Johannes Brahms’ Variations on a Theme by Haydn in B-flat Major, Op. 56a Vienna Philharmonic Orchestra at Carnegie Hall

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 orchestraboth 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 bass. The theme is brought back repeatedly until, towards the end, a tutti syncopated block in forte marks the end of the first movement. The Andante is initiated at a different meter and key –duple and F major- than the previous movement, which was in triple and C major. It is structured in alternating variations with closely related topics in major and minor modes. I especially enjoyed how the woodwinds appear in the second part – almost as a solo part- to create a very sound sensuous mood, which beautifully contrast in texture with the angrier sections dominated by the string instruments. The third movement, the Minuet, returns the music to a triple meter. A four-bar theme delivered by the brass accompanied by the woodwinds opens this section, which acts as a moment for the symphony to ‘build up’ and regain energy before entering the shortest movement of the symphony, the Allegro finale. In duple meter, it is the most active of all the movements, with a more staccato articulation reminiscent of marchlike music. It is worth highlighting that this piece contains one of Haydn’s famous musical ‘jokes’; after a lengthy pause, which generally leads the deceived audience to start clapping, the strings and oboe come in first softly to then regain its previous momentum to end in spectacular tutti fashion. Then, the night continued with the presentation of Variations on a Theme by Haydn in Bflat Major, Op.56a by Johannes Brahms. In the variations, Brahms retains the basic lines of chords to harmonize the piece, only introducing small changes or additions when he develops a different timbre or melody; these variations are generally taken from the original theme, but modified with original passages or on occasions, modified with contrapuntal material that he reorganizes to create new textures. In short, the theme is very present throughout the piece, but the melodic and harmonic treatment given to each variation is where Brahms takes most of the liberties. Indeed, the way each variation differs from the other is though their contrasting textures. For example, the first is cleaner and projects a joyful, yet serene, atmosphere though the violin’s embellishments; in contrast, the second variation’s texture has a similar feeling, but with a more scraping, delicate texture, which perfectly foreshadows the third movement’s explosive beginning and ambivalent nature as the music goes from forte to piano throughout. The fourth returns to the more serene, elegiac character with its minor key and provides a moment of restatement before the vivacious fifth – a scherzo- comes in with its sparkling rhythm though the woodwinds and the piccolo’s accents. In the same way, the sixth’s robustness, also in vivace, exploits in tutti, providing an emotional release, which then beautifully disembogues into the ethereal seventh movement. The eight brigs the violas and cellos back to center stage although without much grandeur as the energy seems to be stored below the surface, waiting to be released. The final movement concludes in a very elaborate innovation of the Baroque passacaglia form. Here, Brahms build the piece over a five-bar bass ostinato, thus brining back the theme that first appeared at the start of the andante opening movement. Over it, Brahms plays around with the melody though changing patterns and winding directions, which finally arrive to a triumphant restatement of the original theme in a more ornate fashion, accentuated by the triangle. Just before the end of the piece, the strings climb the scale to then leave the woodwinds to close the piece.

Finally, the night ended with the Philharmonic performing Johannes Brahms’ Symphony No.3 n F Major, Op.90, a work written in 1883 which premiered that same year performed by the same musical troupe that we heard today. It is the shortest of all of Brahms symphonies and it is scored for two flutes, oboes, trumpets and clarinets, four horns, three trombones, a single contrabassoon, a timpani and strings. It consists of four movements. All the movements are in sonata form, with the second and fourth presenting a modified version. The third –the allegretto- is otherwise in ternary form. The whole piece is defined by three ascending notes, followed by three down, which keep the pace to them precipitately end abruptly, like becoming short of breath. The whole melody is built on this scheme: three notes which give birth to an entire movement. The first movement is elaborated using two themes contrasting in character and texture; the 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.