Brahms Symphony N0. 2 1st Movement Research Paper

Brahms Symphony N0. 2 1st Movement - Research Paper Example On the other hand, the existing of social classes during the period could have also played a critical role in his desire to be a composer as opposed to a performer. As a composer, Brahms particularly wrote a number of symphonies, piano works and choral compositions among other pieces. However, his greatest pieces were primarily those based on symphonic and sonata styles. Brahms’s second Symphony was one of the most successful pieces of Brahms’ compositions. Compared to the nearly fifteen years it took Brahms to do his fist symphony, the composition of the second symphony was relatively brief since it only took one year to be completed (Frisch 68). The first movement sonata form which is also known as â€Å"allegro non troppo† begins with double bases and cellos. Without any introduction, the first movement opens just with a Basic motive. The Basic motive generally assumes diverse rhythmic shapes and is gradually shifted to the other measures in order to effective ly pervade the movement. In the Allegro non troppo, the double bases art and the cellos begin the initial movement in a sonata form. Although the composition has no separate tempo designation, the opening movement initializes with a slow introductory section those thematic composition keeps on repeating itself frequently. The tranquil mood is overtaken by introduction of the horns as the standard theme. After around every 50bars the lively main theme that is particularly marked to be played gently and sweetly (dolce) is slowly introduced with the first violin sounds followed by marked cantando in the cellos. Johannes preserved almost every aspect of the structural principles based on the classical masterpiece. In this musical composition the two lively external movements frame slows while the second movement is overtaken by a slightly shorter scherzo. A number of musical frame works in the concerto No. 2 1st movement makes this musical flow fabulous. For instance, Brahms bases most of his movements in this concerto on a melody he had formerly tranquil for the Wiegedlied Op.49 often referred to as the â€Å"Brahms’s lullaby†. In the symphony No.2 1st movement, Brahms’s tune introduces an 82 bar and is continually brought back into existence, re-shaped and restructured both harmonically and rhythmically. In addition, Brahms has also effectively developed the section in a more unique instrumental join that gradually progresses into a full bodied forte in between bar 57 and 58. Much like was in his first symphony, Brahms ha a primarily used simple unifying motive in the first movement of his second symphony. For example the two main unifying motives in the first movement include a half note that is followed with a quarter note and an interval above or below the 1st and 3rd notes (MacDonald 98). As the first movement gradually progresses, the two motives increasingly become more altered, embellished and enterwined. However, these modifications are carefully juxtaposed against the original motives in order to provide a sense of continuity and preserve the fluidity of the piece. For example, in some cases, the second motive occasionally undergoes tonal mutation and transforms into a series of flowing octaves. This is particularly evident in measures between 21 and 28. On second Codetta in the first move