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Oslo Philharmonic Orchestra conducted by Vasily Petrenko. I - Andante sostenuto - Allegro non troppo ma con impeto - Tempo I: 0:00 Myaskovsky's Symphony was composed along with the previous one in 1940, both premiered at the Festival of the Soviet Music Days that took place in Moscow on November 16, 1940 by the USSR State Symphony Orchestra conducted by Alexander Gauk. Written in a single movement, the work was a commission by the Chicago Symphony Orchestra in 1938 to celebrate its 50th anniversary. It was performed by said orchestra on December 26 of 1940, with the orchestra led by Frederick Stock. In the month of March of 1941, Myaskovsky was honored with the Stalin Prize, in recognition of this work. The Twenty-first Symphony is, perhaps, Myaskovsky’s most masterfully executed score. However, it is also a mirror of the duality of his existence, the telling evidence of the conflict between his feelings and the outside world. The most striking feature is the difference between the emotional world of the opening and the images of the main part. The first is a sincere, profound confession of a suffering human soul, equal to the best pages of Tchaikovsky. The second is a masterful construction, filled with bright, expressive and naturally developed images; nevertheless, it leaves the strange impression of something artificial, which is done more according to the rules than from the heart. The work is structured in a single movement written in a modified sonata form. It begins with an extensive slow introduction. The clarinet presents a melancholic theme, close in character to the most sad type of Russian folk song “protyazhnaya“ (which means “drawn-out” “drawling”). This is followed by glacial chords from the strings, carrying this theme to an expressive climax. Follows a brief development of these ideas, culminating in a tragic climax. After a brief pause, the main allegro starts. A masculine and energic main theme is presented by the strings. In deep contrast, the second theme is widely lyrical and warm, also being presented by the strings. A firm fanfare opens the development, which rises in a massive climax that quickly turns sour, as a funereal tone and a pause end this section. Follows the usual recapitulation of the themes, with the music rising in another climax on the second theme. Then comes a kind of epilogue in which the opening theme reappears tragically. A slow coda, based on this material, ends the work in an obscure manner. Picture: “Arion“ (1891) by the French painter Gustave Moreau. Musical analysis partially written by myself. Source:
