Symphony No. 2 (Schubert)
The Symphony No. 2 in B flat major (D 125 ) is a Symphony by Franz Schubert.
- 4.1 documents
- 4.2 Further Reading
Formation
Schubert wrote his Symphony No. 2 December 1814 to March 1815 and dedicated it to Innocent Lang, the director of the Vienna City Seminary, which Schubert had attended from 1808 to 1813. It is not known whether the symphony was also performed by the Seminary; the existence of the set of parts speaks for it; the error contained in the voice talk about it. The first truly public performance of the symphony was, however, only 49 years after Schubert's death in 1877 in London by the musicologist George Grove instead, all the Schubert symphonies brought at this time to the performance.
The symphony was published in 1884 as part of the edited by Johannes Brahms "old complete edition " of all the Schubert symphonies by the publisher Breitkopf & Härtel.
About the Music
Occupation
Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, string quintet
1st movement: Largo - Allegro vivace
The first set belongs with 614 cycles of the longest symphony in Schubert's work and is only surpassed by the first movement of his " Great C Major Symphony ". He is, like the rest of the symphony, marked by repetitions of the musical material. His theme has similarities to the main theme of Ludwig van Beethoven's Symphony No. 1 in C major op 21 and Beethoven to The Creatures of Prometheus Overture, is in Schubert but processed in a different way than with Beethoven.
The movement begins with fanfare-like, dotted Dreiklangsrepetitionen the winds, which are followed by a contrasting arabesque of strings that resolve the triad and control the triad tones. The slow introduction of this theorem differs from other conventional symphony discharges; Echoes of Wolfgang Amadeus Mozart's Symphony No. 39 in E flat major, K. 543 let an orientation to this symphony of Mozart suspect.
In the exposition of the law, first heard in the home key, then on the second degree ( in C minor ), and finally in the Fifth stage ( in F major ), the page set again in the IV stage ( in E Flat Major ). The cantabile and motifs closely connected to the main set page set is similar in melody and structure of the main theme from Mozart's 12th Piano Concerto in A major, K. 414
The recapitulation repeats the main clause at the IV stage in E Flat Major, afterwards, at the VI. Stage, not in F minor, but in G minor, and finally in the low range. Musicologist Hans Joachim Therstappen speculated in this context, Schubert " lose [ ... ] often quite obvious control of his material ." In terms of the stakes in the reprise throws Therstappen Schubert " schematism " before. In this case, Schubert would like musicologist Wolfram Steinbeck points out, however, the law must not put in B flat major, but not in A-flat major in G minor, but in F minor and the page set.
2nd movement: Andante
The subject of the second sentence is five times varied until the set is finally closed by a coda. It is within the symphonic works of Schubert is the only set of variations. From variation to variation is a further development of the subject instead of away.
Variation I can do without bass voice. Variation II is played by cellos and double basses, while Variation III again insisted on the bass voice and resolves the issue in figurations. The latter occurs also in variation IV, which also in contrast to the pianissimo of the other variations in the Forte and is in a minor key ( C minor ) is. Content reaches variation V back on Variation II, since both involve a syncope on the second note of the topic.
3rd movement: Menuetto. Allegro vivace - Trio
Despite the record label Menuetto, the third sentence of the preceding sentence is distinguished by its energetic characteristic style. It is characterized by symmetry in its structure.
Deviating from the tradition of the third movement is not in the home key of the symphony, but in C Minor.
4th movement: Presto vivace
Also, the fourth sentence of this symphony is one within the symphonies of Schubert 's longest ( only surpassed by the final sentence of the "Great C Major Symphony "). Its main theme seems to initiate a Rondo set.
The implementation consists of two parts and points to the future with the repetition of the basic rhythm and by their coloring on the later style of Schubert.
It contains many similarities with the first set, one of the biggest differences is that the recapitulation in the page set is not in the usual at this point the home key, but in G Minor. Otherwise, it is similar in terms of the topic and the proportions conforming to standards of exposure.
Effect
The English press credited the symphony after the premiere in 1877 a close proximity to the models of Wolfgang Amadeus Mozart and Joseph Haydn. However, the performance was a lot of attention. Thus, for example, wrote the " Evening Standard " on 22 October 1877
" It is certainly not necessary to point out that Schubert's Second Symphony can be set in B flat major by no means his late works the same, but the performance was interesting and the responsible person at the Crystal Palace deserve our heartfelt thanks. Mr Mann and his colleagues spared no effort for her interpretation of the symphony, loud applause were the result. "
Was published the symphony in 1884 as part of the edited by Johannes Brahms complete edition of all the Old Schubert symphonies by the publisher Breitkopf & Härtel. Brahms certified youth symphonies so-called Schubert's no high artistic value and believe they " should was not published, but retains only with piety and perhaps made more accessible through copies ."
Antonín Dvořák was in his time one of the few admirers of Schubert's early symphonies, in which he - in spite of the influence of Haydn and Mozart - the " character of the melodies ", the "harmonious progression " and the " many exquisite details of orchestration ," Schubert's individuality recognized.