Beethoven- Symphony No. 2 in D Major, op. 36 Part IV
We conclude our discussion of Beethoven’s Symphony No. 2 in D Major with the raucous and humorous fourth movement.
- Adagio- Allegro con brio
- Larghetto
- Scherzo
- Allegro molto
IV. Allegro molto
Theme 1 is introduced immediately- the opening motive with two notes in quick succession represents a hiccup, which is immediately followed by a groan of pain in the low register. The entire movement reflects Beethoven’s well-documented digestive problems. The low strings begin the transition (0:21), which is smooth and melodic. It rises from low strings to high winds before coming to theme 2 (0:43). Theme two features long, calmly descending lines in the winds and quick, nervous responses to the violins. It’s almost like the winds are reassuring the violins that they are fine. An orchestral version of theme two followed by quiet hiccups in the violins and bassoon leads to the development (1:29).
The development begins with theme one repeated, but then repeated again ending in a minor key. This launches into a passage based on the groans of theme one, which leads to nervous violins (2:03) that leads to a series of louder hiccups and groans at 2:15.
Two small hiccups precede the recapitulation (2:32). Theme one is repeated and followed by the smooth transition melody in the low strings. Theme two returns at 3:15 in the horns and bassoons, this time answered primarily by the oboe. A cadence based on theme two begins at 3:42 featuring several hiccups in the violins before they quietly play theme one again. A second violent series of hiccups and a transition passage end in a grand pause, followed by an quiet, unexpected chord (4:41). A walking bass line underscores hiccups and theme two motives dissolves into a serene, sustained passage in turn ended with a shimmering, descending string tremolo. At 5:13 the respite is broken and the orchestra almost explodes back into the piece with rapid hiccups and groans. Theme one returns quietly in the winds and strings (5:38), accelerating before hitting a roadblock of a tutti chord (5:49). The walking bass returns followed by the final reappearance of theme one and a long, descending line throughout the orchestra. The brass once more outlines the D Major triad as if to remind everyone of the Symphony’s foundations before short, tutti chords end the piece.
Beethoven’s Symphony No. 2 in D Major pays tribute to Beethoven’s musical heritage, yet hints at great things to come. However, it is unlikely that anyone- perhaps even Beethoven himself- could foresee the impact that his next symphony (the “Eroica”) would have on the history of Western music.
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