Johannes Brahms (1833 - 1897)
Symphony No. 3 in F Major, Op. 90

The Brahms Third Symphony was composed in 1883, six years after the Second Symphony. During this interval, he composed several of his best works including the Violin Concerto in D, the Second Piano Concerto and his two famous concert overtures, the Tragic and the Academic Festival. So, at age fifty, he was experienced and artistically confident. While not probably performed as often as his other symphonies, the Third is considered by some, including Antonin Dvorak, as his finest. The learned Tovey wrote, “There is certainly no reason why the music, as music, should not be among the most popular that Brahms ever wrote.”

At the very outset, Brahms states the notes F-A(Flat)-F, thought to be his personal motto, “frie aber froh (free but happy)”. This motif recurs throughout the Symphony but is subtly altered as the Symphony progresses. Although stated assertively at the opening, its prominence soon fades into the texture of the Symphony, and it never reappears triumphantly. At the end, it is restated, not as a proclamation, but as a quiet denouement. Does this have any extra-musical meaning? If so, it is subtle. Brahms was now middle-aged and had established himself as a major figure in Germanic music; but his life was not without its disappointments and personal angst. So perhaps the evolution of the motto can be simply explained as an emotional process — self-assertion has mellowed into quiet satisfaction and acceptance of his place in life.

This thought may be reflected in the way the music unfolds. Although the Symphony follows the traditional four-movement format, the third movement, normally a robust scherzo, is unusually subdued — a reflective ternary-form movement without a strongly contrasting middle section. The finale is also unusual in that it exhibits the turbulence one would expect in a closing sonata-form movement, but its extended coda is anything but turbulent — its energy gradually ebbing away into a lovely F Major chord at the very end. The beauty of these final notes reminded this writer of the E-Flat Major ending of Wagner’s Gotterdammerung, perhaps not a far-fetched analogy given Brahms admiration for Wagner’s music. Differing keys but similar resolutions. Both composers chose beauty over triumph as a way of stating finis to an intense emotional journey. Brahms’ journey was on a much smaller scale, but with similar passion and, as time would tell, he had much more to say before his composing career came to an end.

What is most compelling about this symphony, aside from its lovely melodies, is the orchestration. Brahms is noted for the thick texture of his orchestral music, but in the Third Symphony, the texture is leaner and the winds often serve as independent voices rather than being overwhelmed in the tutti passages.

The performances of the Brahms Third Symphony are Symphony New Brunswick premieres. It is hoped it will not be another four decades before we hear it again.