Nikolay Miaskovsky (1881-1950)

[vandermolen]

Listening to this new cd as I type! The excellent notes for the cd are written again by our own vandermolen(he goes by the pseudonym of Jeffrey Davis for the purpose ).

Not necessarily the greatest music Miaskovsky wrote-certainly compared to the symphonies or the cello and violin concertos-but worth hearing nevertheless. I was impressed by the opening movement of "Links" and by the Slav Rhapsody.

Not quite sure why Alto label the Serenade as "No.1" since I don't think Miaskovsky wrote more than one. Is it a confusion with the opus number: Op.32/1?

Alto will be releasing a further cd next month containing the Symphonic Poem "Silence"(already available in a so-so performance on Marco Polo), the Divertissement and the Sinfonietta, Op.32/2.

Jeffrey:by my calculations that leaves the Symphonic Poem "Alastor", the Pathetic Overture, the Lyric Concertino and the Sinfonietta in A minor, op.68/2. These last two works were on old Olympia discs, although the Sinfonietta was, puzzlingly, called No.2 when surely it is actually No.3(the op.10, op.32/2 and 68/2). Do you know how these are being coupled? It seems to me that in total they are (just) too long for a single cd.

PS: the slow movement of the Serenade is lovely

Colin, thank you very much for your kind, much appreciated, comments about my sleeve notes. I agree with you that the opening of 'Links' and the Slav Rhapsody are the most interesting pieces on the latest Alto Miaskovsky CD (although I have a soft spot for the middle movement of Divertissement).

I hope that you will like the notes for 'Silence' which I recently completed. I have quoted a large chunk of Edgar Allan Poe in my notes to set the mood (I hope!) for 'Silence'. The Miaskovsky piece is not, incidentally, based on Poe's 'The Raven' as suggested in the Marco Polo notes. Miaskovsky's grand-niece in Moscow has been very helpfully sending me (in Russian!) extracts of his diary entries and letters relating to the various pieces I am supposed to be writing about. It was clear to me that the piece seemed to have no relation to The Raven and some exhaustive research (ie google search!) suggested to me that the piece is in fact based on Poe's 'Silence - A Fable' of 1837. to make matters even more confusing Poe alse wrote a Sonnet called 'Silence' but that is not what Miaskovsky's tone poem is based on.  I agree with you that Svetlanov's performance is much more gripping than the more drawn out version on Marco Polo.  I like 'Silence' very much. Music which conveys a sense of looming catastrophe and haunting dread usually appeals to me   As mentioned, Miaskovsky's grand-niece in Moscow sends me the material in Russian but fortunately I have some Russian pupils at school who translate it for me (they get a thank you in the notes!)

The reference to 'Serenade No 1' is probably a mistake. Also, I take your point about the Sinfoniettas and, for some reason, the early op 10, doesn't seem to have a number (a bit like Bruckner's 'Symphony 0' I guess). It is rather confusing and, in fact, I nearly wrote about the wrong one  . The last Alto Miaskovsky release will feature 'Alastor', Sinfonietta 'No 2' and the Lyric Concertino, which is my favourite of the three works with the shared opus number. The Pathetique Overture was issued on Svetlanov's chorus-less recording of the Sixth Symphony (OCD 736) and will not be on the Alto CD.

By the was I think that Alto will reissue Shebalin's 1st and 3rd Symphonies, once available on Olympia, as they asked me to send them the booklet information recently. I suggested the release as Shebalin's fine First symphony should appeal to admirers of Miaskovsky (it is dedicated to him and reflects his benevolent influence).

Thanks again Colin. Whilst typing this I have been listening to Gauk's fine old recording of Symphony No 17. I love the defiant ending.

ps Nice Rubbra avatar 

[Dundonnell]

Ouch, $99/year for US delivery.  For that I can get a year of both Fanfare and ARG, and have $10 left over to buy a CD.  What kind of page count does a typical issue of IRR have?

Ok. If we take the latest issue of IRR- it has a total of 96 pages. Of these:
1 is an editorial page
2 pages for a reviews index
6 pages consist of an index of new releases
1 letters page
4 pages for an article on Christmas discs
4 pages for an article on the composer Ethel Smyth
3 pages for an article on Harmonia Mundi
5 pages for a survey of box sets and other reissues
4 pages for an article on Recent Piano reissues
13 pages of adverts(which are kept to separate pages allowing the article and review pages to remain uncluttered)
1 page for a regular article on a contributer's record collection
52 pages of Reviews-divided into orchestral, chamber, instrumental, vocal, opera, books

In the orchestral reviews section 21 discs are reviewed with-approximately half a page on each disc. The print is quite small but to give you an idea-the review of the new BIS/Vanska Beethoven Symphonies Nos. 2 and 7 is approximately 600 words long, much longer than the average Gramophone review these days! The depth, quality, maturity of the reviews are all very high.

As I said, the November issue with 3 densely packed pages on Miaskovsky and 5 on Messiaen was absolutely invaluable!

[Dundonnell]

Right got you, Jeffrey! Thanks for your reply!

So, "Alastor", the Lyric Concertino and the Sinfonietta, Op.68/2(the so-called "No.2") will be on the last disc. Which means that I shall have to buy that one just for "Alastor"! Oh well, at Alto prices, I shouldn't mind

"looming catastrophe and haunting dread", eh? Haha...that's the kind of music I like(and after watching the latest BBC1 production of 'Wallender' with Kenneth Branagh that is my general mood at the moment )

Good news about the Shebalin-although I do have them already on Olympia. Oh for some more Steinberg too!

[jowcol]

Just in passing-- I've lately gotten hung up on his fourth-- he creates so much from the basic motif.  I really like the way it hangs together.  This doesn't have a "killer melody" in it, but the construction and the overall unity is quite impressive.

Another question-- how much is known about his getting "shell shock" in the First World War?  Is it known if this was purely psychological, or had a physical component.  (Current theory is that shell shock not only addresses Post Traumatic Stress Disorder -- PTSD, but actual physical damage cause by repeated concussion injuries, known as mild Traumatic Brain Injury-- TBI). 

This is of personal interest to me because my honor's thesis was a short novel set in WWI about shell shock, and I read a lot of really interesting publications at the Library of Congress that were written in the early 20s about  it.  And now I work in military health IT, and these are both major concerns. 

Also, thanks Jeffrey for sharing your research about "Silence"-- you have  to love any composer that is inspired by Poe. 

"Music which conveys a sense of looming catastrophe and haunting dread usually appeals to me "  Me too!  You know, Poe makes in interesting musical reference in Ullalume, which is one of my favorite poems.  It tries to capture the grief he felt after losing his wife. Here is just the opening

"The skies they were ashen and sober;
The leaves they were crisped and sere -
The leaves they were withering and sere;
It was night in the lonesome October
Of my most immemorial year:
It was hard by the dim lake of Auber,
In the misty mid region of Weir -
It was down by the dank tarn of Auber,
In the ghoul-haunted woodland of Weir."

Common opinion that he was referring to Daniel Auber, the composer of depressing music.  Weir was an artist whose material was usually dark and downbeat.  Sigh....  I guess this would be another thread....

[Bulldog]

Ouch, $99/year for US delivery.  For that I can get a year of both Fanfare and ARG, and have $10 left over to buy a CD.  What kind of page count does a typical issue of IRR have?

Due to financial considerations, I let my IRR subscription lapse into the night.  It is a fine review magazine, but I have noticed they tend to find a way to like just about every recording reviewed.  In my humble opinion, both Fanfare and ARG are more balanced in their reviews.

[vandermolen]

Just in passing-- I've lately gotten hung up on his fourth-- he creates so much from the basic motif.  I really like the way it hangs together.  This doesn't have a "killer melody" in it, but the construction and the overall unity is quite impressive.

Another question-- how much is known about his getting "shell shock" in the First World War?  Is it known if this was purely psychological, or had a physical component.  (Current theory is that shell shock not only addresses Post Traumatic Stress Disorder -- PTSD, but actual physical damage cause by repeated concussion injuries, known as mild Traumatic Brain Injury-- TBI). 

This is of personal interest to me because my honor's thesis was a short novel set in WWI about shell shock, and I read a lot of really interesting publications at the Library of Congress that were written in the early 20s about  it.  And now I work in military health IT, and these are both major concerns. 

Also, thanks Jeffrey for sharing your research about "Silence"-- you have  to love any composer that is inspired by Poe. 

"Music which conveys a sense of looming catastrophe and haunting dread usually appeals to me "  Me too!  You know, Poe makes in interesting musical reference in Ullalume, which is one of my favorite poems.  It tries to capture the grief he felt after losing his wife. Here is just the opening

"The skies they were ashen and sober;
The leaves they were crisped and sere -
The leaves they were withering and sere;
It was night in the lonesome October
Of my most immemorial year:
It was hard by the dim lake of Auber,
In the misty mid region of Weir -
It was down by the dank tarn of Auber,
In the ghoul-haunted woodland of Weir."

Common opinion that he was referring to Daniel Auber, the composer of depressing music.  Weir was an artist whose material was usually dark and downbeat.  Sigh....  I guess this would be another thread....

Very interesting post John which has encouraged me to listen to Miaskovsky's 4th Symphony again.

The mountain pinnacles slumber; valleys, crags and caves are silent......The waters of the river have a saffron and a sickly hue; and they flow not onwards to the sea, but palpitate forever and forever beneath the red eye of the sun with a tumultuos and compulsive motion  [Edgar Allan Poe; Silence - A Fable 1837]

Yes, it is great stuff, which I have enjoyed discovering.  I will see what I can find out about Miaskovsky's Shell Shock in World War One. At least they appear to have diagnosed it as such; in the British army of World War One he would probably have been handed over to a firing squad!

[Dundonnell]

Due to financial considerations, I let my IRR subscription lapse into the night.  It is a fine review magazine, but I have noticed they tend to find a way to like just about every recording reviewed.  In my humble opinion, both Fanfare and ARG are more balanced in their reviews.

I reckon that the price paid for the length of the IRR reviews is to exclude those recordings which are deemed to be in some way unsatisfactory.

[Bulldog]

I reckon that the price paid for the length of the IRR reviews is to exclude those recordings which are deemed to be in some way unsatisfactory.

I can't buy that argument, but it doesn't make any difference for me now. 

[Christo]

    Here's  an  interesting  story. While  checking  out  a  website  about  the  Tatars  of  Russia,  a  list there of  famous  ethnic  Tatars  or  Russians  of  Tatar  descent  included  none  other  than  Rachmaninov  himself  !  Apparently  his  family  was  of  Tatar  origin . Some  converted  from  Islam  to  Orthodox  Christianity. 
   I  like  Balakirev's  music,  and wish  that  conductors  would  play  his  wonderfully  melodious  first  symphony  instead  of  the  same  old  ones  by  Tchaikovsky,  marvelous  as  those  are.  From his  facial  appearance,  Balakirev  probably  had  Tatar  ancestry.

Actually, this applies to many "Russians" (but similar stories can be told about "Germans", "Frenchmen", "Turks" and so many other nationalities. Ethnically speaking, Europe is very much a mixed bag. Dramatically expanding nations, like Russia in the 18th-19th Century, often adopted dozens of smaller nations and ethnicities, and large portions were "russified" in the process. No doubt, a large proportion of the presentday "Russians" descend from these new areas, the Tatars among them. But the same applies to all those "Germans" of Slavonic descent (former wild theories about their racial purity as "Aryans" notwithstanding) and many other nations, especially the bigger, expansive ones.

In names like "Rachmaninov" this non-Slavonic element is clearly visible to all Russian eyes: "Rakhman" is no doubt a Turkic (Tatar?) name and only makes a Russian name with this Slavonic suffix added to it.

[vandermolen]

Have been listening to Brilliant Classics Evgeny Svetlanov Edition boxed set (10CDs). It contains a great performance from 1957 of Miaskovsky's 25th Symphony, more atmospheric and deeply felt I think than either the Naxos version or Svetlanov's later recording (Melodiya/Olympia). The box is full of good stuff - a
fine Balakirev Symphony No 1 and works by Glazunov, Rachmaninov, Boiko, Parsadanian, Rimsky-Korsakov, Lyadov, Lyapunov, Mazaev etc.

[vandermolen]

Miaskovsky on youtube:

http://uk.youtube.com/watch?v=GFguwHcsNZA&feature=related

[Dundonnell]

One listen so far to the new Miaskovsky disc on Alto(with notes written by Jeffrey/vandermolen )

'Silence' is the dark, brooding work I remembered from the old Marco Polo recording(Stankovsky) but in a better performance. The other pieces are pleasant, easy-going examples of Miaskovsky in his most lyrical mood. Not great music but attractive enough. I think that I slightly preferred the Divertissement-although at 26 minutes it is slightly (over) long for a 'divertimento'

One quibble! I really wish that Alto would provide the recording dates for these Svetlanov performances.

[vandermolen]

Just heard that Miaskovsky's epic 6th Symphony is to be performed at the Festival Hall in London on Weds 28th April 2010 (LPO/Jurowski) Very exciting news.

[Martin Lind]

Hi to all friends of Miaskovsky,

Recently I got finally the symphony box with all the symphonies of Miaskovsky. I am very glad even happy.

I already had some works of Miaskovsky. And I already liked this composer alot. 10 years ago or so, there were 5 CDs or so published by Zyx in Germany containing Melodya recordings. I really loved especially the 22th and 27th with Svetlanov, but I also liked the 3rd. I also loved the last string quartett ( and others) which was also a Melodya/ Zyx CD. Later I bought the 5th and 9th with Downes of which I really loved the 5h. Even later the 24 th and 25th from Naxos, nice symphonies but I was never completely happy with the interpretation. And recently the 6th with Järvi which has his moments but appeared to be a bit overblown ( by far the longest). I have heard that the Swetlanov is without choire, but this is "ad libitum" so it is the good right of Swetlanov to perform the work purely instrumental.

Now I listened to the first 4 CDs and I am pretty enthusiastic. OK the 1 st is a very likable but not completely convincing work. The 25th on the other hand is glorious with Svetlanov much better than Naxos. I didn't like the 10th and was astonished that this work was praised here. The 11th on the other hand was a work I heard very often and I like it alot. The 17th is a slighter work, I had this already on Zyx. The 9th on the other hand which I never really liked with Downes I really love with Swetlanov. The 7th appears fascinating on first sight but I can't judge it yet. The 14th appears very optimistic but I am not convinced yet.

I think all these things will last but I am really glad to have acquired this up to now wonderful set.

I am hopefull for further discussions about this wonderful composer.

Regards
Martin

[vandermolen]

Hi to all friends of Miaskovsky,

Recently I got finally the symphony box with all the symphonies of Miaskovsky. I am very glad even happy.

I already had some works of Miaskovsky. And I already liked this composer alot. 10 years ago or so, there were 5 CDs or so published by Zyx in Germany containing Melodya recordings. I really loved especially the 22th and 27th with Svetlanov, but I also liked the 3rd. I also loved the last string quartett ( and others) which was also a Melodya/ Zyx CD. Later I bought the 5th and 9th with Downes of which I really loved the 5h. Even later the 24 th and 25th from Naxos, nice symphonies but I was never completely happy with the interpretation. And recently the 6th with Järvi which has his moments but appeared to be a bit overblown ( by far the longest). I have heard that the Swetlanov is without choire, but this is "ad libitum" so it is the good right of Swetlanov to perform the work purely instrumental.

Now I listened to the first 4 CDs and I am pretty enthusiastic. OK the 1 st is a very likable but not completely convincing work. The 25th on the other hand is glorious with Svetlanov much better than Naxos. I didn't like the 10th and was astonished that this work was praised here. The 11th on the other hand was a work I heard very often and I like it alot. The 17th is a slighter work, I had this already on Zyx. The 9th on the other hand which I never really liked with Downes I really love with Swetlanov. The 7th appears fascinating on first sight but I can't judge it yet. The 14th appears very optimistic but I am not convinced yet.

I think all these things will last but I am really glad to have acquired this up to now wonderful set.

I am hopefull for further discussions about this wonderful composer.

Regards
Martin

Martin, do you know Symphony No 16 - written to commemorate the crash of the giant aircraft 'Maxin Gorky'? - it has the most wonderful slow movement -one of Miaskovsky's finest inspirations. My favourite symphonies are 3,6,16,17,21,24,25,27. 17 is underrated I think and I agree that No 10 is overrated. The Lyric Concertino (especially the central movement, is a work I love).

[J]

Martin, do you know Symphony No 16 - written to commemorate the crash of the giant aircraft 'Maxin Gorky'? - it has the most wonderful slow movement -one of Miaskovsky's finest inspirations. My favourite symphonies are 3,6,16,17,21,24,25,27. 17 is underrated I think and I agree that No 10 is overrated. The Lyric Concertino (especially the central movement, is a work I love).

If I could only have three I think they would be Nos. 16, 21, & 27, - and I'd add 20 & 22 to the rest of your list for a top ten.
No.16 is the real darkhorse because never recorded (to my knowledge) before the Svetlanov set.  As Jeffrey affirms, the slow
movement is a pinnacle.

[vandermolen]

If I could only have three I think they would be Nos. 16, 21, & 27, - and I'd add 20 & 22 to the rest of your list for a top ten.
No.16 is the real darkhorse because never recorded (to my knowledge) before the Svetlanov set.  As Jeffrey affirms, the slow
movement is a pinnacle.

Yes, those three are amongst the greatest. I like No 3 too.

[jowcol]

Let me echo on 16-- that is a true masterpiece.    I'm also a big fan of 24.  You can also get it on Naxos.  It also has a classic slow movement you won't forget easily.

I've been listening a lot to 4, 8, 9 and 12 lately.  8 and twelve have great slow movements, and 4 and 9 and really interesting.  13 is about the most "out there"

[vandermolen]

Let me echo on 16-- that is a true masterpiece.    I'm also a big fan of 24.  You can also get it on Naxos.  It also has a classic slow movement you won't forget easily.

I've been listening a lot to 4, 8, 9 and 12 lately.  8 and twelve have great slow movements, and 4 and 9 and really interesting.  13 is about the most "out there"

Yes, 8 and 12 are good. I have seen the slow movement of No 8 described as sounding like the the work of 'a mournful Delius of the steppes'. 4 and 9 I hardly know - must listen to them.

[snyprrr]

I was going to review the 13 quartets, but....
I was one of those suckers who came to Myaskovsky through Julian Lloyd Webber! and I've been trying to find the "piece that sounds like the cello cto" ever since, haha!! (and I suppose that would be the cello sonata? duh!)  I had the sym6/kondrash...but it was NOT the cello cto!!!

I "love" Myaskovsky?...but I understand why someone might have a problem.  I mean, what's the LEAST attractive place to get to know Mia?  Imagine a virgin getting sym (pick your least fav) for their first!

I have stayed away from the syms until I read enough reviews and forums to make some sense.  And, honestly, it's STILL confusing. Sym17 seems to be leading the pack...but

I seem to have bought every string quartet EXCEPT the "cello cto" one, which I believe is No8 in f# minor.

Nos 1-2 were written @1930 and, to me, mmm, er...sound kind of "gothic", whatever I mean by that...there's a lot of modulating, crafty, Brahmsy yet edgy, No1 in four mvmts, No2 in three.  Though in a minor and c minor, both quartets, to me, don't have that echt Mia sound...they are a bit "rad" for our man.

Nos 3-4 are revisions of schoolboy qrts. No.3 is the early masterpiece, in 2 mvmts, with the second a 15min variations on a Grieg melody.  This qrt really has that "edgar allen poe" sound to it!  No4, on the other hand, made not that great an impression.

Nos5-9 continue from where 1-2 left off.  With each qrt, we get closer and closer to "THAT" melody.  No6 starts off in that territory, but there is just too much "craftsmanship" and "composing"...oh, listen to me complain...as I said, I believe No8 is the grail.

No9 is very strange sounding, and I wonder what sym it might mirror.  This is one of my favs, very unorthodox sounding, with certain navy songs and such. Myask. in a laboratory?

No10 is another schoolboy revision...not that special to me...a nice Haydnesque affair.

No11 is a revision?, or reconstruction?, or recomp?, or just a newly composed "old fashioned" work..."from old notebooks"...and this one is my really just fav as a general quartet. It's not the meloncoly, but the wistful...this is the most elusive, perfect, nicely behaved and consistently beautiful...not so much modulating...just a relaxed qrt.

No12 I haven't heard
No13 is the one everyone turns to, and just like No6, it starts off in the territory, and it DOES continue, but here too I find Mias "craftmanship" getting in the way of MY melody (I know, I know).  Can't you just let me wallow, sir???  Either way, this is the end of the old russia as far as SQs are concerned, and it IS very fine.  It does make me wonder about No12.

so...No3, No11, No8(the supposed masterpiece), No13...with No9  as a pleasant head scratcher.  yea, honestly, I was kinda of disappointed...but I'll hold out for No8.

Myaskovsky...wow!