Am 9. Juli

von LePenseur

 

 

... passend zur Zahl des Monatstages die Symphonie No. 9 in e-moll, op. 28 (1926/27) des russischen Großmeisters der Symphonie des 20. Jahrhunderts, Nikolai Mjaskowski. Unter der bewährten Stab-führung von Eugen Swetlanow spielt das Staatliche Symphonieorchester der UdSSR:

1. Satz: Andante sostenuto - Moderato malinconico (con moto) - Tenebroso (mosso) - Tempo sostenuto - A tempo, ma inquieto - Sostenuto - Moderato come prima - Tenebroso (mosso) - Sostenuto poco - Moderato tranquillo - 0:00 

2. Satz: Presto - Pochissimo meno presto - Poco maestoso - Poco a poco accelerando al tempo giusto - In tempo - Stringendo - 13:53 

3. Satz: Lento molto - 20:50 

4. Satz: Allegro con grazia - Poco più sostenuto, abbandonamente - Tenebroso, ma in tempo - Moderato pesante - Tempo I - Poco più sostenuto, abbandonamente - Più mosso sempre stretto - Presto - Molto fastoso - 30:50

Ein in nachtdunklen Tönen gehaltenes, meisterliches Tonbild, das Swetlanow in Gelassenheit vor uns aufrollt – sein Kollege Sir Edward Downes mit dem BBC-Orchester ist um fast exakt fünf Minuten schneller fertig und ich kann nicht behaupten, daß die Symphonie für mich dadurch überzeugender klänge! Dafür die die unter dem YT-Video gebrachte Werkgeschichte und Interpretation (leider nur auf Englisch) höchst informativ und lesenswert:

Myaskovsky's Symphony No.9 was begun shortly after his return from Vienna, composed in parallel with the tenth symphony between 1926-7. Both ended almost simultaneously at the end of 1927. It was premiered in Moscow on April 29 of 1928, conducted by Konstantin Saradzhev. The work is dedicated to the Ukrainian conductor Nikolai Malko, who had premiered the fifth. Myaskovsky was not sure whether the work would become a symphony or a suite. He called it an "undefinable music-beast". 

The first movement is structured in ternary form. It begins with an ambiguous, decadent main theme presented through very chromatic and dissonant chords. A second, melancholic theme of folkloric character is introduced by the strings, which is contrapuntally developed. The middle section begins with a lyrical and romantic third theme of Russian flavour, presented by the clarinet and taken by strings. The music grows more expressive and passionate but doesn't reach a firm climax. The opening chords reappear, leading us to the recapitulation of the two main themes. A low-key coda ends the movement. 

The second movement is a scherzo in a modified sonata form. It opens with a portentous and lively main theme, introduced by a brilliant fanfare and fully exposed with a fantastic touch. The lyrical second theme of folkloric roots is presented by flute and glockenspiel. Follows a bright and colourful development in which these themes are transformed as they alternate each other. The music grows more intense and fierce, culminating with thunderous climaxes. There is no formal recapitulation, instead the second theme leads us to a rushed and accelerated coda. 

The third movement is structured in ternary form. It begins with deeply lyrical and beautiful main theme, presented by the clarinet over strings and harp. It is passionately developed. The middle section begins with a solemn motive appearing on strings, almost like an ancient Russian hymn, which is then fully exposed by the brass. A powerful and expressive climax is then reached with the whole orchestra. A haunting transition of the woodwinds and string tremolos leads us to the recapitulation, with the main theme in the clarinet as passed to the orchestra. The movement ends with a pensive coda. 

The fourth movement is written in rondo form (A-B-C-D-A'-A''-Coda). It opens with a joyful and romantic main theme, Tchaikovskian in character, which becomes darker. A more tense and rhythmic second theme is soon presented. The lyrical main theme from the previous movement reappears as the third theme, being more desperate and afflicted. It is then followed by the chromatic and dissonant main theme from the first movement as fourth one. The main theme is joyfully recapitulated but with some troubled touches. A much darker passage leads us to a turbulent recapitulation of the main theme. A dissonant but triumphal coda ends the whole work.