Beethoven- Symphony No. 2 in D Major, op. 36 Part II
We continue our discussion of Beethoven’s Symphony No. 2 in D Major with the second movement.
- Adagio- Allegro con brio
- Larghetto
- Scherzo
- Allegro molto
II. Larghetto
The gorgeous Larghetto begins on a calm 4-note rising motive followed by a flute trill and a 3-note descending motive (This is the music for “Inside the Actors’ Studio) and repeated in the winds. A variation is played by the strings and repeated by winds. A transition (1:31) is a conversation built around a rising 3 note motif between winds and strings. Orchestral tuttis are answered with meek winds before theme two (2:10) begins- a lyric melody in the violins.
A series of 4-note descents change the key to minor which almost immediately returns to again. Loud tutti chords are followed by a series of vaguely CDC-like lines which also have the one long/four short form of the first movement. At 3:42 theme two, a ballet-like melody, enters first in the winds then the violins with stately descending lines. Tuttis and descending violins launch a minor version of theme one which is echoed by the winds. At 4:50, hushed bass instruments play the 3-note rising motive as if whispering a doubt. The winds respond with an inverted 3 note motif as if to comfort, but brief tutti section leaves situation unresolved. Bassoon and flute continue the suspense before the pulsing strings return us to major and the four-note rising motive of theme one appears (5:40) majestically in the winds and echoed in the bass. However, this repetition of theme one ends in minor, and the rhythm is vaguely reminiscent of the “ta-da” CDC. The violins and bass converse and then switch roles before a series of very dramatic sustained chords and a descending line in the winds is answered by the violins, returning us to major and theme one (6:58). After a series of theme one repetitions, the ballet-like theme returns with a conversation between strings and winds. The ballet theme is repeated after a series of tutti chords. Theme two appears again (9:21) in modified form.
At 10:07 a 4-note descending motive starts to appear, which will lead to powerful tutti chords and a revisiting of theme two. Theme two is expanded and varied, with new instruments like the french horn taking part. A descent in the violins leads to the coda (11:42) that starts with the original theme and flutes adding decoration on top. A tutti passage ends the movement on two soft chords.
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