Symphony No. 2 (Sinfonia quasi una fantasia) (1952)

The work was written on a wave of success enjoyed by young Baird. Its three-part form and the structure of successive fragments reveal the composer’s individual and free approach both to the sonata cycle and the sonata form.

I. Largo

In its general outline, it follows the rules of the sonata allegro. It is based on two themes and encompasses three phases. The first theme draws on Anton Bruckner’s Symphony in E flat major, “Romantic”. The second theme evokes the atmosphere of Nikolai Rimsky-Korsakov’s Scheherazade as well as the solemn mood of Carl M. Weber’s Der Freischütz . The sound material is organised around a centre in the form of the C note (as an individual note, in a fifth C-G dyad, in a C major chord).

II. Allegro (quasi Variationi)

This movement is based on the variation technique, which, however, does not translate into a form comprising a theme and its variations. The structure of this movement is multidimensional, because it combines the ABA structure with the thematic dualism of the sonata allegro. Two opposing themes of the A section are presented by the piano (the lively and melodious first theme) and by the chorus of the brass (the calm and solemn second theme). The beginning of section B is a waltz and is based on the third theme, which brings to mind Richard Strauss’ Till Eulenspiegel.

III. Allegro ma non troppo

This movement, too, is modelled on the sonata form, with two contrasting themes: the first – march-like and solemn (resembling the third movement of Shostakovich’s Leningrad Symphony) and the second – quieter and more melodious. This final movement is dominated by the spirit of Shostakovich’s Symphony (in C major, Op. 60). Although Baird consistently remains outside the major-minor tonality, he still uses the C major chord as the central chord – ending with it many fragments, including the last bars of the symphony.

Symphony No. 2 is more mature than its predecessor and documents another stage in Baird’s creative development.

Press reviews after the premiere of the Symphony at the National Philharmonic Hall in 1953 were not favourable. Critics pointed to its not too clear formal structure as well as its hopelessly sad mood. These opinions depressed the composer and prompted him to withdraw the symphony from concert circulation and even to consider destroying the manuscript. As Baird himself recalled:

The Symphony was condemned after the premiere and I withdrew it, offended by the world and people.

Thanks to Alina Sawicka-Baird, the work has survived, however.