Johannes Brahms: An Introduction to … BRAHMS
Introduction; opening horn call and piano's answer
Rising three-note scalewise pattern
Quicker, descending six-note 'answer'
Second, answering phrase
First Main Theme completed by orchestra
Peace shattered as piano bursts back in like a tiger
Variant of opening horn call in bass
Orchestra returns; beginning of Exposition proper
Big, 'singing' theme in orchestra; piano 'forgotten'
Call to arms by strings; marshalling of orchestral forces
Piano re-enters fry with massive expansion of opening figure
Piano 'explores' two main facets of opening theme
Transition. sense of key weakened. Piano and orchestra come together
Piano and orchestra 'argue' over speed of thematic three-note rise
Piano and orchestra in friendly dialogue before piano falls away
'Winged' harmonic shadow of pure pianistic tone-colour
New 'transitional' theme from orchestra developed by piano
After indecision and discussion, the mood suddenly turns playful
Reminder of Second Main Theme in its original form
Ttransfomation of Second Main Theme by piano
Piano hijacks orchestra's 'call to arms'
Piano and orchestra, now allies, explore theme, but with piano leading
Dramatic eruption of orchestra leads to the Development section
Pianistic 'tiger' replaced by gentle reflective, soft-spoken poet
Transformed 'tiger' theme amicably shared by piano and orchestra
An apparently new theme - but Battlle Hymn of the Republic?
Brief, downward-driving section prepares for the Recapitulation
On the threshold of the Recapitulation
Recapitulation: The Magical Return
From Gate-crashing Tiger to Celestial Tenderness - and a surprise
And unexpected and portentus change of mood, suggesting tragedy
Summation
First Movement (Complete)
Second Movement: The upward-driving opening gambit, piano alone
Downward-driving answer from lower strings
Theme vs Melody
Eerie, unharmonised, 'white' sound of Second Theme
Second Theme taken up and developed by piano
Expectation and surprise; harmonic fluidity and intensifying drama
Return (and transformation) of Theme Two
Theme One returns in orchestra; Theme Three emerges in major mode
Sequence of fragmentary episodes begins with unexpected fanfare
Variant of Theme Three in piano
Rescored variant of 'fanfare' theme; from grandeur to solemnity
Rhapsodic variant of fanfare, this time for piano alone
Recapitulation of opening, with piano and orchestra reversing roles
Theme Two transformed by new instrumentation
Cue and Second Movement (Complete)
Introduction, cue and First Main Theme
Theme One taken up by strings and solo oboe; piano's entry
Complex variant of Theme One with very different speed and rhythm
Orchestra and piano in mixed variants of Theme One, now intensified
Theme Two, hushed and 'tuneless', with piano, clarinets and strings
Oboe Theme returns, now delicately embroidered by the piano
Cue and Third Movement (Complete)
Finale: Introduction, cue and Main Theme
Violins take up tune, with winds and piano accompanying
Piano introduces Part 2 of the main theme
Part 3 of the theme, led by piano, in 'fiercely' self-confident mood
First Episode, Part 1
First Episode, Part 2
Piano hands theme over to clarinets and bassoons
First Episode, Part 3, in piano, first; then flutes and oboes
Strings and flutes take theme, with bubbling commentary from piano
Tipsy dancers (piano and winds) return, tiring; strings take over
In the central Episode, the orchestra throws down a dramatic challenge
... to which the piano duly responds with a stormy outburst
Piano kick-starts run-up to final section in a variant of the main theme
Orchestra sets off on jaunty march, later joined by the piano
Piano propels orchestra into final section
Summation and cue to the movement as a whole
Finale (Complete)
