During composition of his First Symphony, Brahms was still very much under Beethoven’s influence; in his Second Symphony he loosened the ties considerably. The principle of motivic embellishment now infuses not just the development section but the whole of the first movement. In the following movements, too, everything appears to be interrelated. The premiere in Vienna’s Musikverein was one of the greatest triumphs of Brahms’s career, and he wrote enthusiastically: “The orchestra here rehearsed, played, and praised me with a zeal that has never happened to me before.” With the aid of this study-score edition, conductors, students and Brahms aficionados can enjoy the Urtext of the Brahms Complete Edition (likewise published by Henle) in a convenient small format. In his preface, the editor – Brahms expert Robert Pascall – presents interesting information about the work’s genesis and publishing history.
- Symphony no. 2 D major op. 73
The present text follows that of the Johannes Brahms Gesamtausgabe (Serie I/2, München 2001). Further detailed information concerning sources and edition, as also genesis, early performance history, reception and publication can be found in the Introduction and Critical Report of that volume. * From the time of Robert Schumann’s article Neue Bahnen (1853) – or perhaps even … more
About the composer
His significant output comprises chamber music, piano works, numerous choral compositions and songs (including settings of folk-song lyrics), as well as large-scale orchestral works in the 1870s and 1880s. His compositions are characterized by the process of developing variation. He is considered an antithesis to the New German School around Liszt, and an advocate of “absolute” music.
|1833||Born in Hamburg on May 7, the son of a musician. His first piano instruction with Willibald Cossel at age seven, then with Eduard Marxen; first public performances from 1843.|
|1853||Concert tour through German cities; he meets Schumann, who announces him as the next great composer in his essay “Neue Bahnen” (“New Paths”). A lifelong, intimate friendship develops with Clara Schumann.|
|1854–57||Piano Concerto No. 1 in D minor, Op. 15.|
|1857–59||Choir director, pianist, and teacher at the royal court in Detmold.|
|1859–61||Director of the Hamburg Women’s Choir.|
|1860||Manifesto against the New Germans around Liszt.|
|1863||Cantata “Rinaldo,” Op. 50.|
|1863–64||Director of the Wiener Singakademie.|
|1868||Partial performance in Vienna of “A German Requiem,” Op. 45 (the complete work premiered in Leipzig in 1869)|
|1871–74||Artistic director of the Gesellschaft der Musikfreunde (Society of Friends of Music) in Vienna.|
|1873||Haydn Variations, Op. 56a, for orchestra.|
|from 1877||His symphonic output begins with the Symphony No. 1 in C minor, Op. 68 (begun 1862); composition of the Symphony No. 2 in D major, Op. 73; the Symphony No. 3 in F major, Op. 90 (1883); and Symphony No. 4 in E minor, Op. 98 (1884–85): cantabile themes, chamber-music-like style.|
|from 1878||Travels in Italy.|
|1878||Violin Concerto in D major, Op. 77, for Joseph Joachim.|
|1881||Piano Concerto No. 2 in B-flat major, Op. 83, with a scherzo movement.|
|1886||Honorary president of Vienna’s Tonkünstlerverein (Association of Musicians).|
|1897||Four Serious Songs, Op. 121. Dies in Vienna on April 3.|
About the authors
La serie de partituras de estudio en formato pequeño y criterios Urtext (críticos) de la casa de Munich, Henle, se está constituyendo en la principal referencia del mercado para estudiantes y aficionados con capacidad lectora, por su calidad y manejabilidad.