Beethoven: Symphony No. 2 in D Major, Op. 36 & Mozart: Symphony No. 35 in D Major, K. 385 “Haffner” Cameristi della Scala & Wilson Hermanto

• Ludwig van Beethoven (1770 - 1827): Symphony No. 2 in D Major, Op. 36:
• 1 Beethoven: Symphony No. 2 in D Major, Op. 36: I. Adagio – Allegro con brio 12:15
• 2 Beethoven: Symphony No. 2 in D Major, Op. 36: II. Larghetto 11:00
• 3 Beethoven: Symphony No. 2 in D Major, Op. 36: III. Scherzo. Allegro 03:34
• 4 Beethoven: Symphony No. 2 in D Major, Op. 36: IV. Allegro molto 06:16
• The Creatures of Prometheus, Op. 43:
• 5 Beethoven: The Creatures of Prometheus, Op. 43: Overture 04:57
• Wolfgang Amadeus Mozart (1756 - 1791): Symphony No. 35 in D Major, K. 385 “Haffner”:
• 6 Mozart: Symphony No. 35 in D Major, K. 385 “Haffner”: I. Allegro con spirito 05:36
• 7 Mozart: Symphony No. 35 in D Major, K. 385 “Haffner”: II. Andante 08:33
• 8 Mozart: Symphony No. 35 in D Major, K. 385 “Haffner”: III. Menuet 03:02
• 9 Mozart: Symphony No. 35 in D Major, K. 385 “Haffner”: IV. Presto 03:56
• Total Runtime 59:09

Info for Beethoven: Symphony No. 2 in D Major, Op. 36 & Mozart: Symphony No. 35 in D Major, K. 385 “Haffner”

It is fascinating to trace the gradual process by which the young Beethoven found his personal voice as a composer. The so-called “heroic” style, in which many see the “quintessential” Beethoven, may have been born with the Third Symphony, the Eroica. But this style was not born overnight. Already in the First Symphony (1799-1800), there are signs of a new musical world taking shape. In the Second, any echoes of Haydn and Mozart are secondary in a style that is moving in an entirely new direction.

Soon after the first fortissimo D that begins the symphony’s opening “Adagio molto,” it becomes clear that we are listening to no ordinary symphonic introduction. The first great change is in the orchestration: the opening melody is given to the woodwinds while the strings are silent. It is the first indication that the winds will have much more to do in this symphony than merely doubling the strings and taking a solo or two, as was the custom in earlier works. When the woodwind melody is repeated and expanded by the strings, we know that the equal balance between these orchestral sections was a primary concern of the composer’s.

There are other novelties. The music embarks on a series of modulations to distant tonalities; the strings scurry up and down in passages of rapid thirty-second notes into which the horns inject some strong off-beat accents. One can recognize Mozart’s “Prague” Symphony (in the same key of D major) as a model, but Beethoven packed a far greater number of events into little more than two minutes of music. ...

Cameristi della Scala
Wilson Hermanto, conductor

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Booklet for Beethoven: Symphony No. 2 in D Major, Op. 36 & Mozart: Symphony No. 35 in D Major, K. 385 “Haffner”