Uploaded August 2025 | Updated September 2026, 2 weeks ago
Gulbenkian Orchestra conducted by Michel Swierczewski.
I - Adagio - Allegro: 0:00
II - Andante: 8:50
III - Menuet. Allegro: 15:46
IV - Final. Allegro vivace: 19:45
Méhul's Symphony No.2 was composed between 1808-9, being the second one of a planned set of six symphonies for concerts at the Conservatoire, which he didn't manage to complete. It was apparently premiered on March 26 of 1809, possibly performed by the Conservatoire Orchestra. As with the rest of Méhul's Symphonies, it was severely neglected after the composer's death in 1817. A piano reduction of the symphony by Paul Vidal was published in 1922.
Cherubini dismissed Méhul's Symphonies as of little interest, François Habeneck refused to revive them, nor did François-Joseph Fétis find much of interest. They are clearly influenced by the Viennese School of Haydn, Mozart and (to a lesser degree) Beethoven. Comparisons have been drawn between this work and the early symphonies of Franz Schubert as well. Noteworthy are Méhul's modest and sensitive orchestration, as well as his contrapuntal invention. Described as the first romantic, these symphonies serve as bridges between the late classical style and the nascent romantic one.
The first movement is structured in sonata form. It begins with a substantial adagio introduction in D major, with ascending string figure and strong tutti chords, soon contrasted by a brief yet expressive climax in B minor. The main allegro starts with a strongly rhythmic and imperious main theme in D major, exposed forte on full orchestra and partially derived from the string figure. A dramatic minor-key transition leads to the second theme in A major, derived from the main one an again creating an effective contrast. The ensuing development, beginning in piano, is characterized by its abrupt modulations and intense chromaticism. The material is then recapitulated in the home key of D major. A brilliant and vigorous coda ends the allegro.
The second movement is written in a double-variation form, showing the influence of Haydn. It opens with a horn call leading to a melodic and expressive main theme in B minor, presented in piano by solo strings. It is then subjected to a series of variations that grow in complexity and contrapuntal sophistication. In the central part a more solemn second theme is introduced in a major key, composed of strong tutti chords against more melodic phrases. As with the main one, the second is also used as subject for subsequent variations. A dramatic coda brings the andante to a close with firm B minor tutti chords.
The third movement is a minuet in ternary form. It begins with a two-part, strongly rhythmic main theme in D major, presented in forte with sharp forte-piano dynamic contrasts and heavy scoring. As is customary, each part is repeated. The central trio features a two-part, more melodic second theme in G major, derived by the main one but in piano and with some added counterpoint. As with the minuet, each part is repeated. A transition leads to the repeat of the minuet before ending the movement with a firm D major chord.
The fourth movement is written in an expanded sonata form. It opens with an ostinato figure introduced by strings in piano, which serves as the basis of the lively main theme in D major. A dramatic minor-key transition leads to the second theme in A major, which as in the first movement, is clearly derived from the main one. After an E minor transition, the ensuing third theme is brilliant and dance-like, reminiscent of Beethoven. The use of the timpani has again been compared to Beethoven's use of the instrument in his Violin Concerto, but we don't know for sure if Méhul heard the work. The development transforms this material while delving in dynamic and harmonic contrasts. The themes are then recapitulated in the home key of D major. A triumphal coda ends the symphony with martial rhythms.
Picture: "The Judgement of Paris" (1808) by the French painter François-Xavier Fabre.
Musical analysis mostly written by myself. Sources: tinyurl.com/2xsgbxd3 and tinyurl.com/2xusqzwy
To check the score (piano reuction): tinyurl.com/29dcq4of
Gulbenkian Orchestra conducted by Michel Swierczewski.
I - Adagio - Allegro: 0:00
II - Andante: 8:50
III - Menuet. Allegro: 15:46
IV - Final. Allegro vivace: 19:45
Méhul's Symphony No.2 was composed between 1808-9, being the second one of a planned set of six symphonies for concerts at the Conservatoire, which he didn't manage to complete. It was apparently premiered on March 26 of 1809, possibly performed by the Conservatoire Orchestra. As with the rest of Méhul's Symphonies, it was severely neglected after the composer's death in 1817. A piano reduction of the symphony by Paul Vidal was published in 1922.
Cherubini dismissed Méhul's Symphonies as of little interest, François Habeneck refused to revive them, nor did François-Joseph Fétis find much of interest. They are clearly influenced by the Viennese School of Haydn, Mozart and (to a lesser degree) Beethoven. Comparisons have been drawn between this work and the early symphonies of Franz Schubert as well. Noteworthy are Méhul's modest and sensitive orchestration, as well as his contrapuntal invention. Described as the first romantic, these symphonies serve as bridges between the late classical style and the nascent romantic one.
The first movement is structured in sonata form. It begins with a substantial adagio introduction in D major, with ascending string figure and strong tutti chords, soon contrasted by a brief yet expressive climax in B minor. The main allegro starts with a strongly rhythmic and imperious main theme in D major, exposed forte on full orchestra and partially derived from the string figure. A dramatic minor-key transition leads to the second theme in A major, derived from the main one an again creating an effective contrast. The ensuing development, beginning in piano, is characterized by its abrupt modulations and intense chromaticism. The material is then recapitulated in the home key of D major. A brilliant and vigorous coda ends the allegro.
The second movement is written in a double-variation form, showing the influence of Haydn. It opens with a horn call leading to a melodic and expressive main theme in B minor, presented in piano by solo strings. It is then subjected to a series of variations that grow in complexity and contrapuntal sophistication. In the central part a more solemn second theme is introduced in a major key, composed of strong tutti chords against more melodic phrases. As with the main one, the second is also used as subject for subsequent variations. A dramatic coda brings the andante to a close with firm B minor tutti chords.
The third movement is a minuet in ternary form. It begins with a two-part, strongly rhythmic main theme in D major, presented in forte with sharp forte-piano dynamic contrasts and heavy scoring. As is customary, each part is repeated. The central trio features a two-part, more melodic second theme in G major, derived by the main one but in piano and with some added counterpoint. As with the minuet, each part is repeated. A transition leads to the repeat of the minuet before ending the movement with a firm D major chord.
The fourth movement is written in an expanded sonata form. It opens with an ostinato figure introduced by strings in piano, which serves as the basis of the lively main theme in D major. A dramatic minor-key transition leads to the second theme in A major, which as in the first movement, is clearly derived from the main one. After an E minor transition, the ensuing third theme is brilliant and dance-like, reminiscent of Beethoven. The use of the timpani has again been compared to Beethoven's use of the instrument in his Violin Concerto, but we don't know for sure if Méhul heard the work. The development transforms this material while delving in dynamic and harmonic contrasts. The themes are then recapitulated in the home key of D major. A triumphal coda ends the symphony with martial rhythms.
Picture: "The Judgement of Paris" (1808) by the French painter François-Xavier Fabre.
Musical analysis mostly written by myself. Sources: tinyurl.com/2xsgbxd3 and tinyurl.com/2xusqzwy
To check the score (piano reuction): tinyurl.com/29dcq4of
