Albert Roussel - Symphony No. 2, Op. 23 (1919-21)

Albert Charles Paul Marie Roussel (5 April 1869 – 23 August 1937) was a French composer. He spent seven years as a midshipman, turned to music as an adult, and became one of the most prominent French composers of the interwar period. His early works were strongly influenced by the impressionism of Debussy and Ravel, while he later turned toward neoclassicism.

Symphony No. 2 in B flat Major, Op. 23 (1919-1921)
Dedication: Emmanuel Rhené-Baton

1. Lent (♩= 72) - Moins lent (♩= 84) - Lent - Moins lent - Modérément animé (♩= 108)
2. Modéré (♩‧ = 88) (15:20)
3. Très lent (♩= 44)- Moins lent (♩= 52) - Très lent - Modéré (♩= 84) - Très lent (♩= 48) - Moins lent - Modérément animé (♩= 96) - Plus animé (♩= 108) (23:11)

Orchestre National de France conducted by Charles Dutoit

Description by Aaron Rabushka [-]
This work is a grand and brooding symphony whose tone is mostly one of striving. It is in three movements, each of which includes fast and slow music.

The first movement starts out slowly, gets faster, then slows down again. The densely-colored introduction introduces a tonal conflict between D major and the title key, B-flat. Eventually violins come in with the first theme of the fast part, which is later taken up by flute and oboe. Both the theme and its accompaniment are nervous and insistent. Horns and violas announce the more sunny and optimistic second theme, after which both themes are worked over in an atmosphere of striving and conflict. Material from the introduction intercedes, as if to halt progress, and things slow down on the way to the conclusion, which, like the introduction, is in B-flat and D.

The second movement starts out fast, with woodwinds prominent. Shortly after the beginning the violins give out a gamboling theme over piquant harmonies and colors. Sometimes the gamboling becomes heavy-footed, informed by Roussel's characteristic gruffness. The coloristic felicities are too numerous to mention, although a high clarinet line over lusty horn parts seems noteworthy. The middle section is slower, and more reflective. A tad disturbed at first, it eventually works up to the striving mood of the first movement. The first part abrubtly dismisses the concerns of the middle section when it returns in a varied recapitulation.

The third movement starts out slowly, and returns to the striving tone and thematic materials of the first movement. The harmony eventually stabilizes into B-flat, resolving the tonal conflict if not the dramatic one. We may not be victorious, but we are at rest.