Symphony No.8 in A major - Nikolai Myaskovsky

Slovak Radio Symphony Orchestra conducted by Robert Stankovsky.
I - Andante - Più mosso - Allegro - Pochissimo più sostenuto (Tempo II) - Tempo giusto (Tempo I) - Più sostenuto (Tempo II) - Tempo giusto (Tempo I) - Andante: 0:00
II - Allegro risoluto e con spirito - A doppio più lento (Allegretto comodo e semplice) - Più tranquillo - Quieto (quasi allegretto) - Allegro tenebroso - Quieto - Allegro tenebroso: 12:48
III - Adagio - Quasi andante - Più appassionato - Con desiderio - Poco a poco rallentando al Tempo I - Tempo I: 20:31
IV - Allegro deciso - Tempo giusto - Più mosso, flessibile - Tempo I - Più animato - In tempo (poco sostenuto) - Tempo I - Poco più mosso, flessibile - Più mosso - Appassionato - Tempo giusto - Più pesante e fastoso - Più pesante - Molto vivo - Allegro sostenuto: 37:16
Myaskovsky's Symphony No.8 was composed between 1924-5, being premiered in Moscow on May 23 of 1926, conducted by Konstantin Saradzhev and received with great enthusiasm. The work is heavily inspired by the figure of Stenka Razin, a Cossack leader of the seventeenth century turned rogue, beginning a major rebellion in the south of Russia against the nobility and the Tsar, before being defeated and executed. The work is dedicated to the musicologist Sergei Popov.
It was originally conceived as a multi-movement symphonic poem, but what he had considered to be an original folk melody and therefore integrated into the finale as Stenka Razin’s theme turned out to be a melody by Mily Balakirev on a completely different subject. This led Myaskovsky to completely revise the work, abandoning the programmatic elements while retaining the folkloric materials of the symphony. During the Soviet period, the revolt led by Stenka Razin was seen as a prerevolutionary act, being thus a popular subject.
The first movement is structured in a modified sonata form. It begins with a slow introduction, with a folkloric motive on the woodwinds. An accelerando leads us to the main allegro. A vigorous and rhythmic main theme of Russian character is presented, contrasted by a more melancholic and lyrical second theme on strings. Follows an extensive and dense development section, full of contrapuntal techniques. We also don't find as much dissonance and chromatic harmonies as the previous two symphonies, bringing the work closer to the traditional Russian romanticism. The recapitulation presents the main themes back, followed by the introduction material. A calm coda ends the movement.
The second movement is a scherzo in ternary form. It begins with a folkloric main theme of Caucasian flavour, graceful but robust. The trio begins with a lyrical second theme presented by the strings, developed in a popular way before stopping in a contemplative passage. These materials are based on the following folksongs: "A Duckling Swam Across the Sea" and "Don’t Spawn, You Little Pike" from Rimsky-Korsakov's 100 Russian Folk Songs, as well as an original melody Myaskovsky had heard during his years of study. The scherzo is then resumed. A forceful coda ends the movement.
The third movement is structured in ternary form. It begins with a lyrical and colourful main theme based on a folksong from the Bashkir region (near Kazakhstan), presented by the English horn over the harp and bass strings. It unfolds with a melancholic and dramatic tone, despite the beauty of the material. The middle section opens with an expressive yet painful variation of the main theme, reaching a romantic climax. After a tremolo transition, the main theme is recapitulated by the English horn. After an extensive slow postlude, an obscure coda ends the movement.
The fourth movement is also structured in sonata form. It begins with a brief opening of six horns, followed by an expansive and epic main theme. In contrast, the second theme is lyrical and calmer. A chromatic development takes place, more dissonant and complex than in the previous movements, interwoven with quotes of themes and motives from previous movements, like the opening of the work or the trio of the scherzo. The main theme is finally vigorously recapitulated, followed by the lyrical second. The music begins to turn tragical, as the main theme leads us to a dark and melancholic coda.
Picture: "Stenka Razin Sailing in the Caspian Sea" (1906) by the Russian painter Vasily Surikov.
Musical analysis partially written by myself. Sources: bit.ly/3LRq24g, bit.ly/3KFYI7P, bit.ly/3OZiTRq and bit.ly/3KZInep.
To check the score: bit.ly/3RXUVqz

The first movement describes the steppe landscape in which Stenka Razin moves. The Cossak himself is represented through the epicness and melancholy of the two main themes. After a development which seems to presage his turbulent ending, the music ends up returning to the loneliness of the steppe. The second movement describes Stenka Razin and his warriors sailing on the Volga. Then a dance scene with the Persian princess in the lyrical middle section takes place, in which Stepan forgets for a moment of his struggle. But his comrades in arms remind him of his goals and he ends up throwing his lover, the Persian princess, to the river to continue fighting for his ideals.
The third movement reminds us of the sadness and suffering of both the Russian peasants and the people of the steppes, oppressed by the Tzar and the Russian nobility. For this purpose Myaskovsky uses the folksong from the Republic of Bashkortostan. The fourth movement describes the return of Stepan Razin and his men to Russia after his adventures in Persia. They briefly remember the landscape of the steppe and the suffering of the peasants. However, as the music turns tragic, the revolt fails and Stenka Razin is defeated in battle, then captured, gruesomely mutilated and finally executed.

[@gabrieru1983]

Mi sinfonia preferida de Myaskovsky!!!

[@yevgenybas5222]

Myaskovsky every time was very close for national music themes and motives, in "young", modern period too, but symfonies from 1 to 6 any way very difficult for listening because "destructure" rytmic and compositional structure, but that symfony - perfect. Difficult and interesting, but clear structure on national themes basis, with pathos and space in orchestra... thank Your very much! Usually I like Myaskovsky from "Kolhoz" symfony at last, 27, but that - perfect. Thanks.

[@rogernortman9219]

An impassioned and spirited performance of one of my less favorite Miaskovsky symphonies.

[@Rombik97]

Muchas gracias por subir esta magnífica obra. Un saludo.

[@yowzephyr]

I ski and one ski fall off and I get hurt. My ask off ski "Why you do this to me?"