Basel Radio Symphony Orchestra conducted by Alun Francis.
I - Paisible: 0:00
II - Mystérieux: 5:41
III - Douloureux: 11:07
IV - Avec sérénité: 19:34
V - Alleluia: 22:52
Milhaud's Symphony No.2 was composed between September 18 and November 7 of 1944, being commissioned by the Koussevitzky Music Foundations in memory of Serge Koussevitzky's second wife Natalie, who had died in 1942. It was premiered on December 20 of 1946, performed by the Boston Symphony Orchestra with the composer himself conducting (other sources claim it was Serge Kousevitzky).
After Milhaud arrived in the United States for the premiere of his first symphony, emigrating from the war and a near certain persecution due of his family's jewish origins. The composer secured a teaching post at Mills College in Oakland (California), while at the same time composing very prolifically. The second symphony resembles the first in that, despite being written in turbulent times for both the world and the composer's life, its luminosity and lyrism shine in an almost idyllic manner, with the exception of the second and third movements. The use of polytonality in these large forms is also of great musical interest.
The first movement is structured in a modified sonata form. It begins with a calm and lyrical main theme on piccolo and flute, being pastoral in nature. It is contrasted by a more angular and rhythmic second theme on trumpet and orchestra. Follows a development that combines the material in diverse ways. A gentle coda ends the movement.
The second movement is monothematic in form. It opens with an enigmatic main theme, lyrical but with an ambiguous tension. It is also characterized by a very high tessitura on violins, flutes, and trumpets, separated widely from the bass line. This material is then twisted and modified through polytonality. Tension accumulates until growing into an orchestra outburst, after which the opening theme is recapitulated in its original form. An uncanny coda ends the movement.
The third movement is also monothematic in form. It begins with an expressive and mournful main theme on English horn, presented over the rhythm of a funereal march. It passes to other woodwind instruments, being violently interrupted by brass outbursts. As the theme unfolds in a more dramatic way, the brass answers are more forceful and dissonant. It is an intense expression of pathos, a rare emotion in Milhaud's music. In the final section, an expressive and polytonal climax is reached with the third brass intervention. We find no consolation nor positive end, instead the music cuts-off suddenly.
The fourth movement is a short intermezzo in form of an arch. It opens with a lyrical and pastoral main theme introduced by flutes. A series of dialogues between instrumental groups (most notably between woods and strings) make most the music. A brief but vigorous climax is reached, before quickly receding into the opening lightness and luminosity. An uplifting coda ends the movement.
The fifth movement is structured as a theme and a fugue. It begins with a triumphal theme on full orchestra, which is then subjected to a polytonal fugue that result in invigorating dissonances. The music grows more brilliant and powerful, ultimately ending the work in a luminous blaze, an expression of confidence in the future.
Picture: "Liberation of Brest, France, August 18 of 1944" (1944) by the American painter Joseph Gary Sheahan.
Musical analysis partially written by myself. Sources: tinyurl.com/25uyqdrz and tinyurl.com/2auk5wz5
Unfortunately the score is not freely available.