von LePenseur
.. wieder was zu trollen haben — eine zum aktuellen Monatsdatum passende Symphonie von Nikolai Mjaskowski — die No. 16, die auch die Bezeichnung »Luftfahrt-Symphonie« trägt:
Das Akademische Staats-Symphonieorchester spielt unter Eugen Swetlanow. Die vier Sätze tragen die Tempobezeichnungen:
I - Allegro vivace - Meno mosso - Tempo I. Subito - Molto meno vivo - Tempo I - Meno vivo, cantabile - Tempo I: 0:00II - Andantino e semplice (quasi allegretto) - Pochissimo meno mosso: 8:50
III - Sostenuto - Andante marciale, ma sostenuto - Poco più caloroso - Tempo iniziale - Più caloroso - Tempo giusto - Poco più mosso - Tempo prinzipale - Tempo I (andante): 19:03
IV - Tempo precedente - Allegro ma non troppo - Poco più pesante - Più sostenuto - Pesante - Allegro ma non troppo - Poco più pesante - Molto più sostenuto - Più maestoso - Meno allegro - A doppio più lento: 33:18
Myaskovsky's Symphony No.16 was composed between December 21 of 1935 and April 6 of 1936, being dedicated to the Philharmonic Symphony Orchestra of the State of Moscow, which premiered it at the inaugural season concert on October 24 of 1936, conducted by Jenö Szenkár. The work was an immense success, like it hadn't been for Myaskovsky since the premiere of his Symphony No.6.
The first movement is structured in sonata form. It opens with a forceful and energetic main theme, similar to a plane taking off and rising in the sky. It is contrasted by a melancholic, meditative second theme, which becomes more solemn and majestic. The development section then begins, with the music turning more dramatic and nervous, culminating on a climax with the second theme. A boisterous and brilliant recapitulation ensues, leading us to a decided coda.
The second movement is written in ternary form. It begins with a calm, lyrical presented by the oboe, full of a folkloric Russian flavour. It passes to several different groups of instruments, slowly growing towards an expressive climax. The middle section begins with a carefree rustic second theme, introduced by the woodwinds. According to the composer's diary entry, it reflects the impressions of a walk in the forest at his summer residence in Nikolina Gora. The main theme is then recapitulated. A gentle coda ends the movement.
The third movement is structured as a funeral march in ternary form. It opens with a fateful intro-duction of horns, trombones and tuba. A funereal main theme is then presented by the strings over the muffled beats of the timpani. According to the diary entry, this phrase expresses the feelings triggered by the news of the Maxim Gorky crash. The music becomes more dramatic and expressive, growing into an intense climax. The middle section begins with a deeply lyrical second theme, presented by the flute in a consoling manner. The music grows into an emotional climax, after which the main theme of the march is recapitulated. The march rises in a solemn climax, before a subdued coda ends the movement.
The fourth movement is written in sonata form. It opens with a briefly sombre introduction, as a brief remembrance of the previous elegy. Myaskovsky's song "Planes are flying in the sky" appears, being the root of a bright and joyful main theme. The rustic theme from the second movement reappears here as second theme, peacefully presented by the woodwinds. A vigorous development then takes place, combining these materials in a contrapuntal yet popular manner. It culminates in a great climax, in which the original song is clearly audible. After a dramatic silence, the recapitulation begins. The music grows more and more intense, culminating in a massive climax. A trumpet solo briefly reminds us of the tragedy, leading us to a consolatory coda.
Eine „Luftfahrt-Symphonie“ von einem russischen Tonsetzling, der kein Mensch kennt, wie gewohnt euphorisch vom Denker annonciert. Gewiss wird er in den „Luftfahrt“-Klängen die Tiefe der von ihm so bewunderten „russischen Seele“ entdecken. 😎
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