Even as his First Symphony was making the rounds of Europe, Kalinnikov was completing his Second. What is even more remarkable is the artistic growth which took place in this brief period. Where the First Symphony boasted a plethora of "big tunes," to which it owed its early success, these were handled in somewhat lackluster outer movements. By the time its successor was completed in 1898, the ailing composer was nonetheless cheerily plying his craft with assurance and ease. The themes are attractive and melodious, their treatment is imaginative as well as symphonic. The term "sweep," the quality of a natural unfolding in motion, serves admirably here. Had Kalinnikov been granted a longer span, he could have been a great symphonist linking the era of Tchaikovsky with that of the post-Revolution composers, even going beyond national borders. And to boot, it is very enjoyable.

While suffused with typically Slavic melody, Kalinnikov was not adverse to looking towards Western models. The opening movement recalls that of Brahms' First Serenade in mood; there are some Wagnerian harmonic turns, as well as some Brucknerian processes (according to Vladimir Horowitz there was a Bruckner cult early on in Russia). The symphony commences with a broad, majestic introduction from which the happy main theme derives by diminution. Likewise is the slightly more pensive second theme skillfully derived from its predecessor. The third theme, a very Russian Trepak, is so short as to be almost a punctuation but will play a more important role as the work progresses. The development, where "padding" is wont to occur, shows instead great invention and variety. In the recapitulation the third theme is given more prominence. In the coda there is a reminiscence of the second theme by the horn before the last big finis. In the second movement, the English horn's plaintive theme accompanied by "strummed" harp and strings evokes a bardic, medieval atmosphere, which is contrasted with the lush exoticism of the second theme. There is a climax built on a Bruckner-like sequence, with the overall mood one of serenity and resignation, perhaps the only indication of the composer's reflection on mortality. The scherzo features a swinging triplet rhythm, martial yet frolicking, recalling that of Bizet's Symphony in C, the chattering woodwinds providing some sardonic humor. The trio, with the reappearance of the English horn, looks back to the slow movement. In the finale, festivity prevails as previous themes are woven into the fabric. The Trepak theme of the first movement makes a conspicuous reappearance while the grandiose opening theme reemerges in the development. Most striking in the recapitulation is the appearance of syncopation curiously premonitory of Gershwin. The recall of the symphony's opening theme sets the coda in motion and the work concludes on a joyous note, a hearty affirmation of life from one well aware of its preciousness.

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