The Philadelphia Orchestra conducted by Riccardo Muti.
I - Andante - Allegro giocoso - Andante (Tempo I) - (attacca): 0:01
II - Allegro: 7:52
III - Andante - Più vivo, poco agitato - Tempo I - Agitato - Tempo I - Appassionato - Più vivo - Tempo I: 19:31
IV - Tempestoso - Meno mosso - Tempo I - Poco più vivo - Tempo I - Meno mosso - Tempo I - (attacca): 33:13
V - Maestoso - Moderato - Maestoso: 39:12
Scriabin's Symphony No.2 was composed in 1901, being premiered on January 12 of 1902, performed by the Russian Musical Society Orchestra conducted by Anatoly Lyadov. The public reaction was very divided, while some applauded others whistled scandalously and shouted. According to the aunt of the composer, Arensky in a letter sent to Taneyev declared the following: "Second Symphony? It would be better to call it second cacophony."
While the work is not programmatic, Scriabin approved of an observation of the English musicologist Rosa Newmarch, who considered the work as the process of self-affirmation of the man. The initial theme of the symphony is transformed in an ascending way, until reaching the triumphant climax of its ending. This would also correspond with the cyclical nature of the work, in which themes and motives are passed and transformed in following movements in a manner similar to César Frank.
The first movement is structured in ternary form. It begins with a melancholic and passionate main theme, presented by the oboe, it will serve as the leitmotiv of the work. It grows more energetic and determined, reaching an expressive climax. In the middle part, a lyrical and dreamy second theme is presented by the violin. The oboe then recapitulates the main theme, with a crescendo leading us to an intense climax. A transition derived from the main theme leads us to the next part.
The second movement is written in sonata form. It opens with a vigorous and masculine main theme on strings. It is contrasted by a lyrical and tender second theme on the clarinet, soon dominated by the restless energy of the main one. Follows a passionate and stormy development section, using elaborate contrapuntal techniques. The music culminates in an intense climax, leading us to the recapitulation of the themes. A dissonant climax is reached, followed by a bittersweet afterglow. An impetuous and dramatic coda closes the movement.
The third movement is also structured in sonata form, unusual for a slow one. It begins with pianissimo string tremolos, followed by a pastoral main theme on the flute. It is taken by the violin in counterpoint with impressionistic bird calls of the flute, followed by the rest of strings. A more rhythmic and active second theme is then presented, followed by a development section that becomes more chromatic and Wagnerian as it unfolds. Subtle references to the main theme of the first movement are present. After a brief central climax which doesn't fully resolved, a dreamy passage of great beauty leads us to the recapitulation. An expressive and passionate climax is finally reached, before a peaceful coda ends the movement.
The fourth movement is written as a rondo (A-B-A'-C-B'-A''). It opens with a turbulent and violent main theme, followed by a more melodic second theme in the vein of Tchaikovsky. The main theme is then quickly repeated. A rushed and excited central episode leads us to the reappearance of the second and main themes. An opulent transition leads us to the final part.
The fifth movement is also written as a rondo (A-B-A'-C-A''-B'-A'''-Coda). It begins with a solemn and triumphal main theme in form of a march, a transformation of the main theme of the first movement. It is followed by the main theme from the third movement as the second, melodic one. As we can perceive compared with the rest of the symphony, the style here is more classical, moving away from the more progressive techniques observed in the previous movements. An powerful central climax is then followed by the reappearance of the main theme. The second theme is then voluptuously recapitulated. The main theme reappears in a glorious blaze. A brilliant coda ends the work.
In later years Scriabin felt that he’d somewhat missed the mark in the finale, he’d aimed at "radiant triumph", but achieved something more like "a military parade". "I liked it when I wrote it, but now it doesn't please me anymore... the last part is banal", he also wrote but did not revise the work.
Picture: "The Great Torchbearer" (1939) by the German sculptor Arno Becker.
Musical analysis partially written by myself. Source: bit.ly/3IS5U1w
To check the score: bit.ly/3JePh1w
Негізгі бет Symphony No.2 in C minor - Alexander Scriabin
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