Symphony No. 16 (Myaskovsky)

• I Allegro vivace
• II Andante semplice e (quasi allegretto )
• III sostenuto
• Precedento IV tempo

The Symphony in F major, Op 39 is the 16th Symphony the composer Nikolai Yakovlevich Myaskovsky.

Genesis

The 16th Symphony is the last work of one phase in the work Mjaskowskis in which he sought a new style in six symphonies composed almost without interruption. The Symphony represented the pinnacle of his career in the Soviet Union, whereas the work was hardly noticed abroad. The subtitle " flyer Symphony " refers alongside some associations of listeners, especially on a used in the final theme that " The airplanes flying in the sky " comes from Mjaskowskis mass song.

The first ideas to the symphony had Mjaskowski already in the summer of 1935, but the choice of suitable topics was difficult for him, as is evident from his diary entry:

This slow development was mainly due to the fact that Myaskovsky had trouble with the new style still and at the same time was afraid to make too banal his musical language. After the experience with the 15th Symphony he wanted this time to be sure not to have to discard unsuccessful attempts again. In the following years the work went to the factory then are progressing rapidly. The end of December consummate Mjaskowski the piano version and on 6 March, he orchestrated to 5 April 1936.

Analysis

Externally, the symphony resembles its predecessor, since it has a similar sense of optimism, four sentences and a comparable performance duration, but it is much more complex on closer inspection. In addition to the poetry and melancholy already known from the 15th, the emphasis is in this work primarily on pathos and joy.

The first movement begins with the fanfare -like main theme, which directly evokes the association of an airplane. The dynamics that is causing this issue, runs through the entire set. He is contrasted with a lyrical second theme, which, however, during the course of receiving the sweeping elements of the main theme. The slow second movement is a poetic subject on which Prokofiev wrote that he behold behind the "Smile of Mikhail Glinka " appears. Another pastoral theme reflects loud diary entry of the composer, the impressions of a walk in the forest at his summer residence in Nikolina Gora ( Rublyovka ) resist. On these walks he was often accompanied by his sister Valentina Jakovlevna and the daughter of his friend Pavel Lamm, Olga Pavlovna. These two individuals are characterized by distinctive themes of the English horn and flute. The dramatic third movement is initiated by an argument advanced in unison of the horns, trombones and tuba melody, followed by a funeral march. According diary entry this sentence expresses the feelings that triggered the message of the crash of Maxim Gorky. However, in the course of the movement, the march has begun to take heroic traits, thus emphasizing the pride of the sacrifice rendered. The fourth movement is the -song - dance -scale finale. The main theme from " The airplanes flying in the sky " is not immediately present, but appeared in the course of the movement occasionally. Only at the climax of the development it is all about focus, followed by radiant chords. Then appears again the theme of the second movement in the horns, then calmed down and the music returns to the lyrical nature associations.

Reception and criticism

The symphony set for Mjaskowski the greatest success since the sixth symphony become the new musical language and the topics and associations used perfectly in the Soviet propaganda, so she was referred to as the climax of the Soviet symphony. At the premiere on October 24, 1936 his friend Prokofiev was present much to the delight Mjaskowskis. The composer was celebrated by the audience and had several times to the stage to receive the applause. Prokofiev wrote about the symphony:

" With regard to the beauty of the material, the masterful system and the harmonious overall design is really great art, without grandstanding and any Augenzwinkerei with the audience. "

The composer himself was, as so often dissatisfied with his work. He wrote:

"Even with my 16 symphony I do not tend to see them as consistently successful solution of the problem, neither with respect to the form or in terms of musical language, although the tendency of its contents compared to my other works of the present much closer lies "

Despite the great success in the Soviet Union, there is no indication that the work outside Russia was known or ever came to the performance. The symphony, the arrival is in a new style, retained the Mjaskowski until his death. The use of these propaganda themes (as well as the collectivization of agriculture in the 12th Symphony ) have the composer introduced a lot of criticism in arrears and are one reason why he is now outside Russia hardly known. The author Maya Pritsker writes:

" Should we blame Prokofiev for creating the great film- score for Ivan Grozny, Which interpreted history accor ding to Stalin 's dictatorial purposes, or Shostakovich for writing his ballets based on a typical soviet propagandist cliche? Should we blame Myaskovsky for his or Kolkhoz Aviation ( Sixteenth ) symphonies? Or for receiving Stalin 's prize or simply for survival? I do not believe that. To Differing degrees, They all experienced enormous domestic tragedy and frustration; the deprivation of Their freedom of speech and self -expression, the almost complete lack of outside information, the constant accompaniment of Soviet propaganda and official orders, ie, what to write, how to write. [ ... ] To survive emotionally and artistically, Shostakovich had his anger and irony, Prokofiev, his enormous vitality and foreign experience. Myaskovsky did not have any of that. "

" Shall we condemn Prokofiev that he wrote the great soundtrack for Ivan the Terrible, which interpreted the story in favor of Stalin's purposes, or Shostakovich that he wrote ballets, which were based on typical Soviet clichés? Shall we condemn Mjaskowski for the collectivization or flyer Symphony? Or for obtaining the Stalin Prize or just for survival? I think not. To varying degrees, they have all experienced tremendous inner tragedies and frustrations; the deprivation of their freedom of speech and the freedom to express themselves, the almost complete lack of information from the outside, the constant accompaniment of Soviet propaganda and official commands, such as what and how they had to write. [ ... ] In order to survive emotionally and artistically Shostakovich had his anger and irony, Prokofiev its enormous vitality and international experience. Myaskovsky had nothing of all this. "

Mjaskowski chose as a way out of this difficult situation, the adaptation, what it though on one side great success within the Soviet Union, on the other side but also brought severe internal conflicts that expressed in frequent depression.