I. Moderato – Allegro moderato II. Largo III. Scherzo. Allegro moderato IV. Finale. Allegro

Emil Petrovics writes the following about his new work:
“I composed this, my first work written strictly for a symphony orchestra, from January 2001 until October, in the first year of the new millenium. I decided not to employ instrumental soloists, or vocal soloists or a choir, or even an opera company; all those things which have characterised my works for the past decades. (This is how my concertos, cantatas, oratorios and operas were written. My first symphony was written for a string orchestra.)
I retained the cyclical principals worked out by the classical masters, which means that in four, contrasting movements, everything is expressed of which my music is capable, under the pretexts of conflict, joy, bitterness, play or simple sorrow. My fundamental artistic credo is the unconditional recognition of the primacy of melody. Every further creative element of the musical texture: counterpoint, harmony, rhythm, tone colour, tempo – either simply or with infinite complication – can become processes in the space defined – either obviously or concealed – by the melodies present.
The four movements of the Symphony No. 2:
I. Above the bass motion of the introduction (Moderato 4/4), which progresses in stubborn, dynamic extremes, unfolds the polyphonic melodic texture, leading to the section (Allegro Moderato 6/8) containing the most important ideas. Three characteristic themes: an emotional one, an almost naively simple melody, and an up-beat, almost clown-like theme compete with each other. A brief Coda concludes the movement.
II. Largo 2/2. In the first section, polyphonic, meditative material written for the strings attempts to create an “infinite melody” from the depths to the heights. The second section presents chorale variations, with dolorous woodwind solos. The final bars unite the two circles of thought.
III. Scherzo. Allegro moderato 6/4. Robust dance, but not aggressive, rather in the manner of good humoured motion. I could not prevent in the tympani solo from recalling the drum beats in the Scherzo of Beethoven's Ninth. The Trio strikes a decorous tone, learned from the Classics. There is a recapitulation, again adhering to the old “rules.”
IV. Finale. After a quiet introduction (Allegro 4/4) I indicate with a commotion expanded by powerful, playing percussion solos, that I have not lost hope that life is a beautiful and wonderful thing.
I wrote my Symphony No. 2 thanks to the enervating encouragement of Zsolt Hamar. Naturally I dedicate this work to him.