Symphony No.2 in E flat major - Ernest Moeran / Martin Yates

BBC Concert Orchestra conducted by Martin Yates. I - Allegro - (attacca): 0:00 II - Scherzo. Allegro vivace - (attacca): 9:01 III - Adagietto - (attacca): 14:44 IV - Allegro vigoroso e poco maestoso: 26:26 Moeran’s Symphony No.2 was begun in 1939, but up until his death in 1950 he discarded several attempts, sketches and materials. He began with a four-movement idea of the work, but in 1947 switched to a single-movement work, still remaining full of doubts. After his death, his widow, Australian cellist Peers Coetmore, took the sketches back to her native country, where they still reside. In Melbourne, they were examined by conductor and composer Martin Yates, who found substantial materials for three movements (connected without breaks) in a piano score. However, the finale had barely any sketches, Yates having to compose following a sketched theme that didn’t fit in the rest of the movements. The completed work was recorded for a Dutton release and then publicly premiered with the BBC Concert Orchestra in 2011. The first movement opens with a luminous fanfare, followed by the presentation of a lively and rhythmic main theme. After a short climax, strings present a widely lyrical second theme, expansive and bright in its character. This exposition is substantial and extensive, as there is no development section for these materials, instead recapitulating the themes. A seamless transition leads us to the next movement, with the bassoon already anticipating it. The second movement is a scherzo, which begins with a colourful and jig-like theme. It is continuously transformed featuring a rich orchestration. A more melodic central part serves as kind of “trio“, before the scherzo is quickly resumed. The melodic material briefly reappears, serving as a transition towards the next part. The third movement opens with sinuous lines from the basses, which lead us to the exposition of a deeply lyrical main theme, firmly anchored in Irish folkloric roots. References to the main theme of the first movement can also be heard. The music culminates in an expansive climax, followed by a nostalgic passage that builds towards an expressive climax. A lyrical transition, with some heroic touches, leads us to the finale. The fourth movement begins with a forceful and triumphal main theme, soon contrasted by a lyrical second theme. The development is vivacious and full of energy, featuring extensive use of counterpoint. An intense climax is reached, followed by a violent passage full of dissonance and bravura. Sudden contrast is offered as the main theme of the first movement lyrically reappears, leading us to a forceful coda, full of life and joy. Picture: “The Day Dream“ (1880) by the English artist Dante Gabriel Rossetti. Musical analysis mostly written by myself. Source: Unfortunately the score is not available.