Classical

Nikolai Miaskovsky - Symphony No. 6 (Järvi) [2002]

2011-02-04T19:55:51Z

Nikolai Miaskovsky - Symphony No. 6 (Järvi) [2002]


1. Poco largamente - Allegro feroce	22:27
2. Presto tenebroso	8:56                        play
3. Andante appassionato	15:07	
4. Allegro vivace (quasi presto) - "O, quid vidimus" - Andante molto espressivo	18:03

Göteborgs Symfoniker
Neeme Järvi, conductor

Nikolai Miaskovsky's Sixth is the most frequently performed of his 27 symphonies, although its familiarity among Western audiences remains relatively slight. A big, post-romantic work, it was considered out of step with the times when it appeared in 1923. With its re-occurring leitmotifs in all four movements, the symphony is steeped in Lisztian rhetoric lassoed to a dramatic thrust that suggests Rachmaninov (although Miaskovsky's range of influences includes Tchaikovsky, Mussorgsky, and even César Franck). In overall sound the piece most closely resembles the Scriabin of the Third Symphony.

The long first movement launches with six dramatic tutti chords. These are followed by an impetuously driven and densely chromatic allegro that alternates with more placid, diatonically melodic passages in a manner similar to Liszt's A Faust Symphony. After a tremendous climax, the movement ends in a mood of despairing resignation à la Tchaikovsky's Pathétique. Then after a rollicking scherzo (with a serene, pastoral trio reminiscent of Mahler's Sixth symphony), the beautiful Andante forms the symphony's emotional core as it emphatically brings together musical ideas previously introduced. The far-flung finale, which encompasses such diverse elements as a tarantella, French folk songs, and the Dies Irae, eventually winds up in an atmosphere of spiritual transcendence (again like the Faust symphony) as the chorus enters, solemnly intoning the sacred Russian chant "Of the Separation of the Soul from the Body".

Neeme Järvi hurls himself full force into this brilliant, volatile music, conducting with passionate conviction and coaxing a stunning, virtuosic performance from the Gothenberg Symphony. DG's spacious recording delivers it with satisfying clarity and impact. If you've never heard any Miaskovsky, this rewarding release makes a great place to start.--Victor Carr Jr, ClassicsToday.com

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Nikolai Miaskovsky – Symphonies No.1 and No.19 (1993)

2015-03-19T17:08:53Z

Nikolai Miaskovsky – Symphonies No.1 and No.19 (1993)

Symphony No.1 in C minor, Op. 3 (1908)
01. I. Lento ma non troppo. Allegro
02. II. Larghetto (quasi andante)
03. III. Allegro assai e molto risoluto

USSR Ministry of Culture Symphony Orchestra
Gennady Rozhdestvensky - conductor

Symphony No.19 in E flat Major, Op. 46 (1939)
04. I. Maestoso. Allegro giocoso
05. II. Moderato
06. III. Andante serioso
07. IV. Poco maestoso. Vivo

Russian State Brass Orchestra
Nikolai Sergeyev - conductor

This CD contains probably the most stylistically adequate recordings of very rare Myaskovsky symphonies: No.1 and No.19. And do not be afraid of the fact that Symphony № 19 is written for brass band and dedicated to the anniversary of the Red Army - it is absolutely beautiful and charming work! ---el coronel, amazon.com

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Nikolay Myaskovsky – Cello Concerto-Violin Concerto

2010-02-28T22:59:18Z

Nikolai Miaskovsky: Cello Concerto-Violin Concerto


Cello Concerto In C Minor, Op.66
1. Lento Ma Non Troppo 
2. Allegro Vivace - Andante Semplice E Tranquillo - Tempo I - Lento Come Prima

Mstislav Rostropovich – cello
Royal Philharmonic Orchestra
Malcolm Sargent - conductor

Violin Concerto In D Minor, Op.44
1 - Allegro 
2 - Adagio E Molto Cantabile 
3 - Allegro Molto - Allegro Scherzoso

Vadim Repin – violin
Mariinsky Theatre Orchestra
Valery Gergiev – conductor

Myaskovsky's only cello concerto was written over the last three months of 1944 and dedicated to cellist Svyatoslav Knushevitsky. Despite being denounced, in 1948, along with fellow composers Prokofiev, Khachaturian, and Shostakovich, among others, for their "formalism" and "cosmopolitanism" over the previous decade and earlier, Myaskovsky was viewed quite favorably by the Soviet government and, as was the case with his Symphony No. 21 (1940), his Cello Concerto won the Stalin Prize.

The concerto, one of Myaskovsky's most gentle and lovely works, happens to share the same orchestral complement as the Piano Concerto No. 1 by Johannes Brahms -- pairs of woodwinds, four horns, two trumpets, timpani, and strings -- but has little of the dynamism and sense of titanic struggle of Brahms' concerto. If Myaskovsky is reflecting any of his own feelings about World War II in the cello concerto, they are feelings of sadness and eventual consolation, rather than of anger. The concerto is in two fairly lengthy movements, totaling just over half an hour. It begins with a restrained Lento, ma non troppo. The mournful opening melody, darkly colored by strings and bassoon, leads into the cello's entry. The flute and oboe gradually bring some lighter colors into the mix. Rather than stressing virtuosity, this opening movement employs the cello primarily as a melodic voice.

What little display the soloist is allowed comes in the short cadenza toward the end of the movement. The second movement, Allegro vivace, starts with a tarantella-like theme, to which the cello adds a second, folk song-like melody. These and other ideas are woven together and varied over the course of the movement's 20 minutes. After a cadenza for the soloist, a fanfare leads into a passionate restatement of the first movement's opening theme. The mournful tone of that opening movement returns for a time, but the work ends on a more peaceful note, resolving into a gentle C major. ---Chris Morrison, Rovi

Myaskovsky’s music has been criticized for its backward-looking nature and lack of great tunes. It is true that his music is steeped in the heart of 19th century romanticism, and there is little in his compositions that indicates he lived under the weight of the Soviet regime. However, there is sometimes a slight bow to 20th century aesthetics.

As for the "lack of great tunes" criticism, Myaskovsky’s three-movement Violin Concerto clearly puts that premise to rest. The abundance of memorable themes in this rapturous work is astounding, and the music flows beautifully throughout. Composed between March and June 1938, Myaskovsky dedicated the work to David Oistrakh who performed the premiere in Moscow on 10 January 1939. Being Myaskovsky’s first concerto, the results are all the more remarkable.

The 1st Movement Allegro is a 20-minute feast for the mind and heart replete with a 4-minute solo violin cadenza placed right in the middle of the movement. In the Introduction, Myaskovsky displays great strength and determination, giving way to the multi-faceted personality of the solo violin that takes us from tears and dismay to the heights of exhilaration. Although less than half the length of the 1st Movement, the 3rd Movement Allegro molto also contains a host of thematic material ranging from playful folk-dance numbers to pleadings of desperation. The central Movement Adagio molto cantabile is quite successful, but is limited in material compared to the outer movements. In any case, its primary theme is a lovely one of rapturous proportion.

Those of you who know Myaskovsky’s music through his symphonies will be surprised at the personal nature of the Violin Concerto. The symphonies were largely written for public consumption, but Myaskovsky clearly composed his Violin Concerto from the depth of his soul. ---Don Satz, www.musicweb-international.com

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