Zum 14. August eine Symphonie ...

von LePenseur

 

 

Und zwar — wer hätte es gedacht ;-) ... — von Nikolai Mjaskowski, der 1933 seine Symphonie No. 14 in C-dur, op. 37, veröffentlichte.  Zu hören vom Akademischen Staats-Symphonieorchester von Rußland unter Eugen Swetlanow (mit Partitur zum Mitlesen):

Da LePenseur gerade mit den Vorbereitungen zur Rückkehr aus dem Urlaub beschäftigt ist, einfach eine Textübernahme aus Youtube:

I - Allegro giocoso - Poco più tranquillo (quasi in tempo) - In tempo I - Poco più tranquillo (quasi in tempo) - A tempo, ma più tranquillo - Tempo I - Più maestoso ed allagando - Tempo I - Poco più tranquillo (quasi in tempo) - In tempo - Poco più tranquillo: 0:00 

II - Andantino, quasi allegretto - Poco più mosso - A tempo - Pesante - A tempo giusto - A tempo - Feroce - Tempo I: 8:07 

III - Scherzo. Quasi presto: 15:48 

IV - Andante sostenuto - Grave - Tempo I - : 19:43 

V - Allegro con fuoco - Poco gravamente - Tempo I - Più maestoso - Tempo I: 29:40 

 

-----

 

Myaskovsky's Symphony No.14 was written in 1933, a very productive year as in a short time he com-posed three symphonies. It was premiered in February 24 of 1935, performed by the Bolshoi Theater orchestra conducted by Viktor Kubatzky, to whom Myaskovsky dedicated the work. The composer was so prolific that parts conceived for one symphony ended in others, thus the original fifth movement of the work ended being the first of the next symphony. 

 

Russian composers were in a very delicate situation at the time. The docrine of socialist realism, which demanded tonal, accesible works for the masses, was enforced by the stalinist regime. Works that deviated from that formula were attacked and labeled as "formalistic", and the composers as "bour-geoise" and "antipeople". Myaskovsky, partially by this pressure and by his own will, modified his style to be more accesible, optimistic and overall closer to the wishes of the party. For this reason, the piece is heavily influenced by folkloric music, with popular tunes of Kazakh influence. 

 

The first movement is structured in sonata form. After a trepidant opening, a cheerful main theme of folkloric flavour is presented. A more melodic second theme of rustic character offers some contrast. The music is totally tonal, with little dissonance in its harmony, specially compared with the modernist previous symphony. A brief but dynamic development follows, adding a bit of dramatism to an other-wise music without conflict. Then a short recapitulation of the main themes takes place, leading us to a slow and uplifting coda. 

 

The second movement is structured in ternary form. It opens with a lyrical main theme presented by the clarinet, followed by the rest of the woodwinds. The middle section begins with a rhythmic second theme in form of a rustic Russian dance, as if it represented a peasant party. This material is then briefly developed in a lively manner. The lyrical main theme is then recapitulated by the strings. A meditative coda ends the movement. 

 

The third movement is a scherzo in ternary form. It opens with a rhythmic and undulating main theme, playfully exposed by the orchestra. It is followed by a variation of the folkloric dance theme from the previous movement, introduced by the woodwinds. The trio begins with a solemn, noble theme that offers contrast. The scherzo material then is quickly recapitulated. A vigorous coda closes the move-ment. 

 

The fourth movement is written in form of an arch. It opens with a melancholic main theme presented by the muted trumpets, over a constantly descending four-note chromatic ostinato. The music turns more lyrical as it goes on, with small traces of the opening tension. It seems to climb towards a climax, but the music doesn't fully resolve, becoming instead more meditative. The opening material is recapitulated, leading us to a peaceful coda. 

 

The fifth movement is structured in sonata form. After an explosive tutti, a vigorous main theme is presented, based on an authentic folksong from Kazakhistan. A more melodic and solemn second theme appears. The development section combines and transforms these materials in a popular manner. The themes are then recapitulated. A massive climax, enhanced by the brass, leads us to a brilliant and triumphal coda.