Symphony No. 10 (Myaskovsky)
- Un poco sostenuto - Allegro tumultuoso
The Symphony in F minor, Op 30 is the tenth symphony the composer Nikolai Yakovlevich Myaskovsky.
Genesis
The Tenth Symphony, composed Mjaskowski coinciding with the ninth. The first sketches date from the winter of 1926, when he had just returned from his only trip abroad and the drafts of the Ninth Symphony was completed. The instrumentation he undertook in the summer of 1927. In that time there was in Russia a strong collective thought, and so in 1922 the Persimfans Orchestra had founded, which dispensed without a conductor. This orchestra took over the premiere of the symphony.
Analysis
In the poem The Bronze Horseman by Alexander Pushkin is about a poor St. Petersburg official who loses his wife in a flooding of the city. He then cursed the statue of Tsar who built the city in the wrong place. The statue comes to life and pursues the man until he goes mad.
Myaskovsky used this poem and especially the illustrations, the Russian painter Alexander Nikolaevich Benua as a template for the symphony. They could also be called symphonic poem for this program. The one-movement work is reminiscent in many ways of his symphonic poems Alastor and The Silence, which have a similar character and a similar length. As there Myaskovsky used a very large symphony orchestra, in this case with an expanded horn section, big drums Instrumentation and five-string basses, which were not common at the time. Mjaskowski described the music as " filled with the deafening roar of four trumpets, eight horns, etc. m. " And said she had a " so massive, monolithic character as if it were made of iron ."
The form of the symphony, the sonata form, but it creates Mjaskowski by various means to process as much thematic material that the relatively short factory adopts cyclical proportions. He uses a double introduction, extended exposure to additional material and carrying around a double fugue. The symphony is also an example of Mjaskowskis skillful handling of counterpoint and polyphony, as he did not successively, but the themes developed in parallel. This also leads to new sound developments that significantly extend the earlier musical language of the composer. Overall Mjaskowski not focused on the literary model, but on the presentation of " mental restlessness ". The symphony is strongly tied to Russia and St. Petersburg, even if they Mjaskowski " far from any fashion ", referred to as.
Reception and criticism
Both at the premiere on April 2, 1928, their repetition on 7 April, and in 1930 by the Soviet State Publishing and Universal Publishing House issued jointly score was missing the reference to the literary model.
Myaskovsky wrote in a letter: " In the music sector of the state publishing house received the program booklets of Stokowski concerts recently, the reviews are still pending.
Law in this exhilarating program booklets is the search for a
With the interpretation of the orchestra Persimfans Myaskovsky was unhappy, whatever it was that such a complex work well can hardly be performed without a conductor. At the first performance fell through the gap in the second the coda. Even in the sample Myaskovsky had enough impressions gained on the basis of which he made minor corrections to the score. The reactions to the symphony were mixed: On the one hand Myaskovsky was generally popular, and he had enough supporters in the audience, so the performances were successful, was on the other side of the symphony subject of much adverse criticism.
1930, Leopold Stokowski Symphony on in Philadelphia and New York. Prokofiev Mjaskowski reported that the work had a " both good and bad" recording found at the audience what it Mjaskowski attributed that " Americans probably are hardly able to understand this work."
Mjaskowski cost the tenth symphony great efforts afterwards he felt like freed and became involved in three smaller orchestral works, which he initially " rural Concerts " called.