2nd symphony (Prokofiev)

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History of origin

The Symphony . No. 2, Op. 40 took Prokofiev in 1924, some seven years after his first, the so-called classical symphony in attack. The premiere, which took place in Paris in 1925 under the direction of Sergei Kusewizki , had little success; Since then, the work has only seldom been encountered in concert halls. This is due on the one hand to the high technical demands that the composition places on the orchestra musicians, and on the other to its problematic character: the second symphony, announced by the composer as a work “ made of iron and steel ”, marks one of the high points of Prokofiev's expressionist creative period. Of his seven works in this genre, it is also the one most heavily influenced by dissonance . The composer himself was occupied with the symphony until the end of his life: in 1953 he tried to work on a fundamental revision, which he intended to publish as op. 136. His death on March 5th of the same year caused this undertaking to fail in the beginning.

The symphony is divided into two movements: an Allegro in sonata form and a sequence of variations . According to Prokofiev himself, he was inspired by Ludwig van Beethoven's Piano Sonata No. 32 in this unconventional set of movements. The composer did not prescribe a key signature for either of the two movements , but D minor can be seen as the basic key of the work .

occupation

Piccolo , 2 flutes , 2 oboe , English horn , 2 clarinets , bass clarinet , 2 Fagotte , Kontrafagott , 4 horns , 3 trumpets , 3 trombones , tuba , drums , drums, piano , strings

First movement: Allegro ben articolato

3/2 time, duration: approx. 11 minutes

What has been said above about the dissonant harmonies is particularly true of this sentence. It is bursting with glaring dissonances, all of which are of course intended by the composer and are used to enhance expression (note the sentence heading: ben articolato = “with expression”) and thus the “ iron and steel ” character of the wider world Underpin stretches only in forte and fortissimo sentences.

The exposition begins with a trumpet fanfare in fortissimo , after which the rhythmically distinctive main theme, which appears to be jagged with its grinder figure at the beginning and the wide interval jumps , immediately sets in in the strings . After a longer continuation in the orchestral tutti, this theme turns into a transition section, which almost increases it to a march , but then ebbs away in dynamics and with contrapuntal busyness , in which the piano in particular emerges, leads on to the second theme. This is a chorale that also comes up with brute harmonies, but does not deny the influences of Russian church music . The theme appears first in the deep brass while the woodwind instruments play around it with the rhythmic figures from the previous transition. In the further course brass and violins alternate in the performance of the chorale theme, which is interrupted twice by contrapuntal passages. Eventually it all ends in a chorale-based ostinato in the full orchestra, which concludes the exposition.

From this material Prokofiev builds a very brief, but very determined development, measured by the dimensions of the exposure. After a short transition from the exposition, it begins with a heightened variant of the introductory fanfare in the deep brass, which is followed by a general pause. From this emerge cellos and basses, which open a counterpoint over motifs of the main theme. Further instruments are added. Finally, the grinder figure in horns and trumpets seizes the action and opens a strongly dissonant section, which is clearly audible based on the howling of a factory siren. After a further contrapuntal increase, in which up to seven different scraps of motif overlap in places, a fanfare (this time based on the chorale) leads over to the recapitulation.

This greatly shortens the main theme and dynamically takes the secondary theme back somewhat, but otherwise follows the exposition in the course. The coda once again gathers the most important motifs of the movement, links them one last time in a large increase and only comes to an abrupt halt with a reminiscence of the opening fanfare on the keynote d.

Second movement: Tema con variazioni

4/4 time, duration: approx. 25 minutes

After the screaming dissonances of the first movement, the second first brings the extreme contrast: a calm and gentle theme ( andante ) is performed in the piano by the first oboe dolce e semplice (“tender and simple”) . Prokofiev reported that he came up with the idea on a trip to Japan . The influence of Japanese music can therefore be clearly demonstrated in the melody: The theme only touches the tones d, e, f, g, a, h, thus leaving out the seventh not used in Japanese melodies . At the same time, the theme has a Doric tone. It is modified considerably in the following six variations.

In the first variation ( L'istesso tempo ) the little changed theme is alternately distributed between woodwinds and strings and harmoniously alienated by dazzling chromatics .

Compared to the first, the second variation attracts the theme somewhat in tempo ( Allegro non troppo ). The strings accompany with rustling figurations, while the woodwinds change the theme mainly rhythmically. In the further course the brass players join in and bring hidden motifs from the first movement into play. After the initial mood has returned, a short climax is reached before the variation fades out softly.

The third variation, which is particularly lively in the rhythm, increases the tempo again ( Allegro ). Strong instrumental contrasts characterize this section. Brass, piano and drums are particularly striking. Motifs from the first movement are also hidden here.

The fourth variation ( Larghetto ) presents itself as of a strongly internalized character, which is underlined by frequent canonical vocal lines. This part of the sentence is characterized by restrained strings and mainly solo wind instruments. The painful, elegiac mood begins to calm down towards the end and gives way to more peaceful tones before the variation fades away with resignation.

The fifth variation immediately moves into this quiet ending. With its tempo designation Allegro vivace, it proves to be the fastest part of the second movement. She clearly refers to the third variation, from which she adopts the lively rhythms, but which she intensifies again aggressively. Smaller passages dominated by flutes and piccolo alternate with garish tutti outbursts.

In the sixth and last variation ( Allegro moderato ) the previously more or less hidden material of the first movement comes to light. It begins in bass and tuba with the chorale theme. This is followed by an alienated variant of the theme of variations. In addition, motifs of the main theme appear from the first movement. The dissonant clusters accumulate. The theme of variations is increasingly being absorbed by the first movement themes, and the dynamics are increasing. At the end, the chorale appears in the brass, and the theme of variations appears in the strings. The extremely escalating conflict between the two only comes to a standstill at a relentlessly pounding ostinato taken from the chorale, the gradual fading of which clears the way for the final section.

This brings the theme of the second movement to Andante molto in its original form. But there is no peaceful conclusion: the end of the symphony with a resigned blurring of a dissonance chord that concatenates D minor and F minor in pianissimo .

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