miaskovsky造句

• The music fit the program well : Miaskovsky's 21st Symphony, evidence of an unsuccessful struggle to adapt to Soviet banality; Tikhon Khrennikov's Second Violin Concerto, expert claptrap by a party hack; and Shostakovich's 15th Symphony, the grayest of them all.
• "When I was 18, in 1945, I played a concerto by Miaskovsky in the first all-Soviet Union competition after the war, " he said recently by telephone from London, where, typically, he was helping celebrate the 70th birthday of the composer and conductor Pierre Boulez by presenting another new work.
• Miaskovsky must have been given a warning about his antisocial " subjectivity " following the infamous crackdown on Shostakovich's opera " Lady Macbeth of the Mtsensk District " in 1936, because soon afterward he published a formal recantation of the 13th ( " a blunder, . . . I will not promote it " ).
• Rather, it seems a last, surprisingly late reverberation from Miaskovsky's solipsistic prerevolutionary preoccupations, epitomized by translated lines from Poe that stand atop the score of his early tone poem " Silence " ( 1909 ) : " On his face I read a tale of grief and weariness, and loathing for all mankind, and avid lust for solitude ."
• Despite a late start after a first career as a military engineer, Miaskovsky logged three Beethovens'worth of symphonies ( that's right, 27 ), almost as many quartets as Shostakovich ( 13 ) and a respectable harvest of concertos, tone poems, piano sonatas and songs along with a couple of potboiler party-line cantatas ( but never an opera _ a wise move for a Soviet composer ).
• Only since the Soviet collapse _ thanks to Iosif Rayskin's excellent article in the revised New Grove Dictionary _ have we known why the Requiem melody is in there : Miaskovsky's father, a czarist general, had been torn to bits in 1918 by a revolutionary mob . ( Aha, a dissident lurks . ) And we knew the Seventh ( 1922 ), which out-Stravinsky'd Stravinsky with its poignant, sustained " Petrouchka chords " and its bash-their-heads ( or shoot-' em-dead ) final stroke.
• Miaskovsky was, along with Bruckner, one of the rare symphonic composers who were at their best in slow movements, often in an exalted hymnic mode . ( Try Symphony No . 20, previously unrecorded, for the Russian " Land of Hope and Glory . " ) Though often dispensed with, his scherzos can also be beguiling . ( Symphony No . 8 sports a tuneful one in a catchy seven beats to a bar . ) The most obvious distinction of the series as such is that symphonies in the minor outnumber those in the major two to one.