1880 Brahms (1833-1897) was no stranger to the upper society in Europe. Following
the success of his first symphony in 1877, Brahms music had reached the 1877 new height of popularity. Despite his busy conducting and performing
schedule, the composer, who had reached the age of 50, was still able to
compose a huge profile of high-quality works. Summer was Brahms most
productive period in terms of composing in the year. Every year, he would spend
his summer in the countryside, searching for inspiration and write them 1883 down in his new works. Symphony No.3, Op.90 was written during the
summer in 1883, which Brahms spent his time in Wiesbaden, a spa town in F Germany that overlooks the Rhine.
op. 90
Although the third symphony is the
shortest one among the four symphonies that Brahms had composed, the symphony is in many ways exceptional. In this compact work, the musical ideas, both thematically and
harmonically, are highly coherent throughout the entire symphony. Also,
all the movements in this work end surprisingly soft, which is rare in the 19th 19 century symphonic genre. These innovative features have made this
symphony stand out from many other symphonies of the same period.
The whole symphony is developed from (F-A-F)
the three-note motive F-A-F. It is suggested that this motive, although never mentioned by the composer, symbolize Brahms personal motto: Frei aber Froh (Free but happy). Brahms motto is perhaps a rebuttal to Frei aber Frei aber einsam (Free but lonely)the motto of violinist Joseph Joachim, who was once Froh
a friend of Brahms. The meaning of this motto is emotionally ambiguous. The Frei word aber seems contradicting and the motto can be interpreted both as a aber einsam statement and as a question, and these two interpretations have strikingly different meanings. Such ambiguity can also be found in the music, where the music frequently interchanges between Major and minor scale. Whether or not the composer intended to express the motto Frei aber Froh, the F-A-F motive is nevertheless significant to the melodic and thematic design of the symphony and is extensively used.
The 1st movement starts with two block
chords from the winds. Those chords are in F Major and F minor respectively, which address the issue of rivalry between two contrasting tonalities throughout the movement and of the entire symphony. It is followed by an expressive and passionate exposition in the key of F minor, which quotes the 1st movement of Schumanns Symphony No.3 (Rhenish). Soon the tension is slightly released, and a contrasting second theme in F Major arrives, which the woodwinds conjuring a lyrical, elegant waltz. Instead of following the common practice in Romantic period to compose a slow movement and a scherzo for the inner movements of a symphony, Brahms wrote two moderately-paced intermezzo movements for this work, which the genre intermezzo appears frequently in his piano works. The pastorally-sounded second movement opens with a chorale-like passage, which is played by clarinets and bassoons. The remaining parts soon join in, echoing with the quartet. This movement leads us to imagine the fascinating scenery of the landscape of Wiesbaden and of the grand river Rhine, which is the view that the composer was facing when the composer composed this piece. The 3rd movement is perhaps one of the