• Duration: 28'
• Instrumentation: vno solo-3332-4431-batt cel ar-archi
• Year: ok. 1916
• Type: parts, score, piano reduction

One of Młynarskis significant works is the Symphony in F major Polonia op. 14, composed in 1910. But objectively speaking, his most distinguished achievement, in which a feeling for form, melodic invention and instrumentation devoid of extravagance yielded the most wonderful results, is represented by his last large work: the Violin Concerto No. 2 of 1916. The premiere of this work, led by the composer at the Warsaw Philharmonic (April 1920) with Paweł Kochański as soloist, met with a mixed reception. The audience was enchanted, but some critics struck out in caustic tones: The author does not at all hide the fact that he likes Tchaikovsky very much; the author obviously also gives consideration to Richard Strauss, but takes from him what can be taken exquisitely, with artistic moderation, so as not to rob him excessively, and at the same time not to, God forbid, do himself harm.

In Młynarskis three-movement composition, we would be hard-pressed to hear even Tchaikovsky, much less Strauss. If anything, rather Brahms (the primary theme of the first movement could suggest certain associations with the Violin Concerto written in the same key of D major by the creator of the German Requiem), and - almost certainly - Edward Elgar. This rather shocking parallel with the English author of the Polonia Overture turns out to be understandable if we keep in mind that Młynarski, as the head of the Scottish Choral and Orchestral Union in Glasgow during the seasons from 1910-1916, must have performed many works of this at the time most distinguished British composer. Most Elgarish will be the gorgeous, expansive theme of the finale, which in a broad arc leads to a moving culmination. The heart of the Concerto No. 2 remains, however, the slow movement Quasi Notturno in the key of B flat major. This nocturne develops from a simple motif in seconds or, as it were, divided thirds, by a chamber-sized string quintet, and could suggest associations with the Lebewohl or postal motif sounded at the beginning of Beethovens Sonata Les Adieux. The most beautiful passage of this inspired movement will be the culmination, derived from the passage in which the soloist colors the beautiful cantilena with harmonics which blend into the almost Impressionist background of the orchestra.  [Marcin Gmys]