Symphony No.2 - László Lajtha

Pécs Symphony Orchestra conducted by Nicolás Pasquet.
I - [No tempo mark]: 0:00
II - Molto vivace e leggiero: 10:19
III - [No tempo mark]: 18:58
Lajtha's Symphony No.2 was composed in 1938, unfortunatelly it has never been published. Lajtha sent it to his editor in Paris but it has remained in an archive since then. It wasn't premiered until December 5 of 1988, performed by the Hungarian State Symphony Orchestra conducted by Antal Jancsovics at the Budapest Academy of Music.
The work is very different than the exuberant and vigorous first symphony, despite being composed just two years after. It's somber and tragic tone recalls Lajtha's experiences in the front during World War I as an artillery officer, but it also reflects the growing tensions and violence that would lead to the second world war the next year.
The first movement is structured in a modified sonata form. It opens with a somber and bellicose main theme in form of a dissonant march, which is darkly developed. A more melodic second theme appears in the woodwinds, deeply melancholic. String tremolos lead us to a slow and disconcerting second development, always somber and in piano. An orchestral outburst leads us to a rhythmic part of the development, culminating in an expressive climax surrounded by warlike motives. We don't find the usual recapitulation, but the main themes subtly reappear through the development. A forceful coda ends the movement.
The second movement is very free in form, not resembling any traditional structure. It begins with an colourful and rhythmic main theme, mysterious and urgent. It is developed in the interplay and dialogue between instruments and different groups. A dark march emerges from the dephts with great tension, leading us to a dissonant climax. Some melodic motives attempt to introduce some contrast, but soon they are supressed. The music becomes denser and contrapuntal as these materials are combined. A varied recapitulation of the main theme leads us to a playful coda.
The third movement is loosely structured in sonata form. it opens with two chords as a brief introdcution, followed by an expectant and questioning main theme, being followed by violent orchestral outbursts. A colourful development ensues, as with the first movement, somber and alway in piano. A violin solo introduces a lyrical second theme in the obscure midst. The piano opens a forceful passage that culminates in a very dissonant and bitter anticlimax. It is followed by a even more dissonant and bitter climax. The violin brings back the second theme, leading us to a forceful coda based on the main theme.
Picture: Photograph of men of the 12th Battalion, Hampshire Regiment in training at Hengistbury Head near Bournemouth, Dorset. Wearing his gas mask, a soldier advances through a smoke screen.
Musical analysis partially written by myself. Source: bit.ly/38iyLxR

[@neiltheblaze]

I'm hearing this composer for the first time. What a powerful, gripping. devastating piece of music. How have I not heard of him before? He died when I was 10. I'm pushing 70 and am now only hearing him. Unbelievable.

[@johnpcomposer]

The tonality is more ambiguous as well. Darkly charming in places and downright ominous in others.

[@ronaldbwoodall2628]

This symphony starts in full battle force, then paints the grim, unforgiving, bleak landscape of war, all with a biting, dissonant passion. The work's disregard for any possible favorable, or even positive, audience response that it might receive only indicates the seriousness of purpose of the spirit, and of the humanity, with which its composer imbued it. I daresay that that disregard did not in fact deny such a response, but rather that the composer's vision, integrity and inspiration was fully recognized and appreciated.

[@johngough2958]

This was the first piece by Lajtha I heard - I bought this as a CD on a whim nearly 30 years ago in Rome. As a rule of thumb the even numbered symphonies are upbeat (especially the 4th - this one is a bit dark and brooding but has great giddy parts) with the odd numbered ones downbeat.

[@classicore22]

Thank you! I appreciated the article you linked to in the description. I'm especially looking forward to the Eighth Symphony.

[@maxlinder5262]

Reminds me of a film 📽️ score.....

[@rogermaes6001]

Symphonic music and film score are twin sisters. 😘 (Korngold, Rozsa, Frankel, Waxman, Arnold, Akira Ifukube, Copland, Bernstein, Bliss, Farnon, Devreese, Glass, Ibert, Honegger, Milhaud, Hermann, efc.)

[@Syllogyzym]