Brahms, Mozart and Beethoven

Composed by Johannes Brahms (1833–1897)

15 minutes


Brahms’s Schicksalslied, or Song of Destiny, is one of his most powerful works for chorus and orchestra. It sets words by the German poet Friedrich Hölderlin, contrasting the peaceful life of the gods with the troubled existence of humanity.

The work begins in a calm, glowing mood. The orchestra creates a sense of stillness and beauty before the chorus enters, singing of a heavenly world where blessed spirits live in light, peace and freedom from pain. The music is warm, gentle and richly coloured, with long, flowing phrases that seem to float.

The mood then changes sharply. The chorus turns to the human world, where people are described as suffering, uncertain and tossed from one hardship to another. Brahms responds with darker harmonies, stronger rhythms and a more urgent orchestral sound. The music becomes restless and dramatic, capturing both fear and frustration.

Hölderlin’s poem ends without offering comfort, but Brahms chose not to leave the listener in despair. After the chorus falls silent, the orchestra returns to the calm music heard at the beginning. This final section does not erase the suffering that has come before, but it offers a sense of peace, acceptance and hope.

First performed in 1871, Schicksalslied shows Brahms at his most thoughtful and compassionate. In a relatively short span, he creates a vast emotional journey: from serenity to struggle, then towards consolation. The result is music of great beauty, balancing darkness with light and human uncertainty with the possibility of peace.

Follow along by reading the translation:

Composed by Wolfgang Amadeus Mozart (1756 – 1791)

26 minutes


Mozart completed his Piano Concerto No 23 in A major in 1786, during one of the busiest and most successful periods of his life in Vienna. Written while he was also working on The Marriage of Figaro, the concerto combines grace, warmth and deep feeling.

The first movement begins quietly, with the orchestra introducing a calm and elegant theme. When the piano enters, it becomes part of a lively conversation with the orchestra. Mozart avoids empty display, instead, the solo writing is clear, expressive and full of character, allowing the piano to sing as well as sparkle.

The second movement is one of Mozart’s most moving slow movements. Set in the unusual key of F-sharp minor, it has a gentle, sorrowful quality. The piano opens alone with a simple melody, and the orchestra answers with warmth and restraint. The music feels private and reflective, as though the listener is hearing an intimate confession.

The final movement changes the mood completely. Fast, bright and playful, it is filled with quick exchanges between piano and orchestra. New ideas appear one after another, creating a sense of surprise and forward motion. Beneath the cheerful surface, however, Mozart continues to balance lightness with sophistication.

Throughout the concerto, the piano is both soloist and partner. It leads, listens and responds. This balance gives the work its special appeal: it is brilliant without being showy, emotional without becoming heavy, and joyful without losing depth. More than two centuries after its first performance, the concerto remains one of Mozart’s most loved works.

Composed by Ludwig van Beethoven (1770 – 1827)

34 minutes


Beethoven’s Symphony No 4 was completed in 1806, between the heroic Third Symphony and the dramatic Fifth. It is often described as one of his brightest and most graceful works, but its lightness is full of wit, energy and surprise.

The symphony begins unusually, with a slow and mysterious introduction. Quiet strings and uncertain harmonies create a sense of suspense, as though the music is searching for its direction. Suddenly, the full orchestra bursts into the lively main section. The mood becomes confident and cheerful, with quick rhythms and playful exchanges between different instruments.

The second movement is calm and lyrical. A steady pulse continues beneath a long, singing melody, giving the music both movement and stillness. Woodwind solos add warmth and colour, while unexpected accents prevent the movement from becoming too peaceful.

The third movement is energetic and humorous. Its strong rhythms and sudden changes create the feeling of a lively dance, although Beethoven repeatedly disrupts the pattern. The gentler middle section offers a brief contrast before the bold opening music returns.

The finale races forward with remarkable speed. Strings, woodwinds and brass pass rapid ideas between one another, creating excitement and controlled chaos. Beethoven includes pauses, false endings and sudden surprises, keeping musicians and listeners alert.

Symphony No 4 may be less famous than some of Beethoven’s other symphonies, but it shows his imagination clearly. It combines elegance with power, humour with precision, and classical balance with an unmistakably adventurous spirit, from its opening to its close.