Brahms Symphony No.
1- Analysis
INTRODUCTION: Un poco sostenuto Allegro
Sonata-Allegro form with Introduction
C minor 6/8 time with one 9/8 bar
m1-The opening is incredibly powerful and assertive. Pulsating timpani-home keynote “C”. Violins
& Cello against with main idea- 3 ascending notes; half-step apart. Winds & violas against with
descending chords. String Bass & contrabassoon join with timpani beats. Violin line highly syncopated.
Important rhythm=3 shorter notes.
m3- Syncopation in violins continue. winds play new igure harmonized in thirds, based on long note
followed by three ascending shorter ones. violins and cellos begin to work with rhythm of 3 shorter notes
often widely leaping. Music is strong and assertive, timpani beats loudly. Appraoches half-cadence with
a trill; prepared by a single 9/8 bar inserted into the context of a 6/8.
m9-After half-cadence, music ends sharply and moves into series of upbeat igures; sounds to begin
on strong beat working to obscure the pulse; these are in the strings and are repeated notes (plucked
and passed in string family). The winds support the groups with longer syncopated notes that match the
changes. There are two downward leaps the second a third lower, between the groups. The igures meld
into a “sighing” igure with bowed strings. Highly syncopated and include chromatic notes- ending in a
half cadence.
m13-The plucked groups of repeated notes begin again, supported by winds in F minor. The “sighing”
igure is continued and extended by two bars, the begin to build eventually leaping an octave at height of
build. Scale descent in violins,bassoons, lutes that recedes, scale suggest F minor; but music is back in
c minor.
m21-Strings begin widely space theme 1, appears later in exposition. Arpeggios become gradually
faster and are building to a climax in both volume and pitch. Under strings timpani begin to pulse, light
wind support, (tpts, horns, clar, lutes). Under build arpeggio speed increases and timpani beats twice as
fast.
m25-Buildup leads to even more powerful statement of opening music (beginning on dominant G
nstead of C). Timpani no longer pulses, but a rumble extended roll. String bass keeps the pulsating
igure, climax continues like in m3 (in thirds) but is then cut off sharply before string elaboration of short
note rhythm. This allows for same half-cadence as before since it began in a higher pitch than before.
m29-Sharp cut off isolates the oboe, plays a melancholy and meandering melody includes wide leaps
up the octave to the descending scale; oboe line supported by horns and bassoons; later by the clarinets.
(the quite level relects the plucked repeated notes following the previous cutoff). The melody briely
passes to the lute before returning to the oboe.
m33-oboe line moves into cello; taking over melody (includes leap to octave descending scale). winds
drop out, clarinet last. Upper strings provide quiet backgroud to cello. At end half cadence is approached
by isolated plucked notes on cello at end of the melody. Cello gives one last pluck on the dominant “G”
provides anticipation of the arrival of the exposition.
Lawrence V. McCrobie
EXPOSITION: Allegro
m38-Expo begins with a powerful “motto” rather than with a Theme 1. Low unison “C” punched
out by timpani, cello, winds, and horns followed by music that is similiar to the Intro’s opening. Each
wind group (except Bassoons) divide so that top winds go up and Low goes down; both Bassons move
downward, with unison horns. The upper line is the rising 3-notes half step idea, immediately followed by
quick turning igure that is clearly derived from faster “short note rhythm derived from the faster “short
note” rhythm from the introduction, expanded to include following downbeat. Strings enter, echoing
turning “short-note” rhythm with punctuating brass and a full cadence.
m42-Theme 1. First violins present theme, begins with rising arpeggio; soaring above pulsating second
violins and violas. Underneath cellos and bassoons play the “motto” with the three rising half-steps and
the faster turning igure. Soaring arpeggio is followed by a more detached descent. Theme begins again a
ifth higher, still with the motto, in the low instrumetns; but with more wind support. Instead of moving
to the descent, the theme is slightly extended with violin syncopations and a strong half-cadence. The low
instruments play more “turning igures” under this extension (C minor).
m52-Strings play 2 downward leapsbeginning on upbeats, the second a third lower, in unison both
times. They echo plucked string igures from the introduction in m9. These are also followed by “sighing”
gestures; the low strings then play more downward leaps under them. They are cut off by decisive and
detached notes with timpani beats.
m58-continued downward leaps and “sighing” gestures echo the F minor harmony from (m13) intro.,
but extended. First played by low strings, taken over by horns and violins. Violins continue downward
leaps over signing gesture from low strings; winds with low strings play downward leaps with violins
take over. LOUD, music builds to full cadence in C minor emphasized with “short note” turning igure
in the violins with brass chords.
m70-Winds (starting with clarinets and bassoons) start another tentative statement of Theme 1, moving
to a full statement, including detached descent. Violins,violas, timpani play pulsating repetitions that
sound like “fate” rhythm from Beethoven’s 5th. Low strings play inversion of the “motto” with half steps
and turn igures, direction reversed so half-steps move down and turning igures up.
m79-Strings (all) take over Theme 1 and extend material. Winds play versions of the inverted “motto”.
Brass and timpani over emphasize “fate” rhythm from Beethoven’s 5th. Heavy syncopation, drum rolls,
and forceful detached descent all move to another full cadence.
m90-TRANSITION. Full Orchestra follows cadence with series of strong syncopations, mostly
detached from each other and with the winds and strings staggered. Culminate in powerful detached
descent in long-short rhythm. This descending arpeggio decreased in volume. The long-short rhythm
continues in a series of questioning gestures from strings and winds. A gentle arching line follows, and the
music begins to move toward the related major key of E-lat.
m105-Music is quiet, strings pluck long-short rhythm, very detached. winds quiet isolated chords.
Strings bow with winds intro of “gentle arching line”. Exchanges in chords and plucked igures. Cellos
still pulsating.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie

EXPOSITION: Allegro
m117-E-lat major has arrived. Violins with Cellos begin murmuring line, over which a solo horn plays a distinctive falling call. Call then taken by woodwinds for second statement.

m121-After a brief break, murmuring line continues in 2nd violins and violas. 1st oboe and horn lead other winds, which harmonize as they play 3-note half-step igure four times in rising
succession. Under these statements, cellos play a major-key version of Theme 1’s opening arpeggios. This is passed to the violins on the third statement, low strings move to one inverted (descending)
and one original (ascending) 3-note half-step igure. 4th oboe statement is short and it settles down with the falling strings to a half-cadence anticipating Theme 2.

m130-Theme 2 is almost entirely derived from the downward leaps from m52 and earlier in the intro with the plucked repeated notes. Now transformed into a wistful, gentle, albeit highly
chromatic melody presented by the 1st oboe. Under the melody, violas have started to pulse on repeated notes; clarinets, bassoons, and cellos provide additional support (E-lat major).

m139-After 2 phrases, clarinet begins to echo oboe line, done twice. The horns also join at this point, playing upward neighbor-tone gestures while harmonized in thirds. Oboes then appear to
abandon the theme, answering the clarinet imitation with the opening gesture and then a slower, partly syncopated descent that seems to trail off.

m146-Violins take over from oboes and clarinets. Appear to turn oboe descent around, but actually playing 3-note half-step igure. Immediately answered by a lovely cadence gesture from the
clarinet, which is nothing more than the “tail” of the Theme 2 phrase. The clarinet is answered by a horn, and they pass the gesture back and forth twice. Finally lute and oboe play the cadence
gesture together, they are answered and overlapped ominously by clarinet and bassoon, adding a descending octave. The horns answer the gesture, overlapping clarinet and bassoon, reaching a very
low octave, and the bass harmony below shifts to E-lat minor.

m157-CLOSING THEME. 2 isolated 3-note minor key descents in viola begin, punctuated with plucked chords from other instruments. Rest of strings take 3-note descents and pass it down from
high to low, overlapping the notes creating a pileup effect. The winds begin to creep back in; builds (E-lat minor)

m161-decent is developed into powerful melody led by the violins characterized by increasing wide leaps and plunging arpeggios. Low strings and bassoon have prominent, yet slower,
counterpoint to violins that usually move in opposite direction. Other winds add support to melody’s off beat accents and syncopation. “Fate” rhythm is prevalent.

m169-Parts now reversed. Low strings and Bassoons now play faster melody with wide leaps. Violins in octaves with support from most winds play counterpoint; taking center stage. Approaching
climax, faster melody moves through 2nd violins who break out of lower octave and join 1st.

m177-enormous climax. 1st violins extremely syncopated cadence phrase. Low strings play inverted, then original 3-note ascents. Horn plays 5 blasting calls with falling octaves against it. Strong
cadence in E-lat minor, winds and strings twice alternate hammering thirds beginning on upbeat. String repeat 3 times then descend and pivot back to repeat Exposition.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
EXPOSITION REPEATED: Allegro
m189- irst ending, replaces m38. The pivot back to C minor is accomplished by a rather jarringhalf-step descent following the hammered thirds. The irst ending has two bars m189a and 190a
corresponding to mm38-39, but the only difference is that all strings play on the inital thumping unison C, coming as they do from their descent. From that point on, the opening “motto” continues.
The repeat sign goes back to m40.

m42--Theme 1, with rising arpeggios over the “motto,”

m52--Downward leaps on upbeats and “sighing” gestures

m58--Downward leaps and “sighing” gestures in F minor, then buildup and cadence

m70--Tentative wind statement of Theme 1 over “fate” rhythm and inversion of “motto,”

m79--Extension of Theme 1 material with inverted “motto,” “fate” rhythm, and cadence

m90--Transition with syncopation, huge descent, long-short rhythm, and move to E-lat

m105--Plucked long-short rhythm and isolated string/wind exchanges

m117--Murmuring string line with falling horn and woodwind calls

m121--Half-step motives from oboe/horn and major-key version of Theme 1 arpeggios

m130--Theme 2. Downward leaps presented by oboe with pulsating violas

m139--Clarinet echoes, horn gestures, and syncopated descent

m146--Violin ascent, cadence gestures, large descent with octaves, and motion to minor

m157--Closing Theme. Minor-key descents and then overlapping descents

m161--Powerful melody with wide leaps, plunging arpeggios, and slower counterpoint

m169--Reversal of parts and approach to climax

m177--Enormous climax with syncopation, blasting horn calls, and hammering thirds
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
DEVELOPMENT:
m. 189, second ending--The last descent is a whole step rather than a half-step, causing a motion at development to B instead of C of the exposition. In B major, the strings elaborate the opening
arpeggio from Theme 1, supported by wind chords at full volume. After eight bars, familiar descent and half-cadence from Theme 1 is heard, still in B.

m. 197--The strings suddenly hushed, violins begin to play in tremolo, violas pulsate. Solo bassoon plays a slower elaboration of the Theme 1 material in counterpoint with another line in the low
strings. There is a subtle shift from B major to B minor, higher winds make an unobtrusive entrance to help mark another half-cadence in B minor.

m. 205--The violins begin the tremolo motion slow elaboration on Theme 1, but it is now lute and oboe, rather than bassoon, who play in counterpoint with the low strings. Harmony makes an
almost imperceptible digression from the previous passage, extended. Harmony moves from B, irst seemingly back home to C minor, which is strongly implied by the low-string arpeggios. At that
point, the timpanist enters with “fate” rhythms and rolls. The music becomes quieter, then makes another harmonic digression down, to B-lat minor.

m. 225--The closing theme makes an unmistakable entry in B-lat minor, builds rapidly. The isolated three-note descents and their extensions are heard as in the exposition. The theme seems to
continue, but on the third upward leap, it suddenly pauses, follows a new, warm, and melodious phrase from the strings in G-lat major (which is not too far distant from B-lat minor). This phrase
seems to expand on the non-melodic detached syncopations from the beginning of the transition. Against this, the horns, then other winds, play the “fate” rhythm.

m. 237--The closing theme again begins in B-lat minor without its opening gestures, and the new melodious G-lat phrase follows, now in the winds. The strings almost rudely cut the winds off,
and through a simple manipulation move the phrase down to A major. The “fate” rhythms are still heard, now from trumpets as well as horns. The winds echo the end of the A-major melody, and
then the strings take over for yet another statement of the phrase, now in C major. “Fate” rhythms continue in the horns.

m. 253--The winds pass the opening three chords of the “melodious phrase” to the strings twice. The winds then seem to begin another alternation, but they isolate the “sighing” igures of the
phrase, stating them four times, with the last two a step higher, moving away from C. The strings join them in harmony on the last two, and the music has again arrived at B-lat minor. The “fate”
rhythm is loudly blasted by the horns under these last two “sigh” igures.

m. 261--The return to B-lat minor has been an illusion. The closing theme gestures begin again in the strings, at a powerful level, but the contour of the theme immediately places the music back in
C minor. The horns and timpani powerfully state the “fate” rhythm, and the rising half-step motive is heard in the low strings. The winds then echo the strings with the top voice a third lower. The
strings make another statement a third higher than the irst one, and the winds again echo it a third below. The second low string statement of the rising half-steps remains anchored, moving to the
“dominant” note.

m. 269--The music suddenly quiets down, and the violins make a inal effort at the closing theme at a lower level. Pulsating violas and continuing “fate” rhythms are heard as the music continues
to diminish. The rising half-step motive, so pervasive in the movement, is heard two more times in the low strings, still remaining anchored to the strong motion into the “dominant” note of C minor
(G).

m. 273--A long bass pedal on the dominant note G begins. The cellos pass the “fate” rhythm to the timpani and back, both remaining anchored to the note. The half-step motive now comes to
the forefront. The violins state it, then invert it, moving gradually down. They do this a second time, still moving downward. The inversion follows the second statement as it had the irst, but it is
stretched out, with a longer second note. All of these statements are syncopated over bar lines, and winds and violas have downward moving lines in thirds against all of them.

m. 282--The last “stretched out” inversion of the half-step motive turns around on its inal note and begins another series of downward-moving statements that follows the same pattern as before:
statement, inversion, second statement, stretched-out second inversion. The winds still have their generally downward-moving thirds, but the violas now join the irst violins, the second violins
having dropped out. The cellos and timpani continue to pass the “fate” rhythm, which is still on the note G. After the last inverted statement, the strings pause, then descend with syncopated notes,
stopping just short of the “goal” note, C. The “fate” rhythm stops, and the music, now very quiet, becomes nearly motionless.

m. 294--Re-transition. It is of unusual length. The preparatory “dominant” has already been in the bass “fate rhythm” for a while. Now, at the moment of greatest quiet and stillness, begins a slow
and massive buildup. Beginning with F-sharp leading into the dominant note G, the three-note rising half-steps are heard in the bass with the irst note held over the bar line. They are followed by
a near-repetition that leaps an octave from the second note. Above this, the violins and violas, with all but irst violins in tremolo, follow behind the bass with a variant of the igure that replaces the
second half-step with a rising third. The two bass patterns repeat a half-step higher. The “fate rhythm” in horns and timpani is heard, and then the three-note descent with turn from the closing theme
follows in the clarinets, harmonized in thirds.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
DEVELOPMENT: continued
m. 301--As the second bass pattern with the leaping octave concludes, the “fate” rhythm is again heard from the horns (now without timpani). The pattern of alternation between this and the three-
note descent with turn continues. The descent and turn works steadily upward, alternating between oboes and clarinets. The bass pattern now works upward steadily by half-step, but the three-note
rising igure is abandoned after the preceding second statement, and only the igure with the rising octave continues the ascent. The higher strings with tremolo continue in their pattern, but begin to
rise more steadily. Three alternations between “fate” (in horns) and “descent and turn” (for a total of four, two each in clarinets and oboes, all harmonized in thirds) are heard as the bass rises. The
volume also steadily and inexorably builds.

m. 313--The bass pattern with the rising octave settles on C-sharp moving into D, where it is heard a total of four times. At this point, the trumpets join the horns on the “fate” rhythm, and the
“descent and turn” with which it alternates is now played by lutes and oboes in thirds, the clarinets joining the bassoons with harmony supporting the bass. When the fourth bass statement on C-sharp
and D is reached, after three more alternations, the tension is extreme. The “fate” rhythm and the “descent and turn” join together for two statements, and the bass moves down by thirds from D,
forming a chord on G and re-establishing the “dominant.” The irst violins also break away from their pattern with wider leaps over the tremolo.

m. 321--In a massive upbeat, the timpani join the horns and trumpets on the “fate” rhythm, and they continue to pound it during the ensuing climax, which is the high point of the entire movement.
The thundering “fate” rhythm again stays anchored to the “dominant” note, G. Above this, the violins begin to play music that incorporates the “quick turns” from the motto. All winds zigzag
downward on the slower “descent and turn,” all of them still harmonized in thirds. The mood is feverish and extremely intense.

m. 328--The winds now blast out two statements of the harmonized three-note half-step igure. Under this, the strings collapse into rushing scales out of the “quick turn” rhythm. The winds retain
the characteristic syncopation. They stall after the second statement on the “dominant” chord, which is blasted four times as the timpanist breaks into feverish rolls. It seems that Brahms could not
anticipate the return more strongly than this, but he has one more surprise in store for this enormous re-transition.

m. 335--In a shocking digression, Brahms drops the bottom out of his transition by moving the bass down to F-sharp, where the ascent began. Here, the lower strings play the “quick turning”
rhythm again, and the violins join the winds for two more statements of the half-step igure. Trumpets and horns blast two more “fate” gestures. The harmony actually moves from B minor to D
minor, ascending by thirds from the previous G.

RECAPITULATION:
m. 340--The border between re-transition and recapitulation is quite nebulous here. At this point, another half-step igure begins another third higher, on F minor, continuing the previous pattern.
But this statement of the igure develops into the “motto” with the “quick turning” igures. It is also given great weight by a more slowly descending bass that includes one of only two duple rhythms
that straighten out the 6/8 meter in the movement. The “motto” loses its opening thumped C as well as the irst wind descent under the irst note, but the F-minor harmony matches the second chord
of the exposition’s “motto,” so Brahms simply cuts the irst chord, and the recapitulation has begun. The winds and strings have a near role-reversal from the exposition, and the end of the “motto” is
underpinned by a timpani roll.

m. 343--Theme 1, with rising arpeggios over the “motto,” largely as at m. 42, but given more richness by the winds, who join the second violins and violas on their pulsations.

m. 353--Downward leaps on upbeats and “sighing” gestures, as at m. 52, again with richer scoring, the winds joining the leaps and the horns adding weight to the “sighing” igures.

m. 359--Downward leaps and “sighing” gestures in F minor, then buildup and cadence, as at m. 58. Again, the winds join the leaps, and the horns join the low strings as well as the violins on the
“sighing” igures

m. 370--Transition. The expected cadence is cut off by an unexpected rising half-step. This leads directly into the huge descending arpeggio in detached long-short rhythm from the transition after
m. 90, here analogous to m. 97. Thus, the entire second statement of Theme 1 with the inverted “motto” and “fate” rhythms has been skipped, as well as transition’s opening syncopations (which
became the “melodious phrase” in the development section). The “questioning” gestures and arching line follow as expected, but of course the displacement allows the music to remain in C rather
than moving to E-lat.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
RECAPITULATION: continued
m. 378--Plucked long-short rhythm and isolated string/wind exchanges, as at m. 105. The scoring is now somewhat lighter than in the exposition.

m. 390--Murmuring low string line with falling horn and woodwind calls, as at m. 117. It is now in C major instead of E-lat, and violas instead of irst violins “murmur” with the cellos.

m. 394--Half-step motives from oboe/horn and major-key version of Theme 1 arpeggios, as at m. 121. First and second violins, rather than second violins and violas, have the “murmuring” line.

m. 403--Theme 2, as at m. 130, now in C major. There is minimal rescoring, including the absence of cellos and the redistribution of their line to lute, irst bassoon, horn, and isolated violin entries.
The oboe still carries the main melodic line as before.

m. 412--Clarinet echoes and syncopated descent, as at m. 139. The clarinet/oboe alternation is preserved, but again the cellos are absent, and new lines are heard in violins and lutes. The horns also
have new, call-like material that is different from their gestures at this point in the exposition.

m. 419--Violin ascent, cadence gestures, large descent with octaves, and motion to minor, as at m. 146. The clarinet and horn alternate on the cadence gestures, as before. The inal three
overlapping gestures are rescored. The irst is for oboe and clarinet rather than lute and oboe. The second is for horns alone rather than clarinet and bassoon, and the last is for bassoons rather than
horns. The music in C here is lower than the exposition’s E-lat, and the bassoons are more suited for the lowest pitch.

m. 430--Closing Theme in C minor. The minor-key descents with plucked punctuation and then the overlapping descents are scored largely as at m. 157, with added bassoons.

m. 434--Powerful melody with wide leaps, plunging arpeggios, and slower counterpoint, as at m. 161. Here, there is no major rescoring.

m. 442--The reversal of parts and approach to the climax are analogous to m. 169.

m. 450--The climax in C minor largely follows the scoring and pattern of m. 177, including the blasting horn calls. Trumpets and timpani now support the strings on the hammering thirds. The
descent after the hammering thirds is narrower than both the irst and second endings after the exposition, with two half-steps leading down to B-lat (the irst ending had a whole-step and a half-step,
the second two whole-steps).

m. 462--The recapitulation is given an extension with more wind/string alternation on hammering thirds echoing the previous music. These heavily emphasize harmonies suggesting F minor, and
are supported by blasting horn chords, trumpets, and timpani. The hammering gestures start to turn around and work upward by half-steps. The winds do this while the string responses still descend
and become wider. The same material is then compressed into tighter time frames with the wind and string lines coming together into three-note groups. They approach a powerful arrival on C, but
this is immediately diverted by another hammering third from the whole orchestra that jars everything toward B-lat minor.

CODA:
m. 475--The strings begin to pluck. They reiterate the hammering thirds on B-lat and rapidly diminish, the upper instruments slowly dropping out and leaving only cellos. The horns softly enter
on a held third. The violins then begin to bow the pervasive three rising half-steps. They veer toward F minor and major before making their way back to C. The half-step motive blossoms into two
genuinely melodic phrases, the second a step higher. Under them, the cellos continue to gently pluck the third, which shifts up a half-step, then expands to a fourth on C under the second phrase.
Flutes, clarinets, violas, and horns provide syncopated held thirds in support. Bassoons double the cellos, as they often have in the movement.

m. 486--A long, descending, diminishing violin line completes the melodic statement begun by the phrases based on the half-step motion. This line reaches a clear cadence in C minor, and is
harmonized by second violins, violas, and winds. The plucked cello line is interesting. It continues irst with the previous fourth based on C. This fourth is then turned around so that F is on the
bottom and it is a ifth. Then comes another fourth based on G with C on top. At the end of the phrase, this is also expanded to a ifth based on G, which creates the “dominant” before the cadence.
At the same time, the plucking is smoothed to a straight rhythm (the movement’s second such instance), which helps bridge to the ensuing slower tempo.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
CODA: continued
m. 495--At the cadence, there is a large-scale tempo change to “Meno Allegro” (originally marked as the “Poco sostenuto” of the introduction). The “fate” rhythm alternates between horns and
timpani. The cellos hold a low C. The winds (except lutes), led by the oboes, state the three-note half-step motive and then turn it back down to C, giving it closure. Overlapping with this turn,
the strings, led by violins (who are doubled by lutes), also begin the motive and turn it back to the closing C. A second oboe statement, the third overall, again overlaps with the turn. The music is
hushed and slower, but still intense.

m. 502--Following the pattern, the strings (without lutes) again overlap the oboe statement to begin a fourth one. This time, however, the statement stalls. The second and third notes are both
lengthened, and over them, clarinets and bassoons surreptitiously begin to state the opening arpeggios of Theme 1. The lutes and oboes join them after one bar. Then the third note of the ascending
half-step motive is repeated. Finally, taking the place of the “closing” turn to C, the strings play the Theme 1 arpeggios. In an incredible surprise for a movement so persistently in minor, they are
played not on C minor, but on C major. The entire phrase, including the “fate” rhythm in horns and timpani, builds toward the C-major cadence.

m. 508--The “fate” rhythm breaks off, and there is a general pause. The cadence was strong, but the movement ends quietly. The winds and timpani softly reiterate the C-major chord and the strings
follow. The winds repeat the chord again, and the strings follow below them, along with a gentle timpani roll. A plucked C from the strings cuts off the chord and ends the movement.

m. 51--END OF MOVEMENT

MOVEMENT II: Andante sostenuto

[Ternary form (ABA’) with coda]
E Major 3/4 time

A Section:
m. 1--The irst part of the theme is played by the strings. A bassoon doubles the violin melody. The initial statement is a gentle rise and fall with a dotted rhythm (long-short) on the fall. Three low
repeated horn octaves bridge to the answer, which also incorporates a dotted rhythm and is given a dark, minor-key color. The horn octaves contribute to this “darkening” in the answer.

m. 5--The theme continues with a new phrase. It begins on an upbeat syncopation with two rising and swelling half-steps (the irst movement’s “motto”) from the irst violins, harmonized by second
violins and violas (with half-steps in the opposite direction). The bassoon has dropped out. The irst bar has no bass line provided by the low strings. They enter in the next bar with a surging triplet
rhythm as the violins play a falling dotted rhythm. The surging bass is heard again a step lower under another violin dotted rhythm with a wider leap. The volume has swelled to a louder level than
the opening. In the next bar, all the instruments settle down, the violins sliding down in dotted rhythm while the cellos play rising triplets.

m. 9--The arrival point of the previous phrase merges with a new one in which the irst violins hesitantly slide up by half-steps. They repeat this “motto” gesture three times, with new harmonies
under each. The cellos still punctuate the downbeats with triplets. When the violins reach their high point, lutes, oboes, and clarinets make a somewhat dramatic entrance to support the harmony.
The winds exit after two bars. The strings continue with sighing gestures that lead to another statement of the “dark” answering phrase from the opening, now with bass imitation and richer harmony.
It is extended with a viola echo and a half-cadence.

m. 18--The oboe enters on an upbeat with the second theme of the A section. The strings, except for light viola support, drop out, and other winds provide the harmony. The oboe melody
incorporates the sighing falls and dotted rhythms of the previous theme, but it is more dynamic. After two statements of the opening gesture, it rises to a full-hearted high point. Under this high point,
the strings surreptitiously enter in unison with the opening rise and fall of the main theme. The oboe trails after this.

m. 24--The “dark” answering phrase is played by strings with its original harmony. A bassoon again doubles the irst violins, and there is horn support. The phrase is cut off before its last sighing
gesture, and is interrupted by a new syncopated descent beginning off the beat. This is slightly accented. Then, the answering phrase begins again, but it is transformed into a satisfying major-key
cadence gesture that reaches a full close in E major. This closes the A section and merges directly into the B section.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
B Section: Part 1
m. 28--Out of the cadence, the irst violins lead into a lilting, leaping dotted rhythm that continues from the upbeat into the next bar. The second violins and violas follow on the lilting dotted rhythm
as the irst violins work upward by half-steps in syncopation. They then turn back downward as the low strings enter. They work back upward, now with the dotted rhythm displaced by syncopation.
The second violins and violas continue with the original igures. There is then a huge swelling as the bassoons and horns enter with the dotted rhythm. The music suddenly darkens and turns to the
related C-sharp minor.

m. 34--At the high point, when C-sharp minor is reached, the second violins and violas rush downward under the slower irst violins. The dotted rhythm is now played by the low strings and
suddenly takes on the character of a funeral march, a complete transformation from the lilting, graceful igures just heard. The upper strings continue to work downward, and only slightly diminish as
the low strings move to soft plucking. This stormy passage culminates in a strong half-cadence that rapidly diminishes, leading into Part 2 of the B section.

B Section: Part 2
m. 39--The principal oboist, who has a long, gentle solo in C-sharp minor, enters on the upbeat of the half-cadence. The violins and violas begin a series of harmonized and highly syncopated
gestures, all of which begin off the beat. The irst oboe note is sustained for a full measure, and it only moves after the downbeat of the next bar. This, combined with the syncopated accompanying
string igures, as well as the construction of the melody itself, causes the meter and downbeat to become highly obscured. The oboe melody meanders downward, then has an octave leap, after which
it begins to pivot to A-lat major. The principal clarinet enters with a held note on an upbeat as the oboe wends its way downward.

m. 44--The clarinet takes over the melody from the oboe and takes a somewhat brighter tone, moving to D-lat (or C-sharp) major. The syncopated gestures from violins and violas begin to have
some stepwise motion rather than simply repeating notes. The clarinet breaks, then has a wide rising igure. Under this, the low strings have entered. They take over the iguration of the meandering
melody as other winds also enter for a cadence.

m. 49--The winds drop out. The syncopated gestures begin a new phrase, and they suddenly begin to outline the contour of the “answering” phrase from the A section’s main theme. The winds
protest with descending lines that attempt to retain the major key, but the strings become more insistent, and the winds give in, joining them on the urgent syncopations and using the dark character of
the “answering” phrase to irmly move back to minor. Strong accents on weak beats prolong the obscured meter and downbeat.

m. 53--At the high point, where minor is established again, the strings inally break from the off-beat syncopated gestures. All strings play the original oboe melody in unison with an insistent
character. The winds play melancholy, wailing gestures above them in octaves. The strings then depart from the oboe melody, expanding it with an upward sweep and breaking into harmony while
the winds move to syncopated thirds. The higher strings reverse direction while the lower strings take the upward sweep.

m. 57--The strings continue to descend. The second violins and violas move to undulating iguration, and the clarinets and bassoons follow the descent in thirds. The top violin line becomes more
syncopated, and the music becomes more urgent as it descends, leaping upward to postpone it. Finally, things start to settle down, the winds take over, and the music moves back to major, this time to
the home key of E. Flutes and oboes, then violins and violas, then clarinets and bassoons, then upper strings again are isolated on harmonized four-note gestures. Violas and cellos then close with a
quiet, slower off-beat descent.

m. 63--Re-transition. Overlapping entries on rising, then falling igures, irst in strings, then in winds, further obscure the meter. Already beginning off the beat, they fall into groupings of four notes
that clash with the 3/4 bars. A soft timpani roll begins during the string descent. At that point, slight syncopation and extension help to restore a sense of pulse. The passage is quiet and mysterious,
and becomes more so when the timpani roll is suddenly isolated.

A’ Section:
m. 67--The winds brightly enter on an upbeat that is held over the bar. The theme emerges in the oboes and clarinets, but is obscured by the lutes, who play an upper harmony. The strings enter just
after the winds, halfway through the upbeat, and play a sweeping line that also obscures the appearance of the main theme. The cellos play plucked arpeggios in triplet rhythm. Only with the falling
dotted rhythm is it clear that the theme has arrived. The timpani roll ends, and the continuing string line, rather than solemn horn octaves, bridges to the answer, which is now stated clearly by lute,
clarinet, and bassoon. The low strings add an echo to the end of the answering phrase that was not heard at the beginning.

m. 72--This music is essentially analogous to m. 5, but the sliding half-steps are now played by oboe. The other winds provide the harmony in the opposite direction. The strings add an entirely new
element, rapid plucked rising arpeggios, then short notes leading into the next bar. At the point where the low strings enter with the surging triplet motion, the music appears to want to follow the A
section, but a new and strong turn to the “dominant” key of B major and a higher reach toward a descent prevent this.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
A’ Section: continued
m. 76--Analogous to m. 9, but not only is the key now B major, the sliding half-steps are embellished with triplet rhythm. The winds are now present throughout for support. The three “motto”
statements become progressively softer. The third suddenly and dramatically swells to the high point, which is warm and rich in comparison to the sighing gestures heard in the A section. It is also
extended by a bar as the music quickly settles down again and the triplet rhythm stops. The “dark” answering phrase is then heard essentially as it was at this point before, only now in the new key
and without the viola echo or half-cadence.

m. 85--An new wind interpolation here is almost otherworldly in effect. The wandering motion was already anticipated in the extended high point, and the descending half-steps heard against the
wandering motion reverse the “motto.” The strings bring things back to earth with the falling igures that introduced the statement of the answering phrase just before. These lead to a full cadence in
B major that is overlapped by the upbeat entrance of the solo violin that begins the second theme.

m. 91--The approach to the second theme is on the same harmony, but with a different effect. Rather than against a half-cadence, it now enters on a full B-major cadence. Thus, the pivot back
to the home key of E adds fulillment to this arrival. The theme itself, formerly played by oboe alone, is now joined by a solo violin and horn. The part for solo violin persists until the end of the
movement, as the concertmaster separates from the rest of the violins. The theme follows m. 18 rather closely, but in addition to the melodic doubling, there is a richer accompaniment, with imitative
rising gestures irst from the remaining violins and violas, then from lute and clarinet. The cellos have plucked triplet arpeggios. The main theme still makes its entrance (without the preoccupied
cellos) at the high point, which is now much stronger.

m. 97--Analogous to m. 24, but the irst statement of the answering phrase is now played by lute and clarinet. The syncopated interruption is given by the solo violin and oboe, with plucked cello
triplets making a last appearance. The cadence statement is again taken by lute and clarinet, but it does not reach completion. It merges directly into the coda, as the previous passage had merged
into the B section, but other than in the bass, the inal motion to the cadence is avoided. The strings and timpani begin the off-beat triplet igures that will underlie the opening of the coda.

CODA:
m. 101--The solo horn begins the coda with a full statement of the irst two gestures from the second theme. Strings and timpani continue with the off-beat triplet igures, now with lutes, and
the low strings (with the second horn) have a long, sustained keynote. The solo violin adds highly decorative commentary to the horn statement, breaking into groups of six (sextuplets) against the
second gesture. The clarinets now take over the triplet arpeggios that had just been heard from plucked cellos.

m. 105--The winds lead into the high point of the main theme as the strings drop out. The high point stalls, and the initial falling igure is passed from lute to violins (without the solo) a step
higher, with accompaniment from other strings. The winds, with lutes leading, then play the igure again, now a step lower than the irst statement, and the strings repeat this. Finally, the solo violin
and clarinet extend this falling igure, which diminishes and reaches an anticipatory pause over fading strings and bassoons.

m. 112--The bassoons play the answering phrase, imitated closely by the oboes, with horn support and a surprising entrance from the trumpets. The lutes join at the cadence, which overlaps with
an unexpected reminiscence of the B section’s irst part as the violins and violas play the lilting dotted rhythm. The winds then fall from the cadence, and the lilting strings slow down.

m. 117--On an upbeat held into the next bar, a chord, punctuated by a timpani roll and topped by the solo violin, introduces one more statement of the half-step “motto.” It is harmonized by the
now-familiar contrary motion. The bass instruments, who dropped out under the lilting rhythm, re-enter at the top of the motive, which is followed by a warmly sweeping violin line, with the solo an
octave above the others. The “lilting” rhythm then enters on the same pitches as before, but now played by winds (without oboe).

m.123--As before, a chord enters on an upbeat held into the next bar with a timpani roll. This time all instruments except the solo violin participate. The “motto” is beautifully transformed to two
whole-steps instead of two half-steps, leading to a gorgeous cadence. As it arrives, the strings, from low to high, play plucked arpeggios in triplets, supported by timpani beats. At the top, the solo
violin, contrasted from the others by using the bow, rounds off the triplets. On its last note, the winds play their penultimate chord. The strings, now using bows, softly conirm that chord, then all
instruments, including the timpani with a roll, reiterate it again. Only the solo violin holds its last note over both of these reiterations.

m. 128--END OF MOVEMENT
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
MOVEMENT III: Un poco Allegretto e grazioso
[Ternary form (ABA’) resembling a scherzo and trio]
A-lat Major 2/4 and 6/8 time

FIRST SECTION or “Scherzo” (A) 2/4 time

m. 1--First part (a). The main melody is a gently wandering phrase played by clarinets. Bassoon, horn, and plucked cellos add harmony and counterpoint. The plucked cellos establish a steady
pulse, which they almost constantly maintain. The upper strings enter at the end of the phrase. They, along with the second clarinet, extend the phrase to a ifth bar while the irst clarinet sustains the
last note. The second phrase is an exact inversion (upside-down melody) of the irst, with oboe added to the scoring.

m. 11--The answering phrase is in E-lat. Winds (without oboes) descend in a dotted (long-short) rhythm, harmonized in thirds. Two two-bar descents are followed by more arching igures, still in
the dotted rhythm. The strings, including the cellos, add sweeping arpeggios as a counterpoint to the wind descents, and horns hold longer notes. The strings join the dotted rhythm in the second half.
The steady plucking, now more static, is transferred to the string basses, who add short breaks in the second half.

m. 19--The opening melody returns, now played by the violins. The cellos return to their steady plucking, and the irst clarinet, which had presented the melody, plays a bouncy counterpoint in
triplet rhythm. Flutes and oboes enter for the prolongation of the phrase, stretched to seven total bars by internal half-step motion. The second phrase, which is still an exact inversion, lacks the
bouncy clarinet line, adds a horn harmony, and adds oboes and bassoons (instead of lutes) at the three-bar prolongation. The prolongation leading into the answering phrase has rising half-steps that
recall the “motto.”

m. 33--The answering phrase in E-lat begins as before, with the two descents. The second half is altered. The strings maintain their arpeggios rather than joining the dotted rhythm. The oboe enters
as a participant, alternating with lutes and clarinets on the dotted rhythm. Instead of turning back home to A-lat, the music instead turns to the related minor key, F minor. This happens in a four-bar
extension in which both the strings and winds (irst clarinets and bassoons, then lute and oboes) descend a scale over two octaves.

m. 45--Second part (b). At the F-minor cadence, the strings begin a distinctive pulsation, with low strings on the irst and last notes of quick four-note units, while violins and violas play the
middle notes of these units. The clarinet begins an agitated melody that seems derived from both phrases of a. Flute and oboe take over the melody after two bars. They greatly swell in volume. An
answering phrase erupts in lutes, clarinets, and bassoons, all playing in thirds. This phrase turns to C major with some minor-key inlection, and is quite exuberant. The strings have some minor
departures from the constant pulsation.

m. 54--The oboe plays a new phrase of the agitated melody that goes in basically the opposite direction from the original, a version of which is heard against it in the low strings. A horn joins after
two bars. The pulsations continue, now with groups of three off-beat notes, and the music builds again. The exuberant answering phrase arrives, but stays in F minor and is cut off after three notes by
murmuring violins and violas. These diminish. A clarinet echo of the three answering notes is heard, continuing the downward motion. The murmuring stings again respond, bridging to the opening
melody.

m. 62--Third part (a’). The opening melody returns in its original instruments, clarinets and horns. The motion from F minor back to A-lat happens smoothly in the plucked low strings. To these
elements is added the murmuring violin/viola line, continuing from the end of b. After the irst phrase, the previous extension from the ifth bar is used to begin a bridge to the Trio section. The
sustained notes and lowing motion under them are extended. Finally, the murmuring violins and violas stop. The clarinets and horns, followed by violins, play a slow descending arpeggio on the
“dominant” chord, E-lat, while the cellos pluck an upward arpeggio on that chord. The bridge diminishes in volume, merging directly into the Trio.

SECOND SECTION or “TRIO” (B) 6/8 time

m. 71--Part 1. E-lat is re-interpreted as D-sharp, making a transition to the remote key of B major for the trio. The basic material is three repeated notes or chords in the winds beginning off the
beat, alternating with descending broken chords in the strings. Two of these alternations are followed by a buoyant wind phrase with string support. This pattern then happens again, now with horns
and bassoons on the repeated notes and with a turn to D-sharp minor (and back to the “pivot” note from the opening).

m. 79--Part 1, varied repetition. The irst four bars are as before, but the second statement of the pattern is shifted down a half-step and changed in character to move to D major instead of D-sharp
minor. It also dramatically increases in volume.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie

SECOND SECTION or “TRIO” (B) 6/8 time: continued

m. 87--Part 2. The basic pattern is stated two more times in a more dynamic manner as the music takes a path back to B major with a detour through G. The orchestration of the opening repeated
notes is richer. The second statement of the pattern greatly builds, and the “buoyant wind phrase” expands into a climax with string arpeggios played in a shimmering tremolo. Under this buildup, the
bass line starts to move by half-steps, and there are strong, but brief suggestions of another detour, this time to C major.

m. 99--The climax arrives with highly syncopated wind instruments over continuing tremolo string arpeggios. At the top, the trumpets, who have had a supporting role, join brightly on the
“buoyant phrase.” After this, the basic pattern is stated one more time, now with the instruments reversed. The strings take the repetitions and the winds the descending broken chords. Following
this, the strings again take the broken chords and run them together, obscuring the meter. Strong syncopation in all instruments leads to a strong cadence. Horns and trumpets play a suddenly quiet
harmonized arpeggio to lead back to the repeat.

m. 87--Part 2 repeated. Buildup toward climax, as before.

m. 99--Climax, as before. Instead of the transition back to the repeat, the horns and trumpets play the “repeated note” pattern on an octave. The lutes, oboes, and bassoons then restate this. The
note D-sharp/E-lat is again used as a pivot, and this begins the re-transition back to the main “scherzo” music.

THIRD SECTION or “SCHERZO REPRISE” (A’) 2/4 time

m. 109--Re-transition. The music shifts back to 2/4. The strings play a strong hint at the opening of the main theme, but in A-lat minor rather than major. Carrying over from the “trio,” the wind
instruments (except clarinets) continue to play the “repeated note” pattern in octaves. This is now notated in triplet rhythm, effectively remaining in the previous 6/8. Finally, the strings, in plucked
harmony under held winds, play a descent in A-lat minor leading to the return of the main theme. This plucked descent is very similar to the descending line that will open the last movement. Notes
are reiterated and rapidly diminish.

m. 115--The reprise is abbreviated, and the middle section (b) does not appear again. At the moment of return, the clarinets, with the horn and plucked cellos, play as at the opening. The major
difference is that lutes and oboes above them are now playing the “repeated notes” from the “trio” in triplet (6/8) rhythm. They even recall the “buoyant phrase.” The melody and contour of the irst
phrase are unchanged.

m. 120--The second phrase, which had been a melodic inversion, is now completely changed in character. It is transferred from the clarinets to the irst violins, who decorate and alter it in a manner
that anticipates a major portion of the inale’s main theme (the “big tune”). The plucked cellos continue, and the second violins add syncopation. Clarinets and bassoons play harmonized descending
lines in triplet rhythm, taking that motion over from lutes and oboes. The phrase is extended from ive to six bars. Flutes and clarinets play a harmonized arpeggio leading into the “answering”
material.

m. 126--The “answering phrase” is quite similar to its earlier statements, and starts on the same pitch level, but the harmony remains in A-lat rather than moving to E-lat. The violin and viola
arpeggios are played over more static plucking from cellos and basses. After the irst two descents, the familiar “arching igures” begin in the dotted rhythm as expected, with the entrance of the
oboes. These, however, expand powerfully in intensity. The string arpeggios become more frequent, and the strings do not participate in the dotted rhythm as they had previously done. The low
plucking, however, does add the expected breaks.

m. 138--A small climax arrives. Flutes, oboes, and horns play a three-note descent that is very similar to the one heard in the transition from b to a at 1:28 [m. 54]. Under this, the strings play
plucked arpeggios, moving from low to high and becoming quieter and slower as they go. These introduce chromatic harmonies hinting at D-lat major and continue for a bar after the descent. A
second three-note descent is heard over another plucked arpeggio. Finally, a third descent with notes twice as slow is played by horns and clarinets. Only the cellos pluck underneath them, now
without the initial faster notes.

m. 144--Under a sustained note from bassoons, horns, and irst violins, the other strings quietly play a darker version of the main theme in unison. The instruments holding the note begin to move
in the third bar to create harmony, and the second violins leave the unison statement to join them. The unison statement is answered brightly by the winds with the “answering phrase.” The bassoons
ascend against the other winds. Finally, the strings take over the phrase, the clarinets holding over from the winds. Violins and clarinets ascend and the lower strings descend as they approach an
apparent cadence.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
THIRD SECTION or “SCHERZO REPRISE” (A’) 2/4 time: continued
m. 154--Coda. Brahms indicates poco a poco più tranquillo, a direction that seems to mean both gradually quieter and slower. This already applies to the last statement of the answering phrase.
Brahms averts the cadence by bringing back the music of the “trio,” notated with triplets. Violins play a harmonized “repeated note” gesture, and the lower strings, with violas adding harmony above
them, play the descending broken chords. These move briely to D-lat. Flutes, clarinets, and bassoons answer them with the formerly “buoyant” phrase, now very gently played, moving back to
A-lat.

m. 158--The “trio” pattern is heard again, now even more gently, with high winds playing the “repeated note” pattern instead of the violins. The horns and bassoons now add harmony to the
descending broken chords. The violins and violas take the answering phrase under wind syncopations. They briely build the tension toward a “dominant” chord, held by the winds, then plucked by
the strings. This tension is inally releived with a delayed cadence, punctuated by a last descending broken chord from the low strings.

m. 164--END OF MOVEMENT

MOVEMENT IV: Adagio- Piu Andante- Allegro non troppo, ma con brio
[Varied Sonata-Allegro form with development and recapitulation combined with large two-part introduction
C Major (c minor opening) 4/4 time, moving to cut time [2/2]at the piu allegro coda

INTRODUCTION Part 1: Adagio- C minor

m. 1--In the ominous opening, the violas and low strings play a four-note descent. Overlapping with this, the violins, wind instruments, and timpani enter with an anticipation of the main theme
in a dark, tragic version. They swell forward on this, and then rapidly diminish, with the bassoons and violas trailing down as the violins play despairing echoes. The descending winds recall the
introduction of the irst movement.

m. 6--The strings begin a strange passage of pizzicato (completely plucked in all instruments). They pass two-note igures between instrument groups, beginning very quietly. The plucked strings
very gradually gain momentum and volume as they move through G minor, E-lat minor, and F minor. At the end of the passage, they are moving quite quickly and press forward to a chord that is
suddenly cut off.

m. 12--The winds return to the slow tempo and, in a wailing three-note descent, lead into another statement of the “dark” anticipation of the main theme. This time, the violins and violas state this at
the same pitch level where it will be heard in the exposition. They are bowed again after the pizzicato passage. Oboes, horns, and bassoons play the trailing lines, and there is a single string echo.

m. 16--A second passage of pizzicato, very similar to the irst, now has the low strings leading in the passing of two-note groups. Again, the passage builds and speeds up, much more quickly this
time, as the passage is shorter than the irst one. The keys that are now suggested after C minor are B-lat minor and the remote A-lat minor. The pizzicato is now cut off after four bars.

m. 20--The low strings hold a note as the lutes and oboes play a sighing response. The low strings then surge slightly forward before they wait for another string response. They then surge forward
again. The music has moved back to C minor.

m. 22--The winds now press forward with the same material, building rapidly in volume. The other strings join in on the “surging” igures. There is mild syncopation in both winds and strings.

m. 24--Beginning in F minor, the strings now play a series of broken, rapid descending lines with light wind support. These lines diminish before a sudden upward surge with brass and winds.
They then descend and diminish again. Finally, the lutes, oboes, and bassoons begin to play a wailing three-note descent that will soon be revealed as the “alphorn” igure that will dominate the
second part of the introduction. With the entry of a powerful timpani roll, this steady surge is suddenly cut off. The C-minor key is somewhat sidestepped at this point, but the low strings hold on,
diminish, and descend, leading into the new tempo and C-major key for the introduction’s second part.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobi
INTRODUCTION Part 2: Piu Andante- C Major
m. 30--Over a soft timpani roll and the irst entry of the trombones, the horns enter with a suddenly noble and grand presentation of what Brahms called the “alphorn” tune or what others have
labeled as the “London chimes” melody. After a bar, the violins and violas begin to play a shimmering tremolo underneath the tune. The horns pass the melody between themselves to maintain breath
support. The main characteristic of the melody is its opening descent with prominent short-long rhythm. The melody is nine bars long, with two longer notes in the second phrase extending it a bar
more than expected.

m. 38--As the horns reach their cadence, the lutes enter in overlap with their famous presentation of the “alphorn” melody. Like the horns, they pass it between each other to maintain full breath and
tone. The trombones are largely absent now, but other instruments, such as bassoon and horn, have prominent motions, including half-steps, under the lute melody, and there is a trumpet echo. The
shimmering, hushed string tremolo continues along with the timpani roll (which swells slightly), and the lutes play the complete two-phrase melody without any overlap at the end.

m. 47--The trombones, with bassoon support, intone a solemn chorale. This chorale will not appear again until the very end of the movement, at the moment of triumph, but its isolated presentation
here is quite memorable. The last leap downward of the chorale is punctuated by another timpani roll.

m. 52--The horns, along with one lute and one clarinet, pass the irst bar of the “alphorn” melody among themselves. The string tremolo and timpani roll surge forward in volume. After four
bars, the second half of the melody, beginning with its highest note, is heard. The prominent half-step motions are played by the trombones. The end of the melody is fragmented and repeated, and
the volume settles back down rapidly. At the end, the horns play a last echo of the tune with the trombones and hold it over as the other instruments, except for the timpani, drop out. Horns and
trombones are isolated on a preparatory “dominant” chord. This anticipatory pause qualiies as one of the most “golden” moments in all of music.

EXPOSITION Allegro non troppo ma con brio- C Major

m. 62--Theme 1. Emerging out of the “golden moment” is the “big tune,” the one that was compared with the “joy” theme of Beethoven’s Ninth. The violins, present the glorious melody while
the low strings pluck beneath them, horns and strings adding support. Opening upbeat leap is distinctive, connection to the “dark” anticipation at the movement’s opening is clear. Halfway through
melody, second phrase, is a melodic turn that is reminiscent of the Beethoven melody. This second phrase delays its cadence by a bar, oboes join in to support it. This creates a 17-bar melody.

m. 78--Theme reaches its cadence, second statement, or counterstatement, overlaps it. Statement of the theme is led by the winds, most play at least fragments of it in gentle harmonies. Strings
provide a plucked accompaniment, supported by the timpani. Small rolls punctuate the timpani part. At end of the statement, volume increases very dramatically. As the cadence is approached, the
violins and violas take up their bows to reiterate and support it.

m. 94--Transition. Possible third statement of the theme, grand from the full orchestra, almost immediately fragmented, mainly isolating the opening three-note turn igure. Motion toward G major
begins. There are two large descents on D minor and A minor with surging bass lines. The passage is richly scored and heavily accented throughout.

m. 106--Transition continues with running scales in strings and bassoons. Winds, brass, and low strings add loud punctuations against scales. Motion to G major is delayed by a move back to C.

m. 114--The “alphorn” theme from the introduction appears in its original instruments, lute and horn. The horn imitates the lute on fragments of the tune. The strings continue against this with
agitated arpeggios, and the cellos and basses add plucked punctuation. The motion to G major is inally completed.

m. 118--Theme 2. The low strings establish an “ostinato” bass on the same four-note descent that opened the movement and is also implied within the “alphorn” theme. The violins begin the
theme, which winds downward, leaps back up, and then lows forward. The volume increases somewhat and the music hints at the related key of E minor. The winds then enter with a continuation
of the theme. The strings recover this and build again. The low strings inally move away from their anchor, moving their four-note descents up a ifth. This buildup leads to a small climax with a
descending syncopation and then a skipping dotted (long-short) rhythm (G major).

m. 132--The oboe leads a continuation of Theme 2 that is again quiet and gentle. It incorporates a triplet rhythm, then moves to upward leaps. Other winds support the line, and the violas have a
pulsing syncopation. The low strings add a distinctive foundation to the ascending oboe leaps. This passage moves to the related key of E minor, where the closing material is heard and where the
exposition will end.

m. 142--Closing material. The violas begin with tremolo arpeggios that steadily build. Violins join them. Horns and trumpets begin to add punctuations. Eventually, the strings join in a powerful
downward-arching unison that leads to a soaring, sighting dotted rhythm. Winds and brass add loud cadence igures to this. This material briely suggests D major, but as the sighing igures work
their way downward, the minor key is again irmly established (E minor).
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie
EXPOSITION Allegro non troppo ma con brio- C Major ...continued
m. 156--The orchestra cuts off, and the oboe leads another statement of the “soaring,” sighing igures. It begins more subdued. To these are added brief igures in triplet rhythm, irst in the violas
and then, more loudly, in violins and lower strings. These “sighing” igures again suggest D major. The loud cadence igures incorporate the triplet rhythm. The oboe takes up the continuation with
the triplet igures again in the violas. This continuation is passed to the lute, and the music again seems to move to G major (with minor inlections), the key of Theme 2.

m. 164--The triplet rhythm now completely takes over. The violins and violas quietly begin to build on it in G major/minor. Suddenly, the whole orchestra bursts forward with ascending triplet
groups harmonized in thirds. The violins play a powerful hammering dotted rhythm against this, then take up triplets themselves in a slightly syncopated continuation. This irmly re-establishes E
minor. This sequence of hammering igures and the syncopated continuation is heard again at a higher level, leading to a solid E-minor cadence.

m. 176--The cadence is given a strong reiteration by the full orchestra, including trombones. A heavily syncopated leap is supported by rising triplet igures in the winds and also thumping triplets in
the timpani. The strings then irmly state the cadence. The syncopated leap is reiterated twice more, and then the winds and strings play an extended version of the E-minor cadence that adds strong,
isolated inal chords. Immediately after this powerful cadence, the horn, oboe, and inally lute and clarinet play quiet rising igures leading to the return of the “big” main theme.

RECAPITULATION/DEVELOPMENT
m. 186--Theme 1. This is the last time the “big tune” will be stated in its entirety. Scoring is much richer, violins still carry the melody, there are new short, punctuating chords in the winds, along
with timpani beats and rolls, and the horns double and harmonize the theme itself. The trumpets also add punctuation. The theme’s material follows its irst statement quite closely until the end. The
oboe enters to support the cadence, as expected, but it diverts the harmony to a new key, E-lat major, indicating that this is development as well as recapitulation. The violins conirm the motion to
E-lat and bring the theme to a cadence. This extends the ending of the theme by two bars.

m. 204--The theme has a counterstatement, as before, but it already appears to begin the “development” portion. Beginning in E-lat in the winds, with plucked string accompaniment, it is suddenly
cutoff by a horn echo; turns to minor. There follows a section of plucked string igures passed from violins to low strings, reminiscent of the two pizzicato passages from Part 1 of the introduction.
This rapid plucking is supported by chords in horns and bassoons, later trumpets as it builds.

m. 212--The key turns up smoothly to F-sharp major, winds attempt to “recover” the counterstatement. Clarinets and bassoons play “trailing” lines, strings keep a vestige of the more rapid pace just
heard with notes after the beats in second violins and violas. Turn to minor, now from a clarinet and bassoon echo, leads to a rapid pizzicato passage reminiscent of the introduction. Horns and oboes
join the clarinets and bassoons as it builds. Low strings and violins are reversed in position, and the harmonic motion is more dynamic than the irst time.

m. 220--Transition. Digressions of the counterstatement prove to be anticipations, rather than the beginning, of the development portion. Rapid plucking leads back to key of C major, transition
begins with the grand statement of the theme and the continuation just as it was heard at m. 94, through the large descents on D minor and A minor. The bass line of the latter is slightly shifted.

m. 232--“development” begins here. The transition is interrupted by two bars of heavily accented notes with longer echoes, all in the strings, where the running scales would be expected. The
scales do begin after these bars, passed between violins and lower strings, with wind support as before, but the harmonic motion is different, settling this time on D minor. They are richly harmonized.
The scales retain a descending motion throughout and taper off rather than building up.

m. 244--The scales continue quietly in the strings. Figures derived from the opening “turn” igure of the main theme are passed between oboe and lute, still in D minor. Then the winds turn to a
soaring line, over the continuing scales, that makes a turn back to C major.

m. 249--The “turn” igures, now including bassoon, are played by two instruments at a time, still with dovetailing overlap. The scales are only in the violins now, the cellos playing plucked
arpeggios. The key is F minor. The winds again turn to the “soaring” line, which irst moves to E major. It is given a second statement that moves back to C.

m. 257--After a brief breath, a powerful passage begins. It starts with igures reminiscent of the two descents that ended the transition passage. It then incorporates the descending scales, which
are passed between wind and string instruments with full harmonies and heavily accented supporting chords. Finally, the strings take the leaping descents while scale fragments are passed among the
wind instruments. The entire passage vacillates between C minor and F minor.

m. 268--Beginning on an upbeat, the winds begin to blast out the turn igures derived from the main theme. They are supported by brass chords and timpani rolls. The strings play isolated
descending scale fragments against each arrival point of the turn igures. Two pairs of these patterns begin to work upward. A third pair has the violins taking the turn igures over from the winds, and
lutes joining the scale fragments. Then, building toward a climax, the turn igures are passed between the high strings and high winds, the lower instruments of both groups providing support in long-
short rhythm. The igures remain static for three bars before moving upward in the strings. Timpani beats and rolls underscore the buildup.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie

RECAPITULATION/DEVELOPMENT ... continued

m. 279--In a tremendous climax, the full orchestra blasts out descending igures that are derived from the “alphorn” melody. These begin off the beat, creating a highly disorienting syncopation.
They are in C minor, where the previous buildup has arrived. Timpani rolls support the climax, and the trombones make their irst entry since the end of the exposition. The igures are passed
between strings and winds with full support. The strings then move downward, seeming to move toward B-lat minor.

m. 285--In one of the most remarkable moments of the symphony, the opening of the “alphorn” theme is blasted by the violins, but the underlying harmony, a “diminished seventh,” gives it a dark,
highly tragic quality, this is underscored by a thundering timpani roll and full brass. Almost immediately, the bass instruments descend and the volume rapidly diminishes. Violins play another
statement of the “alphorn” gesture an octave lower, with its warm, familiar major-key surroundings. This direct juxtaposition of agitation and peacefulness is both striking and highly unexpected.

m. 289--The horns lead a full statement of the “alphorn” melody that initially follows the lines of the transition to the “golden moment” and the main theme at the end of the introduction from m. 52.
Unlike that passage, this one does not have the shimmering string tremolos. There are instead smoothly moving harmonies in violas and cellos, and the violins participate in the “alphorn” statement.
At the moment where the “golden moment” would be expected, the violins take over, and they extend the anticipatory passage. Brahms marks this “calando” (“dying”), and the strings slowly descend
under pulsating timpani. This extension and alteration serves to prepare Theme 2 instead of the main theme.

m. 301--Theme 2. The theme appears and picks up the recapitulation again. This time, it has an introductory bar that introduces the descending four-note “ostinato” in all strings before the actual
theme begins. After this new introductory bar, the theme follows the pattern from m. 118, now in the home key of C major, and with some signiicant changes in scoring. Most notable among these is
that every other statement of the descending “ostinato” is now played by wind instruments (lute, clarinet, and bassoon), alternating with the low strings four times. A continuation previously taken by
winds is played by violins and violas. The descending syncopations and skipping dotted rhythms are largely as before.

m. 316--The continuation from m. 132 is also rescored. The quiet and gentle line with the triplet rhythm is now played by violins. When the upward leaps arrive, the responses to them are played
by horn as well as the original instrument, the oboe. At the very end of the line, an alteration and expansion of the inal fall prevents the key change that happened here in the exposition, which would
have placed the closing theme in A minor. This alteration allows the music to remain in C, shifting from major to minor.

m. 326--Closing material. This is analogous to m. 142, with no signiicant alterations other than key. It is in C minor, and not the expected and analogous A minor, as the symphony must end in C.
The key that is briely suggested at the loud cadence igures is B-lat major.

m. 340--The passage from m. 156 is restated here with some changes in scoring. A lute joins the oboe on the “soaring, sighing” igures. The triplets are played by both violins and violas from the
outset. The continuation that was passed from oboe to lute is now taken by clarinet throughout, irst doubled by horn and then by oboe at the point where it had been passed to the lute.

m. 348--The material from m. 164, with the buildup on the triplet igures and the hammering dotted rhythm, is given with no signiicant changes other than key.

m. 360--The strong reiterations of the cadence with syncopated leaps from m. 176 are given, but this time without the entry of the trombones or timpani. The irst statement of the cadence after the
irst syncopated leap is, however, more richly scored, with full winds. The extended cadence, now in C minor, follows, and the timpani make a later entrance at the end where they had not played
before, perhaps to compensate for not playing the triplets under the syncopated leaps.

TRANSITION TO CODA
m. 367--Over tremolo violas, the horns, then violins, and inally clarinets, play the gentle and quiet ascending igures that had led into the restatement of Theme 1 before. Violins then join in the
tremolo, trombones make a subdued entrance, and the winds play ominous descending lines, all at a hushed level.

m. 375--Trombone, contrabassoon, and low strings play the opening of the main theme in a similar manner to the darker version heard in the introduction. There begins a long timpani roll. The
winds play soft echoes, and the violins play ascending arpeggios in tremolo that are reminiscent of the “closing” material. After two statements of this material, it is wrenched upward a half-step for
a third statement. Then everything is abbreviated, the arpeggios, the Theme 1 fragments, and the wind responses. There is a huge buildup in volume as well as speed (marked “stringendo“). The
igures become faster, shorter, and syncopated, inally culminating in seven rapidly hammered chords, the timpani breaking the roll to join.
 Brahms Symphony No. 1- Analysis
Lawrence V. McCrobie

CODA
m. 391--The tempo changes to “Più Allegro” and the meter is changed to cut time [2/2] to relect this acceleration. The music turns strongly back to the major key. There, the strings, supported by
timpani, begin churning on three notes derived from the main theme’s “turning” igure. Against this, the winds and brass play two powerful and jarring “diminished seventh” chords that resolve to
more pleasing harmonies. The “churning” music gives rise to more melodic igures that are passed between winds and violins, the lower strings and timpani maintaining a steady beat. Finally, as the
tension and buildup have reached their maximum level, the winds begin to “churn” on the “turning” igure, punctuated by timpani beats and hammering string falls.

m. 407--The tension is released in the symphony’s highly dramatic “moment of triumph.” All brass and strings joyously proclaim the “chorale” theme that was only heard before in the second part of
the introduction, at m. 47.

m. 417--The music regains its momentum by isolating an upward turning igure from the “chorale” and joyously pressing forward in a broad triplet rhythm. The strings begin this, the winds adding
syncopated chords, and then the winds take the turning igure themselves along with both low and high strings. This music is reminiscent of a moment from the end of Beethoven’s Ninth Symphony
where the chorus sings the words “was die Mode streng geteilt” in unison.

m. 427--The strings now play faster triplet igures that are reminiscent of the ascending triplets from the end of the “closing material” in the exposition and recapitulation. Winds and low strings
continue the harmonies and slower triplets. Everything is then arrested in a strange unison statement of an downward arching igure that is supported by timpani rolls. This is given twice. It is
reminiscent of both the “alphorn” melody AND a line from the main theme of the irst movement. It seems to begin a third time, with an entry of the trombones, but it follows a more pleasing
downward path, leading to three short, strong chords on the expectant “dominant” harmony.

m. 447--The “churning” derived from the main theme begins the closing passage. It is supported by loud brass and wind chords. It works its way upward. A timpani roll is heard over a powerful
ascending arpeggio from the bass instruments. This leads to three short and strong C-major chords from the whole orchestra, followed by the inal long, extended chord, under which is another
timpani roll.

m. 457--END OF MOVEMENT

END OF SYMPHONY