MAY 10–11
Lilly Classical Series | Program Notes Jove.” Immediately the ideas are reiterated in the minor mode, indicating that major and minor tensions would play a significant part in the work. The motto F–A–F was identified by Brahms to mean Frei aber Froh (free but happy), and it appears throughout the entire work. His second theme is pastoral, gently declaimed by the clarinet and bassoon. After the exposition, a thick, thunderous development ensues, including a dramatic horn solo based on the F–A–F motto. The opening chords reappear to introduce the full recapitulation. A long coda dispenses pent-up energy and leads to a quiet close. Both of the inner movements continue the quietness. A chorale for low winds and strings in traditional four-part harmony opens the second movement Andante. A similarly peaceful second theme follows the chorale, chanted by clarinet and bassoon. Soon a surging dialogue begins between the two ideas, but ardor is truncated. Brahms pulls in the reins and summons a restrained statement of the chorale. Brahms was always fond of saying “In der Beschränkung zeigt sich der Meister” (Restraint is the mark of a master). Brahms conservatism was always an active directive, and passionate subjects were never released to revel in extended exuberance. Embedded within the movement are many references to the F–A–F motto.
and celli with a swaying triple melody in unison, which captures the scene and grows to furious intensity. Brahms’ biographer, Kurt Geiringer, characterizes the moment as “a tremendous conflict of elemental forces.” The turbulence continues until the second movement chorale makes another appearance, with the flute singing the F–A–F motto over an orchestral tutti. “Like a rainbow after the thunderstorm, the motto played by the flute with its message of hope and freedom spans the turmoil of the other voices,” Geiringer continues. At the close, the tonality of F major is firmly re-established, quotes from the second movement reappear, and the strings quietly recall the first theme. Like all the preceding movements, this one also ends quietly, this time with the flute sounding the motto idea.
The third movement, Romanza, features an idyllic espressivo cello song supported by string arpeggios. Woodwinds dance a sweet little waltz midsection before the intimate song returns in the solo horn. The fourth movement matches the drama and opulence of the first. Upper strings and bassoons provide a sweeping opening idea. This idea is interrupted by solo horn 35