Influenced to a great extent by Beethoven and his monumental C minor fifth symphony, Hamerik crafted his second symphony in a similar vein, opening large in C minor and eventually modulating to a successful and triumphant C major at the end. In four movements, the work plays out at over forty-two minutes.

The opening bars are large and ominous and immediately invoke images of the composer's long time mentor, Hector Berlioz. A recurring theme is heard in the oboe and an extended trumpet fanfare introduces a marching first theme. This moves to an effective passage of hymn-like four part harmony which is well constructed. The movement, impressive at nearly sixteen minutes, alternates between contemplative and forceful passages and the oboe theme is heard twice more. The second movement, marked Andante penitente, begins after a brief introduction with an extended, very lyrical bassoon solo, and soon solo passages are heard from several instruments, as if they are intended to be voices contributing to some lengthy, doleful plaint.

The third movement Allegro marcato, brief at just over five minutes, passes for a sort of scherzo. It opens and builds upon an effective little melody and the movement features some simple counterpoint as the different choirs of the orchestra seem to play with it. Repeating a device the composer used in his first symphony, the middle section of the movement is a waltz, after which the first melody returns and leads to a stirring coda. It is a fine study in sonata form used to craft a short but effective movement. The finale, itself in three parts, marked in succession Adagio, Allegro passionato, and Allegro molto vivace, is a sort of kaleidoscope of emotions, thrusting, retreating, barking, snapping, and finally, in a large and glorious coda, bursts into joy.

Although it is conventionally constructed and scored, the work is not boring. Far from it, in fact, as it builds momentum and tension through satisfying steps to an exciting and logical conclusion. The listener may detect the influence of Berlioz and even shade of the great Russian romantics, particularly in the finale. Overall, it is a fine work, if not complicated, and very enjoyable.

© Michael Morrison, Rovi