Symphony No.2 in E minor and C major - Arnold Bax

BBC Philharmonic conducted by Vernon Handley

I - Molto moderato - Allegro moderato : 0:00
II - Andante: 16:21
III - Poco largamente - Allegro feroce - Molto largamente : 28:35

The second symphony of Arnold Bax was written during the year 1924, finishing its writing without orchestrating the 10 of October. His orchestration caused some problems, not ending until March 26, 1926. It seemed that Bax had no desire to make known his work, until the director Serge Koussevitsky asked for a work to be performed by the Boston Symphony Orchestra. After preparing the score to be performed, it was premiered in Boston on December 13, 1929.

It uses an extensive orchestra that includes two tubas and a percussion composed of xylophone, glockenspiel and gong, along with two harps, organ and a piano. The two tonalities expressed in their title belong to the first movement that begins in C and ends in E ​​minor. Like Nielsen, Bax uses progressive tonality.

The first movement begins with a slow introduction that has a great importance: presenting four ideas which will be used in the other movements. Each movement has its own themes that will be used in conjunction with these first motives. The first motive is an ascending idea of ​​the basses supported by the trombones. It is followed by a fanfare of wood with a threatening sense. The third motive appears in the tubas and the low strings, a motif formed by three notes that will have great importance in the symphony. The fourth motive is an extensive fanfare interpreted by three trumpets with mute and three flutes. This set of motifs creates an oppressive environment. Immediately they are followed by a transition section with an especially magical effect, achieved by the use of the harp, the piano and an ostinato motif in the wood, which lead us to the allegro moderato.

The first theme has a great energy. This theme develops considerably reaching its climax before appearing the second theme of lyrical character. The strings presents it to us as if it were an interlude within the development. Then continues the development of the aggressive main theme that leads us to a new climax. The lyric theme resurfaces again in a kind of recapitulation. The coda is based on the main motive.

The second movement begins by presenting the third idea of ​​the introduction, the three-note motif, interpreted first by the lower strings. Then the first widely lyrical theme appears on the violins. Then the texture of the orchestra becomes more threatening. The second lyric theme is also presented by the strings, developing until reaching several climaxes. In the last one, there is a rupture with a pedal of C, sustained by the organ, presenting an oppressive catastrophic environment, as Bax says. When the pedal ends, a lamenting solo appears on the violin that precedes the strings, trying to re-establish the lyrical environment but without actually achieving it. The coda is cold, with some bitterness, while the sound is turned off.

The third movement, after a brief slow introduction, burst with all its fury the catastrophic atmosphere. The theme of three notes of the introduction of the symphony is developed as the first theme. Alternate with an aggressive pace of march. A calmer episode appears, but the three-note motive continues with its destructive idea. Then the great surprise of the work appears. The introduction of the first movement is repeated completely. These reasons are developed reaching their climax. The last part forms a kind of epilogue comprising an extensive coda. The organ accompanies the massive intervention of the orchestra. Then the music gradually fades until the trembling of the cellos.

A work that tells us about the interior life of the artist, at that time very disturbed. Bax did not want to talk about the meaning of his works, saying as always that it was only music. But his first desire to have it hidden gives us a hint of what it meant to him. An overly personal confession. According to Lewis Foreman, author of the book "Bax. A composer and his era "(1987), the symphony is a reflection of the decline of his relationship with Harriet Cohen. According to this author, it is Bax's most autobiographical work. His lyrical moments can be interpreted by the great love he felt for Harriet, but soon they are overshadowed by his personal remorse. The problems the couple went through were superior to their love.

Picture: "The Great Day of His Wrath" (1851) by the English painter John Martin.

Sources: http://www.historiadelasinfonia.es/historia-2/siglo-xx/bax/

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