# Best opening to a first symphony



## maestro267

What, in your opinion, is the best opening to a composer's First Symphony?

I apologise if I didn't specifically include your favourite composer, but as you can probably understand, I couldn't include every single composer who ever wrote a symphony. I just thought of those who had (reasonably) popular Firsts. Just choose the 'Other (please specify)' option if your composer is not on the list.

I voted for RVW, 1) cos it's awesome, and 2) cos I love the sea.


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## Tapkaara

I chose Mahler but the opening to Sibelius's 1st is also one of the greats.


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## maestro267

I forgot about Sibelius. Oh well, sorry!


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## Lukecash12

Tapkaara said:


> I chose Mahler but the opening to Sibelius's 1st is also one of the greats.


Sibelius. You perform admirably every time, you know that? You seem to find the perfect category to say, "Sibelius is awesome too!" That my friend, makes you a Good Indian.

As for me, I'll go with Beethoven. Very enigmatic composer, and a delightful first symphony.


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## nickgray

Sibelius. Although it could easily be Mahler or Brahms (or other composer I didn't think about).


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## Aramis

Brahms! Opening of his first symphony is great, perhaps because he didn't rush with it and wrote it while he was experienced composer. Anyway, the opening is monumental and stunning. As for RVW: I always considered opening of Sea Symphpny poor. It's the most typical fanfare, the big chord with crash cymbals that we hear while choir is singing word "sea" is very obvious.


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## Weston

I went with Brahms. Though I'm a huge Beethoven fan, his 1st is still in Mozart / Haydn territory to my ears. It's okay, but nowhere near as epic as all the symphonies became starting with the 3rd. The Brahms is a fantastic homage to Beethoven and the opening is good too.


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## Tapkaara

Lukecash12 said:


> Sibelius. You perform admirably every time, you know that? You seem to find the perfect category to say, "Sibelius is awesome too!" That my friend, makes you a Good Indian.


Huh.........?


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## Lukecash12

Tapkaara said:


> Huh.........?


It's Good Juju to be a Good Indian. Just like sitting with your legs crossed. It's kind of like a Sicilian "Wiseguy".


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## Sid James

*Mahler*, because it still sounds quite modern. It's probably my favourite by him, although I haven't heard all of them yet.

If we're talking of others, I'd like to add *Walton*'s, which is definitely one of the best of the century. One of the most tense and unsettled beginnings to any symphony I've heard...


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## Chi_townPhilly

maestro267 said:


> I forgot about Sibelius. Oh well, sorry!


If you wish, we can edit the poll to include Sibelius 1 as an option.

And as long as I'm here, may I also put in a word for Berlioz' _Symphonie Fantastique_?


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## Bobotox

All those symphonies on the poll have ok openings. The one that is the most memorable and greatest is the 5th Symphony by Joachim Raff. It just sounds so good.


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## Ciel_Rouge

Went with Brahms 1 big time. It is very strange that this symphony is not widely known and not done to death as film music. I recently had it recommended and was quite frankly stunned.


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## Tapkaara

Bobotox said:


> All those symphonies on the poll have ok openings. The one that is the most memorable and greatest is the 5th Symphony by Joachim Raff. It just sounds so good.


This thread is about the openings of FIRST symphonies. So the opening of Raff's (whoever that is) 5th, as triumphant and wonderful as I am sure it is, is of little import to the basis of this thread.

Just sayin'...


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## Scott Good

Brahms 1 - sorry, there is no competition. Perhaps the greatest opening of any symphony, period.


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## Bobotox

Oh yeah, short term memory here. Ok I'd still go for Raff's or Mahler. One of those two. Maybe Martucci too.


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## Rondo

Personally, I would say Sibelius and Tchaikovsky _mastered_ the art of symphonic openings. There's a difference: some begin low (perhaps with a solo) and build gradually, while others begin with all instruments blazing. I prefer the former over the latter. However, if I were to choose OVERALL: Sibelius.

Ah, what the heck. For the two _general_ types: Gradual:Sibelius , Big:Brahms


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## Tapkaara

Rondo said:


> Personally, I would say Sibelius and Tchaikovsky _mastered_ the art of symphonic openings. There's a difference: some begin low (perhaps with a solo) and build gradually, while others begin with all instruments blazing. I prefer the former over the latter. However, if I were to choose OVERALL: Sibelius.
> 
> Ah, what the heck. For the two _general_ types: Gradual:Sibelius , Big:Brahms


That is very true: Sibelius is about _gradually_ building to his climaxes. He likes to build a certain tension before everything is released in a "grand statement."

This is a reason why I think some people have a problem with Sibelius. They come to him expecting the on-again off-again blazing of Mahler and Tchaikovsky; Sibelius does not operate like that. He requests a little more of your patience.

If Sibelius 1 was listed on the poll, I'd have chosen that one, but the beginning of Mahler's 1st is also outstanding.


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## Lukecash12

You know, beginnings and endings to symphonies don't have to have climaxes or what not. It just doesn't matter. My only criteria is that a piece has a beginning and an end.

Emotional music certainly doesn't equal loud or soft. It's really all about execution, and Beethoven executes the most poignantly (at least in his first).


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## Cortision

Is this thread about the best first Symphony by composer, or about the best opening of a first Symphony? If the first is meant, the RVW Sea Symphony would be a strong contender, in my opinion. However it is the ending rather than the beginning of that Symphony that stands out in my mind. 

For a memorable beginning to a Symphony, the Brahms is hard to beat.


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## starry

Composers put more importance to what their Symphony No1 was by the 19th century probably as they had the weight of tradition behind them which they felt they had to live up to. They also in quite a few cases left symphonic writing till slightly later in their life than had been done earlier.


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## World Violist

Beethoven - He cocks his eyebrow, then thumbs his nose at everything that has come before.


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## Conor71

Brahms No. 1 is the first that comes to mind - awesome! .


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## Lukecash12

World Violist said:


> Beethoven - He cocks his eyebrow, then thumbs his nose at everything that has come before.


I think the Old German just grinned


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## kmisho

Andre said:


> *Mahler*, because it still sounds quite modern. It's probably my favourite by him, although I haven't heard all of them yet.
> 
> If we're talking of others, I'd like to add *Walton*'s, which is definitely one of the best of the century. One of the most tense and unsettled beginnings to any symphony I've heard...


I'd definitely say the first of Walton's first is fantastic, with the one caveat that he was a full fledged mature composer by the time he got around to writing a symphony.

A lot of other composer's first symphonies have a feel of just starting out, for instance Beethoven and Prokoviev.


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## Lukecash12

kmisho said:


> I'd definitely say the first of Walton's first is fantastic, with the one caveat that he was a full fledged mature composer by the time he got around to writing a symphony.
> 
> A lot of other composer's first symphonies have a feel of just starting out, for instance Beethoven and Prokoviev.


Which is why Beethoven's is so great. He doesn't dispense any exciting pleasantries, because he was a person who wrote serious music.


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## TresPicos

I find Bizet's Symphony in C hard to beat with its irresistably sunny and energetic beginning.


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## Tapkaara

TresPicos said:


> I find Bizet's Symphony in C hard to beat with its irresistably sunny and energetic beginning.


How nice that you mentioned this symphony. I have been a long time fan of it. I think Bizet is one of music's great melodists, and his prodigious Symphony in C is a clear affirmation of that.


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## starry

Another contender could be the Nielson 1st, it has a lively opening. Allegro orgoglioso, fast and proud.


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## David58117

As good as the Brahms is, I'm voting "other" for Mahler's 2nd. The opening is just so intense, it's one of those pieces that grabs you by the throat and doesn't let go.


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## Lukecash12

David58117 said:


> As good as the Brahms is, I'm voting "other" for Mahler's 2nd. The opening is just so intense, it's one of those pieces that grabs you by the throat and doesn't let go.


Mahler's 2nd? I thought we were talking about 1st symphonies. Good choice, though.


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## The Cosmos

I would have to go with Mahler, although Brahms comes a close second. Berlioz's Symphonie fantastique is up there as well!


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## David58117

Lukecash12 said:


> Mahler's 2nd? I thought we were talking about 1st symphonies. Good choice, though.


Wow, I totally misread the thread! In that case, Brahms!


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## Jules141

I went with Vaughn Williams, such a great opening! I'm also fond of Mahler's and Prokofiev's 1st openings, but my fave is actually Elgar's 1st opening (I heart soppy nobilmente!).


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## Barger

William Walton Symphony No. 1 is very sweeping and accessibly modern with a fantastic build from the opening movement.


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## GraemeG

It's best opening to a FIRST symphony. D'oh!
And despite the noble claims of Elgar and Walton, bright efforts by Bizet and Schumann, and the magnificently atmospheric and mysterious achievement of Mahler, it's Brahms, then daylight.

In slow 6-8; doom, doom, doom, doom, doom, doom, with the tensely rising melody and descending bass; it says 'you're in for a ride, and I'm one hell of a driver'. And it can be fast and urgent or monumentally cataclysmic and anywhere in between. No contest!
cheers,
Graeme


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## starry

Mozart's first has quite a memorable opening too.


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## TresPicos

starry said:


> Mozart's first has quite a memorable opening too.


Indeed.


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## MattTheTubaGuy

I immediately thought of Vaughan Williams.

but what about Dvořák? (probably hasn't been heard very often though)

Brahms is good
(i am going through my symphony collection on my computer)

Beethoven, not too impressive

Mahler (actually kind of reminds me of Beethoven 9 at the very start now that I think about it)
is ok, "slow and plodding" as it says

Prokofiev is pretty average

Rachmaninov is real good

Rimsky-Korsakov is ok

Shostakovich I find kind of irritating, but I think it's kind of special because it has to be played freely, and not in strict timing or else it sounds weird. (I have played it)

By best opening, do you mean the first few notes, or the first movement in general?

Sibelius kind of reminds me of Tchaik 5 at the start, which I have played.

Tchaikovsky is ok

Vaughan Williams just makes you go WOW!!! right from the start (besides I love brass)
DAAAAAAAAA-DA-DA-DA-DAAA-DAAAAAA-DAAAAA-DA! 
BEHOOOOOLD THE SEA!!
definitely Vaughan Williams for first impact, Brahms a close second.
I quite like Dvořák 1 'The Bells of Zlonice' though.


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## Polednice

MattTheTubaGuy said:


> I immediately thought of Vaughan Williams.
> 
> but what about Dvořák? (probably hasn't been heard very often though)


The opening to Dvorak's 1st is wonderfully imposing, and I particularly like the chord progression itself - although, compared to others, it didn't require much craftsmanship to write it.

Although his symphonies aren't quite on the same grand scale as other Romantic symphonies, I think Mendelssohn's 1st is quite good in comparison to some of his others. Still, like a lot of people, I probably find myself most drawn to Brahms and Vaughan Williams.


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## ScipioAfricanus

Scott Good said:


> Brahms 1 - sorry, there is no competition. Perhaps the greatest opening of any symphony, period.


actually that would be Bruckner's 4th followed by Also Sprach Zarathustra of Richard Strauss.


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## JAKE WYB

*MARTINU*

theres no more of a bristling mysterious glowing opening than his 1st symphony I could hardly believe what i was hearing it was like nothing else id ever heard

*BAX*

A very striking 1st symphony opening by any standard - not something you forget- cant beieve this work and its siblings are so underplayed


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## Alexandre F

I must say Beethoven which at time was a revolution. Even today it is unsual: the works begins not with tonic chord but seventh chord. After a few bars the music modulates to dominant of main key but then continues not in C (as expected) but A minor! Only later does C major reached. This very daring in 1800s and very few symphony you can find written after that begins in such a manner.


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## Dim7

The intro of the Brahms' first symphony is best intro in general. Not just when it comes to first symphonies, I'm not even talking about just symphonies. And I'm not usually Brahms fan at all, I find his music kinda dull usually.


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## Tapkaara

Dim7 said:


> The intro of the Brahms' first symphony is best intro in general. Not just when it comes to first symphonies, I'm not even talking about just symphonies. And I'm not usually Brahms fan at all, I find his music kinda dull usually.


The opening of Brahms 1 is probably the best part of the symphony for me and I quickly lose interest thereafter. The cult of Brahms I will never understand. Well, never say never.


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## Dim7

The intro is definately the best part. The rest of the first movement and the finale good enough too. But the middle movement are unfortunately just this "relaxing"/boring muzak classical music is associated with, to me that is.

I remember reading a topic here about pieces that make you cry. At first I thought, "Damn you guys are sentimental, who really cries just hearing some music"? But quite soon after the intro of the Brahms first did that to me.... _almost_. I just has that tragic, fatalistic, yet so sublime melancholy.


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## Tapkaara

Brahms makes me cry too. Tears of bordom. Tears of pain.


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## Danny

Brahms for me, I think the relentlessness of the timpani just make the melody all that more emotional. Your really sucked in for the ride.


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## tgtr0660

Brahms easily. No other 1st symphony opens with such a declaration of principles. The sheer power of the opening statement is enough to force you to sit and want to explore the rest of the symphony. The adding of the timpani was the master touch. 

How different from the efficient start of Shostakovich's, which from the beginning plants the seeds of doubt in the listener. Powerful in a different way.


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## Tapkaara

With all of the hoopla over the opening to Brahm's First, does anyone else feel let down with everything else after the opening?


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## Aramis

Tapkaara said:


> With all of the hoopla over the opening to Brahm's First, does anyone else feel let down with everything else after the opening?


Nope. But that's how I feel about Vaughan-Williams. Or not, there is no "hoopla" over the opening.


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## Tapkaara

Aramis said:


> Nope. But that's how I feel about Vaughan-Williams. Or not, there is no "hoopla" over the opening.


Well, one thing I have certainly noted about this forum is how Brahms-friendly it is. He even seems to be one of the most universally adored around here. More power to all of you, really. I just don't get it.

The opening to his first is pretty cool, that much I can say.


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## ScipioAfricanus

Tapkaara said:


> Well, one thing I have certainly noted about this forum is how Brahms-friendly it is. He even seems to be one of the most universally adored around here. More power to all of you, really. I just don't get it.
> 
> The opening to his first is pretty cool, that much I can say.


I think its because almost all of Brahms works are amongst the best in every genre he composed. Brahms took great pains in producing only the best music he could have written. Heck I have him as composing the best Piano Quartet, Piano Quintet, Piano Trio, Violin Concerto. I have the best symphonist as Bruckner, and I think Mozart's Piano Concerto no 24 eclipses Brahms Piano Concerto no 2 when it comes to perfection. 
Whilst I share no particular love for Brahms, (my favorite are Bruckner, Schubert and Mozart), I greatly respect him. And I know that whenever I listen to him I am getting perfection.

My son's middle name is Anton, after Anton Bruckner. I told him that I was going to give him another Middle Name, and it was Johannes. He said that Johannes is much more cooler than Anton.


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## Aramis

ScipioAfricanus said:


> He said that Johannes is much more cooler than Anton.


But sounds much more weird when you don't live in german-language country. Most of nations have their own versions of Johannes, so teachers would hate your son if he would wear such name.


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## Tapkaara

ScipioAfricanus said:


> My son's middle name is Anton, after Anton Bruckner. I told him that I was going to give him another Middle Name, and it was Johannes. He said that Johannes is much more cooler than Anton.


I want my middle name to be Maria...just like von Weber.


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## Andy Loochazee

Tapkaara said:


> I want my middle name to be Maria...just like von Weber.


Mmmm ... nice! Do you like my hair? Mmmm ... what about my furry coat? Mmm ... nice.


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## Tapkaara

Andy Loochazee said:


> Mmmm ... nice! Do you like my hair? Mmmm ... what about my furry coat? Mmm ... nice.


Hahaha...he looks especially bitchy in that portrait. Befitting of the name "Maria."


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## Elgarian

I seem to have missed this poll when it started up. I'm a bit shocked that there aren't riots in the streets objecting to the omission of Sibelius. That long, haunting clarinet solo, speaking sadly of ancient Scandinavian myth, and distant horizons, and clear, cold air - then the flurry of strings, like wind in the fir trees, and suddenly the great drama is upon us: 'Dah, dop diddely doo! Dop di daaahh, dah dop diddely dooo ....'

There's no competition for this, surely?


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## JAKE WYB

Well i did start to reach for my pitchfork when i looked at that half empty poll list - *sibelius *would have probably got my vote too - though its nice to be open and to feel like i voted for *martinu* also without any sense of guilt towards one or the other


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## Tapkaara

Sibelius would have gotten my vote as well.


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## ScipioAfricanus

Johannes is pronounced in America not as Yohannes but as Jo hannes.

i just listened the opening of Sibelius 1st, its a worthy contender but not as blazing as Brahms,


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## Tapkaara

ScipioAfricanus said:


> Johannes is pronounced in America not as Yohannes but as Jo hannes.
> 
> i just listened the opening of Sibelius 1st, its a worthy contender but not as blazing as Brahms,


Well, if we are talking about the very opening pages of Sibelius 1 vs Brahms 1, then yes, Brahms is more "blazing." Sibelius opens with an _air de complainte_ clarinet over a quietly rolling timpani. It certainly suggests some mist-enshrouded landscape until the strings come in to awaken the rest of the orchestra before it goes into its dramatically punchy first theme. In the Sibelius, there is a mysterious lead to the blazing section wheras, in the Brahms, I think, it is the opposite: he shoots his load with the opening pages and then the music following cannot live up to what preceeded it.


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## ScipioAfricanus

Tapkaara said:


> the Sibelius, there is a mysterious lead to the blazing section wheras, in the Brahms, I think, it is the opposite: he shoots his load with the opening pages and then the music following cannot live up to what preceeded it.


I wasn't at all let down by Brahms. But as it refers to shooting your load in the opening and not living up to it, I feel this way about Tchaikovsky Piano Concerto no 1. One commentator I was reading tried to justify Tchaikovsky not bringing back his grand theme. He failed miserably. I believe the reason why Tchaikovksy couldn't bring back this grand theme was because he couldn't.


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## Elgarian

ScipioAfricanus said:


> i just listened the opening of Sibelius 1st, its a worthy contender but not as blazing as Brahms,


In fact ... not _blazing_ at all..... Maybe we need a separate poll for the blazingest intro?


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## Elgarian

Tapkaara said:


> Sibelius would have gotten my vote as well.


Well you're a dark horse and no mistake ....


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## Tapkaara

ScipioAfricanus said:


> But as it refers to shooting your load in the opening and not living up to it, I feel this way about Tchaikovsky Piano Concerto no 1. .


Agreed! and it's OK for us to agree to disagree on Brahms.


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## muxamed

I vote for Sibelius.


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## Sid James

I think *Penderecki* has the most engaging opening to any first symphony of the late C20th that I've heard. It has a whip and a rattle in dialogue, the rhythm continues but those instruments don't return until the very end of the half-hour work. I don't know if the work as a whole lives up to the interesting opening, that's for the individual listener to decide. But it stands alone as a piece of texture music in Penderecki's cycle of symphonies, for from the next _Symphony No. 2_ he turned towards a much more tonal & romantic-sounding style...


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## TWhite

Well, I've come to this late, but of the composers offered, I'd have a three-way tie between Beethoven, Brahms and Mahler. The Beethoven is playful and surprising (F Major for a C-Major symphony), the Brahms is like a slow curtain opening, and the Mahler is somehow tense and 'pastoral' at the same time. 

However, my favorite First Symphony openings belong to Sibelius and Rachmaninov. The Sibelius is mysterious and rather 'frigid', and the Rachmaninov just hits you smack in the gut. 

Tom


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## JAKE WYB

Thats true - *Rachmaninov* I never thought of - still suffers from its awkward birth under Glazunov i think - still too underestimated - the opening is pretty striking and uncompromising and dramatic
rather like the first symphony of *BAX*

though still not as amazing and original as *Martinu *


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## Josef Anton Bruckner

I went for Mahler, but Bruckner's introduction to his first symphony is very good.


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## Sid James

Chavez's _ Symphony No. 1 "Sinfonia de Antigona"_ (1933) has another great opening, rather ominous & tragic, rather like the whole work itself...


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## starry

ScipioAfricanus said:


> I wasn't at all let down by Brahms. But as it refers to shooting your load in the opening and not living up to it, I feel this way about Tchaikovsky Piano Concerto no 1. One commentator I was reading tried to justify Tchaikovsky not bringing back his grand theme. He failed miserably. I believe the reason why Tchaikovksy couldn't bring back this grand theme was because he couldn't.


The way Tchaikovsky closed out the first movement to that concerto he never had any need to bring back the main theme.


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## Huge

Beethoven 5. 

Or Tchaik 4.

Or Mahler 5

... So I guess I'm undecided :lol:


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## Aramis

> Or Mahler 5


Wat.

Mahler's 5th ending is unworthy of grand symphony. Scherzos end this way and even then it's annoying.

EDIT: Wait, it's thread about openings :<<<


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## JAKE WYB

Huge said:


> Beethoven 5.
> 
> Or Tchaik 4.
> 
> Or Mahler 5
> 
> ... So I guess I'm undecided :lol:


and firsts...


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## Huge

I didn't see that hahaha. 
Ok forget that then.
I'll have to think further.
Aramis, I don't know who you are, but if I had chosen Mahler's 5th ending as my favourite then that would be MY choice. Oh and it's a Rondo, not a scherzo. Plus, if you think scherzos are "annoying", then that's your opinion. Not something I really need to worry about.


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## starry

Not sure why Beethoven's 1st was listed in the poll myself. I love the symphony and the opening is ok, but it's not among the most mysterious or arresting starts to a symphony. He was much more interesting in openings to later ones (such as 2,4 and 7) though they are obviously outside the scope of the poll.


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## JAKE WYB

starry said:


> Not sure why Beethoven's 1st was listed in the poll myself. I love the symphony and the opening is ok, but it's not among the most mysterious or arresting starts to a symphony.


you can say the same for the prokofiev and Shostakovich as much as I love their later symphonies the 1sts would be good as 'other'- whereas for the actual poll Sibelius & Martinu would be really original and striking major openings in music - as far as i am concerned

though I do think think Mahler takes the biscuit after seeing it live at Leeds town hall this weekend - the way all the nature comes back in the last movement is incredibly dramatic


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## Falstaft

JAKE WYB said:


> *MARTINU*
> theres no more of a bristling mysterious glowing opening than his 1st symphony I could hardly believe what i was hearing it was like nothing else id ever heard


Here here! Stunning orchestral effect with real ramifications for the rest of the symphony. I hear echos of that swirling chromatic ascent in the other 3 movements, and each time I do, I squee with joy a little!

Of the intros listed in the poll, I'm somewhat reluctantly going with Brahms, if just for the brilliance with which speeds up the intro to turn it into the movement's first subject proper a minute or so later.


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## Sid James

*Ives*' first symphony has a very gentle opening, with the strings playing a melody which reminds me of a green countryside with rolling hills and little streams. It actually brings to mind the styles of Dvorak or Brahms, and is not really typical 'full-blown' Ives, but it is an interesting work to get to know, because it gives us an insight into the way in which the young composer was thinking, and (of course) his early influences...


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## Bobotox

Raff's first symphony destroys everything in the poll.


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## teccomin

Mahler 1's opening resembles Beethoven's 4th. I am sure he is aware of that


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## maestro267

> Not sure why Beethoven's 1st was listed in the poll myself.


I just came up with a few 1st symphonies that I could think of; no other reason, really.


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## Guest

This is easy: Brahms. Arguably the greatest of First Symphonies.


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## ScipioAfricanus

I initially chose Brahms when the poll opened but after listening to Hans Rott's Symphony I have to change my mind.


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## Lukecash12

Scratch Beethoven, and make room for Dittersdorf's Four Ages of the World. His first symphony, from start to finish, takes the cake when it comes to debut symphonies.

Talk about a wonderful, symmetrical, Brahmesque and Mozartesque Larghetto movement, and his Allegro e Vivace starts running paces like he hasn't skipped a beat, hasn't slipped over something, and it's just his first symphony. Everyone is switching between melody harmony, and the bass section even upstages everyone with a quick little scale that ends and rests on a repetition of the fifth of the chord, all of this signifying a recapitulation of the theme. After a bit of this fun role play, he moves into a minor movement, a soulful distraction reminiscent of Mozart, and violently and with gusto he returns to the main theme. It's my favorite movement, so eat your heart out Mozart! The third movement, Minuetto con garbo, starts out with an assertive broken octave by the bases on the tonic, and not so long after, the violins come in with a playful melody, only to stamped out by a soberminded march and sweeping melody accompany it. He then uses the broken octaves again, and runs the gamut once again, and didn't do anything fancy for the ending. Talk about experienced writing for a debut symphony. The Finale, Prestissimo - Allegretto, signals the beginning of the iron age with a stately, yet soft introduction to a march. The horns than jump in and majestic sweep through fourths and fifths, calling everyone to arms. The drums then beat at the beginning of each measure, while the strings trill in anticipation, and the drums begin to sound off on each beat, and the horns signal the move into the next melodic progression, _war has started_. Eventually, it loses steam and the drums roll it off into silence. The strings return with a Handelesque fourth jump down, and the theme is celebrated a few times over, until a plaintiff scenery of melancholy makes it's way in. It get's drowned out by optimism, but tries to assert itself a few times, until the optimism triumphs and majestically makes it's rounds until the end: just a repetition of a C major chord throughout the orchestra, nothing fancy.

As always, nothing but the best in my play lists. Here is Hanspeter Gmur conducting the Failoni Orchestra:















And some notes from the people who recorded it:



> *Carl Ditters von Dittersdorf (1739 -1799)
> 
> Symphonies after Ovid's Metamorphoses
> 
> (Sinfonien nach Ovids Metamorphosen) Vol. I
> 
> Sinfonia No.1 in C major, Die vier Weltalter (The Four Ages of the World)
> 
> Sinfonia No.2 in D major, Der Sturz Phaetons (The Fall of Phaethon)
> 
> Sinfonia No.3 in G major, Verwandlung Aktäons in einen Hirsch (Transformation of Actaeon into a Stag)*
> 
> In the autobiography dictated to his son Carl Ditters gives a brief account of his parentage. He was born in Vienna in 1739, the son of a costume-maker employed at the court theatre under Charles the Sixth, a man who also served as a first lieutenant in the citizen's artillery and took part in the wars that followed the death of that ruler. He had a good general education and in 1751 joined the musical establishment of the Prince of Sachsen-Hildburghausen, where he was able to undertake a more concentrated study of music, with composition lessons from Giuseppe Bonno. The Prince left Vienna in 1761 and disbanded his musical establishment, finding a position for Ditters and some of his colleagues under Count Durazzo in the court opera and orchestra. This brought a close acquaintance with dramatic music, not least through Gluck, with whom he travelled to Italy in 1763, making an impression himself as a violinist and meeting Italian musicians of distinction, including Padre Martini and the castrato Farinelli.
> 
> In 1764 Count Durazzo resigned his position, compelled to do so by the hostile intrigues of Reutter and others associated with the court, and was appointed ambassador to Venice, a position he held for some twenty years. Ditters found difficulty in working under Durazzo's successor and resigned in order to take up an appointment as Kapellmeister to the Bishop of Grosswardein, where he succeeded Michael Haydn, younger brother of Joseph Haydn. When the musical establishment was disbanded in 1769, he found employment as Kapellmeister to the Prince-Bishop of Breslau, Count Schaffgotsch, at Johannisberg, coupling this position with that of Forstmeister (forestry superintendent) in the Neisseregion. In 1mhe was ennobled by the Empress, taking the additional title of von Dittersdorf. This enabled hirn to become Amtshauptmann, chief official, of Freiwaldau, retaining this position and his work at Johannisberg in spite of an apparent suggestion that he become court composer in Vienna, in succession to Gassmann, who had died in 1774. The war of the Bavarian succession brought difficulties for his patron and consequently for Dittersdorf, who spent the years after the Prince-Bishop's death in 1795 in retirement. He had been able, in 1793, to provide a series of Singspiel for Friedrich-August of Brunswick-Öls, continuing a form of composition in which he had long been distinguished, but which werenowimpossible at Johannisberg. He died in 1799 at Neuhof in Bohernia, where he had settled at the invitation of Baron Ignaz von Stillfried.
> 
> Dittersdorf was prolific as a composer, winning a reputation for his dramatic works, notably in the form of Singspiel, and his instrumental music, the latter including some 120 symphonies, a series of concertos and a quantity of Chamber music. His vocal and choral music included four successful oratorios. The Irish tenor Michael Kelly, the first Don Basilio rn Mozart's Le nozze dl Figaro, reports having heard Dittersdorf in a quartet at the house of his friend Stephen Storace, with Haydn playing first violin, Dittersdorf second, Mozart viola and the composer Vanhal cello. Dittersdorf was a respected figure in the musical circles of the time, welcomed and engaged in conversation by the Emperor himself, as he recounted to his son.
> 
> Six of the twelve Symphonies after the Metamorphoses of Ovid survive in their original form. These were written in 1783and introduced to the public in Vienna three years later, when Dittersdorf had occasion to visit the city for the first performance of his oratorio Giobbe Gob). He relates in his autobiography how, by special permission of the Emperor, he had arranged to have six of the symphonies performed in the Augarten, an event for which Baron van Swieten, arbiter of musical taste at court and patron of Mozart and Haydn, had taken a hundred tickets. Bad weather led him to try to postpone the concert, but difficulties arose when he sought permission from the police, since a new decision of the cabinet was needed for any such change of plan. Dittersdorf was obliged to seek out a court official to authorise the postponement and in doing so found himself in conversation with the Emperor himself, an event that he recounts in some detail.
> 
> The Metamorphoses of the Roman poet Ovid contains, in its fifteen books, a compendium of Greek and Roman mythology and legend. In spite of the title, this is not simply a book of changes in Latin hexameters, but an inspired and episodic narrative, in which stories are only loosely connected one to the other .Opening with Chaos, Ovid soon moves on to the four ages of the world, the subject of the first of Dittersdorf's symphonies, the sjnfonja in C major, Die vjer Weltalter. Scored for flute, pairs of oboes, bassoons, horns, trumpets and timpani, with strings, the first movement introduces the peace of the golden age - aurea prjma sata est aetas, the golden age was first established, an age in which men kept faith without any compulsion. The movement is dominated by its tranquil opening theme and is followed by an evocation of the silver age - subiit argentea proles auro deterjor, there followed the silver Ii race, lesser than gold, more precious than tawny bronze, now with its four seasons." The music is livelier in a tripartite sonata-form movement. This leads to the Minuet to con garbo, a graceful minuet, to represent the age of bronze - tertia post illas successjt aenea proles, third after those followed the bronze race, more savage in spirit and prompter to make war. The A minor minuet is angular in theme, with a trio section of greater suavity .The symphony ends with the age of iron - de duro est ultjma ferro, the last is of hard iron, an age when all wickedness is let loose. A descending chromatic figure opens the movement in increasingly rapid note values, continuing with a military fanfare and music of greater excitement which eventually subsides, leading to a final Allegretto that is gracious enough at first, but ends with the agitation of an age of violence.
> 
> The second of the set, the symphony in D major, Der Sturz Phaetons, with similar instrumentation but no timpani, deals with Ovid 's version of the legend of Phaethon, son of Helios (the Sun) and Clymene, a mortal. Phaethon sought out his father, who offered him one gift, whatever he should ask. Phaethon asked to drive his father's chariot for one day and, in spite of his father's warning, attempted this feat. The horses of the Sun bolted and brought danger of fire to the earth, until Zeus, the king of the gods, hurled a thunderbolt at him.
> 
> Phaethon fell into the river Eridanus, where he died. Dittersdorf's first movement reflects the first line of Ovid's narrative - Regia solis erat subljmjbus alta columnjs, the royal seat of the Sun was on high with lofty columns, bright with shining gold and gilded bronze like flames. Syncopation lends a feeling of impending doom to the music, with its scintillating ornamentation and, in the Allegro, contrasts of dynamics. The narrative continues in the Andante - deposuit radios propriusque accedere iussit, the Sun laid aside the shining rays about his head and ordered the boy to come nearer, accepting him as his son. Here the bassoon doubles the first violin at the octave, accompanied by a descending accompanying figure in the other strings, with music that again offers the dynamic contrast of divine father and mortal son. Paenituit iurasse patrem, his father was sorry to have sworn to grant Phaethon's wish, for this is the one thing he would have denied him. The story and symphony end with the final catastrophe - Intonat, et dextra libratum fulmen ab aure / misit.in aurigam pariterque animaque rotisque / expulit et saevis compescuit ignibus ignes, Zeus thunders and hurled his thunderbolt at the charioteer, expelling him from life and from his chariot and curbed fire with savage fire. Opening in B minor, with syncopation again suggesting what is to come, the music gives a dramatic representation of the fall of Phaethon, ending in hushed tones, the solar eclipse that took place as the Sun mourned his loss.
> 
> The Symphony in G major, Verwandlung Aktäons in einen Hirsch, now also without trumpets, is a true tale of metamorphosis, taken from the following, third book of Ovid's poem. Dittersdorf chooses only a short phrase as superscription - per devia lustra vagantes, wandering through out-of-the-way woods, as the young men end their hunting. The music brings suggestions of the hunt in its ascending fanfare arpeggios and its halloos, but is followed by a gentlerpastora1Adagio, with a flute 5010 over the traditional figuration for murmuring streams or breezes. The quotation from Ovid at the head of the movement declares that hic dea silvarum venatu fessa solebat / virgineos artus liquido perfundere rore, here the goddess of the woods, tired from hunting, was wont to bathe her virgin limbs in dew. A minuet introduces Actaeon, grandson of Cadmus - Ecce nepos Cadmi -who strays into the grove where the goddess is. The finale sees the goddess take her revenge. Actaeon is changed into a stag and torn apart by his own dogs - diIacerant falsi dominum sub imagine cervi, the dogs tear their master apart under the false appearance of a stag. Once again the agitation of the music subsides, as the story comes to an end.


I hope you enjoyed my little synopsis of the piece I have so enjoyed for a while now.


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## Vaneyes

Best opening to a First Symphony--Nielsen.


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## Orfeo

I'll pick 
Atterberg's 2nd Symphony 
Nielsen's Symphonies 4 & 5
Tchaikovsky's Fifth
Glazunov's Second
Franz Schmidt's 4th
Mahler's Third
Bruckner's Seventh
Popov's First (and Fifth)
Sibelius' 2nd
Dohnanyi's First
Diamond's First
Bernstein's Second
Creston's Second
Barber's First
Hanson's First
Stenhammar's Second
Bax's Sixth and Seventh
Rubinstein's Second
Myaskovsky's Symphonies 5, 6, 16, 21, 25, 27.
Shostakovich's 6th and 8th
Weinberg's Symphonies 4, 6, 19.
Kalervo Tuurkanen's 3rd Symphony "The Sea"
Melartin's 4th


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## DaDirkNL

Went with Brahms. It could very well have been Beethoven, but like someone else said: It's too Mozartean/Haydnean. And that is totally not Beethoven's style.


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## Winterreisender

I like the opening to Vaughan Williams' 1st = "Behold the sea itself!!!" .... but the rest of the symphony goes sort of downhill after that.

So I voted for Mahler. I love the gentle, ponderous mood of the opening as it searches for the main melody.


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## samurai

For my money, it is the opening to Nielsen's *First.*


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## nightscape

Very little love for RVW Symphony No. 1. Oh well. Very clearly one of the better opening so I voted for it. Brahms' has a great opening as well, but it doesn't need anymore help


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## DeepR

Not as grand and epic as some of the above openings, but I like Scriabin's beautiful dreamy first movement a lot.






That violin melody from 3:10 to 3:55 and the repeat of the opening theme onwards to 5:00 is just exquisitely beautiful

It may not be the best opening of first symphonies, but until I hear better I say Scriabin's first does have the greatest finale of all first symphonies.


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## Orfeo

DeepR said:


> Not as grand and epic as some of the above openings, but I like Scriabin's beautiful dreamy first movement a lot.
> 
> 
> 
> 
> 
> 
> That violin melody from 3:10 to 3:55 and the repeat of the opening theme onwards to 5:00 is just exquisitely beautiful
> 
> It may not be the best opening of first symphonies, but until I hear better I say Scriabin's first does have the greatest finale of all first symphonies.


I so agree. It is a great first symphony by this genius. I'll add,

George Lloyd's 5th and Eleventh Symphonies
Allan Pettersson's 7th
Tubin's Symphonies 2, 4, 8, 10.
Peteris Barisons' Symphony no. II


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## maestro267

None of which are first symphonies.

Good choices though. Always good to have some neglected composer appreciation.


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## Orfeo

maestro267 said:


> None of which are first symphonies.
> 
> Good choices though. Always good to have some neglected composer appreciation.


The title of the thread had totally escaped me. My bad.
Sorry.


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## Alfacharger

Just joined this forum and have three first symphonies that have, to me, wonderful openings.

Elliott Carter's 1st.....






Paul Hindemith's Mathis der Maler.....






Both feature slightly dissonant strings.

Another I always liked was Herrmann's first. Love the horn call


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## Celloman

The Brahms is compelling from the very first (drum)beats...


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## realdealblues

I voted for Brahms.

For an "opening" or "the first few bars of the first movement of a first symphony", I don't know that anyone else is as immediately gripping.


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## hpowders

It has to be the Brahms First for me. Just re-discovered a great performance of it by Charles Munch and the Boston Symphony from the 1950's!


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## omega

Forgive me, Maestro Gustav. I voted for Brahms...
Don't you think Mahler's first sounds a bit 'too romantic' ? Of course, it's quite modern ; but not as much as the following ones, and this disappoints me a little...


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## Richannes Wrahms

Tapkaara said:


> With all of the hoopla over the opening to Brahm's First, does anyone else feel let down with everything else after the opening?


Indeed, it still disappoints me until the finale arrives.



Richannes Wrahms said:


> It took me a lot of listenings to get into his symphonies, probably because I'm not a fan of Beethoven's "I'll build up tension then destroy it with a tutti-staccato-fff thingy". I finally got it after repeated listenings to the 3rd symphony and now my favorite is the 4th. I still find the introduction of the first 'too good' for the rest of the symphony of which ugly string writing I very much dislike.


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## Brahmsian Colors

The opening of Brahms' First---pure grandeur!


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## Pugg

Mahler (D major), breathtaking.


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## Animal the Drummer

Balakirev no.1 in C major, opening up vistas as vast as those presaged by the opening of Schubert's "Great C major" or Brahms' piano concerto no.2.


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## Mal

What about refining the question to first *mature* symphony, then Haydn, Mozart, Dvorak, and maybe a few others could have chance...


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## Vaneyes

Today, Nielsen.


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## Pat Fairlea

1st symphonies? How about Prokofiev's 'Classical'? Not a dramatic opening, but it really draws the listener in.


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## padraic

Brahms. Outstanding.


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## hpowders

Yes. The Brahms First has the greatest opening. Not one bad note in the entire score, actually.


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## Becca

A brief brass fanfare, then ...
View attachment 89471

...and the full orchestra comes in on the word 'sea'.


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## Pugg

Today: Mahler 2


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## DeepR

It's about openings to a *first* symphony. 

Anyway, my favorite for today is Kalinnikov. That first movement is simply fantastic.


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## Leggiero

Has anyone mentioned Walton 1 yet? From the very first timpani strike it conveys a sense of an unstoppable force..._and it doesn't let up!_


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## jim prideaux

Walton!

(exclamation mark representing an attempt to indicate that there should be no need for debate...)


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## Leggiero

A honourable mention for Schmidt 1, too: "conventional", yes, but an unmistakable statement of intent...


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## jim prideaux

jim prideaux said:


> Walton!
> 
> (exclamation mark representing an attempt to indicate that there should be no need for debate...)


so I agree with Leggioro....until I notice DeepR's post regarding the wonderful Kalinnikov 1st


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## AlanB

Scott Good said:


> Brahms 1 - sorry, there is no competition. Perhaps the greatest opening of any symphony, period.


A big DITTO and goes on to be a superb tour de force.


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## hpowders

The Schumann Symphony No. 1 has a fantastic opening. One of my favorite beginnings to a symphony.


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## GAJ

I've come to this thread late. Before trawling through the posts I immediately thought that for me this was a tie between Brahms and Sibelius.

TBH, I wasn't surprised going through the pages to see their names come up so often in equal measure.

No other openings for a first symphony have ever got me so involved or hooked on the rest of the work.

Also not surprised to see the likes of Mahler, Walton and RVW as worthy contenders.


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## Heck148

I voted for Shostakovich, but Sibelius #1 has a fine opening as well.


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## SixFootScowl

Without reading 5 pages of posts, I can't vote without a lot of research to find clips for all of these, and then there is the problem that I am not a musical cognoscenti, and so references such as "C major" symphony means nothing to me, where as Symphony #5 does. In this case I suspect the OP is referring to Beethoven #5 because of it's powerful opening. I would jump on that one but to be fair I should listen to the other openings. Well, Perhaps in my spare time. :lol:


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## tdc

Florestan said:


> Without reading 5 pages of posts, I can't vote without a lot of research to find clips for all of these, and then there is the problem that I am not a musical cognoscenti, and so references such as "C major" symphony means nothing to me, where as Symphony #5 does. In this case I suspect the OP is referring to Beethoven #5 because of it's powerful opening. I would jump on that one but to be fair I should listen to the other openings. Well, Perhaps in my spare time. :lol:


Umm, the answer is in the thread title - they are all 1st Symphonies.


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## SixFootScowl

tdc said:


> Umm, the answer is in the thread title - they are all 1st Symphonies.


Thank you. I have a bad habit of not seeing what is right in front of my face and I am not visually impaired. My mother used to say, "If it were a dog it would bite you." I'll check them out tonight and vote.


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## Strange Magic

I voted for the Brahms, but noted that another poster had supported the Martinu. That "rising bubbles" opening is one of the great surprises and delights of that fine symphony. The excellent Walton is the Sibelius somewhat reimagined.


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## SixFootScowl

Of the listed symphonies I like the opening of Prokofiev the best (so voted), followed by Brahms and Vaughan Williams.


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## Mal

Rachmaninov and Elgar deserve a place in the poll.


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## Tchaikov6

Tchaikovsky, it's so colorful. The winds melody is in my opinion one of his greatest.


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## Tchaikov6

hpowders said:


> The Schumann Symphony No. 1 has a fantastic opening. One of my favorite beginnings to a symphony.


Yes that is probably one of my favorite symphony openings along with tchaikovsky 2 brahms 4, beethoven 7, and sibelius 2.


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## Heck148

Tchaikov6 said:


> Tchaikovsky, it's so colorful. The winds melody is in my opinion one of his greatest.


Tchaik #1 is a wonderful work....the opening is very effective - reminds me of swirling snowflakes at the beginning of a big snowfall.


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## MoonlightSonata

I went with the Sea Symphony - such a majestic opening.


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## Leggiero

I think Simpson 1 is in with a shout, for its unmistakable declaration, "This is who I am and how I go about things."


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## motoboy

Langgaard 1. Maybe not the best, but certainly gripping.


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## 13hm13

Other:
BARBER Sy1 ( the whole symphony is in "one movement"*)


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## jacob

Schumann First Symphony


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## Rhinotop

I'm hearing the Mahler 1st Symphony. So, I think it's the best opening: So delicate, mystic, quiet...


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## Border Collie

Sibelius. For my money, anyway.


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## starthrower

Henri Dutilleux


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## Pugg

Beethoven 6 will do it for me.


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## Alfacharger

The low brass, the slashing strings, Dvorak's First has a great opening.


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