PINCHAS ZUKERMAN PERFORMS BACH
disturbing enough to prompt one critic to write:“ Beethoven’ s Second Symphony is a crass monster, a hideously writhing wounded dragon that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect.”
The Allegro section of the sonata-form opening movement flows directly out of a beautiful, slow introduction. Its first theme emerges quietly in the cellos and violas under a measured violin tremolo, or“ shake.” In fact, the hyperactive violins power the intense nervous energy pervading this work. The second major theme is as energetic as the first is: a brisk, military-sounding march for the woodwinds above more string tremolos.
The second movement, in A major, is an early example of Beethoven’ s beautiful slow movements; Donald Francis Tovey calls it“ one of the most luxurious slow movements in the world.” Also in sonata form, it is a peaceful pastorale that brings needed repose from the dynamism of the other movements. Here, Beethoven plays
The BSO
off the lushness of the strings, which introduce the gracious two-part theme, against the plangent woodwinds. The development section moves into a world of gentle pathos in the minor mode.
The sudden alternation of loud and soft is the basis for the scherzo movement’ s humor. Witty, too, are the seasick swells in the low strings. The trio section pits well-mannered woodwinds against unruly strings that melodramatically insist on a wrong key. But they are soon brought to heel and end decorously with the woodwinds.
The very fast finale is that“ hideously writhing dragon that refuses to expire”— probably because the composer appended here the first of his gloriously expanded codas. Beethoven will play throughout with the little two-note motive that launches the humorously gruff opening phrase. The extraordinary closing coda begins with a magical harmonic progression: a loud chord in the D-major home key moving unexpectedly to a hushed chord in B minor, which seems to open vistas of a new world. And the whole coda looks to new worlds, which Beethoven explored more deeply in his next symphony, the mighty“ Eroica.”
Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.
Notes by Janet E. Bedell, © 2017
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