Beethoven | Symphony 2 ♫

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• published: 28 Jul 2015
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♫ Symphony No. 2, in D major, op. 36 ♫ Its composition for the year 1802. Does little more than a year after his first Symphony (a space of a very short time if you consider what it took for Beethoven to compose the first), which seems to reveal that, as with other composers (Schumann or Brahms), "breaking the ice" symphonic composition, functions are produced faster and, fortunately for us, a higher quality. If the first two symphonic works are made useful steps to innovate the way music that seemed unchangeable, Beethoven third will take giant steps in the same direction. But let's break it down and focus on: 14 0 d major Symphony. Instrumentation follows the pattern of the orchestras of Haydn and Mozart. In particular, the copy of the template used in the first instrumental Symphony, especially as the use of two Clarinets. ♫ STRUCTURE ♫ ♫ First movement: Adagio molto - Allegro con brio - 0:00 The second Symphony begins with an introduction similar to what serves as a prelude to the first, although a bit longer and more ambitious (than not allowing the development of any argument, but is still almost three times longer). This introduction there is little mention except for the appearance of an arpeggio of the chord d minor figure which almost literally anticipates that will appear later in the Ninth Symphony. Allegro con brio emerges thanks to an energetic and determined, theme that marks the most serious section of strings (Basses, cellos and violas). The second theme, military air and carried by winds, is answered by a more rapid figuration for violins. This procedure, which also occurs in the first edition and the first Symphony, reaches a plateau of virtuosity, very important for the time, to the point that many considered this as "high maintenance", for artists. Shortly before the end of the first part of the Allegro con brio and before development, we find an episode of surprise and romance: a (extracted directly the first theme of movement) of 4 round and black, which is repeated, with obsessive character, increasing as it will be set up as a hallmark of Beethoven's style and that was certainly shocking. ♫ Second movement: Larghetto - 12:30 The magical and beautiful air of this movement (sometimes mysterious) is an example of elegance with which Beethoven was able to equip his slow movements. After you have heard many times, almost can't find among his reasons, some items that years later will be caught by Strauss to include in its famous Viennese Waltz. The development of the movement, which introduces the topic in a minor way, also stands out for its dramatic tension, barely hidden in a movement of the first mentioned characteristics. This movement was organized by the Beethoven piano trio, and other more specific mode are known (for example, for two Sopranos and piano or just for two Sopranos!). ♫ Third movement: Scherzo - 23:27 Similar to the third movement of his first Symphony, Beethoven printing speed and character than is traditionally supposed to be a simple and formal minuet. Dynamic changes and accent (there is considerable alternation of indications and pianoforte-pianissimo FORTISSIMO) characterise the dash radiates this joke, which prefigure the style of Beethoven marked in his symphonic works below. The trio, which is in d major, contains an episode stranger in f sharp major which leads directly to a d major chord in Fortissimo. Without doubt, the motion of d-flat major is a major, d major and then f sharp major before d a solid, the agreement should be a very abrupt key changes to what was expected at the time. Another example that Beethoven expressed his independence of thought, not only through his behavior and speech (a rebel and non-conformist personality didn't go unnoticed in Vienna in 1800), but also through a progressive breakdown in traditional musical conventions. ♫ 4th movement: Allegro molto - 26:49 We've reached the end, an apotheosis of frenetic pace and strength as music only became known in the Symphonic world until then. Second Symphony supposes to increase the high degree of first (in novelty, originality, etc..), but is itself a new phenomenon for the production of the Symphony of Beethoven: a true manifestation of the individuality and character of its author. While the first Symphony can find aspects that make us remember the traditional practice (as the last move, which follows the school of Haydn, or first, except some innovations do not have meaning, but reflects what is already known in its opening to the creatures of Prometheus) along with other innovative aspects (for example, the third movement), in the second Symphony is not possible : all entries are new (one way or another) and are a faithful reflection of the new language of Beethoven, his creative originality and not easy to trace can be found in the works of other composers (also by Beethoven right) above.