Symphony No.2 - David Diamond

Seattle Symphony Orchestra conducted by Gerard Schwarz.

I - Adagio funebre: 0:00
II - Allegro vivo: 14:04
III - Andante espressivo, quasi adagio: 19:56
IV - Allegro vigoroso: 34:23

Diamond's Symphony No.2 was composed between 1942-3, during a time full of tension motivated by war and his personal lack of economic resources. Advised by Mitropoulos, Diamond sent the score to the director of the Boston Symphony Orchestra, Serge Koussevitzky, known for his support given to contemporary music. The work was then premiered on October 22 of 1944.

The first movement is written in a modified sonata form. It begins with a tragic motive, over which a broad and elegiac main theme is presented by strings. It is then developed and transformed in a style that reminds us of Mahler. A more contemplative and lyrical second theme is then presented by the oboe over viola tremolos, derived from the opening motive. The fateful tremolos and timpani blows lead us to a tragic climax. It is followed then by a lengthy and contrapuntally complex development, combined along the recapitulation of the materials. A quiet coda closes the movement.

The second movement is a scherzo in ternary form. A forceful and acid main theme is presented with great energy, being derived from the second theme of the first movement. The overall mood is one of almost unbridled ferocity, at great remove from the inwardly grieving tenor of the opening Adagio funebre. The trio consist of more melodic phrases of strings and woodwinds, but without new material. The scherzo is then resumed, but instead of a boisterous coda, a gentle one ends the movement.

The third movement is structured in sonata form. It opens with a melodic and meditative main theme introduced by bassoon and fully exposed by clarinet, being derived from the opening tragic motive. A solemn, chorale-like second theme is then presented by strings. A contrapuntal development ensues, which combines these materials. The music slowly grows until it culminates in a sober climax. The recapitulation brings back the themes, leading to a contrapuntal climax. Follows a series of solos of trumpet, oboe, flute and clarinet. The movement ends with a calm, if unresolved coda.

The fourth movement is structured as a rondo (A-B-A'-C-A''-B''-Coda). It begins with a vigorous and rhythmic main theme, full of a lively American character. After reaching an intense climax, a variation in form of a more melodic second theme is presented, which unfolds with a pulsating rhythm in the basses. The main theme is recapitulated, contrasted by a section dominated by dissonant brasses and strings pizzicati. The main theme is brought back, followed by the more melodic second theme. A boisterous and lively coda, based on the main theme, ends the whole work.

Picture: Photograph of a Vultee employee worker touches up the U.S. Army Air Forces insignia on the side of the fuselage of a Vengeance dive bomber.

Musical analysis partially written by myself. Sources: https://bit.ly/3vdMspR and https://bit.ly/3GjGbiM

Unfortunately the score is not available.