played; but to be quite just we must pay homage to these masterpieces, and especially to the Second Concerto in F major, which is like a Beethovenian concerto: for we find there some of the spirit of the Bonn master. For Kretzschmar the ensemble calls to mind a beautiful autumn day—the morning, where the rising sun pierces its way through the clouds—the afternoon, the joyful walk, the rest in the forest, and finally the happy and belated return. It is difficult in fact not to have natural scenes brought before one's eyes in hearing these works. The first Andante Larghetto, which predicts, at times, the Pastoral Symphony of Beethoven, is a reverie on a beautiful summer's day. The spirit lulls itself with nature's murmur, becomes intoxicated with it, and goes to rest. The tonality rocks between F major to B flat major and G minor. To render this piece well it is necessary to give the time plenty of play, often retarding it, and following the composer's reverie in a spirit of soft leisurely abandon.
