English Commentary by Sergio Cánovas 

Beethoven’s Symphony No.2 was written between 1801-2, mostly during the composer’s stay at Heiligenstadt in 1802, at a time when his deafness was becoming more pronounced, and he began to realize that it could be incurable. The work was premiered in the Theater an der Wien in Vienna on April 5 of 1803, conducted by the own composer. The work was dedicated to Karl Alois, Prince Lichnowsky. It is one of the last works of Beethoven’s so-called «early period». Despite its classical structure, derived from the symphonies of Mozart and Haydn, Beethoven had already been freed from that style, introducing his own structures, instrumentation and rhythms. There is no standard minuet; instead, a scherzo took its place, giving the composition even greater scope and energy. The work was criticised at the time, with critics calling it eccentric, specially compared to Beethoven’s first. One Viennese critic famously wrote that the work was «a hideously writhing, wounded dragon that refuses to die, but writhing in its last agonies and, in the fourth movement, bleeding to death.» The first movement is structured in a sonata form. Begins with an extensive slow introduction. After firm chords, the woods present a pastoral motive. The strings, slowly but decidedly, lead us to a brief climax, leading to the main allegro. The first theme is rhythmic and full of energy. An intense transition leads to the more melodic second theme, alternating quickly between piano and forte. Follows the reexposition of the themes, as it was usual at the time. The development its harmonically adventurous, going through several modulations and passages of contrast between both themes. Follows the recapitulation of the theme. The long coda starts as an extension of the recapitulation, growing more intense and brilliant as it concludes the movement. The second movement is also structured in sonata form. Opens with a widely lyrical first theme presented by strings and ornamented by the woods. The second theme is more bucolic and active, clearly a precedent for the pastoral music that would come with Symphony No.6. The development is far more tense and dissonant, with the music rising in dark climaxes. The main themes are then recapitulated. The coda begins with gentle phrases of the flute, leading to a firm ending. The third movement is a scherzo in ternary form. From this point onwards, the menuetto would be replaced for the scherzo in Beethoven’s music, with few punctual exceptions. Begins with a rhythmic theme of rustic character, playing off with the contrast between loud and soft with exuberance. The trio is hardly contrasting, alternating sweet phrases of the wood with the strings. The scherzo’s theme is recapitulated, concluding strongly without a formal coda. The fourth movement is also structured in sonata form. Opens with a vivacious and energetic theme. In contrast, the second theme is gentler and more elegant, ornamented by phrases of the wood. The development is based on the main theme. From elements that seems utterly trivial, even eccentric, Beethoven generates an irresistible momentum that carries through an entire development. Follows the recapitulation of the themes. The coda is unusually extensive and developed, alternating between piano and forte passages. A brilliant conclusion ends the work. Musical analysis written partially by myself. Sources: https://bit.ly/2WHY7PW and https://bit.ly/3DAw9Gr To check the score: https://bit.ly/3TrW62P