Reflection of John Brahms Cancert

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Johannes Brahms himself directed the debut of his Variations on a Theme by Haydn with the Vienna Philharmonic Orchestra in Bavaria in 1873, making our experience of attending a performance by the same ensemble in Carnegie Hall more than 140 years later all the more special. The program directed by Latvian Andris Nelsons also included, besides the aforesaid work, Joseph Haydn’s Symphony No.90 in C Minor, Johannes Brahm’s Symphony No. 3 in F Major, Op.90 and Johann Strauss’s waltz Seid Umschlungen, Millionen (“Be Embraced, You Millions”) –which was actually dedicated to Brahms- as a surprise encore. Also known as Saint Anthony Variations, Brahms composed his Variations during a summer stay in Lake Starnberg near Münich during a time where he had finally, after the premiere of A German Requiem in 1868, achieved recognition throughout Europe. He based his work on a theme in Chorale Saint Antoni originally attributed to Haydn, although in the nineteenth century this was questioned and the piece remains unattributed to this day. Brahms composed two versions of this work –one for two pianos, the other for orchestra- both of which consist on a theme on B-flat major, eight variations and a finale in passacaglia form.
The night started with Joseph Haydn’s Symphony No.90 in C Major, a piece in sonata form composed for one flute, timpani, viola, cello, bass and two oboes, bassoons, horns, trumpets and violins. The first movement –the Adagio- introduces, the listener to the piece by a sharp contrast between forte and an eight descending notes in piano. We are then presented –in a piano violin- the essential element of the first theme. Then, the music picks up a faster pace and energy until it reaches a dialogue between the oboes and the ba...

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... first is grandiose and passionate whilst the second is tender and pleasant. The second one has a pastoral feel to it and brings the woodwinds to the forefront with its simple melody. The third in minor mode is quite melancholic due to the cello’s texture taking charge of the melody. Finally, the fourth movement has a more mysterious and dramatic character, -reminiscent at moments of military campaigns- to finally close with a calmer attitude and a pianissimo by the whole orchestra. The whole piece is powerful and strong, full of vivacity. It takes the listener from the gloomy voice of the contrabassoon to a bright entrance of the strings. It is also a work full of sweet nuances, owners of absolute tranquility. Brahms truly spinning in develops the textures of the different instrumental families, which fills this symphony with rich sounds, making it truly memorable.

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