Symphony No.2 in C minor - Alexander Scriabin

Philadelphia Orchestra conducted by Riccardo Muti

I - Andante - Allegro giocoso - Andante - (attacca): 0:00
II - Allegro: 7:52
III - Andante: 19:30
IV - Tempestoso - (attacca): 33:13
V - Marcia. Maestoso: 39:12

The second symphony by Alexander Scriabin was completed in November 1901. It was premiered on January 12, 1902 in St. Petersburg directed by Anatole Liadov. On April 3, 1903, it was presented in Moscow directed by Safonov. The public reaction was tumultuous, 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."

On May 30, 1907, it was premiered in Paris, directed by Arthur Nikisch, collecting laudatory comments from critics. Then the composer's opinion had changed, finding it mediocre, according to a statement to the critic and musicologist Michel-Dimitri Calvocoressi.

The first movement is of a meditative nature. Two themes are presented opposite, the first of a voluntarily active character, which is presented by the clarinet and the second more dreamer, more passive. The first theme will serve as leitmotiv of the work. Following a typical development of the sonata form, it ends with the recapitulation and in the coda the main theme of the introduction is repeated.

The second movement presents a powerful first theme through the violins, which becomes more hectic in the orchestra. The contrasting theme is presented by the clarinet, a more tender theme, but soon dominated by the agitation of the previous theme. It also follows the sonata form, being its development more complex, using more elaborate contrapuntal forms. We reached moments of great drama before the recapitulation. An impetuous coda closes the movement.

The third movement begins with an idyllic pastoral theme, played by the flute. The music takes an impressionist air. Uncommon thing, the slow movement is also written in the sonata form. Imitations of bird songs increase the pastoral environment. The second theme is characterized by its energy. Scriabin employs a Wagnerian chromatism in development. The initial theme closes the movement.

The fourth movement has the shape of a rondo. The main theme is impetuous with instants of great turbulence, contrasting with lyrical moments almost in the style of Tchaikovsky. It is presented as a prologue to the tremendous movement that will close the work, with which it connects without interruption.

The last movement is a new rondo. The main theme is a solemn and victorious march, based on the first theme of the symphony. The development of the movement is more classical, moving away from the more progressive techniques observed in the previous movements. The work ends with a majestic interpretation of the march.

The last movement did not quite satisfy the composer, but he never made his correction. We can consider it in a style similar to that of his first symphony.

Despite the criticisms of Arensky and Taneyev, it is a symphony whose foundations are still anchored in Tchaikovsky, with the additive of Wagner's chromatic procedures and notes of French Impressionist music. As we can see, the style elaborated by Scriabin had an air of Europeanism, departing from Russian folklore.

Regarding its meaning, Scriabin left no explanation. But he approved the observation of the English musicologist Rosa Newmarch, who considered it 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 song of its ending.

Picture: The Great Torchbearer (1939) by the German sculptor Arno Becker.

Sources from this spanish website on Scriabin symphonism: http://www.historiadelasinfonia.es/monografias/las-sinfonias-de-scriabin/sinfonia-no-2-en-do-menor/

Видео Symphony No.2 in C minor - Alexander Scriabin канала Sergio Cánovas