Third Concert of the 82nd Season

Beethoven composed his second symphony in 1801-02. This was at the end of his first compositional period, an assimilation of the mature classical style, as represented by the works of Haydn and Mozart. The first movement begins with a lengthy introduction, which adds to the grand scale of the symphony. A traditional sonata form follows the introductions.

The second movement opens with a simple triadic theme, presented in imitation in the strings. The simple folk-like theme adds to the pastoral character of the movement. Like the first movement, the form is a sonata. One of Beethoven's longest slow movements, it is a leisurely stroll through the countryside. Schubert borrowed the main theme for his Sonata in C for piano four-hands.

The second symphony stands at the doorway to Beethoven's more mature second period; thus, in addition to showing a culmination of his early style, it also looks forward, hinting at things to come. The third movement's scherzo, with its rambunctious character, demonstrates this. A wild country dance is contrasted with an aristocratic quartet of oboes and bassoons.

The last movement opens with a lurching figure, then runs headlong, with quick notes in the strings propelling the first theme forward. The cellos introduce a second, calmer theme, simple and song-like. The lurching figure appears regularly, like an awkward signpost, alerting the listener of the return of the main theme. The coda turns up the heat a bit more, bringing the symphony to a fleet-footed close.