Brahms Symphony No. 1, Favorite Moments: Mvt. 1
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- čas přidán 16. 07. 2024
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Richard Atkinson discusses four of his favorite moments from the opening movement of Brahms’s First Symphony in C minor. This is a fair use educational commentary that uses small excerpts from the following performances/recordings:
Brahms Symphony No. 1
Berlin Philharmonic Orchestra, Simon Rattle
Chicago Symphony Orchestra, Sir Georg Solti (beginning of video only)
Brahms Symphony No. 4
Frankfurt Radio Symphony, Andrés Orozco-Estrada
Mozart Symphony No. 41, “Jupiter”
English Baroque Soloists, John Eliot Gardiner
Stravinsky: Rite of Spring
Los Angeles Philharmonic, Gustavo Dudamel
Bartok String Quartet No. 4
Keller Quartet
Haydn Symphony No. 81
Australian Chamber Orchestra, Sir Charles Mackerras
00:00 - Comments on the Brahms symphonies
02:01 - Slow introduction
07:10 - Exposition section
16:33 - Development/Recapitulation sections
24:58 - Coda section - Hudba
Sorry, Netflix. We've got something to watch first 😊
You're right.
Why sleep when I can enjoy half an hr of Brahms and Richard Atkinson
Because sleep is essential to your body?
@@apostolismoschopoulos1876 But Brahms and Richard Atkinson are essential to your mind :p
I love how these "favorite moments" videos last actually LONGER than the symphony itself.
I once saw a license plate that said: "Brahms not Bombs." I heard piano versions of all the Brahms Symphonies when I was a kid. My mother and her friends played piano reductions of all Brahms' Symphonies (and all the other symphonies). Much later I tried to play Brahms from the music and was baffled by the rhythmic complexities and avoidance of an emphasis on the first beat. Eventually I got it and with my 2 piano 8 hand group could play all 4, sort of. Saint-Saens was much easier, LvB was very playable, Schumann and Schubert were doable. Tschaikowsky was hard. Speaking of Tschaikowsky, his 4th Symphony has my favorite crescendo introducing the coda of the 4th movement. I made a movie of the 40 seconds of that crescendo when I was in art school. I look forward to more Brahms. Thank you for these excellent teaching-moments.
That license plate pretty much sums up my philosophy in life. Sadly, I live in a country that likes bombs a lot more than Brahms.
@@Richard.Atkinson And that lady lived in a beautiful quiet Frank Lloyd Wright house. It was perfect.
OMGOMGOMGOMGOMG!!! A movement-by-movement series on Brahms Symphonies? I'm not sure if I can handle the awesomeness!!!
Brahms' craftsmanship is utterly logical but retains a lyrical nature of its own, a veritable genius. Thanks for this incisive and instructive analysis!
I'm very much looking forward to this series.
Me too! 😊😍
This is epic. Both the symphony (especially the deceptive transition to the recapitulation) and your descriptions. I'll play the role of Schumann and set impossibly high expectations for the remaining 15 parts of this series (which you'll still meet). :)
I share what you say, John. Richard Atkinson is a shining light in a world of sometimes slipping standards. His eloquence & analysis is so refreshing & much needed.
The opening of Brahms symphony #1 has always brought to me the distinct image of a huge starship hurtling through interstellar space at around 99.9998% light speed.
Can't wait to eventually see what will be talked about in Symphony No. 4 (especially the epic passacaglia finale).
There’s no video title more appealing to me than this
two things: 1.) I just noticed how nice it is that you end with music instead of voice... it feels like I just finished watching a performance with some great commentary, 2.) I laughed out loud at the Pinocchio joke.
I remember listening to this on an LP back when I was in High School. I fell in love with it instantly. I read in the "program notes" that each movement is meant to symbolize a river at different stages in its life. With movement 1 being up in the mountains, & movement 4 being when it meets the sea. I could be imagining it, but I do still always get an image of a river whenever I hear this!
excellent video for all composers ¡..... these composers were true builders ¡..... an art that very few handle. helped by the simplicity of our times, especially film musicians ... I mean mastery of technique, plus the idea
Brahms and badass moments. Name a more iconic duo!
The development section of this movement is some of my favorite music. I even used to listen to it while working out.
The timpanist really lets loose on the final note he plays before the dramatic pause at around 26:10. You can really hear the drum hiss. I've been looking forward to this video for a while and it was fantastic. Thank you for putting so much thought and effort into this.
I love these analyses. Having sung Rossini, Bruckner, Mendelssohn and Bach in choir, I started colour coding my own sheet music to discover patterns that I heard. These videos satisfy this curiosity in a brilliant way.
I have yet to find an analysis of this symphony that recognizes Brahms' apparent references to Beethoven's 5th symphony (which many consider to be Beethoven's finest) in its pervasive use of the da-da-da-dah rhyhmic motive, and its C minor to C major key transition.
You really give 1000% when it comes to these breakdowns. Love your channel, keep up the good work!!
Although the mood is entirely different, Mozart also has an incomplete melody used throughout the movement only to become complete in the coda, in the Andante of his 17th piano concerto. The opening five-bar phrase (it would have been a more regular four-bar phrase, if not for a melismatic delay in the first violins) is only half of a theme. It needs another phrase (preferably ending with a PAC) to make it whole. But its half-cadence is followed by a pause and then the introduction of unrelated material.
Every time it occurs in the movement (except the last time) it is followed by some other idea. The first time it's a woodwind trio, the second time an unexpected outburst in G-minor, the third time a plaint in D-minor (resembling somewhat the central episode of the Andante of K. 330), and the fourth time by the (sort-of) recapitulation of the G-minor outburst (now surprisingly in E-flat Major). After the cadenza, the winds play the phrase for the final time, its harmonies altered and enriched. But now the melismatic delay is gone, allowing it to be a proper four-bar phrase and now the piano enters, post-cadenza, and supplies the complementary phrase we've been waiting for since bar six. It's a tremendous effect with very modest means.
Anyway, great video, as always.
czcams.com/video/fciaxuZY6zA/video.html
and I have quoted your comment there.
wow i love brahms one
Fantastic! I am looking forward to this series
I am amazed how resourceful you are, associated with the musical legacy so effectively. Thank you!
This is as fascinating as a biology lesson trying to explore and understand an organic being at a molecular level. Also, this "orange motif: two notes a third apart, followed by the same two notes an octave higher, in this case, Eb-G-Eb-G" I find it very peculiar. The only two examples I can recall of such intervals is this one, and Schumann's 4th symphony, 1st mvt main theme (except in Schumann's case the notes are D-F-D-F) which also happens to follow a similar dramatic introduction with a pedal note.
What is even more interesting, if you combine both those peculiar jumping thirds, D-F from Schumann's and Eb-G from Brahms, and invert them, you get the fate motif of Beethoven's fifth. Coincidence? May be...
Every analysis allows me to understand the piece better, I enjoy the time listening to the music better. Thank you very much.
Great video Richard! I have a suggestion for you, Bruckner's 6th Symphony 1st Movement. I saw David Hurwitz's video about it explaining the interlacing of rhythms and themes and motifs, and i immediately thought of how this would be a very good video if made by the one and only Richard Atkinson. I hope you will consider this.
_i need brahms_
My favorite part starts at 0:00 and ends at the end of the last movement
That’s also my favorite part!
So excited to watch all your analyses of the Brahms Symphonies --- 3 and 4 are my personal favorites.
One of my favorite examples of the technique you describe @28:00 is in Rachmaninoff's Symphonic Dances, the passage right before and leading into the sax solo in the 1st movement. The oboe/clarinet swirls fading into the background as the sax takes the foreground...it's simply magical. He does much the same in the 2nd movement of his 2nd Symphony (the woodwind swirls preceding and fading behind a string melody).
Out of curiosity, Is Rachmaninoff one of your fav composer? . how do you feel about his late works, that are much more harmonically dense, and (like what Maestro Ashkenazy said, the harmony in late Rachmaninoff often feels like its closing and moving inward instead of his other works which open out a bit more) like the symphonic dances, paginini and corelli variations, 3rd symphony, btw just curious - Would be cool to make some new music friends here :3
@@samaritan29 if you're asking about me personally, yes Rachmaninoff is one of my favorite composers. I'm not so sure about Ashkenazy's remarks; it seems hard to define what "closing and moving inward" is. Like there are plenty of instances in R's early/middle period of melodies moving down. Although certainly his later harmonies/colors/orchestration have a different emotion/quality to them compared to his earlier works. Anywho I like all of Rachmaninoff's music, not just the late works.
One thing I would like to mention is that R is often misaligned in more "academic" discussions, in my opinion unfairly. In my own personal estimation he was a very fine craftsman of both counterpoint and thematic transformation. Perhaps check out Ashish Xiangyi Kumar's channel for a more in depth rundown of R's ingenuity in these arenas.
@Daniel Rui What I was trying to say in late Rachmaninoff is that whereas his early and middle works always have harmony that opens out and develops, in the late period, the harmony closes in - like it becomes progressively darker and darker. Of course intratonal chromatic harmony is a trademark in his later music, and the gradual chromaticizing of the tonal fabric was already evident in the op 33 tableaux, but to me his use of harmony in the latest works is an interesting stylistic change.
His early/middle works such as the 2nd and 3rd piano concerto, there is a lot of Russian sadness and nostalgia. Conversely Rachmaninoff is equally as inclined (as Mr Ashkenazy says) to ‘speak out the preoccupation with the wonders and luxuriousness of life’. Whereas his later works signify a withdrawal from life, and to me this is much sadder, I think his inability to go back to Russia and this homesickness constantly pervades in his late works, and this is reflected in his harmony.
For instance, the 2nd theme from the 2nd piano concerto’s first movement, or the second symphony's central tune, its constantly opening up and rising, always giving out and away, as if its trying to open out everything it has for the listener, and to the world. In comparison, his later work’s no longer embrace this, like the 3rd symphony’s 2nd movement, or the symphonic dance’s central tune, it's never giving out and rising anymore but falls instead . Both in terms of its melodic lines, and the harmony, which to me, closes inward.
Im not sure if this is just a superficial observation - I like all of Rachmaninoff music, in fact, his middle period works (isle of the dead, the D minor piano sonata) are the ones that I would go out of my way for, but I just think its interesting to note the development of these great composers.
@@samaritan29 Late Rachmaninoff is just my favorite, Rach used to be my favorite composer but he was eventually replaced by Mahler and Berg, but still late Rachmaninoff in particular has stuck with me. I love the way the harmony "closes inward," I've always though I've been one of the only people to take up this somewhat unpopular observation but it's cool to see fellow music lovers do as well. That kind of chromatic harmony is really interesting to me, I'm a huge fan of the Second Viennese School but back when I wasn't it was this really advanced chromaticism so rampant in Rachmaninoff that made me chase harmonically dense music(Wagner/Strauss/Scriabin etc), evolving into my love of intense atonal music(Berg in particular). I searched for theory books that in the "chromaticism" section talked about more than just Augmented 6th Chords and Secondary Dominants. This was surprisingly hard to find, and the only book that does this to the Nth degree without delving into far-fetched neo-Riemannian theory is Arnold Schoenberg's own "Harmonielehre". It would be really cool if after this amazing Brahms series, Richard did some kind of talk on high chromaticism, perhaps with examples from Rachmaninoff's 3rd symphony, or other works of formal cohesion that speak in that chromatic language. Richard is just so great that I feel like a series or video like this would be welcomed by his subscribers such as you and I, who are clearly interested in the same kinds of topics.
By the way, you may know it but since you didn't include it in your list, check out "The Bells" by Rachmaninoff, his cantata for choir soloists and orchestra(as well as his favorite work from his output). The 4th movement especially is filled with these incredible harmonies and an probably the first sign of his later affect: introverted, somewhat cold, hopelessly sad, but with so much room for dramatic outburst and apotheosis. It's nice to find someone who has the same niche taste that I do, I'll always love late Rachmaninoff(especially that 3rd symphony).
@@asherkalfus2450 Yes, I have always admired Rachmaninoff's compositional craft - I love his choral symphony - 'the bells' and the all night vigil, the dense polyphony and incredible harmonies pave way for those brilliant ecstatic moments. He may not have been particularly groundbreaking in comparison to the aforementioned composers of the romantic genre (Mahler, berg, Schoenberg) but as Mr Ashkenazy puts it “his Russian soul” is what makes him special to me. Its not only apparent in the soulful yearning quality when one hears the Russian Orthodox church bells/chants, but it is in his late works especially that have this almost ‘off kilter’ harmony that draws me is, and exemplifies his homesickness, and resignation of life.
Brahms' symphonies make me wanna revive a dated meaning of the word ‘awful:’ "inspiring awe; filling with profound reverence or respect; profoundly impressive."
i don't know of a better fitting word for what they make me feel
I am always astonished by the energy of this symphony. The last movement makes me think a lot of Elgar would have been unrealised without him analysing this movement.
So happy you’re talking about Brahms, his 4th is easily my favorite orchestral work ever written
23:27 I didn't know this Haydn symphony before. It reminds me of Beethoven's pastoral piano sonata, which also has a very nice transition back to the recapitulation.
Someone needs to make a video series navigating Haydn's string quartets and symphonies. Which ones are the "good ones"? Which ones are seldom performed these days but totally rip? There's still enough quarantine left to rope some bored graduate student into this I hope.
Holy shit, thank you for your insight. Having attended conservatories, I always wished there were more classes where you could see how the theoretical knowledge can be applied in the interpretations/performances and the overall arch of a piece as well as emotional satisfaction - and your videos do that for me. I'm curious what you might have to say with op.111 at some point (if you have any interest). I performed (I'm a cellist) just the day before things started shutting down here in SF and it left me extremely grateful for the experience but also wanting to explore more and deeper. Anyways, thank you again!
Wonderfully illuminating for this 75 yo with a lifelong layman’s interest in classical music but with very diminished hearing, and that in one ear only. What helps enormously is following along with the scores. Your commentary enriches that experience further. I look forward to further looks at these wonderful and wonderful-filled symphonies.
Fascinating. I’m nothing more than a music “fan”, but I find that these videos help me appreciate the composition in new ways. Brahms is probably my favorite composer, so I look forward to the remainder of the series.
Richard, my life is enriched by your insight to music. I love your videos.
Brahms music is so emotionally intense, it's wonderful to see also the formal complexity and craftsmanship behind it. If it sounds as if everything in it is exactly where it should be, and thus may even appear predictible, I believe that that's exactly its beauty.
Loved the video, and look foward very much to the next videos!
Holy fuck, Brahms symphonies are like War and Peace of music
This is so impressive! I mean: all Beethoven symphonies, all the Mahler symphonies.... and now Brahms! I am so impressed, must be a lot of work. Know that it is appreciated Richard! (Although I am wondering what is next: Haydn? Shostakovich?). Anyway I am looking forward to new videos!
To add on, I love the comparison with the Bartok 4th string quartet!
Please look at Benjamin Zander's pre - concert talk on Symphony No 1 and his beautiful interpretation with the Boston Philharmonic. Ben gives background on the torment Johannes endured during this portion of his life. From brothel pianist to writing popular music under the pseudonym G W Marks.
Thank you for this - really opened my ears to how much Brahms squeezes out of the motives. Great point about him using inversion after presenting the theme. Just noticed he did that in the B flat piano concerto thanks to you! 👍👍👍
I instantly beguin sharing your video with my friends, let them know what you are doing, and celebrating your dedication and generosity.
really enjoy this Richard, so many on here just want attention....you are actually in detail going through these marvelous works...and articulating intelligently and simply instead of using a bunch of high dollar words and explanations. Music is complex and full of depth...but it is also music...Andre Previn I think said it best. He said he thought one of the reasons Composers moved to writing Symphonies was because you cant fake it. He said even concertos can kind of be smoothed over here and there by the virtuosic playing and content, but a Symphony either works and is pleasing to all and all levels or it is not. I really agree with that. That's why to me in addition to their gifts of Genius, you can get lost in these pieces whether you are a skilled composer or have 0 musical skills and all you can do is listen and love it. THAT to me is what makes these master pieces and they whom we call the Masters. :) Thank you Richard! You and a few others are really doing right by keeping this love and art form alive! :)
Bravo Richard! I have known and loved this symphony for more than 30 years, but now I feel like I know it even better. Looking forward to the rest of the series.
I remember having a conversation with Neil Saunders, who introduced me to the music of Franz Schmidt; he was of the opinion that the First Subject area of Schmidt's Fourth Symphony, with its pounding crotchets in 3/4, was, among other things, a kind of homage to the introduction to Brahms's First Symphony, except that it was already part of the main Exposition of the work in which it appeared. One of Schmidt's biographers, Carl Nemeth, did subtitle his book "Ein Meister nach Brahms und Bruckner"!
Amazing video. I always love it when you upload!
One of my favorite aspects of the first movement is rarely expressed, since the exposition repeat is so rarely taken. Those repeated closing thirds at the end of the expository material, on each of their three appearances, end up leading to C (repeat) - B (development) - B flat (coda), an ingenious continuity with the foundational chromatic motive of C-C#-D writ large.
I completely agree, and I’ve never understood the justification for skipping a repeat when the composer went to the trouble of writing out a first and second ending that are different (and as you point out, have very different effects).
One thing that blows my mind though is that apparently the introduction was only included after the first couple of performances! I mean, it was very clearly composed last or at least not first, but the idea of the movement without it is just crazy to me.
@@daniellarson6279 It blows my mind to think of many similar things. Like can you imagine Beethoven's 9th Symphony with a purely instrumental finale based on the material he later used in the Op. 132 string quartet (this was his original plan)! Some pieces seem so perfectly planned that it's funny when we find out what was in the sketches. If you watch my video on the first movement of Brahms's 4th, I point out another of these: he originally started the symphony with a plagal cadence in the winds before the main theme.
@@Richard.Atkinson I've never really understood why repeats are skipped at all. Like if the composer wrote a repeat, they obviously meant it to be repeated, and I feel like not taking the repeat is a disservice. No matter if it's a recapitulation repeat in a Mozart piano sonata or a long exposition repeat in a symphony like those of Brahms and Dvorak, I feel this way. I feel particularly strong about the Mozart recapitulation repeat case cause in my opinion, when I hear a Mozart piece that has a recapitulation repeat and that repeat isn't taken, it feels very lopsided to me and not in a good way.
Love your videos - just started listening to Brahms’ symphonic works really. I’d love a video on Brahms’ first piano concerto. Can’t stop listening to it.
"no cantabile melody". this was why I initially did not like Brahms 1st symphony, but after a while it grew on me.
"it's for heads"
Not a single dislike 2 hours later
I'm always thrilled to see these in my notifications, Richard. Would love to hear your take on Ein Deutches Requiem.
Thank you! Incredible video! Looking forward to the other 15 episodes.
Thank you. So much hard work obviously went into this post. And so much insight and enrichment comes out.
this video appeared as a suggestion - i had not seen anything from your channel previously - & all i can say is sometimes the algorithms work!
thank you for transporting me back to my college years when i would sit in the music library for hours & read scores. brahms is my favorite symphonic composer, & your thoughtful & dedicated insight into his brilliance & complexity is (& i use the term with utmost respect & love) music nerd manna from heaven! your analysis allows me to revisit these already long beloved brahms masterpieces with even deeper appreciation & understanding. this new follower is especially looking forward to your elucidations on the 4th movement, which bookends the symphony magnificently, & the bookend movements of brahms symphony #2 which is my personal favorite.
THANK YOU for making my sunday!
omg just saw it today it didn't pop up for some reason! Ive been waiting on this one for a while... this is going to be a day of musical appreciation thanks to you Richard :)
Yesss, I love this masterpiece
Awesome video!!!!!
I need to listen to this one more. Thanks so much for the videos! ❤️
Incredible video!
Epic, thank you so much for making this video!
Wow just realized that you had made this video... Brahms 1 has been my favorite piece for a long time at this point and I am so incredibly excited to hear you do a deep dive into all of his Symphonies!!!
Thank you for the great analysis.
Dude, your job is awesome, many thanks for it!!
This is my favorite symphony ever and the first movement is 90% why. Thanks for covering this.
Phenomenal presentation. Thank you so much.
I honestly am so excited for the other videos in this series, I love Brahms and (imo) his first symphony is a masterpiece!
Incredible analysis for a great symphony. Your way of illuminating hidden aspects of Brahms thematic work and the relationships with other works is magnificent. Congratulations on your work and generosity.
Wow, quite exciting that you're doing all the symphonies, it's probably my favourite cycle of symphonies so very much looking forward to the next videos!
YAY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! So excited to listen! Congradualtions my dear friend!
Fantastic choice of music to analyze and I learnt so much.
Please, never stop doing this. It is unique and awesome
Really love your videos and always learn a bunch. They're great lunchtime companions. Thank you!
As always, great analysis, Richard! As far as I'm concerned, you're the best thing on CZcams!
Thank you so much! This is the best channel on CZcams: I wait anxiously for your videos. Please do more Wagner and Strauss!!
Thank you very much for sharing all your deep insights and thoughts with respect to this symphony. I am now looking forward to the analysis of the second movement.
Awesome channel!
Bro i haven't even watched yet but can I just say I love you? Seriously... thank you man. Thank you.
Brahms just might have possessed the most magnificent beard ever known.
Along with Rimsky-Korsakov's and Taneyev's.
In context of this symphony however this de.wikipedia.org/wiki/Datei:Johannes_Brahms,_1876.jpg
is what he looked like. ;)
Wow! I did not know that! ... of course, this changes EVERYTHING....
Bonjour ! juste pour te dire que tu es écouté en France et que même si la traduction n'est pas si évidente j'apprécie chacune de tes analyse qui respirent une grande et intelligente sensibilité. Tu réussis l'exploit de réunir la théorie et l'émotion. Merci pour ce que tu fais 😎 !
Hi Richard thank you for your content, you have helped me in my exam for this symphony. I subscribe and listen to your deep dives with great interest! You mentioned that the opening chromatic motive comes from a section of Mozart's Jupiter Symphony. Of course, a rising chromatic motive can be related to any great work and this makes it great for shrouding it in mystery. However David Brodbeck, suggests a more persuasive hypothesis: he suggests that the opening motive can be traced from Schumann's Manfred Overture which starts similarly or even Wagner's tristan und isolde. The first movement is a response to the polemics that were going between schumann and wagner about the state of music after Beethoven.
First symphony I ever played, after 14. Also my mom’s favorite composer. Coincidence?!?!?
No... Brahms still the 🐐 though.
Out of the Brahms symphonies, this is the one I am most familiar with. And I absolutely agree with you that Brahms is a great composer. Brahms and Liszt are the 2 composers of the Romantic era that I've listened to that I would argue have the most Beethovenian styles of the Romantic. Brahms is more like Beethoven on steroids, whereas Liszt is like a cross of the intensity of Beethoven and the lyrical melodies of Chopin. That said, even not so Beethoven influenced composers tend to have a Beethovenian sound to their C minor pieces, with Chopin being an exception in that only 1 piece of his that's in C minor would I say has any resemblance to Beethoven.
An example of this Beethovenian sound in C minor from an otherwise not so Beethoven influenced composer is Mendelssohn and his Symphony no. 1 in C minor.
czcams.com/video/Pj6EGBOdzq4/video.html
And I find the Fate Motif to be commonly used in C minor as well, although I have seen it used in other keys, even major keys(Mozart and Bach both have good examples of this Major key Fate Motif(In Fugue in D major by Bach its more like that of the first movement of Beethoven's fifth, except expanded out to a fifth, whereas in the Jupiter Symphony, First Movement by Mozart, it's more like the Symphony no. 5 finale, ascending scales and arpeggios in the same rhythm)). But I mean, in most C minor symphonies, I hear the Fate Motif somewhere. Especially in those composed after Beethoven's Fifth.
Thank you, Richard Atkinson, for providing these score-reading materials and ways to understand the score. This made me a lot more interested in score-reading and score-analysis. Could you please provide me with tips? What are some of the fundamental steps to both score-reading and analysis and how do I proceed to more advanced analysis of music? Hoping for replies from any proficient musician. Thank you so much. :)
Best orchestrated score
Any criticism of Brahms' music is nearly impossible to accept.
GREAT😊😊😊😊😊!
I really enjoyed and learned a lot from your videos! Is there a way for viewers like us to sponsor you?
Yes! Here's my Patreon: www.patreon.com/RichardAtkinson
Thank you for another great video! Brahms symphonic works always leave me the impression that he sacrificed too much of his melodic talent for more regit musical structure... (So my favorite work of Brahms is his second piano concerto)
Also, I request your analysis of Shostakovich's 4th Symphony... I believe it is still underrated because of its tremendously complex and eccentric structure, and wish that someday great analysis of it would make people appreciate it...
czcams.com/video/oOy7VZRE87s/video.html
I did this short video on its second movement a few years ago!
Brahms is incredible.
Richard please do the hammerklavier!! Id be infinitely thankful
This is great Richard, thanks. Do you have any plans to analyse Shostakovich’s 5th symphony?
I'm going to be doing a lot more Shostakovich soon (quartets, symphonies, preludes/fugues).
I'm wondering if you could do one of these breakdowns for a Rachamninoff piece. He uses a lot of counterpoint as well as some pretty distinctive harmonies.
*it's been a while*
His Serenades are better (imo). I would love to see videos on those.
Would you consider doing Strauss's Metamorphosen? I'm a big fan of that piece.
RICHARDDDDD PLEASE ANSWER MY QUESTION ON BACH'S FUGUE IV THANKS love you
It might be way too much to ask, but... could you do first movement of Mahler 3, after your Brahms series? I know, such a video might end up lasting 2-3 hours, but I guess you could split it into different videos... Imagine waking up one day to find that Mr Atkinson released an analysis on first movement of Mahler 3.
Isnt the Violin theme in bar 89 of the Haydn example at 24:15 the same as one of the themes in the recapitualtion of the first movement of beethoven’s first symphony?