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Of the large early symphonies from Brian's most striking creative period, when he was at the height of his powers, the second has been the most grevious omission from the record catalogue until now. Huge and tragic though not as huge as the Gothic, and sustaining a more consistent theme or mood , the work was referred to by the composer as "Man in his cosmic loneliness", which gives a powerful clue as to the prevailing atmosphere of the piece. The work begins quietly and ambiguously; although resolutely tonal overall, there are many moments in this work when the harmony is so adventurous as to suggest a kind of atonality.
The music builds in intensity - remember the shattering power of the Gothic's second movement, surely one of the greatest funeral marches ever written?
Restless and concentrated, the music is driven forward until it is suddenly interrupted by a strange otherworldly passage, related in mood to the introduction, after which in a conventional allegro form, the faster music returns and brings the movement to a close, out of which rises the slow movement, the beginning of the "Main Action" of the piece.
Stark and dolorous, this movement shares with the finale the position of the heart of the work; certainly it carries the most emotional weight, and is quite devastating in its relentless exploration of the theme of "loneliness". There follows the extraordinarily dynamic "battle scherzo" in which musical invention runs at so intense and concentrated a level as to suggest that the whole movement is in imminent danger of flying apart under the contradictory energies seething in the music.
