Symphony No.11 in B flat minor - Nikolai Myaskovsky
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- เผยแพร่เมื่อ 8 มิ.ย. 2024
- Moscow Symphony Orchestra conducted by Veronika Dudarova.
I - Lento - Allegro agitato - Poco più pesante - Pesante - Vivo - A tempo - Allegro primo - Poco più pesante - Vivo - A tempo I - Pesante - Maestoso ma allegro - In tempo: 0:00
II - Andante - Adagio, ma non tanto - A tempo: 11:20
III - Precipitato - Allegro - Meno allegro; cantabile - Più mosso - In tempo giusto (Allegro) - Più pesante - Meno allegro; cantabile - Allegro molto e con brio - Quasi presto - Più mosso - Presto - Prestissimo: 22:02
Myaskovsky's Symphony No.11 was composed in 1931 along with No.12, finishing it on November 12. Four years after his previous one, a period of time in which the freedom and experimentation in Soviet music was over, being constricted by the strict rules of Socialist Realism as soon as Stalin became the leader. It was premiered in Moscow on January 16 of 1933, conducted by Konstantin Saradzhev.
The work is dedicated to the composer Maximilian Steinberg, the son-in-law of Rimsky-Korsakov. Myaskovsky was, as so often, dissatisfied with his work. He certified him a certain "dryness" and "unnecessary simplicity". This was probably mainly because the symphony represents a first attempt at a new musical language, which so awkwardly looked at many places on the audience and critics. After Myaskovsky had heard the symphony in a piano version, he revised it before it would be premiered.
The first movement is written in sonata form. It begins with a sombre introduction, presenting the root motives that will be exposed and developed later on. The allegro begins with a rhythmic and imposing main theme. It is contrasted by a lyrical second theme of Russian flavour. Brass chords lead us to a vigorous and tense development section. After a brief pause, the main themes are then recapitulated. Brass chords lead us to a brilliant and victorious coda.
The second movement is structured in ternary form. It opens with a brooding main theme from the basses of the strings, answered by the lyricism of the woodwinds. This material is soon developed in a romantic and expressive way. The middle parts begins with an oriental theme presented by the clarinet, which becomes the subject of an elaborated fugue for the woodwinds. The music culminates with a strong and passionate climax. The main theme is then recapitulated. A peacefully lyrical coda ends the movement.
The third movement is complex in form, being structured as theme and variations within a sonata framework. After a short and rushed introduction, a simple rhythmic main theme is presented by the basses. The first variation contrapuntally elaborates it, as well as the second with a more rich orchestration. The third variation brings the oriental theme from the second movement as a contrasting second theme. The development takes the place of the following variations, which are so fluid that are hard to differentiate them. The music becoming more dissonant and tense, calming down as an inverted recapitulation begins with the second theme, followed by the first. After a brief pause, a rushed and unexpected coda ends the whole work.
Picture: "Troika racing" (1889) by the Russian-Georgian painter Pyotr Nikolayevich Gruzinsky.
Musical analysis partially written by myself. Source: bit.ly/3NEbg0Z
To check the score: bit.ly/3xbPM61 - เพลง
A beautifully written and expansive symphony. A real joy to listen to. This man's music needs to come out of neglect and be heard more often. Thks for the post.
An under appreciated composer. He is sort of the Russian Hindemith. I first encountered Myaskovsky in the 1980s when I heard this recording of the Symphony (still have the tape of it I recorded off that radio broadcast). Regardless of what else he wrote, this piece alone is a jewel.
I think of Mahler rather than Hindemith... But yeah all Myaskovsky's Symphonies are amazing, they contain all the requirements for being great
@@scriabinismydog2439
In 1912 Myaskovsky wrote about the development of the symphony genre in Europe ("Tchaikovsky and Beethoven") :
"Являются окаменелости Брамса, бесхарактерные, аморфные глыбы Брукнера и, наконец, как показатель полнейшей омертвелости, жалкие, но пышно размалеванные продукты худосочной музы Малера"
"[After Beethoven] Brahms fossils, spineless and amorphous Bruckner boulders and, finally, as an indicator of sheer necrosis, the miserable but lushly painted products of Mahler’s lean muse appear".
He just wanted to emphasize the role of Tchaikovsky in the evolution of the genre of symphony - and so he wrote a lot of unfair things about Western symphonists. After, Myaskovsky appreciated Brahms and was interested in Mahler. But generally, he reacted negatively to Mahler's work (dialogue with Otto Klemperer)
@@Queeen7q really interesting, thanks!
A very clever symphony
Whew! Buckle up your seat belts with this one.
Melodia recording, released in 1988
the more I listen to Myaskovsky, the more I feel the frustration Svetlanov has over Myaskovsky not having the recognition he deserves. A composer that has this massive symphonic output while each of them is as personal as the last one, it is just remarkable..