Page 48 - GTMF 2024 Season Program

June 28 & 29 PROGRAM NOTES

Symphony No. 3 in lyrical, the Third is logical—one demonstrates. In the Brahms
F Major, Op. 90 of the most tautly reasoned works Third we experience a 50-year-old
in the symphonic literature. As is symphonist at the top of his
continued so often the case with Brahms, game: consummate technical
the argument is clearly stated in mastery in control of limitless
repertory” and its roster of the very opening gesture—three imagination, the whole
“great composers.” notes that represent Frei aber empowered by an unquenchable

Potential symphonists entering fröh (Free, but happy), Brahms’ inner radiance.
the field as of the 1850s had adaptation of Frei aber einsam
Beethoven’s legacy to contend (Free, but lonely), the personal
with, and many turned their motto of his close friend and
attention elsewhere, focusing on colleague Joseph Joachim. More © 2024 Scott Fogelsong
highly programmatic “symphonic importantly, those three notes
poems” or on hybrid oratorio- carve out a motion from major
symphonies that blended operatic mode to a hint of minor and back
elements with symphonic textures. again to major, setting up a
Those few who attempted actual, duality between major and minor
traditional symphonies tended that will thread throughout the
to be conservative types who entire work.
eked out derivative stuff that That duality remains in force until
soon faded. the very end of the symphony,
Brahms was at first reluctant to when all is resolved in a serenely
try his luck at such an apparently unruffled passage that seems
no-win challenge, but pressure like a blessing or benediction.
on him as the chosen savior of Along the way, high drama (first
the ailing genre increased steadily movement); touching intimacy
along with his growing reputation (second movement); lyrical
as a Beethoven-class structuralist. rapture (third movement) and
It wasn’t until 1876—when he even more intense drama (fourth
was 43 years old—that he finally movement, at least for a while),
produced his Symphony No. 1 carve out a memorable journey
in C minor, Op. 68, a majestic that fully warrants Eduard
achievement that proved that Hanslick’s verdict as Brahms’
the symphony was by no means “artistically most nearly
a spent force. He followed up perfect” symphony.
quickly with a second symphony Occasional commentators throw
in D Major the next year, but the occasional brickbat at Brahms’
held off from writing another orchestration; too muddy,
symphony for another six years. they say, too stolidly functional
In the meantime he busied himself and devoid of sonic sex appeal.
with a string of consummate Such accusations are uninformed.
masterpieces—the Violin Concerto; To be sure, Brahms was not one
Piano Concerto No. 2; and the for instrumental bling à la fancy
two beloved orchestral overtures, percussion or novel effects.
Tragic and Academic Festival. Nevertheless, he knew his
Then, in 1883, Symphony No. 3 orchestral hawks from his
in F Major, Op. 90. handsaws, as the meticulously
If the First Symphony is dramatic detailed and chamber-like use of
and the Second Symphony is his (quite traditional) orchestra

46 Grand Teton Music Festival Season 63