Symphony No. 2 is Mehdizadeh’s final doctoral dissertation for the University of Toronto. It showcases his technical ability to compose for the symphony orchestra, as well as the use of his synthetic scale, the multi-tonic mode. This mode is a direct synthesis of the octatonic and the Persian Chahargah mode, creating a stylistic union of East and West. The symphony is in three contrasting movements, beginning with the Humoresque, a playful and persistent dance. It gives way to the second movement, representing the awakening of Kundalini, evoked by the entrance of the tom-toms. We may liken this to the traditional Eastern musical practice of the percussion interludes in an improvised musical passage. The third movement features a struggle between the dance and a chorale, in which the chorale emerges triumphant.