Ludwig van Beethoven
(1770-1827)

Symphony No. 2 in D Major, Op. 36

Composed 1802

Beethoven’s Symphony No. 2 may never have achieved the same level of popularity as the revolutionary Eroica or the brooding Fifth, but its innovation, vitality, and humor make it a critical turning point in Beethoven’s artistic evolution and a unique treasure in the symphonic repertoire.

Composed during the summer and fall of 1802, most of the Second Symphony was written while Beethoven was staying in Heiligenstadt, a village just outside Vienna. Sent there by his doctor to rest and preserve what remained of his hearing, Beethoven instead spiraled into a period of intense personal despair. The result was the Heiligenstadt Testament, a heartbreaking letter addressed to his brothers that outlines his despair over his growing deafness and his feelings of isolation. Though never sent, the letter was found among his belongings after his death and remains one of the most revealing documents of the composer’s inner life.

Yet despite the torment Beethoven experienced during that time, Symphony No. 2 is among his most extroverted works. There is no audible trace of the sorrow that marked its genesis; rather, it is brimming with invention, rhythmic vitality, and sly humor. This disconnect between Beethoven’s suffering and the exuberance of his music speaks to his ability to transcend circumstances through sheer creative will. As he wrote in the Heiligenstadt Testament, “Only my art held me back. It seemed to me impossible to leave the world until I had produced all that I felt was within me.”

The Second Symphony premiered on April 5, 1803, at a monumental concert organized by Beethoven. The event also featured the premieres of his Christ on the Mount of Olives and the third piano concerto, with the composer as soloist. Reviews were mixed—some complained of excessive novelty, while others hailed its imaginative power. One reviewer compared the finale to “a wounded dragon… lashing its tail,” a description that may reflect the piece’s energy more than any actual menace.

The symphony begins with a lengthy Adagio molto introduction—unusually expansive for its time—that is regal and exploratory. It builds suspense and energy through shifting harmonies and dynamics, culminating in a burst of momentum as the Allegro con brio launches. The first movement’s main theme, bouncing with playful insistence, is driven by a five-note upward turn that becomes a structural anchor. The mood is boisterous and witty.

The second movement, Larghetto, is lyrical and elegant, though with an undercurrent of restlessness. Its warm melodies and gentle orchestration conjure nocturnal serenity, with subtle surprises like offbeat accents and harmonic turns. It is perhaps the most Mozartian of Beethoven’s slow movements, though its emotional complexity already looks toward Romanticism.

The third movement is Beethoven’s first symphonic Scherzo, replacing the traditional minuet with something more kinetic and unpredictable. Rhythmic jolts, dynamic leaps, and sudden silences give it a mischievous character. The trio section provides contrast with a rustic dance-like passage featuring playful exchanges between winds and strings.

Then comes the raucous Allegro molto finale—a high-spirited and comedic tour de force. It opens with a cheeky two-note gesture (likened to a musical “hiccup”), followed by a series of galloping themes, surprising modulations, and sudden pauses. Beethoven builds a massive coda from seemingly incidental material, giving the movement cumulative energy. It is a finale full of surprises, and it’s where the composer’s humor truly shines.

In retrospect, Symphony No. 2 occupies a fascinating place in Beethoven’s output. It both closes the chapter on his early Classical period and foreshadows the groundbreaking work to come. Within a year, Beethoven would complete the Eroica. But here, in the D major symphony, we find a composer stepping into the fullness of his powers—confident, bold, and bursting with ideas.

Instrumentation – two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings

Duration – 32 minutes

~ Kenneth Bean 
Georg and Joyce Albers-Schonberg Assistant Conductor
Princeton Symphony Orchestra