Nikolay Miaskovsky (1881-1950)

[vandermolen]

In response to the outbreak of Myaskovskism on the Havergal Brain thread I dug out some downloads from my unsightly MP3 pile and listened to the Symphony 27 and the SQ 13.

I wasn't expecting what I heard... which was music that sounded like late Dvorak, almost devoid of chromaticism, seeming to have completely ignored the C20. I mean, I quite liked it, and I can understand why Myaskovsky would have ignored the C20, which was a little bit disastrous for Russia, to say the least. But are these typical works, or are they nostalgic, valedictory pieces looking back to his youth?

What's the rowdiest symphony he wrote?

I like the nostalgic valedictory tone  . Try No 6 which is an epic work, once described as like an Eisenstein Film. It is considered the greatest by many. The trio of the scherzo is one of my all time greatest moments in music and the choral apotheosis is terribly moving. Don't get the Svetlanov as he dispenses with the chorus - a pity as otherwise this is a fine performance. The funeral march in No 16 is very fine and memorable.

[Christo]

What's the rowdiest symphony he wrote?

No doubt (in my mind at least) the Sixth. https://en.wikipedia.org/wiki/Symphony_No._6_%28Myaskovsky%29

[calyptorhynchus]

The sixth it is.

[vandermolen]

The sixth it is.

Let us know what you think of it.

I'd recommend the Ural Philharmonic under Dmitri Liss. It is a fine performance plus you get the more modernistic Symphony 10 thrown in which might appeal to you:
[asin]B000GRU6WY[/asin]
Also, you can pick it up inexpensively on Amazon.

[calyptorhynchus]

For the past few weeks I have been listening to Mysaskovksy, I hadn't previously heard a note of his music.

I discovered that most of the Svetlanov recordings of the symphonies had made their way on to YouTube, so I was able to use these like the old record-listening booth.

I found Myaskovsky's music quite odd, in that normally I either love all the works of a composer, or I hate them all. In contrast I found that I respected Myaskovsky's works, and I regard a few of them as masterpieces, but most of them I find rather uninspired.

I thought there was a good comparison to be made between the music of NM and that of Rubbra. Both wrote modest, unassuming music in traditional forms, with no flashiness or display. Both use the strings as the basis of their orchestration and both are skilled in extending melodies seamlessly (sometimes they write single-movement symphonies) and with both their best works are inspired declamations. (I found Mysaskovsky's two cello sonatas reminiscent of the Rubbra Cello Sonata).

I thought the best of the Myaskovsky symphonies were 21, 22 and 25. Of the remaining symphonies 8, 10, 11, 13, 16, 27 weren't bad. The rest though were uninspired. At times in his music there is an agreeable folky liveliness, and a fine sense of Russian melody, but neither of these are really sustained. The Cello Concerto I thought was a masterpiece, though the Violin Concerto wasn't up to the same level. My thesis about his music is that Myaskovsky hated Communism and felt under pressure all the time (justifiably); unlike Shostakovich he didn't respond with works full of snark, or by keeping works hidden, instead he just kept churning works out whether he was inspired or not. In an ideal world he would have produced  5 or 6 symphonies in his life. His great symphonies came about because WW2 reawakened his Russian patriotism, 21 is on the eve of WW2, he senses something about to happen, 22 is a response to the early days of the war, 25 and the Cello Concerto are a reaction to Soviet Russian victory.

I didn't really investigate any of his other works except a few String Quartets. I found these agreeable enough, but not really string quartets, ie contrapuntal motivic discussion. Instead I thought they sounded like orchestral music arranged for SQ.

So I don't think I'll be buying the big box, but I will buy a few of the Svetlanov disks individually, and I have already got the Tarasova version of the Cello Concerto (which has the Cello Sonatas with it).

That's what I thought.

[vandermolen]

For the past few weeks I have been listening to Mysaskovksy, I hadn't previously heard a note of his music.

I discovered that most of the Svetlanov recordings of the symphonies had made their way on to YouTube, so I was able to use these like the old record-listening booth.

I found Myaskovsky's music quite odd, in that normally I either love all the works of a composer, or I hate them all. In contrast I found that I respected Myaskovsky's works, and I regard a few of them as masterpieces, but most of them I find rather uninspired.

I thought there was a good comparison to be made between the music of NM and that of Rubbra. Both wrote modest, unassuming music in traditional forms, with no flashiness or display. Both use the strings as the basis of their orchestration and both are skilled in extending melodies seamlessly (sometimes they write single-movement symphonies) and with both their best works are inspired declamations. (I found Mysaskovsky's two cello sonatas reminiscent of the Rubbra Cello Sonata).

I thought the best of the Myaskovsky symphonies were 21, 22 and 25. Of the remaining symphonies 8, 10, 11, 13, 16, 27 weren't bad. The rest though were uninspired. At times in his music there is an agreeable folky liveliness, and a fine sense of Russian melody, but neither of these are really sustained. The Cello Concerto I thought was a masterpiece, though the Violin Concerto wasn't up to the same level. My thesis about his music is that Myaskovsky hated Communism and felt under pressure all the time (justifiably); unlike Shostakovich he didn't respond with works full of snark, or by keeping works hidden, instead he just kept churning works out whether he was inspired or not. In an ideal world he would have produced  5 or 6 symphonies in his life. His great symphonies came about because WW2 reawakened his Russian patriotism, 21 is on the eve of WW2, he senses something about to happen, 22 is a response to the early days of the war, 25 and the Cello Concerto are a reaction to Soviet Russian victory.

I didn't really investigate any of his other works except a few String Quartets. I found these agreeable enough, but not really string quartets, ie contrapuntal motivic discussion. Instead I thought they sounded like orchestral music arranged for SQ.

So I don't think I'll be buying the big box, but I will buy a few of the Svetlanov disks individually, and I have already got the Tarasova version of the Cello Concerto (which has the Cello Sonatas with it).

That's what I thought.

Thanks for taking the trouble to feed back on your NM listening. I like your Rubbra comparison - both composers wrote 'unflashy' music of considerable depth although perhaps Rubbra's scores were more consistently of a high standard. You do not include some of my favourite NM symphonies in your list of the better ones and I would have included also nos 3,6,15 and 17. In fact I was listening to No. 15 in the car this morning. No.17 I regard as one of the very best and the Alto CD which links symphonies 17 and 21 is a very fine one I think (not to mention the fab booklet notes  ). I have recently been listening to the piano sonatas, some of which are very good. Also, I think that the valedictory string quartet No.13 is a wonderful and very moving work.
Thanks very much again for reporting back and I enjoyed reading your comments even if I am not in full agreement. 

[Mirror Image]

Myaskovsky's Symphony No. 24 is still my favorite with Symphony No. 27 coming in a distant second place.

[amw]

For the past few weeks I have been listening to Mysaskovksy, I hadn't previously heard a note of his music.

Myaskovsky is a high-calorie composer and consuming in large quantities is not recommended. Symptoms of Myaskovsky overdose may include pathological resistance to half-diminished sevenths, trumpet fanfares and anything described as 'valedictory'. Recommended dosage of Myaskovsky is one (1) symphony or string quartet every two (2) weeks, or as needed; consumption not to exceed three (3) symphonies or string quartets per 24-hour period. If you believe you have experienced excess Myaskovsky, seek out your nearest Stravinsky, Poulenc or Bartók immediately.

[vandermolen]

Myaskovsky is a high-calorie composer and consuming in large quantities is not recommended. Symptoms of Myaskovsky overdose may include pathological resistance to half-diminished sevenths, trumpet fanfares and anything described as 'valedictory'. Recommended dosage of Myaskovsky is one (1) symphony or string quartet every two (2) weeks, or as needed; consumption not to exceed three (3) symphonies or string quartets per 24-hour period. If you believe you have experienced excess Myaskovsky, seek out your nearest Stravinsky, Poulenc or Bartók immediately.

Hilarious. So what's wrong with 'valedictory'?  Most of the symphonies I enjoy have a valedictory quality, as well as demonstrating a mad and hopeless defiance. 

[calyptorhynchus]

If you believe you have experienced excess Myaskovsky, seek out your nearest Stravinsky, Poulenc or Bartók immediately.

I composers I compare Myaskovsky to are those Soviet composers of a later generation who are still quite traditional, Salmanov, Eshpai, Ivanovs (Latvian, probably unwilling Soviet).

[vandermolen]

I composers I compare Myaskovsky to are those Soviet composers of a later generation who are still quite traditional, Salmanov, Eshpai, Ivanovs (Latvian, probably unwilling Soviet).

His pupil Shebalin also comes to mind. His First Symphony has echoes of Miaskovsky as does the underrated First Symphony of Kabalevsky. Shebalin's valedictory ( ) Fifth Symphony is a fine work.

[amw]

I composers I compare Myaskovsky to are those Soviet composers of a later generation who are still quite traditional, Salmanov, Eshpai, Ivanovs (Latvian, probably unwilling Soviet).

I was thinking more in terms of antidotes.

For similarities, I've also felt he has a lot in common with some of the more cosmopolitan westerners of his day—Bax, Schoeck, Zemlinsky, etc., even Ravel—as seen through a Borodin/Rimsky tinted lens.
(I've also been listening to some of the Shebalin symphonies which are valedictory, hopelessly defiant and, of course, inspiriting >.> and quite decent though they do tend to sound like undiscovered Myaskovsky works a bit)

[vandermolen]

I was thinking more in terms of antidotes.

For similarities, I've also felt he has a lot in common with some of the more cosmopolitan westerners of his day—Bax, Schoeck, Zemlinsky, etc., even Ravel—as seen through a Borodin/Rimsky tinted lens.
(I've also been listening to some of the Shebalin symphonies which are valedictory, hopelessly defiant and, of course, inspiriting >.> and quite decent though they do tend to sound like undiscovered Myaskovsky works a bit)

Shebalin's valedictory No.5 is especially moving and the Miaskovsky influence is very clear in Symphony 1.

[torut]

Murray Mclachlan's complete piano sonatas set has been reissued.
[asin]B00SBI03RS[/asin]
Including not only the piano sonatas but also: Sonatine (Op. 57), Prelude & Rondo-Sonata (Op. 58), Reminiscences (Op. 29), Yellowed Leaves (Op. 31), and Scherzo from String Quartet No. 5.

[vandermolen]

Murray Mclachlan's complete piano sonatas set has been reissued.
[asin]B00SBI03RS[/asin]
Including not only the piano sonatas but also: Sonatine (Op. 57), Prelude & Rondo-Sonata (Op. 58), Reminiscences (Op. 29), Yellowed Leaves (Op. 31), and Scherzo from String Quartet No. 5.

Yes, that's a nice set, originally on Olympia. Love the cover image.

[vandermolen]

This set restores to the catalogue the greatest ever (IMHO) performance and recording of Miaskovsky's concise and poetic Symphony 21, commissioned by the Chicago SO (in a rare gesture of solidarity between the USSR of Stalin and USA).  This is a fine box with some interesting Ives discs, all presented in mini versions of the original LP sleeves:
[asin]B017E52YWA[/asin]

[vandermolen]

I was sorry to read of the death of the Russian cellist Alexander Ivashkin in 2014 at the age of 65. In my opinion he was responsible for a wonderful performance of Miaskovsky's great Cello Concerto. It is my favourite performance after the classic one by Rostropovich/Sargent and much better recorded. The CD with Polyansky conducting the moving/valedictory Symphony 27 is one of the great Miaskovsky CDs and an ideal introduction to the composer as it features two of his greatest works. I see that I mentioned it in my opening post in this thread (it is available very inexpensively on both the Amazon UK and U.S. Sites):
http://www.telegraph.co.uk/news/obituaries/10634183/Alexander-Ivashkin.html
[asin]B00006JK98[/asin]

[J]

I just listened to this on YouTube (the Cello Concerto that is) and am surprised you rate it so highly.  I found Ivashkin's playing rather labored and inelegant, and his tone unattractively muddy and too resonant (maybe somewhat the recording here), overall missing the elegiac delicacy and twilight nostalgia I love in the piece.

We can commune once again, however, over Gould's superlative 21rst Symphony performance, a marvel of precision and perfect ensemble, seamless and inevitable from start to finish.

[Scion7]

Have not heard that recording of the Cello Concerto -

I have the [Knjazev, Helsinki Philharmonic, Vedernikov] recording,
and the [Tarasova, Moscow New Opera Orchestra, Samailov] CD.

Ah, it is on YT - will have a listen.  Thanks.

[vandermolen]

I just listened to this on YouTube (the Cello Concerto that is) and am surprised you rate it so highly.  I found Ivashkin's playing rather labored and inelegant, and his tone unattractively muddy and too resonant (maybe somewhat the recording here), overall missing the elegiac delicacy and twilight nostalgia I love in the piece.

We can commune once again, however, over Gould's superlative 21rst Symphony performance, a marvel of precision and perfect ensemble, seamless and inevitable from start to finish.

We'll have to differ on that one. 
The Sargent/Rostropovich remains my favourite version. No other recording, in my view, of the 21st Symphony, including fine ones by Svetlanov and Measham are as poetic and eloquent as Morton Gould's recording. The score was commissioned by the Chicago SO at a rare moment of inter-allied wartime rapprochement. It amuses me that what the British and Americans called the 'Grand Alliance' was described, with greater accuracy, by the USSR as the 'Anti-Hitler Coalition.'