Miaskovsky For Cello
This CD was my introduction to the music of the Twentieth Century Russian composer Nikolai Miaskovsky (1881 - 1950). I was able to purchase the CD virtually risk-free on the budget-priced Arte Nova label. It was truly a find. The CD consists of three works for cello, the Concerto, Opus 66 in C minor, the Sonata for Cello and Piano No. 1 in D major, and the Sonata for Cello and Piano No. 2 opus 81 in a minor. This is late romantic-influenced music, heart-tugging, passionate, sad and lyrical. I fell in love with it.
Miaskovsky is best-known for his 27 symphonies all of which are available on recordings. But his works for cello appear to be the most frequently recorded part of his output. Although they are available on several CDs with renowned cellists, the low price and high quality of this release makes it a good choice for new listeners. The cello writing is highly idiomatic. Miaskovsky uses the full register of the instrument and captures especially well its capacity for slow, melancholy song.
Miaskovsky lived in the U.S.S.R. his entire life and had an uncomfortable relationship with the communist regime. Nevertheless his cello concerto was awarded the Stalin Prize in 1946, as were five other of his compositions. There is nothing political in this concerto, however, as it sings emotionally of human sadness. It does make use of immediately accessible, folk-song influenced themes. The work is in two lengthy movements. The work is performed by Russian cellist Kyrill Rodin, winner of the Tchaikovsky Competition in 1986, and by the Russian Philharmonic Orchestra conducted by Knostantin Krimets. The concerto is melancholy and reflective and lacks the virtuosic display common to most concertos. The orchestral writing includes a highly coloristic Russian use of bassoon, oboe, and flute.
Contrary to most concertos, the opening movement is marked Lento. It features a sad melody stated at the outset by strings and reeds and then taken up by the cello. Orchestra and cellist tend to alternate throughout the movement as they embellish the opening theme. There are passionately singing passages high in the instrument's register for the cellist. The overall feeling is one of melancholy.
The 23-minute second movement is marked Allegro vivace. The movement opens with an agitated theme, but it soon slows down with a slow, heart-tugging passage for the cello. Throughout the movement, there is a contrast between agitation and melancholy. Although the movement includes some dramatic, almost angry passages, the tone is, again sad, almost dirgelike in places. It is difficult to sustain the mood of this music for a movement in excess of 20 minutes, but Miaskovsky succeeds through his lyricism, passion, and intimacy.
I enjoyed the two cello sonatas even more than the concerto. Rodin's partner for these works is the Russian pianist, Andrei Pisarev, a first-prize winner in several international competitions. The first sonata is a relatively early composition which Miaskovsky revised in mid-career. It is in two movements which are played without a break. This sonata features beautiful writing for the piano, in its opening theme just after the entrance of the cello. The sonata includes moments of turbulence as the piano and the cello play together, the piano with loud chords, and the cello with a surging melody. The opening adagio gives way to a surging movement marked "Allegro passionato. Adagio" which contrasts dramatic intensity with melody and restraint. After a large climax, the sonata ends in hushed tones for both instruments.
The second sonata in a minor is a late work consisting of three movements. The sonata was dedicated to and premiered by Rostropovich. (A famous recording of Miaskovsky's cello concerto by Rostropovich remains in print.) The opening movement again is full of sad singing, contrasted with drama. The movement is based upon a single theme. Again, this sonata includes varied lyrical and dramatic passages for the piano. The second movement, Andante cantabile, is songlike in the extreme and rises slowly to a large climax before returning to lyricism and peace. The finale is based upon a rapid, stacatto-like passage for the cello which contrasts with a theme of flow and lyricism. The music works to a large climatic coda, and a brisk, triumphal fortissimo ending.
Music such as this which wears its heart on its sleeve is not my usual fare. But I was captivated. I look forward to hearing more music by Miaskovsky.
Robin Friedman
