Composed in 1888, the Fourth Symphony had its première in Berlin as part of an all-Stanford concert on 14 January 1889. It is cast in four movements, though with an Intermezzo (placed second) replacing the expected scherzo and a slow movement of notable range and depth. Over a lively accompaniment, the first movement opens with an animated theme that soon comes to a halt, when a more reflective theme in lower strings and wind takes over. Coming to a climax with brusque chords, it moves into a straightforward reprise of the exposition. The development section opens with questioning woodwind phrases over lower strings, quickly building to an expressive restatement of the second theme and its further presentation in very Brahmsian harmonies. A vigorous transition prepares for the recapitulation, featuring both themes in altered guise, and then the coda begins with a stealthy build-up in the orchestra before accelerating to its energetic conclusion.

The second movement opens with a wistful theme on clarinet, soon taken up by strings. Violas and cellos have a warmer second theme where harp plays a discreet contribution, after which both themes reappear eloquently on strings. Over throbbing timpani a brief climax is reached, before the clarinet re-enters with the first theme and, after some fleeting recollections of the second, the movement reaches a pensive close.

The third movement builds from initially uncertain exchanges in the strings to a confident climax with brass and timpani to the fore. An atmospheric transition leads to the second theme, initially on upper strings but with woodwind adding important contributions. The central section returns to the initial theme, and a resplendent climax on full orchestra that subsides into a piquant presentation of the second theme on flute and harp, soon returning to upper strings and another opulent climax. The movement's final portion focuses initially on the second theme, heard in autumnal scoring, but the first theme returns to provoke two climaxes separated by its chorale-like presentation on brass and strings, before moving onward to a serene end.

The finale opens with a lively first theme of folk-dance character, followed by a flowing but rhythmically-irregular theme that round off the exposition. The development takes the first theme through a range of scoring, reaching a climax in a return to the second theme, before an atmospheric transition to the modified recapitulation. This builds to a coda whose synthesis of both themes closes the work in a triumphal apotheosis.

Writer: Richard Whitehouse