Warsaw Philharmonic

Symphony no. 2, op. 73, D major

JOHANNES BRAHMS Born May 7, 1833, in Hamburg Died April 3, 1897, in Vienna Brahms has often, with arguable justification, been called the last of the great classical composers; a fervent admirer of Beethoven, he was moved by a desire to be linked to the tradition of the symphony as set by the master. However, Brahms cannot so easily be regarded as a mere neo-classicist (as he was called in life and even after his death); it is only the most superficial listener who could deny that his music possesses qualities of the most intense romanticism. The richness and abundance of his musical genius poured forth in his symphonies, as it did in his chamber works, choral pieces and his long list of songs. Like Beethoven before him, he provided a strong voice, dramatic content and perfection of structure to the symphony; this however, he complemented with the introduction of the German lied to the essence of symphonic form. Beethoven had not made use of this lyric, uncomplicated and somewhat rustic vein in his symphonies as it was later to be found in Brahms', but the practice was perpetuated into the turn of this century by Mahler, and to some small degree by Bruckner.

Brahms was over forty years old when he completed his First Symphony; having garnered a substantial reputation with his small scale works (particularly his chamber music), and with Schumann's pronouncement naming him Beethoven's successor as a symphonist, Brahms felt tremendous pressure and weight of responsibility in presenting his first work in the form to the world. As a result, work on the First Symphony took him fifteen years between initial conception and the production of the completed score in 1876. Opus 68 turned out to be a magisterial work, and having overcome his fears regarding his abilities to compose in the grandest of forms for instrumental music, he immediately set to work on his next symphony.

Brahms wrote his Symphony No. 2 in D major in 1877, completing the score in less than four months. This work has often been called Brahms' "Pastoral" Symphony. There is perhaps an element of truth in this descriptive nickname, particularly in relation to the first and second movements and, possibly the third. Of his four symphonies, the tone of the Second is the most idyllic. The serene expression of the first movement is contrasted with the more deeply contemplative character of the second movement, where the lyrical sentiment is most apparent as the style of the lied is clearly found in the melody. The third movement demonstrates a skillful use of variation technique and an effective juxtaposition of alternating fast and moderately slow sections. The finale expresses great jubilation. All in all, Opus 73 provides a vivid example of Brahms' long melodic lines, his contrapuntal skill as demonstrated in the combination of melodic lines, the richness of harmony dictated by seriousness of purpose, the impressive coherence obtained in the use of thematic material, and the feeling of balance and unity in the structure as a whole.

The first movement, Allegro non troppo, is written in sonata-allegro form. The tranquil opening of basses, horns and woodwinds reveals the emotional tone as well as the musical keynote of the symphony; the first theme compounds musical ideas to be utilized later in the work. A second portion of the first theme is stated in a quiet undulating melody played in the violins' high register. A transition builds to a full climax; this leads into the tender second theme, which is introduced by the cellos and casts a shade of melancholy on the previously sunny proceedings. The development section begins with an elaboration of the first theme; the intermingling melodies and vigorous contrasting phrases of the development finally subside into a quiet passage that leads into the recapitulation. Here, the return of the first theme is combined with the second theme winding about it. The coda that concludes the movement features an ethereal horn solo.

Unlike Mendelssohn and Schumann for instance, Brahms followed the practice of the classics by placing the slow movement as the second instead of the third movement of his symphonies. The song-like Adagio non troppo is deeply contemplative in character with long phrases and rich chromaticism. The cellos introduce the first theme based on a descending line, which leads to an accompanying counterpoint, basically ascending and played by the bassoons. A transition passage introduces a new key and leads into the second theme, marked L'istesso tempo, ma grazioso. A third theme introduces the development; this section builds up with increased rhythmic and melodic motion. The recapitulation brings back the second theme, this time richly ornamented, before closing with a restatement of the second theme.

The third movement, Allegretto grazioso, quasi andantino, is more like a song than a scherzo, and is perhaps closer in style to some of Brahms' piano pieces labeled Intermezzi. The main theme, introduced by the oboe with pizzicato accompaniment from the cellos, suggests the steps of a dance; however, there is nothing dance-like about the development section or the richness of thematic variation in the middle episode.

The last movement, Allegro con spirito, is once again built on the sonata- allegro form. The principal theme begins mysteriously in the strings, extends to the woodwinds, and at last is expounded by the entire orchestra. The strings also introduce the second theme. In the development section Brahms' mastery of contrapuntal technique is most evident; here the composer makes frequent use of broken polyphony as the thematic threads of melody and counterpoint are distributed into small and even smaller motifs. With one last statement of the second theme, proclaimed by the trumpets, Brahms brings his Second Symphony to its brilliant conclusion.

1994 Columbia Artists Management Inc.