Nikolai Myaskovsky - Symphony No. 25, Op. 69 (1946)

Описание: Nikolai Yakovlevich Myaskovsky or Miaskovsky or Miaskowsky (Russian: Никола́й Я́ковлевич Мяско́вский; Polish: Nikołaj Jakowlewicz Miaskowski; 20 April 1881 – 8 August 1950), was a Russian and Soviet composer. He is sometimes referred to as the "Father of the Soviet Symphony". Myaskovsky was awarded the Stalin Prize five times, more than any other composer.

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Stung by the many accusations in the Soviet press of "individualism, decadence, pessimism, formalism and complexity", Myaskovsky wrote to Asafiev in 1940, "Can it be that the psychological world is so foreign to these people?" When somebody described Zhdanov's decree against "formalism" to him as "historic", he is reported to have retorted "Not historic – hysterical". Shostakovich, who visited Myaskovsky on his deathbed, described him afterwards to the musicologist Marina Sabinina as "the most noble, the most modest of men". Mstislav Rostropovich, for whom Myaskovsky wrote his Second Cello Sonata late in life, described him as "a humorous man, a sort of real Russian intellectual, who in some ways resembled Turgenev".

Symphony No. 25 in D-flat major, Op. 69 (1945-46, rev.1949)
Dedication: L.T. Atovmian (1901–1973)

I. Adagio - Andante (0:00)
II. Moderato (12:41)
III. Allegro impetuoso (17:19)

USSR Symphony Orchestra conducted by Dmitri Yablonsky

Description by Joseph Stevenson [-]
Coming four years after the dramatic "war symphony, " that was this prolific symphonist's 24th symphony, this work provides a striking contrast. It is light and refreshing. Although it also is energetic in tone, it is also a work which presents an aspect of peace. Premiered in March of 1947, it fits into the period after which the Soviet people had defeated the fascist menace but before the state's composers again felt Stalin's lash. It is in three movements, each given a progressively faster main tempo marking: successively, they are Adagio, Moderato, and Allegro impetuoso. The timing of the symphony is a bit under 35 minutes.

The slow tempo of the opening movement, while a break with the ordinary symphonic tradition, is not unprecedented; both Mahler and Shostakovich preceded Myaskovsky in using opening adagio tempos. In contrast to their examples, Myaskovsky's opening adagio is neither tragic nor threatening in mood. It is based on three main themes of generally calm character but with contrasting emotional moods. The third theme is one of the most lyrical in all of Myaskovsky's symphonic output. The central section of the movement is a theme and variations based on an earlier piano piece. The third part of the movement presents varied statements of the opening three themes, given in reverse order. The coda sums up the variation section.

The middle movement is a brief intermezzo in waltz time but, unusually for dance movements, is a show-piece of the composer's contrapuntal mastery.

The finale is an energetic piece. The opening section is based on a new theme, but the lyrical theme of the first movement is recalled to action over it. The second theme group similarly calls in the second theme of the opening movement. This optimistic music gathers its strength to conclude the symphony in the mood of a hymn to peace and mankind.