Beethoven composed the Second Symphony in very different circumstances
from the first. The deafness that had first manifested itself several
years previously and was in time to become complete had reached such a
point that on the advice of his doctor he decided to spend the summer of
1802 in the village of Heiligenstadt, which, though near Vienna, was
then deep in the country. It was a tragic summer for Beethoven, as he
himself has testified in that infinitely pathetic document known as the
“Heiligenstadt Will.” He would probably have taken his own life but for
his determination to consecrate himself with new courage to his art. His
life was further complicated by a love affair with the youthful Countess
Giulietta Guicciardi. Whether or not this love affair was as serious as
some have maintained, the Countess preferred Count Gallenberg to the
turbulent composer and accordingly married him.
In such a setting Beethoven undertook his Second Symphony. This work,
however, reflects his tragedy only here and there and in a richer
romanticism than his music had previously expressed—a romanticism of the
nineteenth century. As in the case of the First Symphony, the Second, in
D major, has a slow introduction (“Adagio molto”), but this introduction
is much longer and, though based in style on Haydn’s symphonic
introductions, is instilled with the new romantic freedom and contains a
surprising prediction of the Ninth Symphony in a descending octave
passage.
The “Allegro con brio” that follows starts off with a buoyant theme
which sets the pace for an energetic and generally cheerful movement. It
is in the ensuing Larghetto in A major that we hear in full proclamation
the individual voice of Beethoven as we have not heard it before. This
has been aptly called one of the most luxurious slow movements in the
world, and its richness in melodies has been set down as “reckless.”
Here are two of them:
[Illustration: play music]
[Illustration: play music]
The next movement, again in D major, is this time called frankly a
“Scherzo,” not a “Menuetto.” This concise Allegro is particularly
noteworthy for the prophecy in its Trio of the Trio of the Scherzo of
the Ninth Symphony.
The Finale, “Allegro molto” in D, is a forthright, humorous rondo. In
view of the tragedy of that summer, this symphony, at once romantic and
exuberant, might perhaps best be looked upon as an escape. Brought out
on April 5, 1803, at a concert of Beethoven’s works given by the
composer at the Theater an der Wien, Vienna, it was coolly received,
being regarded by many listeners as extravagant or enigmatic.