text:
Die Sinfonie in b-Moll op. 36 ist die 13. Sinfonie des Komponisten Nikolai Jakowlewitsch Mjaskowski.

Entstehungsgeschichte
Im Zuge des Beschlusses der KPdSU vom 23. April 1932 bildete sich im Sommer des gleichen Jahres das Organisationskomitee für einen Verband der sowjetischen Komponisten unter dem Vorsitz von Reinhold Glière, dem auch Mjaskowski und einige seiner Schüler beitraten. In dieser Zeit war Mjaskowski sehr um den Aufbau einer Musikkultur bemüht, er organisierte beispielsweise Rundfunk- und Philharmoniekonzerte, gründete ein festes Orchester, einen Chor und ein Opernstudio am Konservatorium und trieb die Gründung eines Staatlichen Museums der Musikkultur voran. Über seine Kontakte (unter anderem zu Prokofjew) förderte er des Weiteren Aufführungen von Werken junger Komponisten im Ausland. Dabei förderte er nicht nur seine eigenen Schüler, es sind Fälle bekannt, in denen er die Werke seiner Schüler wieder aus Programmen strich, weil ihm andere Stücke vielversprechender erschienen. In dieser Zeit schrieb er seine 13. Sinfonie, die er in einer einzigen Februarnacht 1933 skizzierte. Die Fertigstellung der Sinfonie ging nicht so schnell vonstatten, da er bereits Ideen für die 14. und 15. Sinfonie skizzierte. S. Gulinskaja vermutet, dass außerdem ein persönliches, aber nicht überliefertes, Ereignis zur Schaffung der Sinfonie führte, da er später über das Werk schrieb:

Analyse
Die Sinfonie unterscheidet sich deutlich von dem Vorgänger- und Nachfolgewerk. Sie knüpft in ihrer Tonsprache eher an die Sinfonien der 1920er Jahre an und geht somit klar gegen die Bestrebungen, sich der neuen sowjetischen Kultur anzupassen. Sie stellt gewissermaßen einen Gegenpol zur Wandlung Mjaskowskis dar, die er zu dieser Zeit in seiner Musik vollzog, und vor allem zur ländlichen Idylle der zwölften Sinfonie. Die Autorin Maya Pritsker spricht hier von einem "Abschied vom Modernismus und Experimentieren". Die Sinfonie sieht sie als eine von Mjaskowskis besten Kompositionen.

Das einsätzige (in manchen Quellen auch als dreisätzig bezeichnete) Werk zählt zu den kürzesten und gleichzeitig experimentellsten Sinfonien Mjaskowskis. In seinen autobiographischen Bemerkungen von 1936 schrieb er, das Werk sei ein "linear-konstruktivistischer Versuch, die Tonalität zu zerstören". Die Stimmung der Sinfonie ist düster und trostlos und erinnert an die Stimmung in Sibelius' vierter Sinfonie. Sie beginnt mit einer langsamen Einleitung, die mit einem prägnanten Rhythmus der Pauke unterlegt ist. Es folgt eine Sonatenform mit dem ersten Thema in b-Moll und dem zweiten in Des-Dur. Die Durchführung entwickelt sich zu einem Fugato in h-Moll, bevor die Reprise einsetzt. Die anschließende Coda endet mit einem b-Moll-Akkord mit zusätzlichem a und c (Septnonakkord), der, mit dem Anfangsrhythmus der Pauke untermalt, im ppp ausklingt.

Rezeption und Kritik
Die Uraufführung fand fast zeitgleich in Chicago und in Moskau statt. Anderen Angaben zufolge wurde sie erst im Herbst 1935 in Winterthur aufgeführt, diese Aufführung fand laut S. Gulinskaja aber erst nach der ersten Aufführung statt. Mjaskowski selbst war mit dem Werk sehr zufrieden. Die Sinfonie ist – abgesehen von der 21. – die letzte, die nachweislich zu ihrer Zeit auch im Ausland Erfolg hatte und außerhalb Russlands zur Aufführung kam. Neben Mjaskowski waren auch sein Freund Prokofjew und sein Fürsprecher Frederick Stock zufrieden mit dem Werk. Über Stock schrieb Prokofjew:

Aus einem Brief Stocks, in dem er seine Bewunderung für die Musik Mjaskowskis ausdrückt, geht auch hervor, dass er ihm dieses Werk gewidmet hat:

Mjaskowski war bewusst, dass dieses Werk nicht unbedingt den Vorstellungen der Partei entsprach, deshalb wartete er mit dem Druck der Partitur bis 1945. Prokofjew wollte Mjaskowski dazu überreden, mit einer Aufführung in Paris das Bild der sowjetischen Musik zu korrigieren und schrieb:

Mjaskowski lehnte jedoch ab, da ihm missfiel, dass die Veranstaltung durch einige Arbeitervereine organisiert worden war. Er befürchtete, dass dieses Publikum sein Werk nicht verstehen würde.

Später schrieb Mjaskowski über die zwölfte und 14. Sinfonie, sie seien ein "Reinfall" gewesen. Es ist also naheliegend, dass die 13. Sinfonie einen letzten Versuch darstellt, sich den Vorgaben des Regimes zu widersetzen und so zu komponieren, wie es ihm beliebte. Auf Grund der Quellenlage, die wie schon bei der sechsten und zwölften Sinfonie die wahren Beweggründe Mjaskowskis kaum wiedergibt, ist es durchaus möglich, dass S. Gulinskajas Schlussfolgerungen bezüglich des Drucks der Partitur und der Absage des Konzerts in Paris nicht zutreffen. Der Briefwechsel mit Frederick Stock ist in ihrer Mjaskowski-Biografie lediglich abgedruckt, im Text findet er keine Erwähnung, ebenso fehlt in ihrem Werkverzeichnis die Widmung. Eine Erklärung, ob oder wenn nicht, warum alle späteren Werke zunächst nicht mehr außerhalb der Sowjetunion aufgeführt wurden, bleibt sie auch schuldig.

Literatur
 CD-Beilage Warner Music France 2564 69689-8 (Miaskovsky: Intégrale des Symphonies; Dir.: Evgeny Svetlanov)
 Soja Gulinskaja: Nikolai Jakowlewitsch Mjaskowski. Moskau 1981, deutsch: Berlin 1985

Weblinks
 kith.org

 myaskovsky.ru
 Maya Pritsker: In the musical history of the former Soviet Union…

Einzelnachweise

13
Musik 1933


text:
Speller, Elizabeth
Publisher: Boston : Houghton Mifflin Harcourt, 2011
Branch Call Number: MYS SPELL-E
Read more reviews of The Return of Captain John Emmett at iDreamBooks.com
WhidbeyIslander Aug 23, 2017
Nicely written convoluted tale that unfolds slowly. Underscores the horror of war, in particular the terrible tragedy of what happened to soldiers fighting in France in WWI. Similar in vein to the Inspector Rutledge stories by Charles Todd but without the annoying presence of Hamish.
maipenrai Dec 21, 2016
(The first book in the Laurence Bartram series)
Eosos Jun 06, 2014
I love mysteries set in WWI and one with a physiological aspect had to be read.
The damage of war is not always in the physical wounds but the emotional and mental wounds that were not understood by either the medical field or the friends and family at home. The author does a wonderful job of portraying this in the story and most especially in the main character of John Emmett.
The mystery wasn't stunning though it was an integral and vital part of the story. The conclusion of this story took far too long after finding out the answer to the mystery but it was a good book for the most part.
Library_Dragon Jun 10, 2013
Well-written, lyrical mystery filled with many remembrances of the war. As someone who's read a lot of soldiers' and nurses' memoirs from this period, I can say that much of Speller's descriptions and sentiments of wartime experiences are spot on, particularly regarding the treatment of soldiers with post-traumatic stress disorder--what they called "shell shock." A little slow-moving at parts, but the writing is worth it. Infinitely better than anything by Charles Todd!
ready2read Feb 20, 2013
It is a couple of years since the end of WWl and Laurence Bertram is living a comfortable life --- without meaning. A visit from the younger sister of an old school chum sets Laurence on a quest to answer some quesions about the chum's life, and death. Memories of the great war figure strongly in this novel. Fans of Maisie Dobbs will likely enjoy his new series.
debwalker Aug 20, 2011
"1920. The Great War has been over for two years, and it has left a very different world from the Edwardian certainties of 1914. Following the death of his wife and baby and his experiences on the Western Front, Laurence Bartram has become something of a recluse. Yet death and the aftermath of the conflict continue to cast a pall over peacetime England, and when a young woman he once knew persuades him to look into events that apparently led her brother, John Emmett, to kill himself, Laurence is forced to revisit the darkest parts of the war....."
Richard and Judy
sjmitra Jul 23, 2011
I love the works of Owen, Sassoon and Brooke, and was really looking forward to this book. Speller's prose is crisp, clean and simple, but her characters are remote and the plot is unsurprising.
World War, 1914-1918 — Veterans — England — London — Fiction
Murder — Investigation — Fiction

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THE BEATLES [AKA: THE WHITE ALBUM]
With 30 songs and 94 minutes of listening time, this is one of the most expansive albums I own. And it's good, although I don't think anyone could like every single song. The White Album saw The Beatles turn away from their psychedelic and baroque pop period in favour of, basically, doing whatever they felt like at any given moment, be it blues, country, rock, ska, folk, reggae, jazz, funk, metal, vaudeville, pop, soul, music hall, prog, boogie, or totally avant-garde electronic soundscapes.
I'll talk about a few of my favourites from the album. 'Dear Prudence' is a wonderful journey of a song, building up the instrumentation around a familar chord sequence. I think it was an influence on Led Zeppelin (think 'Ten Years Gone'), and maybe even Supertramp ('Even in the Quietest Moments'). The song that closes side one, 'Happiness is a Warm Gun' is also fantastic, changing time signatures as often as Gentle Giant. It shows John as the forward thinker of the group, even if Paul could write a better melody. George's 'While My Guitar Gently Weeps' is equally one of his best songs, featuring Eric Clapton's famous guitar solo, but it's the great chords that do it for me.
The second side might be my favourite (it's mostly Paul, so that doesn't surprise me). 'Martha My Dear' is a strange, but endearing composition, and everything about it feels just right. 'Blackbird' meanwhile, is Paul's best acoustic ballad, and he already set the bar quite high with 'Yesterday'. 'Rocky Racoon' is another cracker, a western pastiche. Lennon's songs here reflect what would come from him in the seventies; with the moody rock of 'I'm So Tired' and sad, meaningful 'Julia'. 'There is certainly a feeling, after the album's first half, of individualism. This continues throughout the record, and it becomes a problem for me when the songs don't sound remotely 'Beatley'. The appeal of this band was their cohesiveness, and whether these tunes are good or not, very few of them sound like 'a band', which makes the whole album seem more like a aural documentary of Abbey Road Studios than a piece of art.
'Birthday' is the one song that really defies this judgement, and the whole band are on top form. Apart from that song, 'Mother Nature's Son' is the best that side three has to offer. The final side is also thin on meat, but flows the best, with the pair of 'Revolutions' bookending and 'Good Night' making for a beautiful finale. 'Honey Pie' and 'Savoy Truffle' are gems from Paul and George, but nothing new by this point in the album. Regarding 'Revolution 9', I come on the "favourable" side of the fence, because I think the picture Lennon paints is interesting from a number of angles. It doesn't come close to the true avant-garde composers though.
I always feel a bit tired and confused after listening to The White Album, but it is one of the Beatles' albums I frequent if I want to pick out some great individual songs. 1967 couldn't last forever, and in that respect, the greatest thing about this monster is that it wasn't afraid to take chances.
thehallway | 4/5 | 2011-11-6
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text:
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A: Here is a context in which the code functions:
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End Sub

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My Job is to develop new technologies for adhesives that will be transferred into new products for Henkel.
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My job has flexi time and is Monday to Friday.
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The chemistry knowledge is the main thing that I would use daily in my job. A good foundation in basic computer knowledge was also helpful (the use of MS word and Excel in particular).
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What aspects of the mathematics courses proved most important for your job?
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If you love science and technology, this is the type of job that you will excel in and be very satisfied in. Do science subjects for the Leaving Cert and focus on getting a science qualification after school. Also work on improving other important skills such as team work and communication.
A lot of college courses provide a placement in industry, but if not try to get a part time summer job in the science industry.