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Myaskovsky - Violin concerto

Myaskovsky - Violin concerto. You can download the PDF sheet music Myaskovsky - Violin concerto on this page. The violin concerto was composed between March and June 1938. Typically, Myaskovsky closely studied other violin concertos from the repertory, pondering them from the formal and technical points of view, before composing what he modestly hoped would be "something technically interesting for a virtuoso which, firstly, could be played with enjoyment and, secondly, should be easy for the audience". The concerto was first performed by the thirty-year-old David Oistrakh in Moscow on 10 January 1939. The first movement is broadly symphonic in its scope and there is a melancholy cast even to the more assertive themes, enhanced by the brooding character of much of the solo writing. Myaskovsky claimed that this movement "was written in three months, while the second movement was completed in two days and the finale in four". The slow movement is firmly in the Tchaikovsky lyric tradition. There are more extrovert Russian folk style elements in the finale; but the virtuoso writing for both soloist and orchestra cannot hide the underlying seriousness.

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PDF format sheet music

Instrument part: 26 pages. 15598 K


Piano part: 61 pages. 35783 K


Myaskovsky - Violin concerto - Instrument part - first page Myaskovsky - Violin concerto - Piano part - first page
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Myaskovsky's early music is often darkly chromatic and is redolent of the artistic world of the symbolist poets. The official Soviet view was that his experiences in the First World War and then the Red Army removed him from "the musty atmosphere of decadent salons and placed him among simple, spiritually healthy people". It is hard to understand quite how anyone could be "simple and spiritually healthy" in the disgusting squalor and cruelty of the Galician front or during the horrors of the Russian Civil War. But Myaskovsky certainly did aim for greater simplicity and directness in his post-revolutionary music, which suggests a basically non-political man making a serious effort to come to terms with the new Soviet world. From 1921 until his death he was professor of composition at the Moscow Conservatoire. Neither a public performer nor a conductor, his distaste for public display seems to have served him well in the dark days of the 1930s: the autobiographical sketch he wrote for Sovetskaya Muzyka in 1936 is so personally reticent and politically correct as to be practically meaningless.
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