The Longing for Happiness. Left wall, detail from the Beethoven-Frieze (1902) by Gustav Klimt
Symphony no.2 in D major Op.36 for orchestra (1800-1802, Beethoven aged 31)
Dedication Karl Alois, Prince Lichnowsky
1. Adagio molto – Allegro con brio
3. Scherzo: Allegro
4. Allegro molto
Background and Critical Reception
Beethoven’s time in Heiligenstadt may have been difficult, but it yielded music of remarkable positivity in such testing situations. George Hall, writing booklet notes for Simax, sums up the situation neatly: ”What has proved remarkable to Beethoven’s biographers is that the (second) symphony, whose sketches date back to 1800 and whose finishing touches were probably added in 1803, was composed largely in the year that he wrote the famous Heiligenstadt testament. The fact that this document – in which Beethoven in his post-suicidal mood railed against his deafness and isolation in a letter – was conceived in the year of this predominantly happy and straightforward piece is considered paradoxical.’
‘Symphony no.2 is the main fruit of Beethoven’s labors in 1801-2 and is considered to be the culminating success of his early period’, writes Daniel Heartz. He gives an account of the premiere on 5 April 1803, which took place at the new Theater an der Wien, and included the hastily composed short oratorio Christus am Ölberge and also a new piano concerto, the third.
In a fascinating and detailed analysis, Heartz goes on to draw close links with Mozart‘s Symphony no.38, the Prague, which Beethoven greatly admired. Written in the same key, the two works share a broad Adagio introduction to the first movement, and a nearly identical instrumentation. The crucial difference here is that Beethoven adds clarinets in A, a distinctive part of the woodwind sound which makes such a difference to this symphony.
The second symphony would probably have been, to date, the longest symphony yet published – a quality acknowledged by Allegmeine Musikalische Zeitung of Leipzig, in their 1804 appraisal. ‘It is’, their critic wrote, ‘a noteworthy, colossal work (the biggest so far), whose profundity, strength and artistic understanding are very rare, and presents difficulties from the point of view of execution…that certainly no previous symphony has offered.’
Heartz identifies it as ‘a watershed for its composer, the last of his big works in which he looked to Haydn and Mozart for inspiration.’ Later, he notes that when ‘the London Philharmonic Society invited Beethoven to compose a symphony in the style of the first and second symphonies’, it was ‘an offer that deeply offended the composer, who indignantly refused. There can scarcely be more striking confirmation than this that a corner was turned after 1802.’
If you approached this piece cold, there is no way you would know it was written by a man whose grip on life itself was tenuous. In the midst of all the strife he was experiencing, Beethoven pulled out this sunny piece of beautifully joined-up thinking, giving the best possible response to his illnesses and impending deafness. If he was to be hindered, the music would see him through.
There is much to love about the Second Symphony. Its dimensions look front-loaded, with a substantial first and second movement and a shorter Scherzo and Finale placed third and fourth. These two, however, act as a combined pair – and so the feeling is of a trio of movements, as perfected by Mozart in the Prague symphony discussd above. The spirit of Mozart is present for sure, but so is the drive and energy of the younger composer, along with his ability to develop incredibly small melodic cells into material for whole movements.
His expertise in this is evident in those third and fourth movements. The scherzo’s seemingly throwaway phrase at the start is the block on which the whole movement rests, played by the orchestra but with the strings keeping busy in between. The finale follows on naturally, moving closer to ‘home’ with another clipped phrase from the full orchestra.
Before these two symphonic gems we have had the pleasure of an energy-filled first movement and a balletic second, a ‘slow’ movement with a good deal of poise. Here the clarinets make themselves known the most, and Beethoven’s writing for wind is a joy in which to indulge. The movement flows with a happy stream of invention, anticipating perhaps the outdoor vistas of the later Pastoral symphony.
Working backwards, the first movement has a good deal of drama in its introduction and a tautly argued Allegro section which frequently breaks into an unfiltered smile. Perhaps Mozart and a little of Haydn are most obvious in the music here, but again the material could not be from anyone else.
Many commentators declare the Second Symphony as the culmination of Beethoven’s first period. With music of such rich invention, such clever but instinctive development and such bright textures, it is to be savoured – and bodes extremely well for what is to come.
Spotify playlist and Recordings used
NBC Symphony Orchestra / Arturo Toscanini (RCA)
Cleveland Orchestra / George Szell (Sony Classical)
Orchestra of the Eighteenth Century / Frans Brüggen (Philips)
Berliner Philharmoniker / Herbert von Karajan (Deutsche Grammophon)
Vienna Philharmonic Orchestra / Claudio Abbado (Deutsche Grammophon)
Danish Chamber Orchestra / Ádám Fischer (Naxos)
Minnesota Orchestra / Osmo Vänskä (BIS)
Royal Concertgebouw Orchestra / Rafael Kubelik (Deutsche Grammophon)
Anime Eterna Brugge / Jos Van Immerseel (ZigZag Territories)
Performances on ‘period’ instruments or modern interpretations are both to be lauded in this piece. The former camp contains really fine versions from Anime Eterna Brugge and Jos van Immerseel, or the Orchestra of the Eighteenth Century and Frans Brüggen, to name just two thoroughly enjoyable accounts. The latter gives great enjoyment thanks to the batons of Harnoncourt, Kubelik and Szell, not to mention many, many others!
To listen to clips from the recording from the Scottih Chamber Orchestra conducted by Sir Charles Mackerras on Hyperion, head to their website
You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!
Also written in 1802 Haydn Mass in B flat major Hob. XXII:14 ‘Harmoniemesse’
Next up No, non turbarti, WoO 92a
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