It would be fair to say that this Symphony No. 2 is a significantly happier work than its predecessor (cf. the previous posted clip). But, it does feature moments that show marked anger, in every movement too. I don’t think that I need to point them out to you. Those moments are loud, always in minor keys and with lots of diminished seventh chords. https://youtube/watch?v=5_vbWAfnlEo It opens with a slow introduction (most Schubert symphonies have slow introductions), marked Largo, which is slower than adagio. This time, it’s in 4/4; but, due to its speed, it would be wise to sort of conduct it in 8 (in 4, but subtly-yet-clearly indicating the half beats). The character is sunny. Even those minor-keyed moments are not tragic-sounding. The Allegro vivace section is, like the corresponding section in the previous work, in 2/2. It has great verve and energy. The exuberance is infectious. The second theme is songful in the first part, followed by an energetic sequence, which results in something heated and angry. The coda is constructed using Theme I. In this performance (again, the Failoni Orchestra and Michael Halász are featured), the exposition is repeated. In this symphony, the first movement exposition repeat has what is called the “first time ending”. So, if the repeat is not taken, this would not be heard (though it is only two bars). The development section is rather short, which uses the energetic aspects of the themes rather liberally. Schubert paced his modulation scheme cleverly. He even dared to start it in A-flat major, after the C-major-cum-C-minor alternation at the end of the exposition, which does not sound at all conclusive (this C-minor thing has significance later on). In the last bars of the development section, over a B-flat pedal played by the two horns, the strings and woodwinds modulate over a sequence of chords delicately and atmospherically. The recapitulation is thus achieved. The themes appear in conventional order. And, the coda ends the movement. The second movement is in theme and variation form (all repeats are observed in this performance). However, Schubert does not start off by varying the theme greatly. But, the instrumental colors he deployed are winsome. The theme itself is simple, direct, songful and rather airy. The first variation features the woodwinds, the oboe principal in particular, with the flutes, horns, and clarinets decorating it, particularly in the second couplet. The second variation places the melodic line in the bass (cello and double bass), though the flute gets to shine in the opening bars of the second couplet. The third variation sounds both mysterious and radiantly joyous in its quiet and mellifluous way, with violins and horns, along with some woodwind colors. The fourth variation is in C-minor (whether in the Baroque, the Classical or the Romantic period, minor-keyed variations like this were quite a requirement when the theme is in a major mode, as they are extremely effective). Here, it sounds serious and rather angry, also, muscular and energetic. The fifth and final variation features interplay between the strings and winds. This is followed by an atmospheric coda. The third movement is in C-minor and sounds angry. But, its central Trio section is in E-flat major (the home key of the previous movement – E-flat major is the relative major of C-minor, and the sub-dominant of B-flat major, just so you know) and charming to the hilt. The Presto Finale is another “perpetual motion” movement. It does relate to a type of group dance known as the “galop”, which was popular at the time (Johann Strauss the Father composed a good number of these). Like the second theme of the first movement, the second theme of this movement (starting at 26:18) does lead to a few angry bangs (in the exposition, C-minor is the result: from 26:59 to 27:05). Now, it’s interesting to note that this movement starts with three introductory chords (four bars, over a pedal on F); and, this bit is heard after the angry C-minor climax, which leads to the first theme being played (at an octave higher than the first time), and, which in turn leads to a third theme (27:22, in F-major), a robust thing. In this performance, the exposition repeat is observed; and, the first ending ends with just a chord (in F-major, the dominant key of B-flat major) with a few bars of rest, while the second ending continues the perpetual motion after the F-major chord. The climax of the development section does end on F-minor (30:56 – in angry tone). Then, on a pedal on F, the modulation easily works its way back to B-flat major. We hear that three-chord introduction (31:07) before the first theme proper (31:09). This time, we hear a vigorous modulation sequence that leads to a modal D-minor (what was called Tierce de Picardie – Picardy third in English – in the late Middle Ages), at 31:58. The second theme, this time, is in G-minor, which is the relative minor of B-flat major, the home key of the symphony. Mirroring the exposition, it goes through a series of harmonic modulations and then ends with a few angry bangs on D-minor (note: both this and the C-minor bangs in the exposition are of the Tierce de Picardy variety). Incidentally, the angry chords in the first movements are also – respectively – in C-minor (the second theme in the exposition – 3:41 to 3:44) and in F-minor (the second theme in the recapitulation – 12:22 to 12:26); and, both are of the Tierce de Picardy variety. Talk about structural cohesion: this is the stuff of symphonic writing. After the bangs, the three “introductory” chords are played by oboes and clarinets (32:46) over a pulsing pedal of F, which leads back to B-flat major (32:48), along with that energetic third theme (33:01), plus a rousing coda.
Posted on: Sat, 13 Dec 2014 20:11:08 +0000
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