Intro to Graduate Studies

Instructor: Dr. Marie Summer-Lott

Student: Jonatas Leal

Essay

Shortly after writing the first symphony, Brahms composed the second
symphony in 1877 and had its premiere in Vienna, on December 30, 1877
conducted by Hans Richter. By the way, Richter was one of the most important
and renowned conductors of his time, and his presence was proof of the
conductor's consideration for Brahms’ works. The public and critics received his
symphonies with great enthusiasm, quickly reaching a prominent place among
the composers and works of that time. The structure of the work is located at
the boundary between classicism and romanticism, showing the connection of
the composer with the period.
The first movement is characterized by a wide-ranging exposure, with a
relatively brief and dense development. The motif of the first theme is formed by
only three notes exposed in the first bar of the work. The instrumentation draws
attention for its mastery of combinations.
The exhibition of Brahms' second symphony contains three well-outlined
thematic sections. The first theme is quite introductory in character.
Interestingly, the tonality gains definition in the transition to the second theme.
The second section has characteristics of a typical sonata at the beginning. In
the third thematic section, we find a typical theme of a second subject.
However, instead of moving to the dominant, Brahms goes into the weakly
tonality. After some theme’s variations, new material emerges which seems to
indicate that the exhibition is coming to an end. Instead, it leads to another
iteration of the third theme, this time clearly presented in the dominant one and
leading directly to the end of the first movement.
In the recap, some of the irregularities are reconciled when Brahms
overlaps the first two themes on a more definite subject. The transition defining
the tonality of the exhibition also fulfills its role in a more natural way, as the
second theme emerges alone. This thematic process is again standardized in
the third iteration of the subject.