Boris LYATOSHYNSKY (1895-1968)
Symphony 1, Op. 2 (1917/19) [37.24]
Grazhyna, Op. 58 (1955) [18.57]
Ukrainian State Symphony Orchestra/Theodore Kuchar
rec. May 1994, State Broadcasting Studio, Kiev, Ukraine
NAXOS 8.555578 [56.38]
Symphony 2, Op. 26 (1935/36, rev. 1940) [30.07]
Symphony 3, Op. 50 (1951, rev. 1954) [46.40]
Ukrainian State Symphony Orchestra/Theodore Kuchar
rec. June 1993, Concert Studio of Ukrainian Radio, Kiev, Ukraine
NAXOS 8.555579 [76.47]
Symphony 4, Op. 63 (1963) [27.43]
Symphony 5 Slavonic, Op. 67 (1965/66) [27.21]
Ukrainian State Symphony Orchestra/Theodore Kuchar
rec. December 1993, Hall of State Broadcasting Company, Kiev, Ukraine
NAXOS 8.555580 [55.16]
Naxos is to be congratulated for re-issuing this complete
set of Boris Lyatoshynsky's five symphonies and the symphonic poem
Grazhyna. The three individual discs were originally released in
the 1990s on Marco Polo, a label founded to record rare and unknown repertoire.
All the recordings are performed by the Ukrainian State Symphony Orchestra
under American Theodore Kuchar - a prolific and enterprising conductor in
the recording studio.
Although celebrated as the father of twentieth-century Ukrainian music Boris
Lyatoshynsky will undoubtedly be a name new to many. Born in Zhytomyr, his
compositional career spanned the vast majority of Soviet control in Ukraine
and its resultant challenges and opportunities. Initially training at law
school Lyatoshynsky later studied composition at the Kiev Conservatory under
Reinhold Glière. In 1919, the same year he graduated at the Conservatory Lyatoshynsky
started to teach there becoming a professor and lecturer. He was to stay there
for the rest of his life. In addition he also spent around six years in 1935/38
and 1941/44 teaching at the Moscow Conservatory. Parallel to his lifelong
teaching career he composed an considerable output which included five symphonies,
a number of symphonic poems, other orchestral scores, film music, three operas,
chamber music, songs, part-songs/cantatas and instrumental works.
Written in 1917/19 the three movement Symphony 1 in A major, Op.
2 did not receive its première until 1923 when it was conducted by Glière.
Marked Molto lento the middle movement had been introduced as an
independent work titled Lyric Poem in 1917 submitted as his graduation
piece at the Kiev Conservatory. The First Symphony reminds me of
a children’s fairytale in music with the lengthy opening movement brisk
and edgy evoking a storm at sea. There's a contrasting calm central
section which is like taking a peek into a magic forest. This atmospheric
sense of an enchanted forest imbues the Molto lento second movement
together as does distinct aqueous quality that could easily evoke the flowing
of a small stream. The Finale opens to a blazing brass fanfare before
subsiding to lyrical writing of a passionate quality. Overall the feel is
rather heroic and reminded me of a sea voyage in squally weather. The work
ends on a triumphant note. If I was reminded of another Soviet composer it
was probably Nikolai Myaskovsky.
A much later work, the symphonic poem or as it is described here, a 'symphonic
ballade' Grazhyna, Op. 58 was written in 1955 to mark the
centenary of the death of great Polish poet Adam Mickiewicz. Described in
the booklet notes as “one of Lyatoshynsky’s most accomplished
works” It is a programmatic piece based on Mickiewicz’s narrative
poem Grażyna which follows the adventures of the mythical Lithuanian
female leader who fights against the Teutonic knights. An interesting and
satisfying work, Grazhyna would make a splendid addition to the first
half of a concert programme. It opens with mysterious rather chilling music
amid swirling mists. Warlike episodes are followed by sections of intense
passion. It concludes with a feeling of exhaustion say after the ending of
a battle.
There was a gap of seventeen years before Lyatoshynsky wrote his splendid
Symphony 2, Op. 26 in 1935/36 - later revised in 1940. The work was
condemned to remain unperformed until 1964 on account of Soviet censorship.
Described in the booklet notes as “turbulent” the three movement
symphony in some ways reflects the unsettling nature of the times under Soviet
control. A touch sinuous the opening movement is edgy and unsettling in character
with several blasts of aggression. Everything seems to combine for a curiously
heavy, near stifling sensation. Coming as a welcome relief the middle movement
with its feel of wide-open spaces serves as a soothing balm. With writing
of excitement, drama and adventure the Finale ends in dramatic fashion.
Following on fifteen years later is the four movement Symphony 3 in B
minor, Op. 50. Evidently this is Lyatoshynsky’s most played work,
much commended by Ukraine audiences and musicians alike. The Third Symphony
is sometimes titled ‘To the 25th Anniversary of the October Revolution’
although there is no mention of this in the booklet notes. A blend of traditional
and impressionist styles, the symphony was written in 1951 and premièred at
the Composers' Congress in Kiev to public acclaim. That said, the Soviet
authorities demanded the last movement be rewritten, hence the revisions in
1954 and the removal of Lyatoshynsky’s title for the fourth movement
‘Peace will defeat war’. The revised version was introduced
in Leningrad (St. Petersburg) under Yevgeny Mravinsky. The necessity for Soviet
censorship to the score damaged Lyatoshynsky’s reputation in official
circles and it was some years before he was able to compose with any “creative
freedom”. A powerful and assured work the Third Symphony is
packed with drama and incident. When a number of calmer passages are introduced
they soon swell and become powerfully energised. The slow movement Andante
con moto evokes one of the composer’s characteristic magical atmospheric
sound-worlds. It's mesmerising, colourful and tinged with the exotic.
Episodes of intense drama soon disappear back to magical contentment. Relatively
short in duration the Scherzo is bold and brisk, overflowing with
high spirits. The closing movement has a jubilant Nationalistic feel and at
times reminds me of a soundtrack to accompany a victory procession or a prestigious
state occasion. With regard to similarities, at times I was reminded slightly
of the music of Prokofiev.
It was twelve years before Lyatoshynsky completed his Symphony No. 4 in
B flat minor, Op. 63 in 1963. It was introduced the same year under the
baton of Ukrainian Nathan Rachlin at Leningrad (Saint Petersburg) and met
with glowing critical acclaim. A number of critics not only praised the significance
of the symphony in Ukrainian music but comparisons were made with works by
composers such as Shostakovich, Prokofiev and Bartók. Containing that characteristic
bold brass opening the first movement is predominately upbeat for the first
half. Providing a stark contrast from 6.20 the second half is unruffled with
a rather impressionistic quality. In the central movement heavy brass writing
is pitted against a lightly atmospheric rather murky undertow. Becoming increasingly
frequent is the employment of chimes to represent tolling bells. A dramatic
opening to the Finale becomes unceasingly nervy and energetic before
developing a deep melancholy - a pattern that is repeated during the movement.
Bells are prominent in the comparatively peaceful close.
Following close on the heels of the Fourth Symphony is the Symphony
No. 5 in C major ‘Slavonic’, Op. 67 written in 1965/66.
Since the 1950s Lyatoshynsky had become interested in Slavic folk music and
the title ‘Slavonic’ reflects his integration of traditional
Slavic folk material into each of the three movements. A characteristic brass
fanfare opens the Fifth Symphony. The writing has an upbeat rather
cheerful, dance-like quality that gradually adopts a more serious expression
with a martial quality bordering on the warlike. At the jubilant ending to
the score the chimes ring out strongly as if granting affirmation.
Throughout these discs the excellent and well prepared orchestra under Kuchar
gives powerfully expressive performances that are often gripping and always
compelling. No problems whatsoever with the clear and well balanced recorded
sound.
The symphonies of Boris Lyatoshynsky are certainly well worth getting to know.
Those wanting to try something away from the mainstream and admirers of Slavic
symphonies will be in their element.
Michael Cookson
Previous review:
David Barker
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