In the aftermath of World War II, the Swiss composer Arthur Honegger, who had been living in occupied Paris throughout the war, wrote a new symphony entitled "Liturgical." He wrote an extended commentary on the piece, which included these lines: "My intention in this work was to symbolize the reaction of modern man against the morass of barbarism, stupidity, suffering, machine-mindedness, and bureaucracy that has been besieging us for some years now. I have reproduced in musical terms the combat that is joined in man's heart between yielding to the blind forces that encircle him and his instinct for happiness, his love of peace, his apprehension of a divine refuge. My symphony is, if you like, a drama played out between three characters, whether real or symbolic: misery, happiness, and man. These are everlasting themes. I have tried to give them new life."

It doesn't get much clearer than that in terms of a "message" behind a piece, and the symphony reflects these feelings of Honegger's in almost every note. This is not a symphony to be taken lightly, and over the course of its roughly 30-minute runtime, Honegger explores these ideas from three different perspectives, all centered around the Catholic liturgy. In this symphony, we find an attempt at understanding after the unthinkable had occurred, a passionate condemnation of war, and a search for eternal peace. This is a symphony that, in its heyday, was fairly popular, with recordings by two of the world's great conductors, Herbert von Karajan and Charles Munch, but it slowly faded from concert stages and is now very rarely performed. Thanks to Staffan for sponsoring today's episode on this symphony, which was a discovery for me and which I think will be a discovery for many of you as well. Today we'll talk about the detailed program that Honegger attached to the symphony, the liturgical connections in the piece, and of course the music itself. Join us!