October | Brahms' Third Symphony

In 1853, Brahms, then 20 years old, was introduced to Robert Schumann, the

famous pianist, composer, and music critic. Brahms immediately perceived all the

attributes of the elder Robert Schumann and wanted the same for himself.

Schumann was an excellent pianist. Brahms worked to acquire great piano

technique and soon surpassed Schumann to become the greater pianist. Brahms

saw that Schumann was a great symphonist, so he diligently studied the

orchestra, acquired tremendous skill, and became the greater composer.

Schumann had wonderful children. Brahms loved children and became their

mentor. Perhaps Brahms’ most important relationship was with Robert’s wife

Clara Schumann, a superb pianist, composer and professor of music. She was

the major influence on Brahms and his compositions. While Brahms had a circle

of friends who met often to discuss music and philosophy, he seems to have

always maintained a bit of social distance and never became intimately involved

with anyone. One senses that Brahms, the introvert, had tremendous and

overwhelmingly profound feelings, but only allowed these to pour out into his

music, making his symphonies the pinnacle of orchestral repertoire.

Johannes Brahms’ Symphony No. 3 in F major, Op. 90, completed in 1883, is

often regarded as one of his most personal orchestral works. This symphony has

a masterful balance between architectural structure and lyrical warmth. Unlike

the monumental drama of his First Symphony or the radiant expansiveness of his

Second, the Third seems to be more about acceptance and reflection with a tone

of quiet nobility.

The famous motto, first heard in the opening measures, are three bold chords

that embody Brahms’ favored F–A♭–F motif, which he associated with the words

“Frei aber froh” (“Free but happy”). This motto permeates the entire work,

shaping melodies, harmonies, and rhythmic gestures across all four movements.

If the first movement is stentorian, the second is a placid Sunday afternoon

serenade. Musicians have always favored the third movement, Poco Allegretto,

with its bittersweet, wistful, nostalgic C minor melody first heard in the cellos.

The finale brings us back to the stormy tension that recalls the heroic opening.

Rather than ending with a traditional blazing brass fanfare, the music gradually

softens and concludes with a quiet epilogue in F major. This quiet ending sets the

symphony apart from virtually all other 19th century symphonies.

Prokofiev’s First Piano Concerto in D-flat major, Op. 10, is one of the most

dazzling and original concertos of the early 20th century. Written when the

composer was only 20 years old and still a student at the St. Petersburg

Conservatory, it was completed in 1912 and premiered with Prokofiev himself at

the piano. The work immediately identified him as a bold new voice in

composition with its unconventional form and modernist style. While still indebted to the Romantic virtuoso tradition of Liszt and Rachmaninoff, Prokofiev infused the piece with biting wit, rhythmic vitality, and unexpected harmonic twists. Instead of the traditional grand orchestral exposition, the piano bursts in almost immediately with a sweeping flourish, announcing itself as the dominant force. The beginning and ending tonality is the Lydian mode of Db Major, a highly

unusual and original concerto opening.

The soloist maintains a commanding presence throughout, often pushing against

the orchestra with dazzling passagework, angular rhythms, and driving

momentum. Prokofiev’s own pianistic personality—he was known for his

percussive, almost aggressive playing style, which critics of the time often

described as shocking or even barbaric.

At its premiere, the concerto created a sensation. Prokofiev used it as his “calling

card” in competitions at the Conservatory. It won him the prestigious Anton

Rubinstein Prize in 1914, awarded to the best student pianist and composer. The

jury, faced with a work unlike anything in the standard repertoire, was

divided—some admired its brilliance, others were scandalized by its

modernity—but Prokofiev’s performance was so commanding that he could not

be denied the top prize.

Our excellent soloist, Owen Espinosa, was a student winner of our Young Artists

Competition seven years ago and we are honored to have him return to the

Bremerton WestSound Symphony now as a young professional.

Dmitri Shostakovich’s Festive Overture in A major, is one of his most exuberant

and immediately appealing works. Written in 1954 to celebrate the 37th

anniversary of the October Revolution, it was composed in only three days. This

overture reveals Shostakovich’s brilliant orchestration and his ability to capture a

spirit of unbridled celebration. While much of his symphonic output exhibits irony,

tragedy, or biting satire, this piece has only brilliance, speed, and optimism,

offering a rare moment of unclouded joy in his works and a sensational opening

to our 2025-2026 concert season.

Purchase your tickets to our October 19th concert here.