Wow, this is great! Thank you. I love listening to Brahms, but find his music challengingly rich in material. Following this helped a lot. I look forward to watching more of your videos.
Amazing job as a few other asnalysisa sites could not recognize the first two phrases of Theme 1 A, the recaptitulation (at 7:13) as such due to Brahms's skillful use of the woodwinds to start the antecedent which the listeners may not have noticed that recapitulation has already started.
Really interesting, thanks for your analysis. I never studied this score, but intuitively I always thought the 'German Tango' theme was the second subject of the first movement! Very interesting.
🤣No, I don't feel any pressure to get the walkthroughs out fast. I do them when I'm in the mood and I'd rather get them right as opposed to quickly, which I think everyone understands and appreciates. Haven't worked on Mendelssohn 3 or Brahms PC1 yet, BUT you'll be happy to know I'm almost finished with Brahms Symphony 1 and hope to have that up by next weekend. Analyzing Brahms is a VERY SLOW process because there is SO MUCH motivic transformation and harmonic turnover. Don't get me wrong, I love Brahms, but right now I'm glad he only did four symphonies. 🤣
I am a bit confused about the second theme of exposition of movement 1 as Bernsten in his 1957 analysis video and Bob Greenburg say that the German Tango is the second theme. Such demarcaion appears to be hard because Brahms is constantlt develop his themes from the beginning. So I cannot really tell where the theme two starts.
It depends on how many themes you count. Some consider the Tango to be Theme 2 but as the modulation to B Major is not yet complete until 2:33 the Tango has to be considered as part of the Modulating Bridge in my opinion. Not that I'm disagreeing with Bernstein by any means, but my sources for this were the books "Brahms: The Four Symphonies" by Walter Frisch and Volume IV of A. Peter Brown's "The Symphonic Repertoire". As you say though, the lines of structure are always blurred with Brahms so one could make a case for either.
@@Nyssa337 Always the best wisdom provided. Much appraciated for all the big help you offer to the classical music community. I think Grrenberg just took the words of Bernstein at the face value in his course as he did not elobrate furher. 📯🎼🎶 I am going through all of your other repertoire one by one as I am only finding all of the contents completely authoritative.
They aren't actually weak. The conductor Sir Charles Mackerras and the Scottish Chamber Orchestra used an orchestra similar in size to the one that premiered the symphony, and which Brahms himself preferred.
I just discovered this channel and am finding these analyses absolutely invaluable. Thank you for all the hard work that has clearly gone into them.
Thank you! They do take time but I enjoy doing them. All the ones I've done are organized by composer in playlists.
That single F# Major chord at 3:45 getting its own heading made me laugh. Thank you for this analysis!
Wow, this is great! Thank you. I love listening to Brahms, but find his music challengingly rich in material. Following this helped a lot.
I look forward to watching more of your videos.
Thank you! I do them when I can. If you look on my playlists I've got a lot of walkthroughs on other composers as well.
@@Nyssa337 Brilliant! Looks like there's plenty there for me to work through. Really appreciate it, thanks.
Many thanks! This is very helpful!!
29:00 my favorite
Amazing job as a few other asnalysisa sites could not recognize the first two phrases of Theme 1 A, the recaptitulation (at 7:13) as such due to Brahms's skillful use of the woodwinds to start the antecedent which the listeners may not have noticed that recapitulation has already started.
Really interesting, thanks for your analysis. I never studied this score, but intuitively I always thought the 'German Tango' theme was the second subject of the first movement! Very interesting.
It is a theme, its just occurs in the modulating bridge before the establishment of B Major (which is where Theme 2 needs to be).
lovely. I am looking forward to the analysis of:
Brahms sym. 1
Brahms 1st. piano concerto
mendelson sym. 3
Hope I am not burdening you.
🤣No, I don't feel any pressure to get the walkthroughs out fast. I do them when I'm in the mood and I'd rather get them right as opposed to quickly, which I think everyone understands and appreciates. Haven't worked on Mendelssohn 3 or Brahms PC1 yet, BUT you'll be happy to know I'm almost finished with Brahms Symphony 1 and hope to have that up by next weekend. Analyzing Brahms is a VERY SLOW process because there is SO MUCH motivic transformation and harmonic turnover. Don't get me wrong, I love Brahms, but right now I'm glad he only did four symphonies. 🤣
@@Nyssa337 thank you very much. You are like me: I also do things only when I am in the mood.
I am a bit confused about the second theme of exposition of movement 1 as Bernsten in his 1957 analysis video and Bob Greenburg say that the German Tango is the second theme. Such demarcaion appears to be hard because Brahms is constantlt develop his themes from the beginning. So I cannot really tell where the theme two starts.
It depends on how many themes you count. Some consider the Tango to be Theme 2 but as the modulation to B Major is not yet complete until 2:33 the Tango has to be considered as part of the Modulating Bridge in my opinion. Not that I'm disagreeing with Bernstein by any means, but my sources for this were the books "Brahms: The Four Symphonies" by Walter Frisch and Volume IV of A. Peter Brown's "The Symphonic Repertoire". As you say though, the lines of structure are always blurred with Brahms so one could make a case for either.
@@Nyssa337 Always the best wisdom provided. Much appraciated for all the big help you offer to the classical music community. I think Grrenberg just took the words of Bernstein at the face value in his course as he did not elobrate furher. 📯🎼🎶 I am going through all of your other repertoire one by one as I am only finding all of the contents completely authoritative.
Why do the strings sound so weak?
They aren't actually weak. The conductor Sir Charles Mackerras and the Scottish Chamber Orchestra used an orchestra similar in size to the one that premiered the symphony, and which Brahms himself preferred.
German tango? Had to look that one up...
Same, the term comes from one of the books I used as a resource but I can't remember which one.