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Symphony No. 2, Op. 27

Alexander Grechaninov
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1909 | Full Orchestra
  • Excerpt 1
  • Excerpt 2
  • Excerpt 3
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I. Pastorale. Moderato assai e poco rubato - (poco più sostenendo)
reh. 8 - reh. 10
Skills & Techniques: Accuracy, Loud Playing, Slurring Flexibility
Horn 1 (F)
Picture
Russian State Symphony Orchestra (1996)
Slovak State Philharmonic Orchestra (1990)
II. Andante
mm. 6 - reh. 27
Skills & Techniques: Rhythms, Slurring Flexibility, Soft Playing
Horn 1 (F)
Picture

Russian State Symphony Orchestra (1996)
Slovak State Philharmonic Orchestra (1990)
II. Andante
1 mm. before tempo principale - reh. 33
Skills & Techniques: ​Accuracy, Endurance, Marcato Style, Rhythms
Horn 1-4 (F)
Picture
Picture
Russian State Symphony Orchestra (1996)
Slovak State Philharmonic Orchestra (1990)

Composer & Composition Information

  • Alexander Grechaninov
  • Symphony No. 2
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Alexander Grechaninov (1864-1956)

Alexander Tikhonovich Grechaninov (1864-1956) was a contemporary of Richard Strauss, and he lived to the ripe old age of 92. Born in Moscow, he became a U.S. citizen in 1949 and spent his final days in New York City. Unlike Richard Strauss, however, Grechaninov’s name was quickly forgotten. In his autobiography he writes, “I am not one of those fortunate people whose path of life is strewn with roses. From the very first I had to undergo a struggle with my father who did not want me to become a musician. Later, at the Conservatory, some of my teachers said I lacked talent. Even when I was well along in my career I had no support from great musicians who were my contemporaries. I must admit that the cause of this was my insurmountable shyness. I always imagined that my company was tedious and uninteresting to others, and so I avoided seeing people.” During his long and highly productive career, this prolific and versatile composer authored almost 1000 works, including operas, symphonies, church and chamber music, and a large number of songs. His large output easily attests to his mastery of traditional musical techniques and to his lyrical gift. Much of his music is rooted in the Russian nationalist tradition of Borodin, Tchaikovsky and Rimsky-Korsakov, and during a time of extensive modernist experimentations, his compositions were increasingly viewed as outdated.

The text & image are reprinted from Interlude where more information about the composer can be found. 
Picture

Symphony No. 2, Op. 27​

The earlier of the two symphonies recorded here dates from 1909, and was premiered almost immediately; the latter was completed in the early years of Gretchaninov’s post-Revolution emigration, and not until Barbirolli took it up in 1942 did it achieve a hearing. The works’ comparative fates do reflect something about them, for the Second is rooted in a world of Russian romanticism that was still yielding a harvest, even if the nurturing soil seemed to have grown a little thin and underfertilized, while the Fourth has virtually abandoned its Russian roots.

The best music of No. 2 comes in the two middle movements. The Andante has a distinct lyrical charm of its own, even if the Tchaikovsky heritage (shown specifically in a theme drawn from the second subject of the first movement of the Pathetique Symphony) is felt at every turn, except in the capacity for a sustaining form. The Scherzo makes use in one of its Trios of the folk-song that Stravinsky also used in the closing scene of The Firebird.


The text is written by & reprinted from Gramophone where more information about the composition can be found. 

Notable Performances/Recordings:
George Enescu State Philharmonic Orchestra (N/A)
​Russina State Symphony Orchestra (1996)
​
Slovak State Philharmonic Orchestra (1990)
© 2025. Maxwell Liber. All rights reserved.
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