Johannes Brahms'ın Orkestra Eserlerinde Sonlanma Karakteristiği

Abstract

The nearest point of a subject, exhibiting a time-wise dimension, to audience is the ending. In other words, our final visual or aural contact with the subject is the ending. Therefore, the first thing we recall of a subject is its ending form, particularly for first-term viewers or listeners. Hence, it heavily influences the subject’s impression. Perhaps for that reason, music history has witnessed numerous composers, such as Richard Strauss, Bruckner, or Prokofiev, who did radical changes on the endings of their works either before or after the publication of the first edition. Thus far, the number of studies carried out in the field of music theory handling endings are limited and these are far from featuring a comprehensive analysis characteristic.

In this study, through a case study of Johannes Brahms’s orchestral works, we will seek if it is possible to find out one or more ending model(s) applied by a composer in his/her works.

The analysis method consist of eight dimensions which are territories, score writing, tempo, dynamic level, rhythmic structure, harmonic structure, quoting and orchestration.

The results of the analysis are as follows:

• In Brahms’s orchestral works, it is possible to classify the endings into two groups, Type-1 and Type-2

• Type-1 endings consist of a rhythmic structure which can be formulated as “S + L”, f, or higher level dynamics, and fast tempos characterize Allegro • Type-2 endings consist of a rhythmic structure which can be formulated as “L / S”, p, or lower level dynamics, and slow tempos in general

• Even though Type-1 and Type-2 represent two opposite characteristics, these two models embody a complementary duality in a whole