In a letter, Brahms described this symphony as “a couple of entr’actes,” also as “a choral work without text.” He was doubtful about its worth. He consulted his friends, and he and Ignaz Brüll played a pianoforte arrangement in the presence of several of them. He judged from their attitude that they did not like it and he was much depressed. There was a preliminary orchestral rehearsal at Meiningen in October, 1885, conducted by Hans von Bülow. Brahms arrived in time for the first performance. The symphony was most warmly applauded, and the audience endeavored, but in vain, to obtain a repetition of the third movement.
The symphony was performed at a Philharmonic concert in Vienna on March 7, 1897, the last Philharmonic concert heard by Brahms. We quote from Miss May’s biography: “The Fourth symphony had never become a favorite work in Vienna. Received with reserve on its first performance, it had not since gained much more from the general public of the city than the respect sure to be accorded there to an important work by Brahms. Today [sic], however, a storm of applause broke out at the end of the first movement, not to be quieted until the composer, coming to the front of the artist’s box in which he was seated, showed himself to the audience. The demonstration was renewed after the second and the third movements, and an extraordinary scene followed the conclusion of the work. The applauding, shouting house, its gaze riveted on the figure standing in the balcony, so familiar and yet in present aspect so strange, seemed unable to let him go. Tears ran down his cheeks as he stood there, shrunken in form, with lined countenance, strained expression, white hair hanging lank; and through the audience there was a feeling as of a stifled sob, for each knew that they were saying farewell. Another outburst of applause and yet another; one more acknowledgment from the master; and Brahms and his Vienna had parted forever.”
Heinrich Reimann gives a short description of the symphony: “It begins as in ballad fashion. Blaring fanfares of horns and cries of pain interrupt the narration, which passes into an earnest and ardent melody (B major, violoncellos). The themes, especially those in fanfare fashion, change form and color. ‘The formal appearance, now powerful, prayerful, now caressing, tender, mocking, homely, now far away, now near, now hurried, now quietly expanding, ever surprises us, is ever welcome: it brings joy and gives dramatic impetus to the movement.’ A theme of the second movement constantly returns in varied form, from which the chief theme, the staccato figure given to the wind, and the melodious song of the violoncellos are derived. The third movement, allegro giocoso, sports with old-fashioned harmonies, which should not be taken too seriously. This is not the case with the finale, an artfully contrived ciacona of antique form, but of modern contents. The first eight measures give the ‘title-page’ of the ciacona. The measures that follow are variations of the leading theme; wind instruments prevail in the first three, then the strings enter; the movement grows livelier, clarinets and oboes lead to E major; and now comes the solemn climax of this movement, the trombone passage. The old theme enters again after the fermata, and rises to full force, which finds expression in a più allegro for the close.”[20]
VARIATIONS ON A THEME BY JOSEF HAYDN, IN B FLAT MAJOR, OP. 56a
At Bonn, in August, 1873, Brahms with Clara Schumann played to a few friends the Variations on a Theme by Haydn in the version (Op. 56b) for two pianofortes.
It is not definitely known whether the orchestral version or the one for two pianofortes was the earlier. The orchestral stands first in thematic catalogues of Brahms’ compositions, but the pianoforte version was published first—in November, 1873. The probability is that the orchestral version was the first. The autograph manuscript of Op. 56b is dated at the end “Tutzing July 1873.” It was in November, 1870, that C. F. Pohl showed Brahms the compositions of Haydn, an andante from a symphony and the chorale that gave Brahms his theme. Kalbeck believed that the score of Haydn’s chorale put Brahms in mind of the excellent wind choir of the Detmold Court Orchestra, and the thought of the Vienna Philharmonic Orchestra gave him greater desire to write an orchestral work.
The theme is taken from a collection of divertimenti for wind instruments by Haydn. In the original score it is entitled Chorale St. Antoni. The divertimento in which this theme occurs is in B flat major; it is composed for two oboes, two horns, three bassoons, and a serpent. For the third bassoon and the serpent Brahms substituted a double bassoon. The divertimento was composed by Haydn probably about 1782-84 and for open-air performance. It was performed at a concert in London in March, 1908. As then played, it consisted of a lively introduction, the Chorale Sancti Antonii, a minuetto and a rondo. It was then questioned whether Haydn composed the chorale, and why the folk-song-like tune was so named.
The theme is announced by Brahms in plain harmony by wind instruments over a bass for violoncellos, double basses, and double bassoon.
Variation I. Poco più andante. The violins enter, and their figure is accompanied by one in triplets in the violas and violoncellos. These figures alternately change places. Wind instruments are added.
II. B flat minor, più vivace. Clarinets and bassoons have a variation of the theme, and violins enter with an arpeggio figure.