Breton - Symphony No. 2 in E flat Major - II. Andante non molto *RARE*
1,317 views · Published 15 July 2012 · 11:08 · Indexed 14 October 2026
Channel: DGatsby · 2012 · Music
The second movement of Spanish composer Tomas Breton's second symphony. I enjoy it quite a lot! Orchestra: Orquesta Sinfonica de Castilla Leon Conductor: Max Bragado-Darman From the linear notes: The "Symphony no. 2 in E Flat" was completed under the terms of the Academia de Bellas Artes in Rome. The work was based on a theme that he had written in Rome, but the composition as a whole emerged in Vienna between December, 1882 and March, 1883, during which time he was exposed to the symphonic works of the likes of Brahms and Gounod. The work comprises the usual scheme of movements: Allegro con brio, Andante non molto, a Minuetto-Scherzando with a corresponding Trio, and the Finale Molto Allegro. In general terms, this symphony reflects Breton's profound admiration for Beethoven, not only in its selection of key (E-Flat, the same as the Eroica) but also in thematic gestures throughout the work that call to mind Beethoven's fifth and eighth symphonies. The first movement was started shortly after his arrival in Vienna and conforms to the model of the extended sonata form as practiced by Beethoven, with two motives in the second subject followed by extended codas. Several aspects of the movement call to mind Beethoven's Eroica: the motivic [sic] development, the transformational and modulatory [sic] techniques, as well as the use of two themes based on both arpeggiation [sic] and a chromatic turn. The Andante non molto in A flat is more traditional in its adherence to the sonata form, but carries a certain thematic unity with the first movement in that employs a chromatic motive in the middle of the "A" section and the juxtaposition of this chromatic material with strong chords in the course of development. Breton was pleased with his achievement: "I have been able to complete the Andante, and much to my liking. IT was a tough job, but not as hard as I feared...I have insufficient words to express my gratitude for those who made [my scholarship] possible, for had I not left Madrid, despite the best intentions in the world, it would have been completely impossible to conceive such works." The Minuetto-Scherzando/Trio in B flat, conforms to the Beethovenian model, with a rapid tempo (allegro grazioso) and a contrasting Trio of smaller proportions. Breton changed his first motive shortly after starting the movement: "I have made another new idea that seems better than the previous one for the Scherzo," he wrote in his Diary. As in the second movement, Breton uses opposition and contrast to unify this movement with the work as a whole. The "Finale: Molto Allegro" is the most developed movement of the symphony. Initially, Breton had proposed writing a prelude and fugue but rejected the idea due to the inherent restrictions of the form; still, this last movement is completely saturated with contrapuntal elements. The first subject includes a short La mitad de tiempo based on a series of modulations drawn from the chromatic scheme of the previous movements. The second theme is reminiscent of the finale from Beethoven's fifth. The foundation of the movement however, lies in its motivic [sic] transformation.
