‘Symphony no. 1’ by Johannes Brahms has one of the most magnificent endings in all music. The piece itself is a journey of conviction, and when you arrive at the finale you hear the composer’s sense of accomplishment. In this episode I share insights into the piece, I discuss the role of the timpani within an orchestra, and we continue to discover what it is that makes performances thrilling.

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Hi! My name’s Scott Wilson. I’m a conductor and I’m passionate about classical music. In this podcast we discover the music of one of our greatest artforms. We listen to a new piece in each episode, I share insights into the music, and over time, I’ll take you on a journey through classical music’s composers, musicians, and history. Everything’s discussed in an easily digestible way, and no prior knowledge is needed. This podcast is for you!

Today we’re listening to ‘Symphony no. 1’ by the composer Johannes Brahms. This piece has the most magnificent ending. When listening to it you hear Brahms’ sense of accomplishment. It’s an almighty job to sit down and write a symphony, and this is one of the finest ever composed. I hope you enjoy it!

[music excerpt]

Perhaps you remember hearing this music in Episode 10. In that episode we listened to the opening part of the fourth movement of Brahms’ First Symphony. In today’s episode we’ll hear the conclusion. The movement began with rather intense music that set up tension which needed to be resolved. And why is this? Well, when we listen to music, we all subconsciously - and often even consciously - seek resolution. The tension - which is like a problem that’s been set up by the composer - must be resolved. And it’s this seeking of resolution that gives music impetus.

What we discovered in Episode 10 is that, by the time we arrive at the wonderful music we’ve just heard, Brahms has resolved much of the tension that was set up at the beginning of this movement. The music sounds at ease. It has arrived. For an audience member, it’s an opportunity to allow the beautiful sounds of the orchestra to wash over you.

Here it is again, a little longer this time:

[music excerpt]

One of the instruments that might signal to a listener that we’ve arrived at a moment of resolution is the timpani. In this piece, the timpanist only ever plays two pitches. This one:

[music excerpt]

and this one:

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These are the central pitches of this piece. The job of the first pitch is to lead to the second one. The second one is home. Listen to them now: hear how the first one leads to the second one.

[music excerpt]

So let’s have a listen to the timpani part on its own. Here we go:

[music excerpt]

It’s not very exciting is it? But, now I’ll play the melody at the same time as the timpani part. Listen to how the timpani grounds the music around the two central pitches of this piece. 

[music excerpt]

So, one of the reasons the music sounds at ease is because the timpani grounds the music around the two most important pitches in the piece. The timpani directs us towards our musical home.

Here’s that same music played by the orchestra

[music excerpt]

But if the music sounds like we’ve arrived at our musical home - like it has resolved - shouldn’t the piece just end? Well, maybe that’s a good suggestion: Brahms has more or less resolved the tension from the opening of this movement. However, if we were to hear the piece as a whole, there have been three previous movements. The weight of tension existing in that previous music means that, at this point in the piece, we hear any sense of resolution as perhaps fleeting or temporary. The piece as a whole has not achieved a sense of complete resolution. It’s the job of the final movement of a symphony to resolve all tension. The listener should be left feeling that the piece has said everything that needed to be said.

Okay, let’s continue on. Brahms’ foot is on the accelerator: the music is jumping up a gear. We’re leaving our home, and we’re heading off in a new direction to explore what’s left of Brahms’ symphonic world.

[music excerpt]

The piece has launched into its next chapter! For the listener, we’re being taken on a new path. At the same time, we know that our ultimate goal is to arrive at the piece’s final statement. It’ll be something decisive and conclusive; the audience will feel the release of all tension set up by the previous music. That’s the ending proper. But it’ll take time to get there; Brahms has musical problems to resolve. For an audience member, the delight is in the journey: we experience a pathway to the ending that’s being built for us in every moment.

So, in this episode we’re continuing to discover the different instruments of the orchestra by looking at the timpani. They’re part of the percussion section, but timpani are always considered separate from other percussion instruments. For one, they’re played by a specialist who only plays this instrument. Also, the dramatic sound of the timpani - combined with the visual spectacle of almost always being located centrally at the back of the stage - means that a timpanist has one of the most important leadership roles in the orchestra. A good timpanist can empower their colleagues and excite an audience.

Timpani were originally cavalry instruments. A pair of small timpani would be mounted on either side of a horse and played in combination with trumpets. When orchestras were established in the late 18th century, a pair of timpani became part of the standard combination of instruments. 

The timpani themselves are large copper bowls with animal skins stretched across them, which are then struck with special sticks. The tension of the skin is such that the instrument produces a definite pitch: it’s not just a thump (which is perhaps how you’d characterise the sound of any other large drum), but instead its pitch supports the bass line of an orchestra. In order to set the pitch, the skin of each timpani is stretched tighter, or loosened. Historically, this task was somewhat cumbersome: the player had to hand-turn a series bolts that changed the pressure exerted on the skin. As such, timpani were tuned to the two most important pitches before a piece, and they remained confined to those notes throughout.

In the late 19th Century a mechanism was invented that instead allowed the player to use a foot pedal to change the tension of the skin. This infinitely quicker method of changing pitch is what’s used to this day. In addition, as time went on, composers began asking for three, four, or even five timpani, still all played by one player. Though the original function of affirming the two most important pitches in a piece is usually maintained by the timpani, in music since 1900 timpanists are frequently required to play a greater range of pitches within the orchestra.

The other variable affecting the timpani is the type of sound that the player wishes to produce. Most of the variation comes when the player chooses from an array of different sticks. The most rustic and immediate sound is made by wooden sticks. At the other end of the spectrum are sticks wrapped in felt, which create a more muffled and distant sound.

Perhaps most interesting is how infrequently the timpani are played! The instrument is usually saved by the composer to highlight important moments in the music. For an audience member, the wait for the timpani to be played can be exciting. Timpani are elemental: a person is beating large, animal-skinned drums with mallets made of wood!

Okay. So, the piece has been driving forwards, relentlessly pursuing its goal of resolution. As we listen now, we’re much further on in the piece. Initially, the timpani aren’t being used. But listen out for them! In the last couple of seconds the timpani will join; and in doing so they are signalling to the listener that we’re getting closer to home. Here’s the music!

[music excerpt]

Because of the aural and visual impact of the timpani, they really are the ideal instrument to help finish a musical statement like the one we just heard. Another instrument that creates an aural and visual spectacle for the audience is the piano. It’ll be this instrument that I’ll discuss in the next episode.

We’re now approaching the end of the piece. And navigating this journey towards resolution is the conductor. Of course, the piece works: Brahms’ composition is of the highest quality. However, the conductor’s job is to move the orchestra through the composition so that each moment arrives in a way that feels organic. For example, maintaining the piece’s buoyancy is at the forefront of my mind when conducting this piece. I’m conscious that, if I exert too much of myself in the process, the piece becomes more about the conductor, weakening the journey composed by Brahms. But equally, conducting in a way that’s too passive can lead to the large organism that is the orchestra, becoming a little lethargic. The piece might end up sounding stodgy and perhaps boring.

Listen in this next excerpt to how the music breathes. The music moves forwards with energy, and then a second or two later that energy dissipates slightly. The musicians might turn a corner with momentum, and then gently open up before rolling forwards again. These subtle adjustments in speed are a necessary part of performance, and they're led by the conductor.

[music excerpt]

I love the music at this moment. You really feel the churning of the orchestra. To me it sounds like waves crashing against a barrier that ultimately must be broken through. And - in my imagination - those waves are being thrusted by Brahms. The ending is the final hurdle in his composition: he knows he can complete it, but also knows that it’ll be a challenge. The struggle to achieve writing his first symphony is - in my opinion - expressed by Brahms throughout much of this piece. But for me, the piece isn’t about the struggle; it’s about Brahms’ determination. In my view, it’s his conviction in himself and in his composition that is the central subject of this piece. And as a result, this piece is a great example of one of the most compelling aspects of classical music: a composer’s conviction in the quality of their work is part of what makes performances thrilling.

Right, we pick up the music from about halfway through what we heard before. The timpani enters, rolling upwards and downwards. Before long the orchestra begins to convulse. The simmering energy bubbles over: we’re arriving at the ending!

[music excerpt]

Listen to that energy! The end is in sight: Brahms has made it! This is the celebration of Brahms’ achievement: he’s completing his first symphony. And again the timpani are here to signal to us that we’ve arrived home. In the building up of the music, the timpani sounded like rolling waves, lurching the listener towards the ending. And in the final few seconds there were seven hammer-like chords underpinned by the timpani. These seven notes led us to our home pitch. And at that point the timpani leapt off with a burst of forward momentum and energy:

[music excerpt]

Now, out of context - and approximated on the piano - this doesn’t sound very impressive! But, let’s now listen in context:

[music excerpt]

And just then we heard the return of music that was featured in Episode 10. In that episode this music was played very quietly by the trombones. I called it a musical prayer. For me, that moment represents Brahms glimpsing a way forwards to the finale of the symphony. And now that we’ve arrived at the finale, he brings back that musical prayer, played by the whole orchestra this time. It’s triumphant. Brahms is singing in full voice, standing on top of the mountain that is his symphony. 

[music excerpt]

The music is joyous. The orchestra is bounding up, down, and around - it’s like a festive dance. We’re celebrating with Brahms: it was his conviction that brought this piece to its electrifying ending. And now, as we listen to the final few seconds, hear how the timpani underpins literally everything the orchestra plays. The home pitch is repeated again and again; by the timpani and by the whole orchestra. In these final few chords, the orchestra explosively releases every last once of tension. The music is yelling out: ‘we made it!’

[music excerpt]

I absolutely love this piece. It’s one of the high points in the orchestral repertoire. I hope you’ve enjoyed it too - and especially its journey. Perhaps in these few musical excerpts, you’ve managed to experience some of the music’s tension and its ultimate release at the ending. You absolutely must go listen to the piece in full. Listen out for Brahms’ conviction in his composition, and hear how this creates the opportunity for a thrilling performance.

Thank you for being with me for another episode of A Thousand Pictures. If you have questions or would like to make a suggestion of a piece or topic for a future episode, please get in touch via social media or email feedback@athousandpictures.com. Further information, a link to the recording featured in today’s podcast, and suggestions about what to listen to next can be found at athousandpictures.com. Or subscribe to our email list and you’ll receive this information directly to your inbox.

Today we’ve been listening to the fourth movement ‘Symphony no. 1’ composed by Johannes Brahms. I recommend the recording by the Leipzig Gewandhaus Orchestra conducted by Riccardo Chailly.

And finally, please subscribe, please rate and review, and please share this podcast with others. Your support is valuable and it’s appreciated: together we can create a community which celebrates classical music! Now go and listen to this wonderful piece, and get out there and hear a performance by your local orchestra!

[music excerpt]