Guest
Slovak Radio Symphony Orchestra conducted by Robert Stankovsky. I - Andante - Più mosso - Allegro - Pochissimo più sostenuto (Tempo II) - Tempo giusto (Tempo I) - Più sostenuto (Tempo II) - Tempo giusto (Tempo I) - Andante: 0:00 II - Allegro risoluto e con spirito - A doppio più lento (Allegretto comodo e semplice) - Più tranquillo - Quieto (quasi allegretto) - Allegro tenebroso - Quieto - Allegro tenebroso: 12:48 III - Adagio - Quasi andante - Più appassionato - Con desiderio - Poco a poco rallentando al Tempo I - Tempo I: 20:31 IV - Allegro deciso - Tempo giusto - Più mosso, flessibile - Tempo I - Più animato - In tempo (poco sostenuto) - Tempo I - Poco più mosso, flessibile - Più mosso - Appassionato - Tempo giusto - Più pesante e fastoso - Più pesante - Molto vivo - Allegro sostenuto: 37:16 Myaskovsky's Symphony No.8 was composed between 1924-5, being premiered in Moscow on May 23 of 1926, conducted by Konstantin Saradzhev and received with great enthusiasm. The work is heavily inspired by the figure of Stenka Razin, a Cossack leader of the seventeenth century turned rogue, beginning a major rebellion in the south of Russia against the nobility and the Tsar, before being defeated and executed. The work is dedicated to the musicologist Sergei Popov. It was originally conceived as a multi-movement symphonic poem, but what he had considered to be an original folk melody and therefore integrated into the finale as Stenka Razin’s theme turned out to be a melody by Mily Balakirev on a completely different subject. This led Myaskovsky to completely revise the work, abandoning the programmatic elements while retaining the folkloric materials of the symphony. During the Soviet period, the revolt led by Stenka Razin was seen as a prerevolutionary act, being thus a popular subject. The first movement is structured in a modified sonata form. It begins with a slow introduction, with a folkloric motive on the woodwinds. An accelerando leads us to the main allegro. A vigorous and rhythmic main theme of Russian character is presented, contrasted by a more melancholic and lyrical second theme on strings. Follows an extensive and dense development section, full of contrapuntal techniques. We also don't find as much dissonance and chromatic harmonies as the previous two symphonies, bringing the work closer to the traditional Russian romanticism. The recapitulation presents the main themes back, followed by the introduction material. A calm coda ends the movement. The second movement is a scherzo in ternary form. It begins with a folkloric main theme of Caucasian flavour, graceful but robust. The trio begins with a lyrical second theme presented by the strings, developed in a popular way before stopping in a contemplative passage. These materials are based on the following folksongs: “A Duckling Swam Across the Sea“ and “Don’t Spawn, You Little Pike“ from Rimsky-Korsakov's 100 Russian Folk Songs, as well as an original melody Myaskovsky had heard during his years of study. The scherzo is then resumed. A forceful coda ends the movement. The third movement is structured in ternary form. It begins with a lyrical and colourful main theme based on a folksong from the Bashkir region (near Kazakhstan), presented by the English horn over the harp and bass strings. It unfolds with a melancholic and dramatic tone, despite the beauty of the material. The middle section opens with an expressive yet painful variation of the main theme, reaching a romantic climax. After a tremolo transition, the main theme is recapitulated by the English horn. After an extensive slow postlude, an obscure coda ends the movement. The fourth movement is also structured in sonata form. It begins with a brief opening of six horns, followed by an expansive and epic main theme. In contrast, the second theme is lyrical and calmer. A chromatic development takes place, more dissonant and complex than in the previous movements, interwoven with quotes of themes and motives from previous movements, like the opening of the work or the trio of the scherzo. The main theme is finally vigorously recapitulated, followed by the lyrical second. The music begins to turn tragical, as the main theme leads us to a dark and melancholic coda. Picture: “Stenka Razin Sailing in the Caspian Sea“ (1906) by the Russian painter Vasily Surikov. Musical analysis partially written by myself. Sources: , , and To check the score:
