries". Richard Strauss called the andante a moonlit March. Probably a bit Eichendorffish.

[@johnqpublic4662]

E to C to F is a Riemannian transformation.

[@chrisnorlin57]

Opening French horn Fanfare E-F-G-E-D-C-E suggests A minor, not C major? Minor key also seems a more natural bridge with the minor E chord still ringing in our ears from final note of 1st mvmt.

[@Richard.Atkinson]

You're right that the A minor scale has the same notes as the E Phrygian scale, so your brain hearing it as A minor doesn't completely surprise me. After all, I'm talking about implied harmonies that don't actually exist, so I can't really argue that I'm more correct than you, except by pointing out that it outlines the triad and therefore probably implies C major for the majority of listeners.

[@rbrilla]

Great! When are you talking about the 4th movement?

[@floragutierrez538]

Yo agregaría otro sublime 2do. El del 1er. concierto para piano, formando un enorme contraste con el terrible 1er movimiento

[@RickB500]

Great, learned a lot again. But the end seems to me inspired by Wagner, the End of the Walküre e.g. Allthough they were antipodes Brahms learned a lot from Wagner.