This piece is possibly the most well constructed work of art I have ever listened to. I swear, it's like Brahms doesn't even misplace a note. He uses every idea so much until it is rearranged and/or stripped completely clean of fat. How does he manage to make so much out of so little?
His craftmanship is inspired by Monteverdi, Heinrich Schütz and of course Bach, who he studied intensively in the time he composed the symphony. He was strongly moved and inspired by those old masters whose craftmanship and perfectly balanced contrapuntal works arguably has never ever been surpassed. His goal with this symphony was to incorporate the incredible counterpoint, motivical work and double-choir-idea of their music into an piece for orchestra.
So delusional. The piece is not structured at all, there is no form. The counterpoint is terrible. The development of themes is nonexistent, all he does is repeat them with slight variation. Why do you believe so much? It's very clear you know nothing about what you speak of.
@@Whatismusic123 Ah, it seems that poor old Brahms is still hearing criticisms he received even during his time! A lot of what I'm talking about is mainly related to his use of developing variations, which is widely considered as something being created by Brahms. This symphony is absolutely full of it! I will admit myself that developing variations is still something I don't fully comprehend, especially when the developing takes place on the microscopic, eighth note by eighth note level like how Brahms can sometimes do! Its so interesting to see how his different themes transform and take new contexts throughout the symphony, but especially in the first movement! In fact Leonard Bernstein did a commentary on the construction (and genius) of the first movement, and perhaps listening to that could give you a new perspective!
It's probably not a coincidence! Brahms studied Bach religiously, (NPI) and drew much inspiration from him. The final movement is essentially just a passacaglia/chaconne!
Repent and trust in Jesus. We all deserve Hell for our sins, such as lying lusting coveting and more. We can't save ourselves, but Jesus can save us. He died on the cross to save us for our sins and rose from the grave defeating death and Hell. You must put your faith in him only. He is the only way to Heaven. Repent and trust in Jesus. Romans 6:23 John 3:16❤❤
MVT I: Allegro non troppo EXPOSITION 0:06 - Theme 1. Falling, then rising thirds. At 00:23 motif (a), C-B-C-A and C-A-E-D. Motif (b) at 00:30 , falling fourths. 00:41 - Theme 1 is repeated with embellishment. 00:56 - Transition. Motifs (a) and (b) are used to reach B minor. 1:28 - Theme Group 2, Theme 1. The cadence is frustrated and ends up in D major. 5 descending notes and a fourth, then fast upwards arpeggio and the theme is repeated in G major. 1:42 - Preview of TG2, T3. In B minor, a military like fanfare with triplets and dotted rhythms. Still not fully developed. 1:49 - TG2, T2. Dance-like melody in the cello, then repeated in upper strings. Reminiscent of a tango. Falling thirds in the bassline. 2:15 - TG2, T3. The offbeat syncopation is presented. Note motif (c), arpeggiated triad. 2:44 - T3. In F-sharp major (!). Gliding high strings, followed by sweet flute and oboe melody. At 3:15 motif (d), mysterious arc 3:21 - Preview of Closing Theme. (d) follows and transitions to 3:37 - Closing Theme. Triumphant, based on TG2, T3. B major DEVELOPMENT 4:06 - Transition back to E minor using head of Theme 1 4:23 - Theme 1. (a) is used to transition to 5:05, which leads to G major at 5:33 - where TG2, T3 takes the shady character of (d). At 5:41 the woodwinds introduce a diminished version. 6:17 - The dramatic diminished version of TG2, T3 comes in with fortissimo, and at 6:29 motif (e), E-D-C, D-C-B, etc. triplets. 6:38 - (e) morphs into a tender melody with T1 in pizzicato strings (!). At 6:52 (a) is used to transition from B major back to E minor 7:40 - The slowed down first part of theme 1 (falling thirds) the woodwinds is fused with (d) in the strings. RECAPITULATION 8:10 - Theme 1 picks up again just like in the exposition, with the embellished repeat. 8:52 - Transition 9:04 - TG2, T1 in E minor/G major 9:19 - Transition using TG2, T3 9:25 - TG2, T2 in E minor 9:51 - TG2, T3 10:19 - T3 in B major. At 10:49 (d) used to transition to closing theme, which erupts at 11:11 - Again the triumphant closing theme, but now repeated in G-sharp minor, which leads to CODA 11:28 - The diminished version of the Closing Theme, as presented in the development. (e) is presented in the strings in imitation displaced by 3rds, and accompanied by (c) 11:48 - Inversion of (e) leading to fortissimo, aggressive repeat of T1 at 12:00. (b) is used to transition to 12:30 - TG2, T1 in a completely opposite manner as presented before, with piercing strings and woodwinds. At 12:41 a VI - i progression with syncopation is introduced, as well as dotted G-F#-E closing motif 12:54 - The G-F#-E motif is repeated in high register, while bassoons and basses imitate it offbeat, climbing higher every time, leading to the final cadence, and the notorious iv - i resolution
I think this video sets the record for the most commercials in any classical music video ever. At least they took the time to put most of them between movements or themes.
It's often not the uploader's fault; if a video is copyright claimed (which I believe this one was) RUclips puts ads automatically and none of the revenue goes to the uploader
I am awe-struck. This symphony is just..... a masterpiece. No other word to describe it. By the way, I have just realized that the theme of the second movement is suspiciously similar to the theme of the opening movement of Dvořák's Cello Concerto..... It could be a coincidence, but nonetheless, the similarity is striking. Thank you for this upload! The score is perfect, and extremely useful! Keep up the great work!
This is some of the most incredible music that a living being could ever create. Every single moment is amazing. I'm hoping I get to perform this with my youth orchestra eventually!
Guys, I love this upload too, but there's been a score vid of Brahms' fourth on YT for years lmao Edit: Granted, the sound quality on this one is prolly superior
36:59 Bar 117 sounds a lot like the opening bars of tannhauser. If you look at bar 4 beat 3 of the horn part, the notes, and timbre are very similar. Though the rhythm is different, I believe wagner uses a similar rhythm to the one brahms uses here
1 ч, е-moll: 0:08 ГП e 1:43 СП Fis 1:50 ПП 1 h 2:38 ПП 2 H 6:53 ГП в репризi 12:00 Кода 2-га ч. Е: 13:24 ГП Е 17:18 ПП Н 3-тя ч. С: 25:38 ГП С 27:22 ПП G 27:38 Розробка 4-та ч. е: 32:05 - тема варіацій на basso ostinato, е 35:21 - середина, 12-та варіація е
H is a letter used in German notation to represent B as the letter B already respresented Bb. Because of this, Bach was able to write his name in music, I would recommend checking out a piece be wrote based on his name.
I struggle to understand... for example 0:40 to me doesn't sound like counterpoint, but just like an orchestra playing a mess. Unless thats the effect brahms wanted? And why do I find none of the themes particularly beautiful. For example 1:49 the theme starts so strong, but then it gets lost to my ears? :(
maybe find a different recording? at 0:40 it might not be counterpoint in a fugal sense but its objectively polyphonic with accompaniment in the bass, the main melody in the strings and the second shorter more motivic melody heard mostly in the winds. At 1:49 the melody is repeated twice very clearly once in low strings and then in the high strings. It then gets adsorbed by the fanfare esc theme from before. If you don't find them beautiful thats fine, I think Beethoven doesn't have many things that are actually beautiful.
I listen to this with headphones and follow the scor and I am close to tears about this masterpiece.
😭
17:13 - Хорал
This piece is possibly the most well constructed work of art I have ever listened to. I swear, it's like Brahms doesn't even misplace a note. He uses every idea so much until it is rearranged and/or stripped completely clean of fat. How does he manage to make so much out of so little?
it's superbly crafted and inspired but Bach did compose incredibly well constructed masterpieces as well, the Goldberg variations for example.
@@pmlouisjuste yes also kunst der fuge and mass in b minor are incredibly well crafted, almost godly
His craftmanship is inspired by Monteverdi, Heinrich Schütz and of course Bach, who he studied intensively in the time he composed the symphony. He was strongly moved and inspired by those old masters whose craftmanship and perfectly balanced contrapuntal works arguably has never ever been surpassed. His goal with this symphony was to incorporate the incredible counterpoint, motivical work and double-choir-idea of their music into an piece for orchestra.
So delusional. The piece is not structured at all, there is no form. The counterpoint is terrible. The development of themes is nonexistent, all he does is repeat them with slight variation.
Why do you believe so much? It's very clear you know nothing about what you speak of.
@@Whatismusic123 Ah, it seems that poor old Brahms is still hearing criticisms he received even during his time! A lot of what I'm talking about is mainly related to his use of developing variations, which is widely considered as something being created by Brahms. This symphony is absolutely full of it! I will admit myself that developing variations is still something I don't fully comprehend, especially when the developing takes place on the microscopic, eighth note by eighth note level like how Brahms can sometimes do! Its so interesting to see how his different themes transform and take new contexts throughout the symphony, but especially in the first movement! In fact Leonard Bernstein did a commentary on the construction (and genius) of the first movement, and perhaps listening to that could give you a new perspective!
Interesting that the variation at 34:12 bears so much similarity to the e minor fugue of Bach’s well tempered clavier
It's probably not a coincidence! Brahms studied Bach religiously, (NPI) and drew much inspiration from him. The final movement is essentially just a passacaglia/chaconne!
One of the best symphonies.
Для викторины:
1 часть
0:08 ГП
1:43 СП
1:50 ПП 1
2:38 ПП 2
6:53 ГП в репризе
12:00 Кода
2-я часть
13:24 ГП
17:18 ПП
3-я часть
25:38 ГП
27:22 ПП
27:38 Разработка
4-я часть
32:05 и до конца
Хвоина 1Love
1 часть:
0:08 ГП
1:43 предыкт к ПП (фанфарная тема)
1:50 ПП
7:42 реприза (ГП в хоральном варианте)
12:00 Кода (канон на теме ГП)
2 часть:
13:24 вступление
13:48 ГП
Реприза
21:50 ПП
3 часть:
25:38 ГП
26:22 ПП
4 часть:
32:05 тема
34:45 лирическая вариация
35:22 вариация с соло флейты
What a fantastic piece and wonderful playing by the Berlin Philharmonic under Simon Rattle.
Repent and trust in Jesus. We all deserve Hell for our sins, such as lying lusting coveting and more. We can't save ourselves, but Jesus can save us. He died on the cross to save us for our sins and rose from the grave defeating death and Hell. You must put your faith in him only. He is the only way to Heaven. Repent and trust in Jesus.
Romans 6:23
John 3:16❤❤
1 часть
тГП 1 элемент 00:06
тГП 2 элемент 00:22
вводный мотив в побочную 01:42
1 тПП 01:49
2 тПП 02:53
Начало разработки либо 04:06, либо 04:22
Кульминация 2 раздела 06:16
3 раздел 06:52
Начало репризы 07:40
Кода 11:58
2 часть
Вступительные такты 13:23
тГП 13:45
тПП 17:16
3 часть
тГП 25:37
тПП 26:24
Переход к репризе 28:47
Реприза 29:18
4 часть
Тема 32:04
Вариации:
1 32:20
2 32:35
3 32:52
4 33:08
11 35:03
12 35:21
13 36:06
14 36:46
30 41:01
Кода 41:20
1 часть
0:08 гп
0:45
1:29 кульминация
1:43 сп
1:50 пп 1 тема
2:54 пп 2 тема
3:22 мотивное развитие
4:07 зп
4:13 Р азработка (с тем же инструменталом)
4:46 1 раздел
5:34 2 раздел
6:20
(6:53 мотив из гп)
7:42 Реприза гп
9:19 пп 1 тема (виолончель)
10:14 пп 2 тема (?)
10:56
12:00 Кода
2 часть
13:24 вступление
13:48 гп
14:50 вариационное развитие гп
16:15 вариационное развитие
16:55
17:18 пп
19:36 Реприза
21:50 пп
кода (?)
24:51гп
3 часть
25:38 гп
26:22 пп
26:40
27:08
27:38 Разработка
28:48 центральный раздел
29:44 кульминация 1 тема
29:51 кульминация 2 тема
30:45
4 часть
32:05 1 тема
32:40 2 вар
34:00
35:24 2раздел 12 вар
MVT I: Allegro non troppo
EXPOSITION
0:06 - Theme 1. Falling, then rising thirds. At 00:23 motif (a), C-B-C-A and C-A-E-D. Motif (b) at 00:30 , falling fourths.
00:41 - Theme 1 is repeated with embellishment.
00:56 - Transition. Motifs (a) and (b) are used to reach B minor.
1:28 - Theme Group 2, Theme 1. The cadence is frustrated and ends up in D major. 5 descending notes and a fourth, then fast upwards arpeggio and the theme is repeated in G major.
1:42 - Preview of TG2, T3. In B minor, a military like fanfare with triplets and dotted rhythms. Still not fully developed.
1:49 - TG2, T2. Dance-like melody in the cello, then repeated in upper strings. Reminiscent of a tango. Falling thirds in the bassline.
2:15 - TG2, T3. The offbeat syncopation is presented. Note motif (c), arpeggiated triad.
2:44 - T3. In F-sharp major (!). Gliding high strings, followed by sweet flute and oboe melody. At 3:15 motif (d), mysterious arc
3:21 - Preview of Closing Theme. (d) follows and transitions to
3:37 - Closing Theme. Triumphant, based on TG2, T3. B major
DEVELOPMENT
4:06 - Transition back to E minor using head of Theme 1
4:23 - Theme 1. (a) is used to transition to 5:05, which leads to G major at
5:33 - where TG2, T3 takes the shady character of (d). At 5:41 the woodwinds introduce a diminished version.
6:17 - The dramatic diminished version of TG2, T3 comes in with fortissimo, and at 6:29 motif (e), E-D-C, D-C-B, etc. triplets.
6:38 - (e) morphs into a tender melody with T1 in pizzicato strings (!). At 6:52 (a) is used to transition from B major back to E minor
7:40 - The slowed down first part of theme 1 (falling thirds) the woodwinds is fused with (d) in the strings.
RECAPITULATION
8:10 - Theme 1 picks up again just like in the exposition, with the embellished repeat.
8:52 - Transition
9:04 - TG2, T1 in E minor/G major
9:19 - Transition using TG2, T3
9:25 - TG2, T2 in E minor
9:51 - TG2, T3
10:19 - T3 in B major. At 10:49 (d) used to transition to closing theme, which erupts at
11:11 - Again the triumphant closing theme, but now repeated in G-sharp minor, which leads to
CODA
11:28 - The diminished version of the Closing Theme, as presented in the development. (e) is presented in the strings in imitation displaced by 3rds, and accompanied by (c)
11:48 - Inversion of (e) leading to fortissimo, aggressive repeat of T1 at 12:00. (b) is used to transition to
12:30 - TG2, T1 in a completely opposite manner as presented before, with piercing strings and woodwinds. At 12:41 a VI - i progression with syncopation is introduced, as well as dotted G-F#-E closing motif
12:54 - The G-F#-E motif is repeated in high register, while bassoons and basses imitate it offbeat, climbing higher every time, leading to the final cadence, and the notorious iv - i resolution
Gogachad
Small, pedantic correction- the iv-i 😅
bro...
I think this video sets the record for the most commercials in any classical music video ever. At least they took the time to put most of them between movements or themes.
It's often not the uploader's fault; if a video is copyright claimed (which I believe this one was) RUclips puts ads automatically and none of the revenue goes to the uploader
this made me reinstall adblock
I am awe-struck. This symphony is just..... a masterpiece. No other word to describe it.
By the way, I have just realized that the theme of the second movement is suspiciously similar to the theme of the opening movement of Dvořák's Cello Concerto..... It could be a coincidence, but nonetheless, the similarity is striking.
Thank you for this upload! The score is perfect, and extremely useful! Keep up the great work!
Dvorak wrote that concerto 10 years later then Brahms compose this Symphony
The reason why is probably because that Brahms was Dvorak’s teacher
masterpiece? lmao this is the lowest of the low garbage. Also comparing it to Dvorak is like comparing trash to garbage.
You're suggesting Dvorak couldn't remember something from that long ago...? Seems a bit ludicrous
@@dn7778i think they were saying that if there is a connection, dvorak took from brahms, not the other way around
This is some of the most incredible music that a living being could ever create. Every single moment is amazing. I'm hoping I get to perform this with my youth orchestra eventually!
Thaaankk youuu!!!!!
I have been waiting for a score video of this for so long!!
me too!!!!
Guys, I love this upload too, but there's been a score vid of Brahms' fourth on YT for years lmao
Edit: Granted, the sound quality on this one is prolly superior
@@talavb9301 *a new one
1 часть
тГП 1 элемент 00:06
тГП 2 элемент 00:22
вводный мотив в пп 01:42
1 тПП 01:49
2 тПП 02:37
Начало разработки 04:22
Кульминация 2 раздела 06:16
3 раздел 06:52
Начало репризы 07:40
Кода 11:58
2 часть
Вступительные такты 13:23
тГП 13:49
тПП 17:16
3 часть
тГП 25:37
тПП 26:24
Переход к репризе 28:47
Реприза 29:18
4 часть
Тема 32:04
вар 1 32:20
вар 2 32:35
вар 3 32:52
вар 4 33:08
вар 11 35:03
вар 12 35:21
вар 13 36:06
вар 14 36:46
вар 30 41:01
Кода 41:20
violin excerpt starts @ 11:56 for those who need it
2:59 except 🎻
33:10 excerpt 🎻
36:59
Bar 117 sounds a lot like the opening bars of tannhauser. If you look at bar 4 beat 3 of the horn part, the notes, and timbre are very similar. Though the rhythm is different, I believe wagner uses a similar rhythm to the one brahms uses here
You're correct
Beautiful soft horn/trombone textures in both compositions 🥰
21:49 is just unbelievable, particularly in this recording. Like a warm, loving blanket of strings.
Many thanks! Infinite gratitude!
the 2nd movement tears me up the ending
Very nice recording, thank you!
Great symphony… I like it.
1 ч, е-moll:
0:08 ГП e
1:43 СП Fis
1:50 ПП 1 h
2:38 ПП 2 H
6:53 ГП в репризi
12:00 Кода
2-га ч. Е:
13:24 ГП Е
17:18 ПП Н
3-тя ч. С:
25:38 ГП С
27:22 ПП G
27:38 Розробка
4-та ч. е:
32:05 - тема варіацій на basso ostinato, е
35:21 - середина, 12-та варіація е
That's good stuff.
That was beautiful
36:38 trombone excerpt
That's wonderful!
Flute excerpt-35:00
MVT 1
3 bars before [E] : 3:14
[P] 11:33
For now practice at 112 bpm.
4 ч
35:20 2раздел 12 вар
38:39 16 вар, (1 репр), 3 раздел
33:27
33:36
33:39
33:43
33:47
33:50
33:54
34:10
Runs
34:26
The finale is basically variations on a short theme
11:56
19:35 - 21:04
ラトル指揮のベルリン・フィル。典雅な演奏。音がきれいでテンポが丁度いい。一昨年、福岡でベルリン・フィルの演奏を生で聴いた印象からすると、今現在の彼らもこれと似た演奏をすると思う。その時聴いたのはブラ４ではなくてブル８だったけど。
1. 3:38
2. 9:33
3. 11:30
4. 12:12
5. 27:36
6. 33:17
7. 39:00
0:10
1:43
1:50
2:55
4:08
12:01
13:49
17:18
7:43
what an interpretation!
omg thx for doing without ads, got a sub. Good recording as well. Need to do one with Mutti
Как же потрясающе звучит валторна в самом начале второй части … !
19:35 - 20:40 my practice area💪🏻
Great version!
33:24
6:36 such a lovely
20:53 is very reminiscent of Mozart K394.
Ooh
Audition reference:
33:25
7:46
17:10 excerpt
Thank you
7:47 sounds straight out of a Space movie.....
Brahms symphony 4 is at the zenith of symphonic composition
I love you. THANKS!!!!!!!!!!!!❤️❤️❤️❤️
25:37
브람스_교향곡 4번
교향곡 4번은 본인의 모든 방법을 보여주는 종합판임
(실내악 작곡가)
em 쓰는건 흔하지 않음
4번 4악장 샤콘느(파사칼리아)
정해진 베이스 선율에 변주하는 형식
17:17 33:25
20:30, 41:20
solo flute 35:15
35:15
32:02 movt 4
8:02
30:50
8:02
what does H mean
H=B, B=Bb
oh thanks
H is a letter used in German notation to represent B as the letter B already respresented Bb. Because of this, Bach was able to write his name in music, I would recommend checking out a piece be wrote based on his name.
@@pyotr-ilyich-tchaikovsky NO WAY TCHAIKOVSKY U'RE MY FAV COMPOSER
Brahms in e minor...beethoven in c minor mozart in d major and bach in d minor.
34:40
35:00
🤩
6:53
9:20
why is rattle？😂
35:00
Urgh adverts at the beginning, in between mvts and in the MIDDLE of mvts. Great job.
O for the days when even chaconnes were written eruditely!
0:07
10:30
idk why but in my opinion the very end isn't powerful enough for a piece like this. it just seems a little too small.
I struggle to understand... for example 0:40 to me doesn't sound like counterpoint, but just like an orchestra playing a mess. Unless thats the effect brahms wanted? And why do I find none of the themes particularly beautiful. For example 1:49 the theme starts so strong, but then it gets lost to my ears? :(
maybe find a different recording? at 0:40 it might not be counterpoint in a fugal sense but its objectively polyphonic with accompaniment in the bass, the main melody in the strings and the second shorter more motivic melody heard mostly in the winds. At 1:49 the melody is repeated twice very clearly once in low strings and then in the high strings. It then gets adsorbed by the fanfare esc theme from before. If you don't find them beautiful thats fine, I think Beethoven doesn't have many things that are actually beautiful.
36:48 isn't it beautiful
16:14
2:54 2тПп
3:36 зп
5:05 тГп в 1р разр
6:17 2р разработки
6:26 2р разр хр тема у альтов и скрипок
6:53 3р разр, предыкт к репризе
7:40 реприза, тема гп хорал
2 часть
фанф мотив мзлагающийся имитационно - 14:50
сп - 16:14
тПп H dur - 17:16
Great symphony 😂.
This is so terribly who even is brahms
B(r)ased
@@segmentsAndCurves *this is what the comments section is for*
@@supasayajinsongoku4464 Absolutely
🤣😂
You are the weakest link. Goodbye.
Ignorance is not a strength.
Swear this guy just copied Bachs cantata 150 🙄
Yeah he’s actually so shit
what are you fuys talking about?
in which movement?
@@emanuel_soundtrack 4th movement
@Fin Taylor, don't even try to call Maestro Johannes Brahms "this guy"!!
1 часть
тГП 1 элемент 00:06
тГП 2 элемент 00:22
вводный мотив в побочную 01:42
1 тПП 01:49
2 тПП 02:37
Начало разработки либо 04:06, либо 04:22
Кульминация 2 раздела 06:16
3 раздел 06:52
Начало репризы 07:40
Кода 11:58
2 часть
Вступительные такты 13:23
тГП 13:45
тПП 17:16
3 часть
тГП 25:37
тПП 26:24
Переход к репризе 28:47
Реприза 29:18
4 часть
Тема 32:04
Вариации:
1 32:20
2 32:35
3 32:52
4 33:08
11 35:03
12 35:21
13 36:06
14 36:46
30 41:01
Кода 41:20
19:36-20:44
20:35
7:41
9:19
17:10
20:33
33:08
33:54
30:53
33:26
42:07
17:15
21:49
30:53
20:43
11:55
41:21
11:50
19:34
33:09
33:09