Talk:Symphony No. 3 (Brahms)
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Oh Good Grief edit
The famous theme from the third movement appeared in the film Aimez vous Brahms? by Anatole Litvak, the BBC documentary The Century of the Self by Adam Curtis. The melody appears in several works of popular music, including the songs "Baby alone in Babylone"' by Serge Gainsbourg, "Love of My Life" on Carlos Santana's album Supernatural, and in the final instrumental track of the album A Glorious Lethal Euphoria by the surf-rock band The Mermen.
What, exactly does any of this have to do with Brahms, or this symphony? This is inane trivia and much of it is self promotion by the "artists" concerned, or their representatives.
Typical wikiality. Not fit for a real encyclopedia though. —Preceding unsigned comment added by 86.136.48.174 (talk) 18:18, 3 December 2007 (UTC)
- Thanks for the heads up. I put a trivia tag on this for now. It'll likely end up getting deleted. DavidRF (talk) 22:59, 24 July 2008 (UTC)
If one wants to find a true correspondence that is more than superficial, and that Brahms himself must have been aware of, one might point out the extraordinary similarities between the first movement and Schubert's C major String Quintet. (Charles Rosen has remarked on this, IIRC in Critical Entertainments, so it's not just OR.) Double sharp (talk) 06:17, 24 October 2017 (UTC)
- Someone please find authoritative nonorginal substantiation: at the climactic transition point from development to recapitulation at Measures 170-171 in the Finale, a huge emphatic major chord slides via a dropping third degree into minor as previously occurred in the very opening measures of Schubert's Quartet 15 in G, D-887. Brahms was very familiar with Schubert and served on a panel editing Schubert's works for a complete edition.
- It would appear Mahler was quoting this passage in the scary "inexorable fate" motiv in the Finale of Symphony 6 and first movement of Symphony 7.
- The recapitulated music following on this passage in the Brahms might suggest a wild ride into the sky by recently deceased Wagner, then a crash landing with six measures depicting three intense W's, following with unbroken stride into confident major key quasi-Bruckner-rhythm music, as if to suggest a reconciliation between Brahms and Bruckner (see his Symphony 7) once their bone of contention was departed.Tokerdesigner (talk) 20:36, 20 November 2017 (UTC)
Request: Instrumentation edit
Articles such as these usually list for what instruments the symphony is scored.DavidRF (talk) 23:00, 24 July 2008 (UTC)