The dark, saturated orchestral colour, the rugged rhythms, the astringent, individual thematic material - all are part of Brahms’s particular musical language and help to place this first symphony at the head of the successors to those of Beethoven, or as Hans von Bulow was to put it; "Beethoven's Tenth." Like Beethoven’s Fifth Symphony in the same key, with which it has often been compared, this work also progresses from a dramatic and tragic opening to a great affirmative and triumphant Finale.

As with Beethoven, a basic motive heard at the outset serves as the motto for the whole work: the introductory melody winding its way upward by semitone steps  against the woodwind who seem to pull the music downwards to the depths of despair, all founded on a throbbing pedal C in the basses which serves to emphasise the relentlessness of fate. Although neither principal nor second subject, this motive is to become the germ cell of the entire symphony, and is as prominent in the impassioned allegro theme of the first movement as in the oboe melody of the second subject. The form of the movement is clear and unambiguous, and is based on conventional sonata form. It was Clara Schumann who pointed out the particular beauties in the passage leading from the climax of the development section back to the recapitulation.

The peaceful opening of the second movement, on the violins, offers a complete contrast, and its continuation on the oboe is no less beautiful. Comforting tranquillity is the essence of this movement, calling to mind Brahms the song-writer. The most appealing moments are perhaps the lyrical second subject and the passage in semitone steps for solo violin towards the end. The three-part third movement, neither a true scherzo nor a minuet, is more of a gentle poetic idyll; its trio has the intimacy of chamber music, with alternation of wind and strings.

The finale is on a grand scale, not only in length, - it is not a lot shorter than the other three movements put together, - but also in its strength and dignity. The two part introduction returns initially to the dark mood of the symphony’s opening, and begins with four descending notes for the lower strings and double bassoon followed by a passage for the violins which is later incorporated in the allegro. The main section of the movement, marked allegro non troppo, is introduced by a horn call supported by trombones and muted strings. The flute repeats the uneasy horn call motif, after which the deeper-toned woodwind and brass prepare the way for the great C major theme; unmistakable when it arrives, and a direct parallel to the equivalent point in Beethoven’s choral symphony.

The second subject lends the movement a more joyous air, yet with the whole orchestra in full spate, momentary doubts conflict with hopes of victory, until these are finally dispelled and the movement, and symphony, ends in massive and complete triumph.