The Germanic symphony of the nineteenth century: Genre, form, instrumentation, expression

Abstract

Abstract A systematic overview of all Germanic symphonies published in the years 1800–1914 reveals many trends and shifts, some not previously recognized by Carl Dahlhaus and others. Publications declined consistently until the 1850s (19 symphonies in 1850–59), then rose consistently to a peak in the 1880s (52 works) and then declined again. Over 85% are in four movements, and certain keys remained in favor (C, c, D, d, E‐flat, B‐flat). A distinction must be made between true “program” or "malende” symphonies and “characteristic” symphonies. The latter are more closely allied to the traditional, even deeply conservative “absolute” symphony deriving from the mainstream eighteenth‐century “festive/brilliant” symphony. Also related to the latter are the “monumental/sublime” symphonies, but these remained few after Beethoven, recovering a bit (later in the century) under the hands of Brahms, Bruckner, and Mahler.