Uploaded June 2026 | Updated September 2026, 4 days ago
This video is provided for non-profit educational use only; please contact me at pranav.sivakumar@berkeley.edu regarding any copyright issues.
00:05 I. Legendaire
10:08 II. (attacca) Sostenuto assai, grave e funebre
17:20 III. Tempestoso, ma non troppo allegro (quasi toccata)
Swedish Radio Symphony Orchestra conducted by Neeme Järvi
Eduard Tubin (1905-1982) was an Estonian composer and conductor, his country's most prolific and arguably greatest symphonist. For more on Tubin, see my score video of his eleventh symphony: youtube.com/watch?v=l-vYcU8buKo
Tubin's second symphony, composed in 1937, is, like the first and third, written in three movements. While the works of his middle and later period are perhaps more rigorously and tightly constructed (the first movement of the fifth symphony being a strong example), I also find interest in the greater fluidity and occasional surprises of these earlier symphonies, in this case the unexpected chamber-like atmosphere of the piano and violin in the final movement and the fragile epilogue which concludes the piece - in contrast to the composer's often bombastic endings.
This video is provided for non-profit educational use only; please contact me at pranav.sivakumar@berkeley.edu regarding any copyright issues.
00:05 I. Legendaire
10:08 II. (attacca) Sostenuto assai, grave e funebre
17:20 III. Tempestoso, ma non troppo allegro (quasi toccata)
Swedish Radio Symphony Orchestra conducted by Neeme Järvi
Eduard Tubin (1905-1982) was an Estonian composer and conductor, his country's most prolific and arguably greatest symphonist. For more on Tubin, see my score video of his eleventh symphony: youtube.com/watch?v=l-vYcU8buKo
Tubin's second symphony, composed in 1937, is, like the first and third, written in three movements. While the works of his middle and later period are perhaps more rigorously and tightly constructed (the first movement of the fifth symphony being a strong example), I also find interest in the greater fluidity and occasional surprises of these earlier symphonies, in this case the unexpected chamber-like atmosphere of the piano and violin in the final movement and the fragile epilogue which concludes the piece - in contrast to the composer's often bombastic endings.
