Symphony No.1 in D minor - Ernst von Dohnányi

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BBC Philharmonic Orchestra conducted by Matthias Bamert.

I - Allegro ma non troppo - Poco meno allegro - Tempo I: 0:00
II - Molto adagio - Più adagio - Un poco animato - Rubato - Poco più adagio: 15:28
III - Scherzo. Presto - Tranquillo - [Tempo I] - Tranquillo - Poco più presto: 28:24
IV - Intermezzo. Andante un poco moto: 33:48
V - Finale: Introduzione. Molto sostenuto - Poco meno adagio - Tempo I - Maestoso - Tema con Variazioni. Allegro non troppo - Tranquillo - Più allegro - Tranquillo - Fuga. Allegro energico - Più allegro - A tempo I: 37:24

Dohnányi's Symphony No.1 was composed between 1900-1. It was premiered in Manchester on January 30 of 1902, under the baton of Hans Richter. The work is an ambitious large-scale work, written under the influence of the postromantic tradition, specially Brahms and Bruckner. It can be considered as the first important Hungarian symphony. Dohnányi created it in five movements; with two slow movements surrounding a central scherzo. Bartók had such enthusiasm for the work that he committed the entire symphony to memory and played it on the piano at the home of Emma Gruber, who was to become Mrs. Kodály, in Budapest.

The first movement is structured in sonata form. It begins with a romantic and melancholic main theme, introduced by trumpet and horn and taken by strings. A grand climax is reached, which leads us to a lyrical second theme on violas, bassoons and basses. A dynamic and martial development then ensues. The second theme reappears on oboe and then in all its glory on full orchestra. The development continues, with several false starts to the recapitulation until the main theme brilliantly reappears, followed by the second. A slow coda ends the movement in an unconquered D minor.

The second movement is written in ternary form. It opens with a solo of the English horn, introducing a lyrical if melancholic main theme. It is soon developed and transformed, the music rising in an opulent climax. The central section comprises a series of ever-more elaborate wind solos rhapsodising on the contours of the theme and intertwining with tremolo strings and harp in a lush texture. The main theme is then recapitulated by strings. A calm coda ends the movement.

The third movement is a brief scherzo in ternary form. It begins with a fierce and energetic main theme, with constant changes of metre. The trio then brings a solemn second theme in form of a dignified march. The scherzo is then resumed, before a boisterous coda ends the movement with the scherzo and trio in counterpoint.

The fourth movement is an even shorter intermezzo in form of a rhapsody. The orchestra is reduced to strings, oboes, and bassoons. The viola presents a deeply lyrical theme, which unfolds until reaching a peaceful conclusion.

The fifth movement is structured as a theme and variations. It opens with a dramatic introduction and after a short pause, a gentler theme is introduced on the flutes, which is shortly to become the subject of a set of variations. Said theme is fully exposed by strings, then passed to oboes and clarinets. In the first variation, the theme moves to the pizzicati of string basses. The second takes the form of a triumphal fanfare, while the third is a more calm passage with the theme on cellos and clarinets. The fourth transforms the material in a solemn chorale presented by the brass. The tempo and excitement gradually grow towards an energetic fugue, its subject taken from the movement’s introduction and ultimately derived from the theme, in horn and trumpet, which opened the Symphony. The movement ends in a hard-won blaze of D major.

Picture: "Mihály Dobozi and his wife" (1861) by the Hungarian painter Bertalan Székely.

Musical analysis partially written by myself. Source: https://rb.gy/3mwzg

To check the score: https://rb.gy/brhtm