2nd symphony (Wetz)

Richard Wetz began work on his Symphony No. 2 in A major op. 47 at the turn of the year 1918/19. Ten months later, in October 1919, he finished the score; in 1920 the work was premiered under the direction of Peter Raabe , who also launched the other two symphonies and to whom the second is dedicated.

Playing time: approx. 40–45 minutes.

Richard Wetz as a symphonist

In terms of their formal structure, Richard Wetz's symphonies are clearly influenced by Bruckner's clear and concise composition schemes. The composer makes extensive use of chromatics and modulatory sophistication, but never goes beyond the means of tonality in harmony . More progressive harmonies only find their way into Wetz's oeuvre in the works from String Quartet No. 2 (1923). The Bruckner reception is also evident in Wetz's symphonies in the treatment of the orchestra. However, this has more in common with the instrumentation of the versions of Bruckner's symphonies arranged by Franz Schalk and Ferdinand Löwe than with the original versions. Since the latter only began to become better known to the general public shortly before Wetz's death, Wetz could not orientate himself on them.

occupation

3 flutes (2nd and 3rd alternating with piccolo ), 2 oboes (2nd alternating with English horn ), 2 clarinets , bass clarinet , 2 bassoons , contrabassoon , 4 horns , 3 trumpets , 3 trombones , tuba , timpani , harp , violins 1 and 2, violas , cellos , double basses

First movement: moderately agitated

While Wetz's first symphony ended in a grim C minor , in the second, with the basic key A major alone, he found that it was a work of predominantly lightened character. The beginning of the first movement (4/4 time) is strongly reminiscent of the openings of Bruckner's symphonies. In the first two bars a complex network of accompanying figures is presented, of which a more profiled figure in the first violins will be of particular importance later. The main theme, which then rises above the accompaniment, is a calm and simple melody that is played by the clarinet when it first appears. The material is spun out further and grows to a short forte point . Then the beginning appears a second time, but the calm is immediately interrupted by a powerfully growing crescendo , at the climax of which a powerful syncope motif rises in the sheet metal . The main theme sounds again and, interrupted by another motif from the previous phase, leads to the second theme, which sounds " Very calm and with intimacy " in violins, cellos, clarinets and horns. In several attempts it grows up to an increase and, after this has subsided again, flows into the short " energetically moving " final group. The transition to the development is achieved by a passage that descends from fortissimo to pianissimo and is based on this third theme.

The length of the execution itself is almost as long as that of the exposition . It begins with the main theme, canonically led by the woodwinds and horns , over an active string accompaniment, then processes elements of the climaxing episode, taking away their energetic character in order to replace it with a calmer one, and lets the final group theme step in heroically. But immediately the now dramatically charged, rising main theme dominates again and finally achieves an almost anthemic resumption of the beginning of the movement. However, this peak soon collapses again. The final group motif, transformed into a song, leads to a further section dominated by the second topic. It is canonically processed by strings and woodwinds. With the accompanying use of the horns, the movement increases again and leads to a second culmination in which a new theme emerges in the brass section.

After the development has calmed down, the recapitulation begins . The idyllic picture of the beginning is now underlined by the use of an accompanying harp. Essentially, the further development of the exposition follows, although the instrumentation has also been modified in numerous other places (the vocal theme is now heard first in the woodwinds). The big crescendo episode between the first and second topic is missing this time and the final group appears significantly toned down. The coda takes up the main theme again. It increases in dynamics and movement, takes up the final group motif and finally leads the sentence in a grandiose increase to the end on a unison-a.

Second movement: slowly, with a plaintive expression

After finishing the first movement , the composer immediately tackled the finale . Only after its completion did he devote himself to composing the middle movements. A planned scherzo was not carried out; instead, Wetz decided to leave the relatively short slow movement on its own, as the heart of the piece, between the extended corner movements . This D minor - Adagio (4/4) also stands in ideal mood contrast to the latter , as is already indicated in the sentence heading.

The movement begins with a five-bar introduction to the flutes and horns accompanied by muted strings, which already hints at the main theme in fragments. This itself is then performed by the English horn and is characterized by largely narrow interval steps and chromatics. After a while, a secondary theme (" Very calm and expressive ") follows in 3/4 time, which was developed from the main idea.

The implementation deals exclusively with the main topic. It is achieved through an increase that followed the secondary topic. In the further course, a reserved mood dominates. The main theme is brought by violas and cellos, then by the woodwinds, and finally by the low strings, contrabassoon and bass clarinet. In the latter case, the topic header is transformed into a BACH . At the end of the development, low strings correspond with the soft beats of the timpani and harp.

The recapitulation lets triplets and sextoles play around the main theme; The process of this molded part is essentially the same as that of the exposure. However, the secondary topic no longer appears here either. At the end there is a coda dominated by the low orchestral instruments. The movement fades away on the low D of the bass clarinet and horn in pianissimo .

Third movement: Moved (calm half)

Despite its key of A minor , the finale is far more similar to the cheerful first movement than to the "plaintive" Adagio . It begins with a thought presented in unison by the four horns, which at first appears to be isolated, more or less the motto of the sentence. It is the new theme that had already been heard towards the end of the first movement. The actual main theme appears immediately afterwards as a lively clarinet melody. As in the first sentence, there is now an increasing process of spinning, in the course of which the topic is passed on from one group of instruments to the next. The dynamics increase, finally the brass section takes over the melody and leads it to a first peak, whereupon it immediately becomes quieter. After a short transition, the second theme (" Slow and expressive ") joins the strings. It is nothing more than the slightly varied main theme of the middle movement. After the woodwinds have briefly taken over the presentation of the topic, the strings start again at a higher level. A striking fifth motif of the horns serves as the final group, accompanied by the tremolo of the timpani and the low strings.

The development, in its dimensions roughly corresponding to that of the first movement, begins with the solemn processing of the motto, primarily with strings and woodwinds. This is followed by the main theme, calm in the mood, in widened movement. The action quickly takes on more restless features. However, after an upward gesture of the motto, the second theme, which from now on dominates the development, appears gently and relaxed in the strings. The woodwinds join in a little later. Soon the mood becomes increasingly thoughtful. Although the strings are still attempting an upswing with the help of a secondary motif of the main theme, this leads to an ever slower piano .

This is the starting point for the recapitulation. The main theme begins even more lively than before, the transition to the second theme is somewhat shortened and varied. Apart from instrumental retouching, this itself corresponds almost exactly to its exposure variant. The final group is left out in favor of a direct use of the coda, which begins with the broadened main idea in fortissimo . After the motto has been added, the main theme reappears in the original timeframe, pushing forward strongly. Its secondary motif leads to a short, quiet appearance of the main theme from the first movement, whereupon the motto canonically carried in the horns and trumpets works its way up to the liberating, final return of this initial idea. The symphony concludes in a radiant A major, linking the beginning and the end according to Bruckner's example, in the fortissimo of the full orchestra.