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Symphony No.2 in D major (Opus
73) |
Johannes Brahms |
Today Brahms’ music is considered very approachable – almost easy
listening, so it is hard for us to imagine how difficult his music sounded to
early listeners. The 1889 edition of
However, the lyrical beauty of Brahms’ 2nd symphony makes it the most immediately appealing of his four symphonies, while it will certainly reveal hidden depths on careful study.
Brahms was late in coming to write symphonies, being forty-three before
completing his 1st symphony in 1876, after taking fourteen years
revising and reconsidering for fear of adverse comparison with Beethoven. However, after his 1st received
almost universal acclaim, he soon got to work on his 2nd in the
summer of 1877, writing it in only 3 months.
Brahms was very happy while writing this work. He was staying at Pörtschach on the Wörthersee (southern
The differences between Brahms’ 1st
and 2nd symphonies are strikingly similar to those between
Beethoven’s 5th and 6th symphonies. In each case the first work is heroically
epic and the second, one of bucolic beauty.
Brahms’ 2nd symphony is not as impressionistic as Beethoven’s
Pastoral symphony, but it is surely
also inspired by nature, being full of romantic nature symbolism, such as horn
calls and bird-like trills from the woodwind.
In fact, in his lifetime it was often called his ‘Pastoral’ symphony.
Before the work’s premiere, Brahms teased friends by warning that it was a work of unrelieved gloom, even telling his publishers that “the score must appear with a black border”! Although in actual fact the work is far from glum, there is certainly an underlying melancholic strain running through some of it.
The first performance took place on 30th December 1877, performed by the Vienna Philharmonic conducted by Hans Richter (who also gave the premieres of Bruckner’s 4th Symphony and Elgar’s Enigma Variations amongst others). It was immediately well received and has been one of his most popular works ever since. The famous conductor Felix Weingartner said “the stream of invention has never flowed so fresh and spontaneous in other works by Brahms, and nowhere else has he coloured his orchestration so skilfully.”
The symphony is scored for a standard romantic orchestra, including tuba – the only Brahms symphony in which this low brass instrument adds its mellow tones.
I. Allegro non troppo – The symphony opens with a three note motif D–C#–D in the ‘cellos and basses, replied by a haunting refrain from the horn. This provides both the emotional and musical key to the whole composition in which it is used in numerous ways. It magically unfolds with sonority and warmth to be interrupted by an eerie timpani roll and solemn piano chords by the trombones and tuba which prepare for another treasure from Brahms’ melodic invention. There are more glorious horn calls, more tension from canonic outbursts by the low brass and a lovely melting Viennese waltz tune from the violas and ‘cellos which recalls Brahms’ Lullaby. The movement ends with a variation of the opening motif.
II. Adagio non troppo – If shadows passed over the first movement, we are now in the forest for the second. Once again the ‘cellos open with the tune – this time the bassoons mirroring with a soulful countermelody. The movement climaxes in rich solemnity.
III. Allegretto grazioso – At last we move into sunlight and are treated to a delicate intermezzo with the playful tune carried by clarinets and bassoons. The movement is a set of variations lightly scored as a kind of pastoral dance serenade.
IV. Allegro con spirito – The start of the finale recalls the initial theme of the symphony. This is developed with great energy in the spirit of the peasant dance in Beethoven’s Pastoral symphony. Although a shadow does once again pass across the music, it proves to be just a passing cloud. This memorable symphony comes to a sunny conclusion heralded by an exultant D major chord on the trombones.
Programme Note by
Jonathan Hodgetts
www.SalisburySymphonyOrchestra.org.uk