Wilhelm Furtwängler is frequently‌ celebrated as one of ‌the most influential conductors from the early to mid-20th century. Initially, he aspired to be a composer during⁣ his ⁤formative years. However, this ambition transformed in his 20s and 30s as‌ he rose to fame in the realm​ of conducting. ⁤It wasn’t ⁣untill the 1930s,when he was nearing his late 40s,that Furtwängler returned to composition—likely as a⁢ means of coping with the increasingly oppressive political ⁣atmosphere in Germany and Austria under nazi rule.

From that‌ period until his death in 1954, Furtwängler produced a⁣ notable array of works, with ​three symphonies standing⁢ out prominently among them. His Second ‌Symphony, which he began composing in January 1945 while seeking refuge from Nazi persecution in Switzerland, is often regarded as ‍his crowning achievement; Neeme Järvi’s interpretation with the Estonian orchestra lasts an ⁢remarkable 74 minutes without feeling overly extended.

This symphony emerges as a multifaceted and unconventional work—more accessible than it is enjoyable at times. It intricately blends Romantic influences ranging from Schumann to Richard⁢ Strauss while incorporating elements reminiscent of Bruckner and Brahms. Although there are sections⁢ where the music flows‌ seamlessly enough, it seldom leaves a profound impact; themes ‍tend to⁢ develop predictably and⁢ are explored at⁣ a ​rather deliberate pace.

Järvi’s recording contributes to an existing repertoire that features interpretations by Barenboim, Jochum, and⁣ even Furtwängler himself. While this piece may genuinely intrigue certain listeners, it is not one that many would opt ‍to revisit regularly.