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Brahms: Symphony No.2, 1st movement

Form scheme 1st movement

The 2nd is the most frequently performed among the 4 Brahms symphonies.

bars 1-10

An inconspicuous second change in the bass strings (D - C sharp - D = 1st bar of the work), here called "basic unit", is the central subject of the whole symphony, not only of the 1st movement. It turns up in the main theme, in its original shape in the 1st bar, reversed in the 4th bar, but it also releases further melodic developments. This basic unit (the second change) is succeeded by the main theme of the 1st movement, a fragmented D major triad. The mood thus created - the first harmonic chord is a D major six-four chord - can well be associated with a sun-lit landscape. Brahms himself thought that this symphony was so "full of joy and cheer" that it might have been written "specifically for a newly-wed couple". The main theme is introduced by the horns.

bars 10-32

The main theme is repeated, a second higher, carried on in the unfolding of the theme, ending up in a low unisono drum roll.

bars 33-43

The basic unit is interrupted twice by trombone calls.

bars 44-51

Two themes are introduced in the bridge. Both are developed from the basic unit, the second step presented in the first bar. The 1st bridge theme is a theme of violins, which is taken over by the flutes after 4 bars.

bars 52-65

The head of this bridge theme is carried on canon-like, as an "enlarged basic unit" by the 1st violins, then in forte by the bass strings, until transformations of the basic unit close the elaboration of the 1st bridge theme.

bars 66-82

The 2nd bridge theme, again developed from the basic unit, is first presented by the oboes.

bars 82-89

The secondary theme, a melodic bow consisting of thirds and sixths and played by celli and violas, follows the bridge in F-sharp minor.

bars 89-101

From a descending second a theme is developed that leads back to an abridged version of the secondary theme. On this abridged F-sharp minor theme Brahms seems to enjoy a rest in bars 4 and 5, takes the musical material and modulates into E major for the closing group.

bars 118-126

The closing group is a theme consisting of octave intervals and vigorous second tensions. The epilogue is shaped entirely from the motif of the basic unit - a motif of 3 consecutive tones is gaining in importance. The above mentioned 3-tone motif now becomes independent and is carried on in a dialogue between high and low pitched instruments. Like a farewell song in the epilogue coda the secondary theme reappears in the violas and violins, then in the combination of flute and oboe.

bars 191-202

In the development the theme is transposed into F major. By means of transformation and augmentation a new theme arises out of the 3rd bar of the main theme - the basic unit of the work - which is also used canon-like later on. The 2nd part of the main theme, i.e. bars 5-7, continues the musical process; the mood changes from the homely to a heroic-pathetic idyll. The development closes with the 1st bridge theme and the main theme played alternately in various instruments; the 3rd bar has been turned into an independent theme by means of sequencing. The recapitulation corresponds to the rules of the sonata form. The main theme in the root key D major, presented by the oboes, is counterpointed by the 1st bridge theme. Secondary theme, epilogue and epilogue coda with the secondary theme succeed each other. The Coda shows one of Brahms's most romantic inspirations. Introduced by the main theme, a nostalgic horn theme can be heard, consisting mainly of seconds.

bars 485-504

As a new theme the violins play a melody consisting of the D major triad.

bars 505-520

With the 2nd bridge theme Brahms leads back to the original themes.

bars 521-531

The head of the main theme, played by trumpets and horns, closes the movement in piano.

Turn over to 2nd movement