The finale contains quite a few quotes—the Dies Irae theme, as well as French revolutionary tunes. The years —, the first years of his teaching at the Moscow Conservatory, were the years in which he experimented most, producing works such as the Tenth and Thirteenth symphonies, the fourth piano sonata and his first string quartet. Perhaps the best example of this experimentative phase is the Thirteenth symphony, which was the only one of his works to be premiered in the United States. His works were issued by Universal Edition , one of Europe's most prestigious publishers.
The next few years after are characterized mostly by his apparent discontinuation of his experimental trend, though with no general decrease in craftsmanship. The Violin Concerto dates from these years, the first of two or three concerti, depending on what one counts, the second being for cello , and a third if one counts the Lyric Concertino , Op. Another work from the period up to is the one-movement Symphony No.
Despite his personal feelings about the Stalinist regime, Myaskovsky did his best not to engage in overt confrontation with the Soviet state. While some of his works refer to contemporary themes, they do not do so in a programmatic or propagandistic way. The Symphony No. This symphony, sketched immediately after the disaster and premiered in Moscow on 24 October , includes a big funeral march as its slow movement, and the finale is built on Myaskovsky's own song for the Red Air Force , 'The Aeroplanes are Flying'. The Salutation Overture was dedicated to Stalin on his sixtieth birthday.
The year saw Myaskovsky evacuated, along with Prokofiev and Aram Khachaturian among others, to what were then the Kabardino-Balkar regions. There he completed the Symphony-Ballade Symphony No.
The sonata-works symphonies, quartets, etc. He does not deny himself a teasingly neurotic scherzo, as in his last two string quartets that in the Thirteenth Quartet, his last published work, is frantic, and almost chiaroscuro but certainly contrasted and the general paring down of means usually allows for direct and reasonably intense expression, as with the Cello Concerto dedicated to and premiered by Sviatoslav Knushevitsky and Cello Sonata No. While not particularly experimental, there is no suggestion—as with some earlier works—that Scriabin or Arnold Schoenberg might still have been an influence.
In Myaskovsky was singled out, with Shostakovich, Khachaturian and Prokofiev, as one of the principal offenders in writing music of anti-Soviet, 'anti-proletarian' and formalist tendencies. Myaskovsky refused to take part in the proceedings, despite a visit from Tikhon Khrennikov pointedly inviting him to deliver a speech of repentance at the next meeting of the Composers' Union.
There is also a recollection in the Volkov book Testimony. Myaskovsky was long recognized as an individualist, even by the Soviet establishment.
In the s the critic Boris Asafyev commented that he was "not the kind of composer the Revolution would like; he reflects life not through the feelings and spirit of the masses, but through the prism of his personal feelings. He is a sincere and sensible artist, far from 'life's enemy', as he has been portrayed occasionally.