Wenn rundum die Kriegstrompeten schmettern

von LePenseur

 

 

... ist es wohl angemessen, daß zum passenden Monatstag die 19. Symphonie von Niklai Mjaskowski, dem großen Symphoniker der russischen Musik im 20. Jahrhundert, erklingt. Sie ist, ziemlich überraschend, für Blasmusikorchester gesetzt und stammt aus dem Jahr 1939. Wir können nur hoffen, daß 2023 nicht ebenso ein Jahr eines Weltkriegsbeginns wird ...

Es spielt die Stockholm Concert Band unter Gennadij Roschdestwensky. 

 

1. Maestoso - Allegro giocoso - A tempo (più cantabile) - Allegro I - A tempo (cantabile) - Allegro I: 0:00 

2. Moderato - Più mosso - Molto più mosso (vivo) - A tempo precedente - Tempo I: 7:08 

3. Andante serioso - Più appassionato - Poco più teneramente - Tempo I, solenne - : 13:12 

4. Poco maestoso - Vivo - Più cantabile - Molto largamente e maestoso: 20:02 

 

Myaskovsky's Symphony No.19 was composed in only twenty days in the month of January 1939, including its instrumentation for military band. The idea came from attending a concert in which he was able to listen to a version of hi Symphony No.18 for band. It was premiered on February 15 of that year, performed by a military band conducted by Ivan Vassillivitch Petrov, director of the Moscow Cavalry Band and who also requested the piece. 

 

The premiere took place during the celebrations of the 21st anniversary of the founding of the Soviet Army, to whom the work is dedicated. It is the first Soviet symphony written for band. It reached great popularity, being one of the works of repertoire of the Russian bands. In Russia there was a great military band tradition. With the revolution, excellent military bands were formed, their importance being so great that their directors came to be named Major Generals only because of their musical merits. 

 

The first movement is structured in sonata form. It opens with a solemn ad jubilant introduction, which leads us to the allegro. A joyful and heroic main theme is presented, followed by a lyrical second theme of folkloric roots. A dynamic development follows in a popular style, with barely any darkness or dissonance. A potent climax leads us to the recapitulation of the themes. A triumphant coda, based on the main theme, ends the movement. 

 

The second movement is structured in ternary form, being kind of an intermezzo. It begins with a lyrical main theme presented in form of a slow waltz, endowed with a certain melancholy. After a transition, the middle section brings a more dramatic contrasting march. The lyrical and light main theme is then recapitulated, leading us to a calm coda. 

 

The third movement is also written in ternary form. It opens with a deeply meditative main theme, which becomes more rich and lyrical as it unfolds. The middle section begins with an expressive and romantic second theme, full of pathos and gravitas. The music reaches a great climax. After a dreamy transition, the main theme is then severely recapitulated. A peaceful coda ends the movement. 

 

The fourth movement is structured as a sonatina (sonata without development). After a brief solemn opening, a cheerful and rhythmic main theme is presented, followed by a calm and majestic second one. There is no development section, instead beginning the recapitulation. Suddenly, the main theme from the first movement reappears, leading us to a brilliant coda.