Johannes Brahms 
(German; 1833-1897)

Symphony No. 2 in D major, Op. 73
I. Allegro non troppo
II. Adagio non troppo
III. Allegretto grazioso (quasi andantino)
IV. Allegro con spirito

Composed 1877; Duration 39 minutes

Brahms’ First Symphony did not come easy. For years, even decades, he toiled away with the weight of German Symphonic tradition on his shoulders. Even if the pressure of following in the footsteps of Beethoven was entirely self-induced, his critical nature stalled the work’s completion until 1876, when it was premiered with great success. As if a weight had been lifted, his Second Symphony came more easily, composed at a relaxing lakeside retreat in 1877.

Even so, he couldn’t resist self-deprecating jabs, describing the work as a “lovely new monstrosity,” “merely a sinfonietta,” and “a proper flop” in letters to friends and his publisher. Despite his fame and success, he was burdened by a persistent melancholia, and even in his new, sunny D major symphony, he acknowledged the presence of an underlying darkness.

Resonant horns and avian woodwinds alternate to illustrate the pastoral, alpine setting, but the serenity of the opening is obscured by grumbling timpani and foreboding trombones. Regardless, sunlight breaks through with string melodies, first with the silvery violins, followed by warm violas, and finally, a familiar lullaby. Favoring tradition over fashion, Brahms indicates a repeat of the extensive exposition, although this roadmap is sometimes disregarded by conductors. What follows is a treacherous collision of melodies that threaten to storm out the pastoral scene, only to subside in the tranquil conclusion of the movement.

The melodic wanderings of the cellos breed uncertainty in the slow second movement. Throughout, Brahms retains recognizable elements of this opening melody, but constantly manipulates the setting, textures, and harmonies to flow through a wide variety of moods. To hammer the point, the movement ends with a stoic repetition of the core melodic figures, closing with an unconvincing resolution. 

With much-welcomed levity, the third movement opens on a folksy, gently waltzing oboe melody. This opening music is juxtaposed with two sections of rambunctious dancing music. The finale is again lightweight, opening on hushed strings that seem to fade into quietude until the orchestra bursts forth with raucous jubilation. However, when he repeats this trick, the foreboding development is in full swing. The trombones of the opening movement possessed a sense of darkness, and here too their appearance in the finale causes an air of uncertainty until the grand, climactic resolution.

Chaz Stuart, 2026