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The Brass Instruments As Used by Brahms in His Four Symphonies

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The Brass Instruments As Used by Brahms in His Four Symphonies f31' THE BRASS INSTRUMENTS AS USED BY BRAHMS IN HIS FOUR SYMPHONIES THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By David G. Ritter, B. M. Denton, Texas August, 1964 TABLE OF CONTENTS Page LIST OF TABLES . ... iv LIST OF ILLUSTRATIONS . ..... .. ....... v Chapter I.INTRODUCTIONT ................ Piano Concerto In D Minor, Op. 15 The Two Serenades Serenade in D Major, Op. 11 Serenade 'in A Kajor, Op. 16 The German Requie:, Op. 45 Variations on a Theme Joseph Haydn, Op. 56a II. BRAHMSt USE OF THE BRASS INSTRUMENTS IN HIS FOUR SYMPHONIES 4. .-.-.-. .0.0 . .0. 9 Use of the French Horn Use of the Trumpet Use of the Trombones Use of the Tuba Conclusions BIBLIOGRAPHY . .48 iii LIST OF TABLES Table Page I. Plan of Orchestra * . - - - - . - . 12 II. Table Showing What Pitch the Horn Sounds When Crooked in Various Keys o* . - - . 15 III. Table Showing What Pitch the Trumpet Sounds When Crooked in Various Keys . 31 iv LIST OF ILLUSTRATIONS Figure Page 1.. "C" Harmonic Series . 14 2. Notes Possible with Two Pairs of Horns . 16 3. Method of Writing for Horns in Bass Clef . 17 4. Use of the Right Hand in Stopping Technique 18 5. Brahms, Symphony No. 3, third Movement, Measures 120-12 2. .*00.* ** .* .. 18 6. Beethoven, Symphony No. 3, Third Movement, Measures 166-181 . .. 19 7. Brahms, Symphonie No. 1, Fourth Movement, Measures 30-33 . .. 20 8. Brahms, Symphony No. 1, Fourth Movement, Measures 52-57 . 21 9. Brahms, Symphony No. 2, First Movement, Measures 1-4 . .. O 0 0 0 0 0 0 0 - . .0 21 10. Brahms, Symphony No. 2, First Movement, Measures 183-186 . 0 0 0 0 0 0 0 0 . 0 . 22 11. Brahms, Symphony No. 4, Second Movement, Measures 1-5 . 0 0 0 0 0 0# 0 0 22 12. Brahms, Symphony No. 1, First Movement, Measures 1-3 . .. 0 0 0 0 0 0 23 13. Brahms, Symphony No. 1, Third Movement, Measures 1-5 . O . 0 . 0 0 0 24 14. Brahms, Symphony No. 3, Second Movement, Measures 76 and 77 O 0 0 0 . .0 25 15. Brahms, Symphony No. 4, First Movement, Measures 301-304 . 0 0 0 0 0 0 0 0 . .0 26 16. Brahms, Trio in E Flat First Movement, . Measures 49-55 0 0 0 . 27 v Figure Page 17. Scale for Natural Trumpet . 29 18. Brahms, Symphony No. 4, Third Movement, Measures106-113. ......... 30 19. Beethoven, Symphony No. 9, First Movement, Measure 267 . 31 20. Brahms, Symphony No. 1, Second Movement, Measures112-115 ............. 32 21. Brahms, Symphony No. 2, First Movement, Measures 390-395 *-. .. 32 22. Brahms, Symphony No. 3, Fourth Movement, Measures 40-43 .. ...... 32 23. Beethoven, Symphony No. 5, First Movement, Measures 415-420 . 33 24. Brahms, Symphony No. 2, Fourth Movement, Measures 421-424. 34 25. Beethoven, Symphony No. 9, Fourth Movement, Measures 13-16 . - . * . 35 26. Brahms, Symphony No. 2, First Movement, Measures 282-285 * . 36 27. Brahms, Symphony No. 1, Fourth Movement, Measures . .. ... .. 37 28. Brahms, Symphony No. 3, Fourth Movement, Measures 64 and 65. .38 29. Brahms, Symphony No. 4, Fourth Movement, Measures129-131. 39 30. Brahms, Symphony No. 2, Second Movement, Measures 87 and8. 41 31. Brahms, Symphony No. 2, Second Movement, Measures 1-4 . 42 32. Brahms, Academic Festival Overture, Measures 127-129 . 43 vi CHAPTER I INTRODUCTION "Brahms had a dislike of everything meretricious and artificial. Bright glittering colours in music made little appeal to him. He preferred the simple dark shades that helped the listener to concentrate on the substance of the music itself."' Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. 2 As far as Brahms? compositions for orchestra are con- cerned, they constitute but a small portion when compared to the total output of his other works.3 The orchestral works were written mostly in the mature period of his art. Before attempting to write a symphony, Brahms schooled himself by composing a concerto, two serenades, and variations for orchestra 1 Julius Harrison, Brahms and His Four Symphomies (London, 1939), p. 24. 2 J. A. Fuller-Maitland, "Brahms, Johannes " Grovels Dictionary of Music and Musicians (New York, l 32T7F748. 3 Ibid., p. 447. 4 Karl Geiringer, Brahms; His Life and Work second edition (New York, 19477),p 247. 1 2 When discussing color in regard to Brahms? orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. While composers such as Wagner were experimenting with and expanding the in- strumentation of the orchestra to produce new color effects, Brahms was content to confine himself within the limits of the classicial orchestra. He used his instruments with great care and employed them at only the proper moment in order to enhance his musical ideas. The reason that some have for coming to the conclu- sion that Brahms? compositions are lacking in music color can be based on the fact that he affixed so much attention to the art of design in his music.5 There are several instances in which he changed the total plan of coloring in a composition without altering the structure.6 A good example of this change is the variations on a theme by Haydn of which there is a piano version as well as an orchestral version.7 When discussing color in regard to Brahms t orchestration, it is necessary to remember that his coloring effects are entirely his own and that they are not related :to the general use of coloring in his time. 5 J. A. Fuller-Maitland, Brahms (London, ,19 1l),,p. 74. 6Ibid. 7 Ibid. 3 Piano Concerto In D Minor, Op. 15 Brahms? earliest orchestral composition, written during the years 1854-9, was the Piano Concerto in D Minor, Op. 15.8 This composition was written during his Sturm un Drang period, and shows the influence of Schumman in its fullness of orchestral color. 9 In this work the orchestra and piano are treated as equals, and even in spite of the fact that the piano part is hard the listener still never has the feeling that it is one of virtuosity.10 This work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings, and piano solo. The first and second horns are in D, and the third and fourth horns are in B flat basso. The two trumpets are also scored in D.11 Brahms presented this concerto on January 27, 1859, in Leipzig, but the work was badly received because of its in- dependence of structure and because of its lack of the usual characteristics of concertos. 1 2 The performance itself was also a failure.1 3 Geiringer, .. Cit., p. 247.9Ibidp. 248. 10 Ibid. llJohannes Brahms, Piano Concerto .DnDminorOP. 15 (Leipzig), p. 1.p 12 Maitland, 2p. 1iti., p. 445. 1 3Ibid. 4 The Two Serenades From the age of twenty-one to that of twenty-five Brahms was the director of the orchestra and choir at the court of the Prince of Lippe-Detmold.1 4 During his stay here his duties were not many, and he found sufficient time to study the orchestral works of the classical masters.15 It was during this time that he wrote his two serenades.16 The in- fluence of his studies is apparent in these two works; especially the first serenade. 1 7 When treating the two serenades it is necessary to realize that these compositions are those that are known as "Divertimenti," which is a class that is somewhere between chamber music and orchestral music.1 This form was freely cultivated in the eighteenth century; especially by Mozart.19 This is probably one of the reasons that Brahms selected this type of composition for his first essays in orchestral writing. Serenade in D ajor, Op. 11 4 1 .Mdarkham E. Lee, Brahmst Orchestral Works (London, 1931), p. 5. 5 1 Johannes Brahms, Serenade in D major for Orchestra Op. 11, foreword by Wilhelm AltmnmN~(ew o T.7T 16Loe, . cit., p. 5. 1 7Ibid., p. 6. 8Edwin Evans, Handbook to the Chamber and Orchestral Music of Johannes BrahRS (LoTdon,~1933-35),~p. 39. 19 Ibid. 5 This serenade was originally written as a nonett for strings and winds (flute, 2 clarinets, horn, and bassoon), and was sent to Joachim in this form.2 0 In December, 1858, Brahms decided to score this work for full orchestra.2 1 The score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. This serenade has six movements, and uses the brass in five of these movements. In the first, second, fifth, and sixth the score calls for the first and second horns in D, third and 25urth horns in E, and two trumpets in D. In the third movement the trumpets are left out, and the fourth move- ment excludes the brass entirely.2 2 So we find that the or- chestral complement of this work, with the exception of the four horns, does not exceed the classical limits.2 3 The instrumentation of this serenade is quite transparent, and there is frequent use of the wind instruments for solo passages which prohibits a heavy string ensemble; this in turn emphasizes the serenade-like character of this work.2 4 This is quite a contrast to the massive scoring of the Piano Concerto in D minor.2 5 20Brahms, OP cit., p.
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