Symphonies no. 17 & 20

Unlike the music of Prokofiev and Shostakovich, the work of their slightly older compatriot Nikolai Mjaskovsky is hardly known outside Russia. Perhaps it has to do with the fact that Mjaskovsky's symphonies are somewhat introverted and more rooted in symphonic tradition. Aram Kachaturian hit the nail on the head in that regard by calling Mjaskovksi's music a bridge between Russian classicism and… modernity. That kite certainly holds true for Mjaskovsky's hitherto little-recorded Symphonies Nos. 17 and 20 (only the State Symphony Orchestra of the Russian Federation under Evgeni Svetlanov previously put them on the plate). The spacious Symphony No. 17 stands out for its epic nature of long-spun melodies and impressive brass passages. In the more compact Symphony No. 20, on the other hand, the Russian character stands out, with Mjaskovsky seeking a connection to Russian folk music. Possibly this conservatism was the reason for Mjaskovsky's 1948 condemnation by the Central Committee of the Communist Party. On this recording, the Ural Youth Symphony Orchestra under conductor Alexander Rubin does a fine job. No wonder, since Rubin has been involved with Mjaskovsky's music for decades. 'Mjaskovsky is an amazing composer whose works may not be immediately understood by everyone,' Rubin said: 'Many of the connotations are coded. Nevertheless, the music makes a very strong impression and can provide answers to the questions we face today.' (JWvR)more