Zum 15. August

von LePenseur

 

 

... der sich gerade  auf der Rückreise befindet, vom symphonischen Großmeister aller Reußen, Nikolai Mjaskowski, die Symphonie No. 15 in d-moll, op. 38, geschrieben 1933f., gespielt vom Akademischen Staats-Symphonieorchester von Rußland unter der bewährten, einfühlsamen Stabführung von Eugen Swetlanow:

Ich weiß, hatten wir schon im Juni — aber das Werk ist durchaus interessant genug, daß man's zweimal anhören kann! Wie gestern wieder, reisebedingt, textlich ein frecher »Datenklau« von Youtube:

I - Andante - Allegro appassionato - Molto più animato - Tranquillamente - Tranquillo (ma quasi in tempo) - Molto più pesante (Allegro I) - Con agitazione - Più maestoso - Tempo I - Poco tranquillo - Molto più pesante (Allegro I) - Poco più maestoso. Tempo I - : 0:00 

II - Moderato assai - Poco sostenuto - Più mosso, molto caloroso ed appassionato - Più sostenuto - Appassionato - Poco più tranquillo - Più sostenuto, ma appassionato - Tempo I - Più sostenuto - : 11:21 

III - Scherzo. Allegro molto ma con garbo - Più animato (molto) - Più tranquillo - Più mosso - Più animato - Tempo I - Più animato - Tempo I - Meno mosso (poco) - Poco più mosso - Più animato - Tempo I - Più animato - Tempo I - Poco più tranquillo - Tempo I - Molto animato: 20:31 

IV - Poco pesante - Allegro ma non troppo - Poco più pesante - Più mosso - Allegro festivo (poco maestoso): 27:25 

 

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Myaskovsky's Symphony No.15 was written between 1933-4, being premiered in October 28 of 1935, conducted by Leo Ginsburg and received with great success. The piece caused a lot of headaches for the composer, who struggled with each movement and rewrote, revised and discarded material a lot of times. Like the previous symphony, the piece is accesible and influenced by Russian folkloric music, following the dictates of Socialist Realism imposed from the state. 

 

Myaskovsky himself expressed his considerations in the following pharagraph: "The "Fifteenth" is appreciated for its optimism and lyrical character. And yet its language isn't the one I'm looking for in order to fully feel like an artist of our time! I don't know what this language sounds like, and I don't know the recpie for it. Neither the efforts aimed at the folksong, nor the intonations of our urban melodies in pure form seem to me to be the sole building blocks for creating the musical language of Socialist Realism in instrumental music, the specifics of which differ significantly from song-like vocal music." 

 

 The first movement was originally conceived as the final movement of the previous symphony, being structured in sonata form. It opens with a brief nostalgic theme. A rhythmic main theme of Russian flavour is presented by the strings. A deeply lyrical and peaceful second theme is presented by the clarinet. It is enriched by other woodwind instruments. The development section follows, in which the music becomes more urgent and passionate. It culminates in a powerful and noble climax. The recapitulation is inverted, begining with the lyrical second and followed by the nervous main one. An imposing coda based on said theme ends the movement forcefully. 

 

The second movement is structured in ternary form. It begins with a lullaby-like main theme presented by the English horn, so folkloric that, despite being original, could be mistaken for a folksong taken by the composer. It lyrically passes to other wood instruments, like oboe, clarinet, etc. The middle section begins with a passionate second theme, which grows more and more intense until reaching a great climax. The main theme is then peacefully recapitulated, leading us to a resignated, almost sad coda. 

 

The third movement is a scherzo in ternary form. It opens with a graceful slow dance as the main theme, almost like a waltz. However it soon its peaceful nature is soon distorted as it becomes anguished and urgent. The trio begins with a melodic second theme of nostalgic and melancholic feeling. The scherzo is then resumed, leading us to a gentle coda. 

 

The fourth movement is structured in an expanded sonata form. It opens with a brief but urgent call from the trumpets as an introduction. A folkish rhythmic main theme is presented, followed by a solemn and archaic second theme. A pastoral and lyrical third theme also appears, leading us to a joyfull climax. A vigorous development section begins with a dramatic transfiguration of the main theme, which is soon combined and transformed with the rest of material. After a firm climax, a recapitulation brings back the main three themes. A massive final climax brings the whole work to a brilliant close.

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Und noch ein kurzer, etwas schwermütiger Blick zurück auf den Urlaub, für den es keinen besseren Ausdruck gibt als den dieser — ach, zufällig wieder mal blonden ;-) — jungen Dame ...

Na, dann also schweren Herzens zurück in den Trott der Kanzlei ...

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P.S.: »Na, und wo bleibt die Erwähnung des heutigen Feiertags?« ... nun, gut! Dann noch das berühmte »Marienlied« von Joseph Marx:

Bis morgen! I'll be back ...