Sunday, February 06, 2005

Brahms 4 mvt 1

Brahms 4 mvt 1
Berliner Philharmoniker
Herby von Carry-on

The beginning starts very austerely. It makes me feel mourningly contemplative. The violins present the main melodic theme over the oscillation of woodwinds and low strings. Sequencing follows within the melodic structured. A crescendo appears with the oboe floating above the texture coming to a ritardando. The melody stated by the violins in the beginning is now expounded upon by the woodwinds who, through a step-wise technical run, outline the main notes of the melody. The texture thickens with the full orchestra now playing for a period of time (save the trombones of course, which dont come in until the 4th movement). The cellos dominate the texture for a few moments with the horns accompanying. The secondary theme is then played by the woodwinds and horns. It is a noble theme. It gives me an inspiring feeling, directly related to the near future. The horns and cellos dominate the texture once again with a legato, languid, and sorrowful elongated melody with the woodwinds and strings adding a stocatto and pizzicatto accampaniment. The strings then echo this melody in an inversion with the same type of accompaniment except in arco. The secondary theme is then passed around from section to section briefly. There is a brief pizzicatto interlude then overcome by the sweet arco of the upper strings. A development begins dominated by the strings and woodwinds. More noble gestures make themselves present. A large crescendo happens with fanfares from the unison horns and trumpets. The texture dwindles back down and the beginning is repeating once again, almost excatly. It might be an actual written in repeat, but I'm not sure, it might just be form. The secondary theme comes in once again except this time in the low register of all the string groups, being passed from one another. It is accompanied by woodwind gestures and held notes. The trumpet and horn once again use fanfare like calls and pull the music into a brief frenzied state. This leads to a brief melodic interlude by the clarinets accompanied by the strings pizzicato. This is forshadowing of the 2nd movement. More development ensues with the first phrase of the primary melody being played by the strings and passed around amongs the woodwinds. Then, the first 4 notes of this theme is augmentated in the woodwinds followed by static chords. The main melody as presented at the beginning is now stated again. This is probably the recapitualation. Once again the seconday theme is stated. Then the horns and cellos, again, state their elongated theme followed by the inverted strings. All happens just as it did in the beginning until the coda begins. This begins with a fury of runs by the strings with the horns playing on the weak beats of the bar echoing the strings. A development period begins that will ultimately lead to resolution. It sounds very Dvorak like. Victory doesn't feel too far off. Once again the horns and strings alternate gestures and dominance. Then, strokes by the orchestra and an elongated role by the timpani ends the movement in the same minor key that it started in.

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