Symphony No. 2 (Beethoven)

From Wikipedia, the free encyclopedia

Ludwig van Beethoven's Symphony No. 2 in D Major, (Op. 36) was written between 1801 and 1802 and is dedicated to Prince Lichnowsky.

1 Background
2 Orchestration
3 Form
4 External links

[edit] Background

Beethoven's Second Symphony was mostly written during Beethoven's stay at Heiligenstadt in 1802, which was near the time that he began to realize he was becoming deaf. Beethoven wrote the Second Symphony without having a standard Minuet; a Scherzo took its place, which gave the composition an even greater scope and energy. After the symphony's premiere, critics noted the absence of the traditional Minuet, and claimed the composition had great strength, but was altogether too eccentric.

The work was premiered in the Theater an der Wien in Vienna on April 5, 1803, and was conducted by the composer. It is one of the last works of Beethoven's so-called "early period".

[edit] Orchestration

The orchestration for the Second Symphony is as follows:

Woodwinds: 2 Flutes; 2 Oboes; 2 Clarinets in A; 2 Bassoons

Brass: 2 Horns in D, E; 2 Trumpets in D

Percussion: Timpani

Strings: 1st, 2nd Violins; Violas; Violoncellos; Double Basses

[edit] Form

This symphony consists of four movements:

It is 36 minutes long.

[edit] Analysis of 1st movement

The Introduction (Adagio molto) begins in D major, changing to B♭ major in measure 11. In measures 26-28, it briefly modulates to A major and immediately back to D. The exposition (Allegro con brio) begins in D major with the A theme lasting until measure 57. A transition towards the B theme lasts until measure 72, modulating to A minor at measure 61. The B theme begins in A major at 73, moving to A minor again at 113 with a codetta from measure 117-136 (moving to D major in measure 120). The development uses material from the A theme, going through several modulations throughout and making use of the main idea from Theme A in sequence. At measure 216, the A theme returns in the recapitulation, lasting until measure 228. There is a retransition from 229-244, bringing back the B theme at measure 245, this time in the tonic key. At 327, B♭ major returns briefly, moving back to D in 334 with a Coda from measures 340-360.

[edit] Analysis of 2nd movement

This movement (Larghetto) is one of Beethoven's longest symphonic slow movements. Yet it is full of wonderful melodies and new ideas that one barely notices the minutes tick by. Clearly influenced by the countryside and the folk-dances and tunes he heard around Heiligenstadt, Beethoven here gives us a glimpse of the kind of ideas that were famously to flourish in his Symphony No. 6 (Pastoral).

[edit] Analysis of 3rd movement

This movement (Scherzo: Allegro) in which a charming tune for a quartet of oboes and bassoons is enclosed within a kind of typically Austrian side-slapping dance, is full of high spirits and leads neatly into the 4th movement.

[edit] Analysis of 4th movement

The 4th movement (Allegro molto) is very exuberant and rushed along without a care in the world. One wonders how, at the premiere, the audience impatiently awaited the advertised oratorio, felt when Beethoven kept them waiting by prolonging the ending of the symphony over what seems a ridiculous length of time.