Andris Dzenītis made his first mark on Latvian symphonic music in the mid-1990s, composing the Cello Concerto while still a teenager. If we take a few steps back to look at his symphonic works from a distance, the qualities that permeate his music in all genres, namely, a particular dramatic power and emotional intensity, are particularly noticeable in his First Symphony. From this perspective, the work serves as a dramatic summit, which is followed by the Second Symphony and its unhurried, resigned view of the world. On the scale of emotional intensity, the First Symphony is high tide, the Second is low tide. Dzenītis’s total number of symphonies is still unknown to us; at the time of writing, his Third Symphony has already been performed. However, looking back from today’s perspective, there is no doubt that the Second Symphony is an absolute masterpiece, and it is no coincidence that it received the highest recognition in Latvia, the Grand Music Award for best new work of the year.