If you want a representative disc of symphonies by Soviet composer Nikolay Myaskovsky, conductor Evgeny Svetlanov should head up your shopping list. But since he has recorded all 27 of Myaskovsky's symphonies, choosing a single title can be difficult. This is as good a place to start as any. The Fifteenth, a four-movement work from 1934, is Social Realism at his most optimistic, with folk-song-like themes, brilliant orchestrations, and an easily graspable structure. The No. 27, a three-movement work from 1949, is much ...
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If you want a representative disc of symphonies by Soviet composer Nikolay Myaskovsky, conductor Evgeny Svetlanov should head up your shopping list. But since he has recorded all 27 of Myaskovsky's symphonies, choosing a single title can be difficult. This is as good a place to start as any. The Fifteenth, a four-movement work from 1934, is Social Realism at his most optimistic, with folk-song-like themes, brilliant orchestrations, and an easily graspable structure. The No. 27, a three-movement work from 1949, is much darker and much more emotionally complicated. Myaskovsky wrote it the year after he, Shostakovich, Prokofiev, and Khachaturian had been publicly denounced as enemies of the people by the Communist Party, and its tone is understandably nostalgic, tragic, and even pessimistic in the central Adagio. The Fifteenth is thus representative of the composer at his best, while No. 27 is representative of him at his most honest. As always in this series, Svetlanov leads with technical mastery,...
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