Symphony No. 4

The symphony is composed of four movements:

I. Allegro non troppo
The first movement is a sonata form in E minor, distinguished by its seamless lyricism and tightly knit motivic development. The main theme emerges quietly in the violins with a descending third and dotted rhythm, subtly hinting at Baroque dance rhythms. Despite its gentleness, it contains the DNA for nearly the entire movement. The second theme, more flowing and warm, arrives in G major, yet retains a pensive character. The development is complex but understated, relying on Brahms’s mastery of variation and counterpoint. The recapitulation subtly transforms earlier material, and the coda fades with an air of unresolved melancholy.

II. Andante moderato
Set in E major, the second movement opens with a solemn horn call and a Phrygian-mode-inspired melodic contour that lends an archaic, hymn-like quality. A variation form underpins this movement’s structure, as Brahms spins a series of transformations on the main theme. The orchestration is particularly rich, with glowing woodwind chorales and warm string textures. The harmonic language is both noble and introspective, creating a sense of timeless serenity. The movement ends not with a grand statement, but with a hushed dignity.

III. Allegro giocoso – Poco meno presto – Tempo I
This is Brahms’s only true scherzo in all four symphonies—a boisterous, jubilant movement in C major that bursts forth with extroverted rhythmic energy. The movement’s form is rondo-like, with recurring themes interspersed with contrasting episodes. The first theme is bold and muscular, dominated by timpani and brass. The central section introduces a more lyrical idea, but the mood remains energetic throughout. Syncopations, hemiolas, and sudden dynamic shifts add to the playfulness and propulsion. The movement ends with a vigorous coda that drives relentlessly forward.

IV. Allegro energico e passionato
The finale is a monumental passacaglia, a Baroque form based on a repeating bass line—specifically, an eight-bar ground bass derived from a Bach chaconne. Brahms builds 30 variations over this theme in E minor, crafting a finale that is both intellectually rigorous and emotionally overwhelming. The variations range from noble chorales to intense fugatos and dramatic outbursts. The orchestration is carefully calibrated to sustain interest across the movement’s cumulative arc. A final restatement of the ground bass in unison strings and timpani leads to a powerful, tragic conclusion—Brahms’s most austere and emotionally devastating symphonic ending.

Main Themes:

First Movement (Allegro non troppo)
Main Theme: A soft violin melody in E minor based on a descending third and dotted rhythm—lyrical but restless.

Second Theme: G major, smoother in contour but still reflective, appearing in winds and strings.

Development: Focuses on thematic transformation and contrapuntal layering.

Coda: Quiet, hesitant, and unresolved, sustaining the introspective tone.

Second Movement (Andante moderato)
Opening Motif: Horns and winds introduce a stately theme with Phrygian inflections.

Variations: Explore a range of color and mood, from chorale-like warmth to gentle intimacy.

Closing: Ends in a quiet, reverent mood, preserving the movement’s dignified grace.

Third Movement (Allegro giocoso)
Main Theme: Brassy, festive theme in C major, driven by pounding timpani and accented rhythms.

Contrasting Episode: A more flowing theme that briefly softens the momentum.

Return: Builds with ever-increasing energy to a triumphant finish.

Fourth Movement (Allegro energico e passionato)
Ground Bass: An eight-bar theme in E minor, borrowed from Bach’s Cantata BWV 150, underlies all 30 variations.

Variation Highlights:

Early variations build melodic and rhythmic complexity.

Mid-section includes dramatic fugato passages and bold harmonic shifts.

Final variations grow in intensity, culminating in a tragic, forceful conclusion.

Coda: A grim, majestic apotheosis that solidifies the movement’s weight and finality.