Tom Grant~Time Traveler
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Clara Schumann and Brahms had learned how to communicate with each other on musical matters. Jo had the tendency to be brusque, and his criticism of Clara’s playing would often hurt her. But she said in his defense that his criticism was always on the mark. Clara had learned how to give Jo criticism that was less than stellar without bruising his ego. In the case of this serenade, Clara said in a letter that she liked it very much, “but in order to save it, you have to orchestrate it.”
This would be the first orchestral work since the ill-fated piano concerto. It was in six movements, and the question was posed, “Is this a symphony?” Jo shied away from that question quickly enough. Following Beethoven at the mere age of 27? No way!
In Hanover, Joseph Joachim took to the podium, and the world heard the second work for orchestra by Brahms. What is astonishing is that the composer settled on his style so early in his career. Granted, some of the orchestration is patchy, and the composer had not yet learned how to wield the blue pencil – “too many notes” as the Emperor said to Mozart – but there is no doubt who composed this piece.
From the beginning, Brahms announces his hero Haydn by the use of a drone bass. The opening two themes of this movement in sonata format have an outdoor flavor as though one were hiking in the German mountains looking down on beautiful valleys.
Brahms: Serenade #1 in D Major, Op. 11, first movement
The second movement is a good example of night music. The scherzo has the feel of a mysterious evening in the countryside. The trio section has a hiking rhythm to it. The picture of Brahms at the beginning of this video is accurate as far as the date of this piece is concerned.
The minuet is a throwback to the original arrangement before Brahms orchestrated it.
The audience in Hanover was charmed by the piece, but not bowled over.