Nikolay Miaskovsky (1881-1950)

Started by vandermolen, June 12, 2007, 01:21:32 PM

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vandermolen

Quote from: Maestro267 on January 23, 2020, 05:22:09 AM
I picked up a disc of Myaskovsky works, mainly for chamber orchestra today. Serenade, Op. 32/1, Sinfonietta, Op. 32/2, Lyric Concertino, Op. 32/3 and Salutatory Overture, Op. 48

I'm curious what connect those three Opus 32 works, for them to be collected together like this. They're all scored for different ensembles, so it can't be that.

I think that Miaskovsky composed them at more or less the same time - whilst lying in a field! I'll check. The Lyric Concertino is especially good.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Irons

5th Symphony conducted by Svetanov.

Reading the excellent notes by Per Skans, with the Svetlanov set, Miaskovsky's 5th was a break-through work for him in both Russia and abroad. I have also read in other places that this symphony is his most approachable. This does not chime with my reaction, as I found the first pastoral movement distinctly odd. Meandering, distant and uneventful although a beautiful theme permeates which is playing in your head long after it is all over. This movement is my problem with the work so out of desperation I listened to Ivanov's recording on YT. Despite a less then stellar recording Ivanov brings out the delicacy and beauty of this music which in my opinion Svetlanov fails to do. Svetlanov is not helped by a distant recording which results in loss of detail in essentially quiet and peaceful music but more importantly he is too slow.

The timings of the first movement -   

Svetlanov: 14.39

Ivanov: 11.29

For a single conductor to get every one right in such a large body of work as Miaskovsky symphonies is impossible.
You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

vandermolen

Quote from: Irons on January 24, 2020, 12:27:35 AM
5th Symphony conducted by Svetanov.

Reading the excellent notes by Per Skans, with the Svetlanov set, Miaskovsky's 5th was a break-through work for him in both Russia and abroad. I have also read in other places that this symphony is his most approachable. This does not chime with my reaction, as I found the first pastoral movement distinctly odd. Meandering, distant and uneventful although a beautiful theme permeates which is playing in your head long after it is all over. This movement is my problem with the work so out of desperation I listened to Ivanov's recording on YT. Despite a less then stellar recording Ivanov brings out the delicacy and beauty of this music which in my opinion Svetlanov fails to do. Svetlanov is not helped by a distant recording which results in loss of detail in essentially quiet and peaceful music but more importantly he is too slow.

The timings of the first movement -   

Svetlanov: 14.39

Ivanov: 11.29

For a single conductor to get every one right in such a large body of work as Miaskovsky symphonies is impossible.
Interesting analysis Lol. The 6th Symphony is in a different league altogether IMO.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Irons

Quote from: vandermolen on January 24, 2020, 01:15:09 AM
Interesting analysis Lol. The 6th Symphony is in a different league altogether IMO.

Yes, looking forward to the "epic" 6th, Jeffrey.
You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

vandermolen

#424
Quote from: Maestro267 on January 23, 2020, 05:22:09 AM
I picked up a disc of Myaskovsky works, mainly for chamber orchestra today. Serenade, Op. 32/1, Sinfonietta, Op. 32/2, Lyric Concertino, Op. 32/3 and Salutatory Overture, Op. 48

I'm curious what connect those three Opus 32 works, for them to be collected together like this. They're all scored for different ensembles, so it can't be that.


'Myaskovsky told the conductor Nikolai Malko that he composed the 27 themes which feature in the Serenade, Sinfonietta and Lyric Concertino during the course of one day, as he lay in the grass in a forest!'
(Notes to Alto CD ALC 1042.

The three works were, unusually, the only works composed by the composer between 1927 and 1931.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Irons

#425
6th Symphony conducted by Svetlanov.

The symphonic and string quartet Miaskovsky are different animals, unlike Shostakovich who is cut from the same cloth. After hearing 1, 3, 5, and most of all 6th I get a strong impression these are autobiographical works. Possibly mistaken, but I have thought his string quartets as purely musical the result of a composer's musical mind. The 6th is about relentless drive and agitation. Living under the Soviet yoke in the 1920's must have been unimaginably hard and this is reflected in the music. Miaskovsky is an optimist not a pessimist, and through all this emotional intensity the symphony has to end well and he pulls this off with great skill by incorporating the theme from the (lovely) slow movement into a finale coda. A symphony of pain, and not a little anger, closes with serene blissful peace and well being. 
You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

vandermolen

Quote from: Irons on January 29, 2020, 01:08:44 AM
6th Symphony conducted by Svetlanov.

The symphonic and string quartet Miaskovsky are different animals, unlike Shostakovich who is cut from the same cloth. After hearing 1, 3, 5, and most of all 6th I get a strong impression these are autobiographical works. Possibly mistaken, but I have thought his string quartets as purely musical the result of a composer's musical mind. The 6th is about relentless drive and agitation. Living under the Soviet yoke in the 1920's must have been unimaginably hard and this is reflected in the music. Miaskovsky is an optimist not a pessimist, and through all this emotional intensity the symphony has to end well and he pulls this off with great skill by incorporating the theme from the (lovely) slow movement into a finale coda. A symphony of pain, and not a little anger, closes with serene blissful peace and well being.
Very nice analysis Lol. Wait until you hear the (IMO) even more moving version with chorus! I think the impact of his father's murder by a Bolshevik soldier cannot have failed to influence Miaskovsky at that time and he himself said that the opening of the second movement was related to visiting the deserted flat of his deceased aunt, who had looked after him since the death of his mother when he was nine, on a freezing cold day and had heard the wind whistling through the trees. He himself said that the jagged chords which open the work relate to hearing a Soviet official shouting 'Death, Death to the Enemies of the Revolution' at the end of a meeting shortly after the attempted assassination of Lenin. Obviously these literal interpretations can only take us so far but I agree that the symphony reflects an especially turbulent part of Russian history.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Irons

Quote from: vandermolen on January 29, 2020, 01:29:18 AM
Very nice analysis Lol. Wait until you hear the (IMO) even more moving version with chorus! I think the impact of his father's murder by a Bolshevik soldier cannot have failed to influence Miaskovsky at that time and he himself said that the opening of the second movement was related to visiting the deserted flat of his deceased aunt, who had looked after him since the death of his mother when he was nine, on a freezing cold day and had heard the wind whistling through the trees. He himself said that the jagged chords which open the work relate to hearing a Soviet official shouting 'Death, Death to the Enemies of the Revolution' at the end of a meeting shortly after the attempted assassination of Lenin. Obviously these literal interpretations can only take us so far but I agree that the symphony reflects an especially turbulent part of Russian history.

I read of his father's murder in the notes, Jeffrey. Shocking! Fascinating to read what you say of the second movement which in my view is the best. Not being clear on where the chorus actually appears my initial guess was 3rd movement - wrong, then 1st - wrong again. ??? I now understand it to be the finale, I am fast running out of options! :)

Listened to the 6th SQ yesterday not that it has any relevance date-wise to the same numbered symphony. A gorgeous string quartet.
You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

Christo

... music is not only an 'entertainment', nor a mere luxury, but a necessity of the spiritual if not of the physical life, an opening of those magic casements through which we can catch a glimpse of that country where ultimate reality will be found.    RVW, 1948

vandermolen

#429
Quote from: Irons on January 30, 2020, 12:10:31 AM
I read of his father's murder in the notes, Jeffrey. Shocking! Fascinating to read what you say of the second movement which in my view is the best. Not being clear on where the chorus actually appears my initial guess was 3rd movement - wrong, then 1st - wrong again. ??? I now understand it to be the finale, I am fast running out of options! :)

Listened to the 6th SQ yesterday not that it has any relevance date-wise to the same numbered symphony. A gorgeous string quartet.

Yes, I contributed that bit to the notes!  Must listen to the 6th Quartet. Thanks for the recommendation Lol. Yes, the chorus come in right at the end singing a tradional Russian funeral hymn. I find it very moving (as you will see  ;D).
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

kyjo

Quote from: vandermolen on January 23, 2020, 06:51:12 AM
I think that Miaskovsky composed them at more or less the same time - whilst lying in a field! I'll check. The Lyric Concertino is especially good.

Indeed, the Lyric Concertino is quite lovely. In its sunny, pastoral disposition it is rather atypical for the composer and took me by surprise at first hearing. It sounds more "English pastoral" than Russian to my ears!
"Music is enough for a lifetime, but a lifetime is not enough for music" - Sergei Rachmaninoff

vandermolen

Quote from: kyjo on January 30, 2020, 03:34:25 PM
Indeed, the Lyric Concertino is quite lovely. In its sunny, pastoral disposition it is rather atypical for the composer and took me by surprise at first hearing. It sounds more "English pastoral" than Russian to my ears!
I agree Kyle. It also has a much darker and deeply felt section as well.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Roy Bland

I would recommend colorful  n°23 ,one of few opportunity listening kabardian orchestral music

Daverz

Quote from: Roy Bland on January 31, 2020, 03:55:49 PM
I would recommend colorful  n°23 ,one of few opportunity listening kabardian orchestral music

Oooo, good double bill with the Prokofiev String Quartet No. 2.

vandermolen

Quote from: Roy Bland on January 31, 2020, 03:55:49 PM
I would recommend colorful  n°23 ,one of few opportunity listening kabardian orchestral music
Yes, one of my earliest and most pleasurable encounters with the music of NYM, coupled, on LP with the, IMO, terrific First Symphony by Rodion Shchedrin:
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Symphonic Addict

The other day I listened to the Lyric Concertino for the first time following the conversation here. I thought it was undoubtedly charming, if a bit bland. It's not one of his best pieces, but it has something appealing.

On the other hand, I listened to on the radio a work that surprised me but I couldn't recognize. It reminded me a bit of Sibelius's 7th Symphony, don't know why! It was the slow movement from the Symphony No. 20. A lovely and soulful movement whose calm nature I found a bit touching. I liked it a lot.
Part of the tragedy of the Palestinians is that they have essentially no international support for a good reason: they've no wealth, they've no power, so they've no rights.

Noam Chomsky

vandermolen

Quote from: Symphonic Addict on February 03, 2020, 04:24:05 PM
The other day I listened to the Lyric Concertino for the first time following the conversation here. I thought it was undoubtedly charming, if a bit bland. It's not one of his best pieces, but it has something appealing.

On the other hand, I listened to on the radio a work that surprised me but I couldn't recognize. It reminded me a bit of Sibelius's 7th Symphony, don't know why! It was the slow movement from the Symphony No. 20. A lovely and soulful movement whose calm nature I found a bit touching. I liked it a lot.

Interesting Cesar. I hardly know the 20th Symphony so must give it a listen to. I'm very fond of the Lyric Concertino, especially the dark, soulful ostinato section.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Irons

#437
Miaskovsky : 6th Symphony.



Many thanks directed to our esteemed forum member, Jeffrey, for sending me hot off the press Alto's release of Kondrashin's recording of the Miaskovsky 6th Symphony. A kind and generous gesture, by I might add the author of the notes of this issue. He did ask me to post what I think, so here goes and I will attempt not to sink into inane comments - not many anyway!

1/ Restless urgency interspersed with calm resignation. I have read this as possessing a Tchaikovsky influence something which completely passes me by. If anything the stop-go nature is more Borodin.

2/ The only movement which is not tragic which of course befits a Scherzo. Jaunty and scurrying and great fun - Svetlanov does this movement very well. Amongst this helter-skelter there is a hat tip to Miaskovsky's teacher, Rimsky-Korsakov. An interlude that could have been pulled from Scheherazade.

3/ The slow movement is the most conventional of the three. Serious and heart-felt, predominately played by strings.

4/ I didn't get the full measure of the finale from Svetlanov's recording for some reason. This is a tour de force with a kaleidoscope of colour and themes. The opening is so Respighi I laughed, not plagiarism as NYM is obviously an admirer. This lasts no time and then we are into a Russian knees up (dance) and then, and then, the list is endless. Themes come and go from previous movements and much else. Miaskovsky is a skilful composer, he can, and does, jump from idea to idea seamlessly. After this so far amazing movement NYM throws in the proverbial kitchen sink in the form of a choir! Who sing a French song in a Russian way. The finale coda is pure magic with peace descending with the entry of a harp and (this) listener spending a fleeting moment with the angels. 

I can be obsessive far as sound is concerned and this is typical of a Soviet recording and not the best example either. But oddly less then stellar sonics adds to the authenticity of very Russian music. The likes of Kondrashin and Svenlanov are not with us anymore, they lived and breathed this music. Very much of its time and place and I can't help feeling a modern digital recording by a top orchestra from the West conducted by someone like Rattle (I'm aware of Jarvi's recording but not heard it) would be an act of throwing out the baby with the bathwater.
You must have a very good opinion of yourself to write a symphony - John Ireland.

I opened the door people rushed through and I was left holding the knob - Bo Diddley.

vandermolen

Quote from: Irons on February 12, 2020, 12:34:56 AM
Miaskovsky : 6th Symphony.



Many thanks directed to our esteemed forum member, Jeffrey, for sending me hot off the press Alto's release of Kondrashin's recording of the Miaskovsky 6th Symphony. A kind and generous gesture, by I might add the author of the notes of this issue. He did ask me to post what I think, so here goes and I will attempt not to sink into inane comments - not many anyway!

1/ Restless urgency interspersed with calm resignation. I have read this as possessing a Tchaikovsky influence something which completely passes me by. If anything the stop-go nature is more Borodin.

2/ The only movement which is not tragic which of course befits a Scherzo. Jaunty and scurrying and great fun - Svetlanov does this movement very well. Amongst this helter-skelter there is a hat tip to Miaskovsky's teacher, Rimsky-Korsakov. An interlude that could have been pulled from Scheherazade.

3/ The slow movement is the most conventional of the three. Serious and heart-felt, predominately played by strings.

4/ I didn't get the full measure of the finale from Svetlanov's recording for some reason. This is a tour de force with a kaleidoscope of colour and themes. The opening is so Respighi I laughed, not plagiarism as NYM is obviously an admirer. This lasts no time and then we are into a Russian knees up (dance) and then, and then, the list is endless. Themes come and go from previous movements and much else. Miaskovsky is a skilful composer, he can, and does, jump from idea to idea seamlessly. After this so far amazing movement NYM throws in the proverbial kitchen sink in the form of a choir! Who sing a French song in a Russian way. The finale coda is pure magic with peace descending with the entry of a harp and (this) listener spending a fleeting moment with the angels. 

I can be obsessive far as sound is concerned and this is typical of a Soviet recording and not the best example either. But oddly less then stellar sonics adds to the authenticity of very Russian music. The likes of Kondrashin and Svenlanov are not with us anymore, they lived and breathed this music. Very much of its time and place and I can't help feeling a modern digital recording by a top orchestra from the West conducted by someone like Rattle (I'm aware of Jarvi's recording but not heard it) would be an act of throwing out the baby with the bathwater.
Very interesting analysis Lol. There is a kind of authenticity about those old Soviet recordings which adds to the atmosphere for me. I was very lucky to attend a live performance of the work in London conducted by Vladimir Jurowski whom I had the pleasure of meeting. I wish that the recording was issued on CD. In the rehearsal I recall him requiring the LPO choir to 'sound like Demons from Hell' at the opening of the wailing choir in the fourth movement and telling the ladies of the choir that they needed to sound like 'Russian peasant women'.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Maestro267

Ordered a copy of Myaskovsky's Cello Concerto coupled with Prokofiev's Symphony-Concerto. Maisky/Russian National Orchestra/Pletnev.