This symphony by a member of a well-known Estonian musical family is very attractive, making worthwhile listening despite being completely conventional in conception.

Villem Kapp (1913 - 1964) was the nephew of pioneering Estonian composer Artur Kapp (1878 - 1952) and, therefore, cousin to Eugen Kapp (1908 - 1996), Artur's son and also a notable composer. Artur was Villem's first composition teacher. He got more formal training with Heino Eller at Tallin Conservatory, and later taught there.

On the evidence of this symphony Villem Kapp had a great skill and imagination when it came to crafting melodies, so a traditional tonal idiom (such as the Soviet Communist Party required) might have come naturally to him. He was best known for his vocal and choral music; instrumental works such as the symphony share a tendency towards clear outlines and easy graspable melodies.

Symphony No. 2 is 30 minutes long. It has the standard four movements, in a traditional layout. The work is entertaining, excellently orchestrated, and well-planned for dramatic effect. It is not strong on individuality, and except for the finale, Kapp shows no interest in making a Romantic-style grand gesture or deep statement, though in other respects the symphony is highly Romantic.

The first movement, Grave - Allegro risoluto is in the traditional sonata-allegro form with a fairly short introduction featuring a melancholy clarinet solo and lush strings; the music is reminiscent of Rachmaninov. The formal divisions of this movement are absolutely clear: There is a first subject with a faintly martial mood, still in the Tchaikovsky-Rachmaninov orbit, built on a trombone figure from the introduction. (This becomes a four-note subject that is the cyclical motto of the symphony.) The second subject is warm and lyrical, with a modal flavor that brings Vaughan Williams to mind. (For this writer, such stylistic comparisons are merely descriptive, not in any way pejorative.) The movement rises to a rich sound—not precisely a "Hollywood Sound" but what that sound might have been if the composers who established it had been Eastern European rather than Germanic.

The second movement, Adagio espressivo, is built on two pretty themes, the first of which, on clarinet and at the end of the movement given to cellos, is truly lovely, with the profile of a popular song.

The scherzo, Allegro, is witty and inventive in its scoring, light-hearted and appealing in its country dance character.

The finale begins in Allegro but breaks down into several sections in different tempos. It is here that the symphony lets down a little bit, as though Kapp had realized there was little sense of conflict up to here and so decided to give the proletarian class struggle its (expected) due. Nevertheless, the movement is quite satisfactory despite an occasional sense of falseness.

In the end this symphony is deserving of performance and rehearing because it is well-crafted to be entertaining and interesting throughout, though it is likely not to be listed as a masterwork or historic musical landmark.

© All Music Guide