Piano Sonatas (Mjaskowski)

Nikolai Myaskovsky (1912)

Nikolai Jakowlewitsch Mjaskowski published nine piano sonatas , one sonatina , and several small pieces for piano between 1907 and 1949 . The piano sonatas were not published in the order in which they were composed, nevertheless they represent each of the composer's creative phases . In addition to the published sonatas, there are other unpublished works from before Mjaskowski's studies. However, he partly processed these sketches later, for example in the fifth and sixth sonatas. From his main work, the symphonies and string quartets , you can see that Mjaskowski composed on the piano; conversely, a characteristic of his piano sonatas is the symphonic breadth and dynamic movement, which is otherwise only possible with an orchestra. The sonatas do not rely on virtuosity or showmanship, but they are by no means easy to play. The first four in particular require a high level of musical understanding.

The sonatas can be divided into four groups. The first sonata, as the only representative of its group, has a special status, since it is still dominated by the late Romantic models of Myaskowski. It comes from the time of studying at the Conservatory. The next group is made up of sonatas five and six, as the templates that Mjaskowski combined, revised and published in 1944 to form two sonatas also come from his student days. Nevertheless, they show the calm and maturity of the composer's late phase. The second, third and fourth sonatas form the third group. They are characterized by dissonances , caused by many quart and excessive quart sounds and an oppressive mood. It is possible that Mjaskowski processed his traumatic experiences of the First World War here. Here the closeness to Scriabin and the poets of symbolism is clearly recognizable. Myaskovsky, who was already suffering from cancer, wrote the last three sonatas in 1949 as teaching pieces. They are much shorter and more manageable than the earlier sonatas, and are characterized by the melancholy tonal language of the later years.

The piano sonatas are rarely played in concerts, but they are particularly popular with Russian pianists. The pianists Murray McLachlan (Great Britain) and Endre Hegedüs (Hungary) have each published complete recordings.

Early sonatas

Mjaskowski wrote the first three sonatas before his studies, the sonata in E minor op. 0J was written in 1905. In 1907 the sonatas in C minor op. 0O and in G major op. 0P followed, both in one movement . Op. In 1909 he orchestrated 0P for the overture in G major op.9A. However, these three sonatas were never published. With op. 0O he successfully applied to the St. Petersburg Conservatory .

Published sonatas

1. Sonata in D minor op.6

Sentence names:
- I Moderato assai ed espressivo
- II Allegro affanato - Allegro con fuoco - Allegro precipitato: quasi coda
- III Largo espressivo
- IV Non allegro - Allegro - Molto moderato - Maestoso e patetico
Total duration: approx. 30 minutes
Composed: 1907–1909
Dedicated to Mrs. NL Hofman

Although the Sonata in D minor has the official numbering number 1, as it was the first to be published, it is not the first piano sonata that Myaskovsky wrote. This can already be seen in the accomplished composition technique and the experience that the composer obviously had. The first movement in D minor is laid out as a fugue that connects over 150 years from Bach to the late Romanticism of the early 20th century. The second movement, also in D minor, is the actual main movement; it also largely adheres to the sonata form , with the exception of the cadenza , which is more reminiscent of a concert form. The fugue theme of the first movement runs through all movements and can also be found in the middle part of the slow and lyrical third movement in F major . In the fourth movement, an imposing, fast finale in D minor, the orchestral breadth, which culminates in a transformation of the opening fugue, is a characteristic of Mjaskowski's piano works.

2nd Sonata in F sharp minor op.13

Sentence names:
- Lento, ma deciso - Allegro affanato
Total duration: approx. 13-20 minutes
Composed: 1912, revised 1948
Dedicated to BS Sakharov
First performed 1916 in Saint Petersburg (then still Petrograd)

The second piano sonata in F sharp minor in one movement was written in 1912 and is therefore still one of the composer's early works (“pessimistic phase”). But it also shows a high degree of craftsmanship, especially in terms of structure and processing of the thematic material. The sonata is subtitled “ Dies Irae ”; this familiar topic appears as a subset. This is not the only reason why the influences of Franz Liszt , Sergei Rachmaninoff and the early Alexander Scriabin can be recognized. In Russia the sonata was also given the nickname “New Hammerklavier”, alluding to the 29th piano sonata by Ludwig van Beethoven , the third movement of which is also in F sharp minor.

At the beginning of the sonata there is a slow introduction with powerful full chords. The theme of the introduction is clearly related to the fugue of the first piano sonata, even if it appears here as a canon . The harmonious structure is clearly reminiscent of Scriabin. As a transition, the theme of the main movement is anticipated at a slow pace, then the “Allegro affanato”, which has a three-part sonata form, begins. The thematic material is oppressive (affannato: Italian for breathless, panting), but powerful, characterized by chromatic downward movements first in the bass and later in all voices. Then, in accordance with the thematic dualism of the sonata, a contrasting second theme sets in , which is interrupted by the use of the third theme, the dies Irae. The theme appears over a rhythmic pattern in the bass, which contrasts with the melody and creates harmonic unrest. This third theme and parts of the other themes appear in the development, whereby the Dies Irae in particular is repeatedly varied and processed in a contrapuntal way. After the recapitulation, a coda appears in which a fugue leads over an accelerando to “Allegro disperato” (disperato: Italian for hopeless, desperate). The contrapuntal structures are almost completely abandoned in favor of the sharp and powerful ending in the . The sonata is one of only two sonatas that clearly end in a minor key. ${\ displaystyle f \! \! f \! \! f}$

The second sonata is perhaps the technically most difficult one, in spite of this or precisely because of this, as one of the few works by Myaskovsky outside of Russia it is rarely heard in concerts. Recordings are available from Endre Hegedüs, Murray McLachlan, Lydia Jardon , Elene Skuratovskaya , T. Guseva , İdil Biret , and B. Lvov . The big difference in the total duration is due to the fact that the performers choose very different tempos.

3rd Sonata in C minor op.19

Sentence names:
- Con desiderio, improvisato - Moderato con moto, stentato, ma semper agitato
Total duration: approx. 12-18 minutes
Composed: 1920, reconstructed in 1939
World premiere by Samuil Feinberg

Mjaskowski wrote the third sonata in C minor in 1920. Outwardly, it has many parallels to the second sonata: It is written in one movement, has roughly the same overall length and is structurally comparable. However, in contrast to the stormy, breathless character of the second sonata, this sonata has a more enigmatic and restless atmosphere. This atmosphere is mainly caused by the many changes in dynamics and metrics , the harmonies turn into dissonants and atonal . This makes the sonata perhaps the composer's most complex and bulky piano work. The form of the sonata movement can only be arranged superficially: The piece begins with the first idea, an eight-bar introduction, followed by the melancholy main theme in the main key and a second group of themes, which is again strongly reminiscent of Scriabin. In the course of the following, however, it is impossible to establish a further structure, since the three themes are expanded and interwoven continuously and not only in the development as in the second sonata. The actual recapitulation is followed by an energetic coda, which again refers to the introduction. Mjaskowski revised the sonata in 1939 to give it greater structural clarity, which made the piece more popular. In addition to the complete recordings by McLachlan and Hegedüs, Lydia Jardon, Idil Biret, Boris Petrushansky and Swjatoslaw Richter have also recorded this sonata.

4th Sonata in C minor op.27

Sentence names:
- I Allegro moderato, irato - Largamente
- II Andante non troppo quasi Sarabanda
- III Allegro con brio - Tranquillo - Tempo I
Total duration: approx. 22–30 minutes
Composed: 1924–1925, revised in 1946

In the fourth sonata in C minor, Myaskovsky openly experiments with dissonances and atonality. After the two one-movement sonatas, he returns to the three-movement form, even if the term 'traditional' applies only to the form. The tonal language is dominated by the modernists Mossolow and Goedicke . The sonata reaches the dimensions of the first sonata, which is mainly due to the first movement: with a duration of 11 to 16 minutes, it is the longest movement of all sonatas - apart from the second and third sonatas. Restlessness like that of the third symphony , relentlessness and strong polyphony characterize this sonata, but there are also lyrical moments, especially in the second movement.

The first movement is in sonata form with an extended coda reminiscent of the first movement of the sixth symphony . Even if the piano cannot play the string tremolos, the gloomy sound comes close to the symphonic. The sentence ends with a menacing bell ringing. The second movement is called Sarabande and comes from an album from 1917–19 called 'Frolics'. He has a sad, melancholy mood. The mood of the third movement is wild and confusing, except for a short dreamy episode in the middle section. The movement goes through all the harmonic stations and ends abruptly in Db, whether major or minor cannot be said, followed by the sequence of notes GAHC, which gives the impression of a C minor ending.

Besides Hegedüs, McLachlan and Jardon, Alexander Slobodyanik and Leonid Brumberg have also recorded this sonata.

5th Sonata in B major op.64, 1st

Sentence names:
- I Allegretto capriccioso
- II Largo espressivo
- III Vivo
- IV Allegro energico
Total duration: approx. 25 minutes
Composed: first sketches 1907–1908, first revision 1917, second revision 1944

Of the piano sonatas, the fifth in B major went through the greatest development. The first sketches - some of which were conceived as his own, small piano pieces - were made in the years 1907–1908, i.e. during Mjaskowski's student days, during which he also composed the first sonata. In 1917 the work was actually finished, but he did not publish it until 1944 after a further revision as op. 64, together with the sixth piano sonata in A flat major . This development is also clearly reflected in the music: on the one hand, Tchaikovsky's influence can still be seen, on the other hand, the tonal language is already dominated by Mjaskovsky's later creative phase. These two sonatas were published 20 years after the fourth sonata, and so the pessimism and restlessness of the earlier sonatas has almost completely disappeared.

For the fifth sonata, Mjaskowski reverts to the traditional four-movement sonata form, which differs from the first sonata in that this time he adheres to the sequence of movements Fast (first movement ) - Slow - Fast ( Scherzo ) - Fast (finale) and the corner movements are in sonata form. The first movement is light and pastoral in character; the slow second movement is lyrical and thoughtful. In the third movement, Mjaskowski juxtaposes two themes: the first theme is almost classical , while the second is a quote from the fugue theme of the first sonata. In the finale, full chords and song- like melodies alternate, which increase to a symphonic sound. Overall, this sonata is musically easy and is reminiscent of Schumann's sonatas .

This sonata was recorded by Hegedüs, McLachlan and Masha Dimitrieva .

6th Sonata in A flat major op.64, 2

Sentence names:
- I Allegro ma non troppo
- II Andante con sentimento
- III Molto vivo
Total time: approx. 20 minutes
Composed: first sketches in 1908, revised in 1944

Myaskovsky also made the sixth piano sonata from old sketches. Small piano pieces that he had composed during his studies in Saint Petersburg served as models. The shape and atmosphere are classic to romantic. The first movement starts immediately with the main theme, which is actually untypical for Myaskovsky, since most sonatas begin with a slow introduction. The theme runs through the entire movement, which strictly follows the sonata form. The main theme of the second movement is kept very simple and could also come from a classical sonata. It is replaced by a romantic, babbling theme that is reminiscent of Edward MacDowell's style. The beginning of the third movement is very unusual, dissonant runs are more reminiscent of Havergal Brian fanfares. The following main theme is based on the Piano Trio in G minor, Op. 3 by the French composer Ernest Chausson , but overall the movement takes a much more conventional route than the introduction suggests. This is followed by a romantic second theme and various variations on the themes and the introduction.

In addition to the complete recordings by Hegedüs and McLachlan, there is also a recording by Dimitriewa.

7th Sonata in C major op.82

Sentence names:
- I Sonata (Соната) . Allegro moderato
- II Elegiya (Элегия) . Andante pensireoso
- III Plyaska-Rondo (Пляска-рондо) . Allegro giocoso
Total time: approx. 10 minutes
Composed: 1949

In February 1949, Myaskovsky was already suffering from stomach cancer and underwent an operation. The following summer he stayed with his friend Prokofiev in Nikolina Gora ( Rublevka ) to recover . There he made the 13th string quartet in A minor , the drafts of the 27th Symphony in C minor and the last three piano sonatas. These sonatas were intended as practice pieces for his students and also differ significantly from the earlier sonatas. Overall, they are shorter, easier to play and musically clearer. The shape is often more reminiscent of a sonatina.

The seventh sonata is the shortest sonata. The first movement in sonata form is followed by the melancholy, slow movement called the elegy . The third movement (dance rondo ) is entirely in the Russian nationalist style and is reminiscent of Bax ' Trepak or In a Vodka Shop .

8th Sonata in D minor op.83

Sentence names:
- I Barkarola Sonatina (Баркаролла-сонатина) . Allegretto
- II Pesnya-Idilliya (Песня-идиллия) . Andante cantabile
- III Horovod Rondo (Хоровод рондо) . Vivo
Total time: approx. 13 minutes
Composed: 1949

The eighth Sonata in D minor is also designed as a practice piece and has the greatest difficulty in the interweaving of the melody in different voices. The first movement is called the barcarole sonatina, whereby the gondola song character is not only affected by the 6/8 time and the swaying movement of the melody: the movement, like a sonatina, has no development and consists of only three themes , which appear in different harmonic variants in the order ABCBABCBA, which could perhaps be called a 'wave' form (if the B part is interpreted merely as a transition, the result is a normal sonata form without development and with a coda, which is made up of elements of the A- Partly exists). The slow second movement in F major, called the Lied Idylle , is reminiscent of passages from the sixth and seventh symphonies . The short Khorovod rondo is based on Russian folk songs . The sonata is only the second after the sonata in F sharp minor, which ends in minor.

In addition to Hegedüs and McLachlan, Dimitriewa has also recorded this sonata.

9th Sonata in F major op.84

Sentence names:
- I Svetlie obrazi-Sonatina (Светлые образы - сонатина) . Allegro non troppo
- II Povestvovanie (Повествование) . Andante sostenuto
- III Neuderzhimoe stremlenie-Rondo (Неудержтимое стремление-рондо) . Molto Vivo
Total time: approx. 15 minutes
Composed: 1949

The ninth sonata in F major is the last piano sonata and one of the composer's last works at all (later only the 27th symphony, the 13th string quartet and an album of songs were released). The title of the first movement can be translated as 'Sonatina in free form', the second movement is entitled 'Narrative'. The rondo has the addition 'insatiable striving', which refers to the continuous eighth-note movement.

Sonatina in E minor op.57

Sentence names:
- I moderate piu cantabile
- II narrante lugubre
- III Molto vivo ed agitato
Composed: 1942

A recording of the sonatina can only be heard in the complete recording by McLachlan, Hegedüs did not record it.

literature

Soja Gulinskaja: Nikolai Jakowlewitsch Mjaskowski. Moscow 1981, German Berlin 1985
David Nelson: CD supplement Marco Polo 8.223156 (Nikolai Miaskovsky: Piano Sonatas Vol. 1, Endre Hegedüs (piano)).
David Nelson: CD supplement Marco Polo 8.223178 (Nikolai Miaskovsky: Piano Sonatas Vol. 2, Endre Hegedüs (piano)).
David Nelson: CD supplement Marco Polo 8.223569 (Nikolai Miaskovsky: Piano Sonatas Vol. 3, Endre Hegedüs (piano)).

Web links

wanadoo.nl ( Memento from May 13, 2014 in the Internet Archive ): Opus by Miaskovsky
kith.org : The music of Nikolai Miaskovski
naxos.com : MYASKOVSKY: Piano Sonatas Nos. 2, 3 and 5
amazon.com : Customer Reviews: Miaskovsky: Piano Sonatas, Vol. 1
swr.de : Mjaskowskij, Nikolaj: Sonata for piano No. 2 in F sharp minor, op. 13 - SWR2 :: Music :: Piece of music of the week | SWR.de
musicweb-international.com : Nikolai MIASKOVSKY The nine piano sonatas [RB]: Classical Review- August 2001 MusicWeb (UK)

Notes in the public domain

Free sheet music for download in the International Music Score Library Project :