Symphony no. 1, op. 21 (C major/C-dur/ut majeur) Symphony no. 2, op. 36.(D major/D-dur/ré majeur)

Abstract

The year 1800 marked a watershed in Beethoven's development. On April 2 in Vienna, he made his debut as a composer of symphonies during a concert he had arranged and financed himself. Beethoven began to work intensively on the symphony in 1799, completing the work the following year. The symphony, though enthusiastically received at its premiere, already carried portents of the composer's coming radicalism. At the time, some observers commented upon the work's prominent use of wind instruments, but few noted the first symphony's masterstroke; it opens with the "wrong" chord—a dominant seventh of the subdominant key of F major, and not the expected tonic chord of C major. The English musicologist Sir Donald Francis Tovey dubbed this work "a comedy of manners." It is, in some sense, a skit on the deeply engrained style and vocabulary of Classicism itself, though the humor is unquestionably Beethoven's own. The opening movement begins with the celebrated discord mentioned above, which ushers in the slow introduction, questioning and insistent. It leads to the start of the exposition, again interrogatory in character. Fanfares add a martial flavor to the music, which is offset by the more lyrically inclined second subject group. The exposition is repeated, according to Classical convention, and the development that follows is terse and far more acerbic in manner, and does not allow the same contrast between songful and martial elements. Already extremely mature and "studied," this austere development is relieved only when the recapitulation arrives, now with great forcefulness. The imitative dialogues between wind and strings are predictably Classical in style, as is the jubilant coda. The Andante seems more subdued and relaxed, but the manner in which it preserves the latent drama associated with symphonic form is particularly subtle and entertaining. It begins with a fugal motif, derived from the rising tonic triad heard at the start of the first movement's exposition, and used so emphatically in its coda. An ingenious piece of orchestration occurs at the close of the Andante's exposition. Triplet figures in the violins and flute and off-beat accompanying chords are supported by regular drum taps, perhaps pointing forward to the start of the Concerto for violin and orchestra, Op. 61, and to the closing bars of the Concerto for piano and orchestra, No. 5, Op. 73, "Emperor." The third movement's marking raises the question of whether Beethoven could have intended this to be a stately Haydn minuet before he increased the tempo indication. The incisive rhythmic energy suggests something wholly new, and the movement already has the manner of Beethoven's later scherzi—it is one in all but name. While a more static episode in D flat follows the main material, and the central trio section is more reserved, it is significant, surely, that several Beethoven manuscripts (including that of his Symphony No. 3 in E flat, "Eroica") contain similar third-movement tempo markings. Tovey likened the explosive start of the finale to the release of "a cat from a bag." The whole orchestra plays a unison fortissimo chord of G, the dominant, an effect that recalls the slow introduction of the first movement. The main motif is derived from nothing more complex than a rising scale on the tonic, but throughout the movement, Beethoven's use of scalar figures becomes increasingly obsessive, as the theme is heard in a variety of keys, and is often heard in inversion when various instruments are in dialogue. The development features a daring harmonic treatment of the scale theme, and Beethoven employs much dense counterpoint before the work ends in a positive and triumphant reassertion of C major.