Gustav Mahler’s Symphony No. 4 (1899—1900) differs from his other symphonic works in its intentionally simple language and playful imagery. The composer himself called the piece “humoresque”. Yet, beneath the Fourth’s lighthearted exterior lies a poignant exploration of life’s tragic imperfections. In this way, Mahler’s conception of humor aligns closely with the German writer Jean Paul’s notion of the comic, which posits that laughter shields individuals from the anguish of pain and despair.

At the Fourth Symphony’s heart lies Das himmlische Leben (The Heavenly Life), a song from Des Knaben Wunderhorn (The Boy’s Magic Horn) that Mahler originally intended for his Third Symphony but later repurposed as the Fourth’s foundation. Comprising four relatively concise movements, the Fourth Symphony showcases a distinct sense of irony and thematic simplicity. The opening movement features stylized melodies reminiscent of Mozart and Haydn. In the scherzo, a violin tuned a tone higher creates a jarring sound akin to a street performer’s instrument.

Initially met with indifference at its 1901 premiere, the Fourth Symphony has gradually won critical acclaim. Today, it is recognized as a unique and compelling work within Mahler’s symphonic legacy, weaving together an interplay of joy and melancholy.

Like Mahler’s Symphony No. 4, Brahms’ Piano Concerto No. 2 also defied conventions, with the composer opting for a cyclical work featuring four movements instead of the single-movement concertos popular at the time.

Despite Romantic tendencies towards virtuosity and grandeur, Brahms’ concerto remains devoid of theatrics and excessive brilliance. Nonetheless, its intricate writing demands exceptional technical proficiency and musical maturity from the pianist. The concerto’s grand scale, with its expanded slow movement and lengthy finale, set it apart as the most substantial piano concerto composed up to that time. Its innovative structure, which integrated a playful scherzo with an uncompromising commitment to classical forms, demonstrated Brahms’ unwavering confidence in his own musical vision.

The Concerto was premiered on November 9, 1881, with Brahms appearing as soloist with the Budapest Philharmonic Orchestra.