Symphony No. 3 (Myaskovsky)
- I non troppo vivo, vigoroso
- II Deciso
The Symphony in A minor, Op 15 is the third symphony of the composer Nikolai Yakovlevich Myaskovsky.
Genesis
The third symphony was the last who wrote Mjaskowski before the outbreak of the First World War. The previous works by the composer had been taken already benevolently at this time, especially the Sonata for Cello and Piano in D major was very popular. Work on the symphony was completed in April 1914.
Analysis
The inner conflict Myaskovsky, which was already evident in the other early works, shows most impressively in the third symphony. As an example, only the contrast between the first two issues of the first sentence or between the end of the first movement and the introduction of the second set was called. Myaskovsky was in this early phase obviously still looking for his own style, with the symphony represents a compromise between the music of Russian romance and the processing of the traumatic experiences of that time.
The first sentence in A minor begins with an introduction, is presented in the already most of the motivic material of the entire piece. Appears first, built on dark rumble of the bass, a trumpet in it that comes up again and again in the piece. This is followed by a second, majestic and forbidding subject. The subsequent three-part sonata form begins with a tough, spasmodic topic. The highly chromatic and almost atonal transition leads to a loud and played by the full orchestra version of the second theme of the introduction. After a settling of the music starts, the second singing theme based again on the Einleitungsfanfare. The third theme is in D flat major, the development and recapitulation are structurally conventionally held, even if the last few minutes are much quieter and more peaceful in A Major.
The second movement begins with resounding, fanfare-like chords that lead through a fast development to the main theme of the rondo. The second follows, dance theme in E minor and a variant of the main theme of the first movement, this variant is a significant change that you could refer to them as an independent subject. After a slowdown in the music of the central part of the sentence, which again has a threatening atmosphere appears. The section ends with a theme in unison, it follows a repeat of the introduction and the two themes of the Rondo. Another variation on the theme of the first movement, this time not as alienated, leads into the past, surprising section of the symphony: a funeral march in the form of ABA. It begins with a quiet theme in the strings, which draws on the second theme of the Rondo section. The second part consists of a long, big crescendo that uses the first theme of the movement and again leads to the funeral march theme, which is this time powerfully voiced by the entire orchestra. The coda of the march, which is also the movement's coda at the same time, is again calm and quiet, it seems a kind of cello cadenza and several A minor added sixth - ajoutée chords that with the chosen e - fis - gis -a are highlighted in the basses. At the end of the chord fades away and the bass play one last a This unusual conclusion clearly shows the then state of mind Mjaskowskis: The funeral march symbolized the horror and hopelessness of the political and social situation in Russia by 1914.
Reception and criticism
After completion of the third symphony Myaskovsky was so dissatisfied with himself that he thought, perhaps quite give up composing, at least to start but once again from the beginning. Such a score is indeed actually be seen in the music Mjaskowskis, but not caused intentionally, but caused by the First World War. As Mjaskowski just fought at the front, he received the news that the conductors Aslanow ( who had premiered the first symphony ) and Alexander Ilyich Siloti were interested in the score of the Third Symphony. No later than the third symphony is known Mjaskowski clear to his Russian- nationalist stance. He dedicated the work to his friend and colleague Boris Assafjew .