Symphony no. 4 in C sharp minor op. 21

There was an interval of more than ten years between this work and the score of Symphony No. 3 (1896), a gap largely explained by the time devoted by the composer to his operas Guercœur (1897-1901) and Bérénice (1905-1911). Magnard composed his Symphony No. 4 in 1912-1913. He conducted its first performance, on 2 April 1914, at the head of the Orchestre de l’Union des Femmes Professeurs et Compositeurs. Although his choice of this phalanx of women clearly showed his progressive tendencies, the performance appears to have been unsatisfactory. It was not until 16 May 1914 that the work became a real success when performed again by conductor Rhené-Baton, several months before Magnard’s tragic death. Although the symphony is relatively bright in tone, despite its minor key (full of accidentals, like Symphonies 2 and 3), its overall mood does not reflect the inner landscape of the composer, who admitted: “The optimism of the Fourth Symphony is abominable, because no work ever gave me more difficulties or was written in a more complete state of depression.” What were the problems he had faced? Trying to come up with shifting colours that differed from those used by Debussy? Trying to develop a rich counterpoint that lacked the density of his youthful works? There is no question that he succeeded in these endeavours. The same can be said for the balance he achieved between the almost abrasive vigour of the rhythms, the archaistic folk-like accents and the introspective lyricism. The four movements close piano in a peaceful mood that is a remarkable achievement from a composer with a weakness for stately chorales and brass-heavy perorations.