Symphony no. 3 in E flat major

David’s career in the purely symphonic genres was certainly not plain sailing. His first two symphonies, in fact, never gained the recognition of being published and remain in manuscript form (not easily decipherable) in boxes at the Bibliothèque Nationale de France. The Symphony no. 3 in E flat major (Moderato – Andante con moto – Scherzo – Finale. Moderato) was more fortunate, since it was published and reissued by the Palazzetto Bru Zane in 2016. This score, continuing in the vein of composers such as Méhul and Onslow, was written at the same time as Reber’s symphonies and just before those by Gounod, Bizet, Godard and – most importantly – Gouvy (who composed around ten symphonies). Although it deserves to reclaim its place in posterity today, one can understand why it may have disappointed some listeners at the time: eclectic in inspiration, it contains a motley array of influences as diverse as Mendelssohnian rhythm, Beethovenian theory, the innocent grace of Haydn and the rhythmic drive of contemporary ballet music. The first movement, which begins like Mendelssohn’s Italian Symphony, spirals around a single motif in 6/8 whose rocking motion gives rise to an amusing interplay of rhythmic effects. The second theme, which is derived from it, does not languish in an overly “Romantic” lyricism. The slow movement, like those of Reber in particular, is a sort of meditative rhapsody that never overdoes the pathos. The appearance of the second motif is the only place where one can hear the orchestration technique typical of “David the orientalist”, particularly in his use of the nostalgic timbre of the oboe. The scherzo begins with a surprisingly emphatic “Adagio maestoso” opening, played tutti and fortissimo. Then, reminiscent of a heroic cavalcade, the “Quasi presto” makes for its destination in an uninterrupted headlong dash. The creation of such a frenetic motif played nimbly by all the instruments shows consummate mastery of the orchestra. The clarinet motif that follows this first idea adds a touch of rustic colour that is transformed by the entry of the horns soon after into something akin to a joyful hunt. Like the two previous movements, the Finale begins dramatically, making it all the more surprising when, after several bars, a clarinet solo gives way to a folk-like theme with a rustic flavour, not dissimilar to those occasionally written by David for the final movements of his string quartets. Although fervent champions of Beethoven may have considered this level of inspiration unworthy of the “German-style” symphonic genre, listeners today need not deny themselves the pleasure of following the inventive trajectory imposed by David on his melodic ideas.