Symphony No. 2 (Prokofiev)

Genesis

The Symphony No. 2, Op 40 Prokofiev took in 1924, some seven years after his first, the so-called classical symphony in attack. The premiere, which took place in Paris in 1925 under the direction of Sergei Koussevitzky, had little success; since you also encountered the work rarely in the concert halls. This is partly due to the high technical demands, which represents the composition of the orchestra, on the other hand on her problematic character: announced the second symphony by the composer as a work " of iron and steel," marks one of the highlights in Prokofiev's expressionistic creative period. Among his seven works of this genre it is also the most marked by dissonance. The composer himself has the symphony until the end of his busy: Still in 1953 he tried his hand at a fundamental overhaul, which he intended to publish as Opus 136. His death on March 5 of that year, has failed on this venture already in its infancy.

The symphony is divided into two sets: an allegro in sonata form, and a series of variations. According to his own statements Prokofiev was inspired in this unconventional set constellation of Ludwig van Beethoven's Piano Sonata No. 32. The composer wrote for any of the two sets before a key signature, as a fundamental key of the work view D minor, however, can.

Occupation

Piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, strings

First movement: Allegro ben articolato

3/2-Takt, duration: about 11 minutes

That in relation to the dissonant harmonies been said above applies to especially to this sentence. He is bursting with glaring disharmonies that are naturally all intended by the composer and be used to increase the expression (note the record title: ben articolato = " with expression " ), and thus the " iron and steel " character of the over wide underpin routes exclusively in forte and fortissimo held record.

The exposition begins with a trumpet fanfare in fortissimo, and then the rhythmic striking, with its wiper figure at the beginning and the wide interval jumps used as rugged -looking main theme in the strings immediately. This topic goes after a prolonged Fort spin drying in the orchestral tutti in a transition section which increases almost to march, but then dies down in the dynamics and emerges with contrapuntal busyness, in particular the piano, leads on to the second theme. This is a chorale that even with brute harmonies comes up, but does not deny influences of Russian church music. The theme first appears in the low brass, while the woodwinds play around with the rhythmic figures from the previous reconciliation. In the further course sheet and violins alternate with the presentation of the chorale theme, which is still twice interrupted by contrapuntal passages. After all, everything flows into a system based on the choral ostinato in the full orchestra, through which the exposure is completed.

From this material builds a Prokofiev, as measured by the dimensions of exposure, rather scarce, but is very determined on developing implementation. It starts after a short transition from the exposure with an increased variation of Einleitungsfanfare in the deep sheet, which follows a general pause. Occur cellos and basses, which open up a counterpoint on the motives of the main theme from this. Other instruments are in addition enhancing. Finally, the grinder Figure tears in horns and trumpets the happenings in and opened a strongly dissonant section which has clearly heard the sound of a factory whistle for example. After another contrapuntal scale intensification, in which places up to superimpose seven different motivic fragments, in turn, initiates a (this time on the chorale -based ) on Fanfare for the recapitulation.

This shortens the main theme of strong and takes the side topic dynamically something back, but otherwise follows the course of strong exposure. The coda brings together once again the most important motives of the movement, links it one last time in a large increase each other and only comes with a reminiscence of the issuing fanfare on the root d abrupt stop.

Second sentence: Tema con variazioni

4/4-time, duration: about 25 minutes

After the screaming dissonance of the first movement brings the second first the extreme contrast: A quiet and gentle theme ( Andante) is dolce e semplice ( " soft and easy ") in the piano played by the first oboe. Prokofiev reported that he had the idea for this idea on a trip to Japan. Significantly can consequently the influence of Japanese music to the melody to demonstrate: The subject touches only the notes d, e, f, g, a, h, so it saves the seventh unused in Japanese melodies. As if the subject is tinted Doric. In the following six variations, it is considerably modified.

In the first variation (L' istesso tempo ), the only little change in topic is alternately distributed on woodwinds and strings and alienated by dazzling chromatic harmony.

The second variation takes over the issue in the first pace slightly ( Allegro non troppo ). The strings accompany with rushing figurations, while the woodwinds vary rhythmically the topic especially. In the course of the brass are in addition and bring hidden motives of the first set into play. After return of the opening mood a short climax is reached before the variation fades softly.

The very busy especially in the rhythm third variation increases speed again ( Allegro). Strong instrument Aryan contrasts characterize this section. Particularly striking occur brass, piano and percussion. Again, motifs of the first movement hide.

The fourth variation ( Larghetto ) presents itself as internalized by strong character, which is enhanced by frequent canonical voice leading. Restrained Strings, and mainly solo guided instruments characterize this part of the sentence. The painful and elegiac mood begins to calm down towards the end and makes peaceful tones place before the variation fades but resigned

In these quiet end immediately moves into the fifth variation. With its tempo marking Allegro vivace it proves to be the fastest form part of the second set. Clearly she takes on the third variation reference from which it takes on the vibrant rhythms, but it tapers again aggressive. From flutes and piccolo dominated, small occupied passages alternate with bright tutti outbursts.

In the sixth and final variation (Allegro moderato ) the previously more or less hidden material of the first movement is manifest days. It begins in bass and tuba with the chorale theme. This is followed by a distorted version of the theme variations. These occur motives of the main theme from the first movement. The dissonant clusters accumulate. The variations theme is increasingly taken over by the head set issues, the dynamics increases. Appears at the end in the sheet metal of the chorale, in the strings shall be additional variations of the theme. The extremely escalating conflict between the two stops only on a relentless pounding, the chorale taken, ostinato, the gradual fading away clears the way for the final part.

This brings up the subject of the second movement Andante molto again in its original form. But there is no peaceful conclusion: Resigned blurs the conclusion of the symphony with a dissonance chord, D minor and F minor concatenated into one another, in pianissimo.