Uploaded March 2026 | Updated September 2026, 2 weeks ago
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Impressioni. Allegro (𝅘𝅥 = 120-32) - Poco maestoso - Meno mosso (𝅘𝅥 = 120) - Tranquillo (𝅘𝅥 = 112) - Tempo I (𝅘𝅥 = 120-32) - Tranquillo (𝅘𝅥 = 112) - Tempo I - Meno mosso (𝅘𝅥 = 120) - Molto allegro (𝅗𝅥 = 80) - Meno mosso poco tranquillo - Tempo I (𝅘𝅥 = 120-32) - Allegro molto (𝅗𝅥 = 80-100) - Maestoso (𝅘𝅥 = 132) - Allegro molto (𝅗𝅥 = 80) - Largamente - Feroce - Largamente - Feroce - Largamente - Feroce - Largamente - Feroce - Tempo I, sostenuto - Meno mosso (𝅘𝅥 = 112): 0:00
II - Lamentazione. Adagio, molto tranquillo (𝅘𝅥 = 56) - Un pochettino più mosso (𝅘𝅥 = 72) - Tempo I (𝅘𝅥 = 56) - Un pochettino più mosso - Liberamente (𝅘𝅥 = 66) - Poco meno e sostenuto - Più mosso (𝅘𝅥 = 72) - Tempo I - Pochettino più mosso (𝅘𝅥 = 72) - Poco allegretto (𝅘𝅥 = 100) - Subito meno mosso (𝅘𝅥 = 66) - Tranquillo - Tempo I: 11:37
III - Espressione. Allegro (𝅗𝅥. = 80): 22:05
Holmboe's Symphony No.2 was composed between 1938-9, winning a Scandinavian competition organized by the Royal Danish Orchestra (Det Kongelige Kapel) in Copenhagen. This win launched the composer's career in his natal Denmark, and after the war, throuhout Europe. It was premiered in Copenhagen on December 5 of 1939, performed by the Royal Danish Orchestra conducted by Egisto Tango. Initially left out, the conductor was the one that selected the piece and convinced the jury of its greatness. He never clarified why he considered this work so important.
Holmboe's second is the first of four symphonies (Nos. 2-5) which relate to World War 2. Dedicated to the composer's parents, this symphony originally carried the subtitle "Impressions of September." Near the end of his life, Holmboe explained that the music could be considered a "forewarning of war". He meant this in no specific descriptive way, merely as a general guide, a partial but clear recollection of a musical impetus and its environment. The symphony is also noteworthy for its orchestration, formal variety and motivic unity.
The first movement is rather free in form, not following a standard structure. It opens with a series of dramatic chords, which introduce a three-note motive within the interval of the second, this is the basic root most of the symphony is based on. From this simple motif several contrasting themes are born and exposed, some rhythmic and imperious and other gentle and melodic in nature. With marching rhythms and the opening gesture returns each time the music becomes more fierce and agitated, Holmboe creating an effective contrast of moods throughout the allegro. The development of the material is largely synthesizing in nature, with startling moments such as passages in irregular metre and one in which a solo trumpet is accompanied by string glissandi. A shortened kind of recapitulation leads to a vigorous climax, before a sombre and introspective coda ends the allegro.
The second movement is also rather free in form. It opens with a sombre theme on low strings that seems in direct continuation with the previous movement, also being largely based on the opening motive and the interval of the second. It contrapuntally unfolds on strings with great sobriety, before woodwinds are gradually introduced with decorative figures that add more colour. Although a few contrasts in the movement are as strong as those in the first movement, the emphasis in this adagio is on continuity. Brass appear in the central section with a stern fanfare. A dissonant and rarefied climax is reached in the poco allegretto, concluding with a sudden bang before the adagio ends with a meditative coda and a return to the opening obscureness in which we can hear the fundamental contour of the second.
The third movement eludes a traditional structure. It begins with a noisy and vigorously rhythmic theme, which again is based on the opening motive of the symphony. It soon becomes the subject of a flowing and melodic fugato, a rare procedure in Holmboe's music. Gradually more and more instruments are added as the musical texture thickens, contrasted by lighter passages. An agitated climax is reached in which the marching rhythms and irregular metre of the first movement briefly return in full force. A long crescendo begins with a flute and cello duet, with the music growing more and more resolute and wilful. The symphony thus ends with an affirmative and resounding conclusion on full orchestra.
Picture: "Simeon the Stylite" (1939) by Dutch painter Carel Willink.
Musical analysis partially written by myself. Sources: tinyurl.com/yllw5rdt and tinyurl.com/yl3btoq2
To check the score: tinyurl.com/yl3btoq2
Aarhus Symphony Orchestra conducted by Owain Arwel Hughes.
I - Impressioni. Allegro (𝅘𝅥 = 120-32) - Poco maestoso - Meno mosso (𝅘𝅥 = 120) - Tranquillo (𝅘𝅥 = 112) - Tempo I (𝅘𝅥 = 120-32) - Tranquillo (𝅘𝅥 = 112) - Tempo I - Meno mosso (𝅘𝅥 = 120) - Molto allegro (𝅗𝅥 = 80) - Meno mosso poco tranquillo - Tempo I (𝅘𝅥 = 120-32) - Allegro molto (𝅗𝅥 = 80-100) - Maestoso (𝅘𝅥 = 132) - Allegro molto (𝅗𝅥 = 80) - Largamente - Feroce - Largamente - Feroce - Largamente - Feroce - Largamente - Feroce - Tempo I, sostenuto - Meno mosso (𝅘𝅥 = 112): 0:00
II - Lamentazione. Adagio, molto tranquillo (𝅘𝅥 = 56) - Un pochettino più mosso (𝅘𝅥 = 72) - Tempo I (𝅘𝅥 = 56) - Un pochettino più mosso - Liberamente (𝅘𝅥 = 66) - Poco meno e sostenuto - Più mosso (𝅘𝅥 = 72) - Tempo I - Pochettino più mosso (𝅘𝅥 = 72) - Poco allegretto (𝅘𝅥 = 100) - Subito meno mosso (𝅘𝅥 = 66) - Tranquillo - Tempo I: 11:37
III - Espressione. Allegro (𝅗𝅥. = 80): 22:05
Holmboe's Symphony No.2 was composed between 1938-9, winning a Scandinavian competition organized by the Royal Danish Orchestra (Det Kongelige Kapel) in Copenhagen. This win launched the composer's career in his natal Denmark, and after the war, throuhout Europe. It was premiered in Copenhagen on December 5 of 1939, performed by the Royal Danish Orchestra conducted by Egisto Tango. Initially left out, the conductor was the one that selected the piece and convinced the jury of its greatness. He never clarified why he considered this work so important.
Holmboe's second is the first of four symphonies (Nos. 2-5) which relate to World War 2. Dedicated to the composer's parents, this symphony originally carried the subtitle "Impressions of September." Near the end of his life, Holmboe explained that the music could be considered a "forewarning of war". He meant this in no specific descriptive way, merely as a general guide, a partial but clear recollection of a musical impetus and its environment. The symphony is also noteworthy for its orchestration, formal variety and motivic unity.
The first movement is rather free in form, not following a standard structure. It opens with a series of dramatic chords, which introduce a three-note motive within the interval of the second, this is the basic root most of the symphony is based on. From this simple motif several contrasting themes are born and exposed, some rhythmic and imperious and other gentle and melodic in nature. With marching rhythms and the opening gesture returns each time the music becomes more fierce and agitated, Holmboe creating an effective contrast of moods throughout the allegro. The development of the material is largely synthesizing in nature, with startling moments such as passages in irregular metre and one in which a solo trumpet is accompanied by string glissandi. A shortened kind of recapitulation leads to a vigorous climax, before a sombre and introspective coda ends the allegro.
The second movement is also rather free in form. It opens with a sombre theme on low strings that seems in direct continuation with the previous movement, also being largely based on the opening motive and the interval of the second. It contrapuntally unfolds on strings with great sobriety, before woodwinds are gradually introduced with decorative figures that add more colour. Although a few contrasts in the movement are as strong as those in the first movement, the emphasis in this adagio is on continuity. Brass appear in the central section with a stern fanfare. A dissonant and rarefied climax is reached in the poco allegretto, concluding with a sudden bang before the adagio ends with a meditative coda and a return to the opening obscureness in which we can hear the fundamental contour of the second.
The third movement eludes a traditional structure. It begins with a noisy and vigorously rhythmic theme, which again is based on the opening motive of the symphony. It soon becomes the subject of a flowing and melodic fugato, a rare procedure in Holmboe's music. Gradually more and more instruments are added as the musical texture thickens, contrasted by lighter passages. An agitated climax is reached in which the marching rhythms and irregular metre of the first movement briefly return in full force. A long crescendo begins with a flute and cello duet, with the music growing more and more resolute and wilful. The symphony thus ends with an affirmative and resounding conclusion on full orchestra.
Picture: "Simeon the Stylite" (1939) by Dutch painter Carel Willink.
Musical analysis partially written by myself. Sources: tinyurl.com/yllw5rdt and tinyurl.com/yl3btoq2
To check the score: tinyurl.com/yl3btoq2
