Johannes Brahms

Symphony No. 3 in F Major, Op. 90

Brahms, infamous for being a late start, finished composition of his Symphony No. 3 in 1883 at the age of fifty. Just as infamously diligent in ethic, this symphony resulted from six years of creation following his second and a slew of other well-known works.

For the less initiated, the third is immediately attractive and can be acclimated to rather quickly; the themes are beautiful and forthcoming, recursive enough to sustain interest, and are occasionally provided momentum with gentle shifts in tone color or modulation. The emotional range displayed is remarkably diverse, as well, but maintains a free-flowing, and joyous optimism throughout, though well controlled. This steadfastness is reflected in the fact that all four movements end quietly, including the finale coda; a calm and accepting serenity in the face of grand challenge or wonder.

The first movement opens with a graceful, uplifting, almost dance-like theme, which recurs throughout up to just before the coda. The movement is incredibly joyful for its duration, almost raputurously so, but with a careful restraint charateristic of the composer's studied and logical classical approach within these Romantic contexts. It sets the mood well for the Andante, which represents less a change in feel than method; openly expressed, sometimes nearly euphoric tones give way to a more introspective happiness, of a sort derived from peaceful thought and quiet contemplation. This is interrupted only briefly during the movement and ends where it started, bringing a sense of unwavering eternity to the movement and greater work.

In the Poco Allegreto, the heavily-stringed opening melody is instantly recognizable following even a casual first listen. The joy of the first two movements gives way to a careful melancholy which is prodded along with touches of color and playfully delicate rhythm. The supreme sense of flow continues to pervade, giving way again to a quiet coda and some long-absent sense of tension at the beginning of the explosive fourth movement, which starts suspensefully, violently, and climaxes, resolving in the previously mentioned quiet finale which helps to recapitulate the overarching sense of the entire work as described.

Thanks to the distinct nature of each of the movements and their lush themes, it is tempting to read the symphony as a program piece, a notion Brahms, the Classicist, would have likely summarily rejected. The primary melodies are evocative by their well-wrought and delicate nature rather than by force of backstory; for those unfamiliar with the symphonic form, that makes it an ideal introduction as they comprise the center of a sober, accessible Romantic work from one of the greatest ever composers: Classical form with distinct and well-rounded emotional beauty.

- Kontinual

© 2006 mock Him productions in association with CORRUPT

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