Symphony 2

Although the music of Saint-Saëns and Stenhammar is so very different, their lives overlapped and they shared a quest: the implementation of an authentic national art which reflected the true nature of their respective countries. French and Scandinavian composers were all too aware of the domination of the music world by their German counterparts and, in highly distinctive ways, both Stenhammar and Saint-Saëns eventually pursued nationalistic aims to quell the seemingly overwhelming influence, which was felt to be such a hindrance to their music, of composers like Bruckner and Wagner. For Stenhammar there was a "road to Damascus" experience when, shortly before the première of his expansive, romantic First Symphony, which he himself described as "idyllic Bruckner", he heard a performance of Sibelius' Second Symphony. Such was the impact of this overtly Scandinavian music that he withdrew this first symphony and forbade its further performance. It was ten years before he contemplated another one and he titled this second symphonic essay "Symphony Op.34 for Orchestra" not even acknowledging the existence of the self-proscribed first attempt. Stenhammar's early life was surrounded by a cultured and artistic family, yet the only formal musical study was at the piano and throughout his life he remained largely a self-taught musician. This was no deterrent to his being appointed conductor of the Stockholm Philharmonic Society, the Royal Opera, the New Philharmonic Society and the Gothenberg Symphony Orchestra where he raised the musical standard to rival other eminent European ensembles. His pianistic career started in earnest when he made his debut in Stockholm and flourished with over a thousand concert appearances in Sweden. In short, he became one of the most important Scandinavian musicians of his time with his compositions including songs, chamber music, piano pieces and larger-scale works for orchestra, choir and the opera house.

Stenhammar started work on his Second Symphony while on holiday in Rome in the spring of 1911, spending four years on its completion. First performed in Gothenburg in April 1915 it has always had an enthusiastic following in Scandinavia; the fact that there are at least four recordings currently available is something of a tribute to its long-lasting appeal. Just after Stenhammar had conducted a performance of Nielson's First Symphony, he wrote to his fellow composer some revealing words on his own Second Symphony: "Its greatest value is its very Nordic chastity and formal simplicity. I know that you have always tried and succeeded in warding off the influence of Wagner and I am increasingly convinced that that is the only possible way for us Nordic people, if we are to create our own style."

Sheri Rutland, our redoubtable timpanist and expert researcher of the internet, has drawn my attention to a review at http://inkpot.com/classical/stensym2.html, of the Naxos recording of Stenhammar's Second Symphony conducted by Petter Sundkvist with the Royal Scottish National Orchestra. These words capture the spirit of the music far better than I can, so I quote in full Inkpot's insights. "The Symphony opens with one of those simple, broadly striding themes on strings that you simply don't forget. Immediately, scenes of Scandinavian landscape fill the air. The music seamlessly moves between dusky melancholy and brassy Norse heroism, accompanied by Sibelian woodwind birdsong. The conclusion, which appears almost out of nowhere, is stirring and confident. The Andante is an elegiac walk in the evening twilight, melancholic and thoughtful. The following Scherzo has a rustic character to its waltz, cleverly shifting from folksong simplicity to ballroom formality to a quick burst of joy. The Finale begins slowly, but soon develops into a frenzied 'Grosse Fuge' in the manner of Tchaikovsky's finales. The final pages of the symphony ardently sing a long sighing string theme, accompanied by woodwind staccato, before the brass enter with a dark heroic chorale of epic tones." The music has such an immediate emotional appeal that it is worthy of what must surely be its first performance in King's Lynn.