It’s remarkable how Nikolai Miaskovsky’s final symphony, composed in 1949, sounds as if it had been written even earlier than his 1923 Symphony No. 6 (type Q6121 in Search Reviews). Whereas the Sixth displays forward-looking harmonic techniques reminiscent of Scriabin, Symphony No. 27 steps backward into a comfortable Glazunov-style romantic idiom. That’s not to say it’s uninteresting. Miaskovsky’s melodic material is memorable, from the portentous recurring idea of the first movement to the profound Adagio with its gorgeous, finely-spun main theme. The orchestral writing is typical of this composer, which means it’s based solidly on Russian orchestral tradition with its muscular strings, piquant winds, and of course, prominent brass, all of which the Russian State Symphony conveys very well under Valeri Polyanski’s sympathetic direction.
Interestingly, like the symphony, Miaskovksy’s 1944 Cello Concerto is in C minor, with the main themes of both works sounding almost like inversions of each other. The somber and brooding first movement brings to mind Shostakovich’s Violin Concerto, but Miaskovsky’s solo writing is not so tortured, preferring instead a melting lyricism as the cello explores the complex emotions engendered by the Second World War and its aftermath. The long second movement begins in a brighter atmosphere with an energetic Allegro vivace. But, despite the brilliant and combative cadenza, the dark mood returns at the concerto’s quiet and resigned close. Alexander Ivashkin’s skillful playing makes his deeply considered interpretation quite compelling, as does Polyanski’s warm and colorful accompaniment. Chandos’ recording balances the performers believably, with a slight advantage to the soloist.
