Brahms's Symphony No. 4: Ostinato Bass Tradition and Bach's Influence
Overview
This essay examines Brahms's Symphony No. 4, arguing that its ostinato bass foundation derives most convincingly from Bach's Cantata No. 150. The paper analyzes how Brahms balanced respect for Baroque compositional techniques with innovative departures, particularly in the fourth movement's use of chaconne structure with thirty-two variations.
What this essay covers
- Introduction establishing three 'tales' of Brahms's Symphony No. 4 and thesis on Bach's influence
- Analysis of ostinato bass techniques and Brahms's departures from Baroque conventions
- Examination of Symphony No. 4, Movement IV with discussion of the eight-bar theme and chaconne model
Preview
Essay 1
MUSC 695
Dr. Gage
9/23/2021
Knapp (1989) pointed out that there are three “tales” of Brahms’s Symphony no. 4, which are the tradition in the ostinato bass Brahms’s intended movements and thematic relationships within the symphony: the main movements include the ostinato, Baroque-ostinato, and chacon. I argue that the first solution, a basis on Bach’s finale of Cantata No. 150 (“Nach dir, Herr, verlanget mich”), is the most convincing, since it reflects the rich tradition of the ostinato bass.
Brahms utilized ostinato-like repetition in other compositions, reflecting his historical awareness of the ostinato bass among previous composers. While he respected tradition as he integrated the ostinato bass in Symphony no. 4, he also added characteristics that distinguished the composition from earlier music by other composers. While older traditional techniques inspired Brahms, his compositions were balanced and also integrated expressive techniques that emerged later. Basically, the Baroque ostinato techniques were usually in triple meter. Moreover, there was also the fourth symphony by Brahms, which adhered to the conventions associated with the Ostinato techniques. However, in the Fourth Symphony, Brahms also followed the conventions in particulars. The style he utilized also had certain departures: the subjects are ascending instead of descending to the dominant, and also, it fails to elide with itself (Knapp, 1989). There was unusual speculation on Brahms application of this style of subject. In 1922, there were recounts about the composer and his experiences. He was known as one of the most qualified experts in his composition style.