In Brahms’ music, the clearly delineated sections and symmetry so beloved in the Classical period are often muddied or ignored all together. Instead, once he presents a theme, he almost immediately begins to vary and develop it. But Brahms has little use for literal repetition. The Recapitulation (the section that follows the Development) is expected to present the first theme exactly as it was heard in the Exposition. The exposition, in which the theme/s are first presented, always repeated before moving on to the Development. A fundamental aspect of this form is literal repetition. Brahms uses sonata form in the symphony’s outer movements, a widely used structure during the classical period. Key to Brahms’ compositional style is “developing variation,” the process in which musical material is continually varied and developed. The result is an undisputed masterpiece which established a new path for the Romantic symphony. Even after the symphony’s successful first performance and mostly positive reactions from critics, Brahms continued to tinker, making a significant revision to the second movement just before the score’s engraving in 1877. 1, the two Serenades the arrangement of his “Haydn Variations”) can be viewed, at least in part, as Brahms’ effort to master orchestration and symphonic thinking. Yet Brahms always intended to write a symphony, and the orchestral works written before 1876 (Piano Concerto No. “I shall never write a symphony” Brahms once told a friend, “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” Why did it take so long? Mostly because of the esteem with which Brahms (and so many other composers of the period) held the symphonies of Beethoven. Its composition took at least fourteen years, though some scholars believe Brahms, at the urging of Robert Schumann, began his work as early as 1855. Brahms was 43 years old when his first symphony premiered in Karlsruhe in 1876.
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