Symphony No.4 in E minor - Nikolai Myaskovsky

State Academic Symphonic Orchestra of Russia conducted by Evgeny Svetlanov.
I - Andante, mesto e con sentimento - Languente e mosso - Tempo I - Allegro appasionatto ma non troppo vivo - In tempo, tranquillo e caloroso - Poco largamente - Al tempo - Più impetuoso: 0:00
II - Largo, freddo e senza espressione - Molto espressivo - In tempo - Appasionato - A tempo: 19:06
III - Allegro energico e marcato - L'istesso tempo, teneramente ed espressivo - A tempo - Poco più allegro (alla breve): 29:55
Myaskovsky's Symphony No.4 was composed between December 20 of 1917 and April 5 of 1918, along with the very different Symphony No.5. However, the fourth was premiered much later in Moscow along with No.7, on February 8 of 1925 conducted by Konstantin Saradzhev. It is dedicated to Vasily Yakovlev (not to be confounded with the revolutionary of the same name), whom Myaskovsky had known during his military practices and who had also wanted to dedicate himself to music, specializing in musicology.
Myaskovsky, who came from a military family, graduated in 1902 as a young subaltern with a Sappers Battalion in Moscow before he decided to pursue a career in music. When the war began in July 1914, Myaskovsky was recruited in the Russian army and fought in the Austrian front, he was wounded and suffered shell-shock. In 1916, he was translated to Reval (Tallinn nowadays), to work on the naval fortifications of the city. In December of 1917 he returned to Petrograd (Saint Petersburg) and started working on the piece.
The Symphony is the third in a trilogy deeply affected by a pessimistic vein: The Russian Empire was in a state of great agitation and instability since 1905, as the country painfully struggled to modernize while attempting to maintain what essentially was an absolutist state. This was all amplified during the war. Myaskovsky, who was an introspective person, went through a depressive phase. Despite all of this, the work is firmly anchored on the Russian tradition of Tchaikovsky. It is also influenced by the music of Scriabin, to whom Myaskovsky greatly admired.
The first movement is structured in a large-scale sonata form. It begins with an extensive introduction. A flute presents a second ascending interval of two notes as a main motive, which is fleshed out as it passes to several other wood instruments and strings, becoming more distressed and despaired. After a dissonant climax, the main allegro begins with a more impetuous and rhythmic main theme, presented by the strings and derived from the motive. A bitterly lyrical second theme offers some contrast, becoming more solemn and dignified. The development is turbulent, dissonant and restless, contrasted by more traditional romantic touches. Follows the recapitulation of the main themes. A dark coda ends firmly the movement.
The second movement is structured in binary form. An ominous motive is introduced by the bassoons, taken by the strings and beginning in a sinuous and dark fugato. The music becomes more and more tense and dissonant, until reaching a painful anticlimax enhanced by the brass. The second section begins with the flute presenting a lyrical and delicate nursery song over the tremolos of the strings, offering great contrast. The strings take it passionately but leading us to another painful anticlimax. The violin recapitulated the nursery song in a lyrical solo, passing it to clarinet and oboe. A peaceful coda ends the movement.
The third movement is structured as a rondo (A-B-C-A'-B'-C'-Coda). It opens with a bellicose and forceful main theme, contrasted by a more folkloric second theme, still vigorously rhythmic and offering little contrast. A slow and enigmatic third theme appears on lower strings solemnly, which grows in a massive and expressive climax. As the music slowly subdues, the main is forcefully recapitulated in a varied way, followed by the second and third, reaching a triumphant climax with the latter one. A victorious coda ends the whole work, as if not all hope was truly lost.
Picture: "The Attack of Cossacks" (1914) by the Russian painter Aleksandr Yurievich Averyanov.
Musical analysis mostly written by myself. Source: bit.ly/38Iw4pg
To check the score: bit.ly/3qhEg5q

[@DressedForDrowning]

What a wonderful idea, to start a symphony with a flute melody this long ... I absolutely love this one.

[@user-ru8vy1uz7c]

Bravo bravo bravo brilliance fantastic super music symphony

[@bowerdw]

And my listening experiences regarding Myaskovsky continue to grow. Thanks for uploading the work.

[@biomuseum6645]

I really love the combination of period classical music and paintings about historical events
I think they give a look at the event that modern movies just don’t achieve

[@carlosserrano3823]

Agree. Not to mention that the mood of the painting fits perfectly with the musical drama.

[@kuang-licheng402]

nice

[@rogernortman9219]

His first 4 symphonies are so powerful and exciting! I understand that later in life he apologized for them! WHY??????????????

[@JacobH181]

I imagine that this was because they didn't conform to the "Soviet Realism" later required of Russian composers.

Yeah, you are partially correct, however there are some independent testimonies that afirm that he later wanted to simplify his music to make it more accesible and comprehensible. This thrend can be seen especially in symphonies No.5, 8, 9 and 12. What prevailed more? His own intentions or political pressure? Hard to tell since this topic is full of nuances, especially with composers as shy and little talkative as Myaskovsky

[@DressedForDrowning]

IMO pure rubbish. A melody is a melody, and a harmony is a harmony. Period.

[@johnleistritz307]

He realized they were anathema to" socialist realism" and therefore unacceptable to Stalin and his associated.