Symphony No.2 in B minor - Borys Lyatoshynsky

Ukrainian State Symphony Orchestra conducted by Theodore Kuchar

I - Lento tenebroso e con maesta - Allegro deciso ed impetuoso - Poco tranquillo - Allegro deciso ed impetuoso - Andante - Allegro - Maestoso - Velutato e tranquillo - Agitato e poco feroce - Grandioso e trionfante - Meno mosso: 0:00
II - Lento e tranquillo (Alla ballata) - Con moto e poco a poco più agitato - Tempo primo: 14:01
III - Andante - Allegro precipitato - Pochissimo meno mosso - Allegro precipitato - Meno mosso - Impetuoso e festivamente: 22:29

The Second Symphony of Borys Lyatoshynsky was written between 1935-36, is the first example of a Ukrainian-Soviet symphonic drama of conflict, with underlying contrast of pictures and moods by means of linear polyphony in the development of symphonic material. Here, however, is an example of a masterpiece doomed for long to remain unheard through historical circumstances.

The history of early critical opinion and the consequences of the symphony reflect the general situation in that period of Ukrainian culture, when each new work was judged by its effectiveness in the promulgation of the canons of Socialist Realism. Censors were not satisfied with Lyatoshynsky’s success in portraying a complex and eccentric reality and a generally insulting atmosphere throughout the symphony, a work turbulent, nervous, filled with deep pain and flashes of protest, yet, equally clearly, showing the composer’s love of life and his ideal of artistic and ethical responsibility towards his own people.

Immediately after the completion of the symphony in 1936 came the most damaging insinuation, a review published before the scheduled first performance and resulting in its cancellation, although the cancellation was attributed to the death of a leading member of the Communist Party. Although revised in 1940, the symphony joined the ranks of works by Prokofiev and Shostakovich, whose Fourth Symphony had to wait 26 years for its first public performance. With others held guilty of formalism, forgotten and awaiting eventual rehabilitation, the symphony was not performed until 1964.

The first movement is written in a sonata form with an introduction. The work opens with a slow, brooding introduction, with contrapuntal lines entwining in a dark ambience. The main theme, enhanced by the brass, is fiery, combative but still deeply expressive and passionate. As a contrast, the secondary theme is rather passive and melancholic, presented by the cellos, in an almost dreamy atmopshere. The development is distressing and constantly buffeted by winds of tragedy and evil, often expressed in frightening dissonances. There is a fugal section that seems striving to fly away from that atmosphere, but fails. After a brief but powerful climax of the main theme, comes a meditative section with woodwind solos. Then, the main theme is recapitulated. The two themes are combined polyphonic in the coda, ending with the main theme interrupted by an interrogative mark.

The second movement is written in a ternary form. It opens wirh a main theme presented through the corno di bassetto or tenor clarinet. Its warm timbre underlines the contained melody of the theme, having a slow dance pulse in some sections, but maintaining a restrained and serious tone. In the middle section, a new theme is presented on a tragic vein.The harsh harmony that accompanies the section gives it a pessimistic tone. The music reaches a tragic greatness. Then, the lyrical main theme is recapitulated, concluding with the clarinet repeating the main melody.

The third movement is written in sonata form preceded by an introduction. The brief andante from the opening leads to a violent, expressionistic theme. In a profound contrast, the second theme is deeply lyrical and passionate, setting a state of conflict and doubt. The development is lead by the main theme, with the snare drums and fanfares marking the militaristic nature of the conflict, clashing tragically with the lyrical theme at moments. After a great militar crescendo, with the snare drum marking the rhythm, the second theme reaches a passionate climax. A vigorous march is presented by the brass with the support of the complete percussion as a new climax. The coda is a whirlwind produced by the fusion of both themes; tragically lyrism and great expressive force, ending with a feeling of optimism before concluding with an arid blow.

A tragic symphony presenting the characteristic style of the composer, which tells us about human suffering and struggles in a romantic style, trying to show the formation of a new individual type in new social conditions.

Picture: "The Apparition" (1876) by the French painter Gustave Moreau.

Sources: https://bit.ly/32nXjyK, https://bit.ly/3uXKJCK and https://bit.ly/3glP7Ht