The Symphony No. 2 in B minor is a symphony by the Ukrainian composer Borys Lyatoshynsky. It has three movements. The symphony was commissioned in 1933 by the Organizing Bureau of the Union of Russian Composers, Union of Soviet Composers. The premiere in Moscow was cancelled as a result of official criticism against it and the period of national mourning that followed the death of Sergo Ordzhonikidze. Lyatoshynsky revised his symphony in 1940. It was performed in public in 1941 and again in 1947. Following renewed official criticism of Lyatoshynsky and his music in 1948, the symphony was banned once more. It was not performed again until 1964, four years before the composer's death. The symphony has been described by the composer Virko Baley as Lyatoshynsky's masterpiece.

Background

During the 1920s, the Soviet government gradually suppressed cultural life in the Soviet Union, and strenuously opposed the development of Ukrainian classical music. Its use of the arts as a Propaganda#Politics, political propaganda tool caused a serious decline in artistic standards, and Soviet composers were Purges of the Communist Party of the Soviet Union, purged by the authorities, who forced them to follow popular taste and follow the principles of Socialist realism. During the 1930s, the Ukrainian composer Borys Lyatoshynsky was among those composers who suffered hardship and disappointment as a direct result of these Soviet policies.{{cite web , last1=Phillips, first1=Anthony , title=The Songs of Borys Lyatoshynsky , url=https://docplayer.net/119711156-The-songs-of-borys-lyatoshynsky.html , publisher=DocPlayer , access-date=31 October 2023

Official criticism and performances

Events leading to the cancellation of the 1937 premiere

Lyatoshynsky's Second Symphony in B minor (Opus number, op. 26) was commissioned in 1933 by the Kharkiv Organizing Bureau of the Union of Russian Composers, Union of Soviet Composers, to be premiered in Moscow along with a number of other works by Ukrainian composers. The symphony was to be a large-scale work in three movements.{{cite news , last1=Morozova , first1=Lyubov , title="Заборонена музика" , url=https://day.kyiv.ua/uk/article/kultura/zaboronena-muzyka , access-date=4 May 2022 , work=The Day (Kyiv) , page=, trans-title="Forbidden Music" , language=uk Lyatoshynsky worked on the symphony during 1935 and 1936,{{sfn, Hakobian, 2016, p=138 whilst staying at the family dacha in Vorzel, near Kyiv, where he lived and worked during the summer. Many of his works were written in its garden, where he would compose without the use of a musical instrument.{{cite web , last1=Kostura , first1=Danuta , title=Борис Лятошинський і Ворзель , url=http://imounr.org.ua/borys-lyatoshynskyj-i-vorzel/ , publisher=Ukrainian People's Council of Priirpinia , access-date=10 November 2023 , page=, trans-title=Borys Lyatoshynsky and Vorzel , language=uk , date=22 February 2018 The fate of Lyatoshynsky's symphony is, according to Marianna Kopystia, "the most tragic one in the history of Ukrainian musical culture during the Soviet times".{{sfn, Kopystia, 2022, p=321 The music was first heard when it was played by the State Academic Symphony Orchestra of the Russian Federation, State Symphony Orchestra of the USSR during rehearsals for the planned premiere.{{refn, 1=The orchestra was formed in 1936. Its conductor was Alexander Gauk.{{sfn, Jaffé, 2022, p=168, group=note In a letter to his old teacher and close friend the composer Reinhold Glière,{{refn, 1=Lyatoshynsky's former teacher Glière supported Lyatoshynsky throughout their life-long friendship. He conducted the first performance of Lyatoshynsky's graduation composition, the Symphony No. 1 in 1923.{{cite web , last1=Dowling , first1=Timothy , title=National Symphony Orchestra of Ukraine: UK Tour 2023 , url=https://www.usherhall.co.uk/sites/default/files/attachments/Programme%20National%20Symphony%20Orchestra%20of%20Ukraine.pdf , publisher=Usher Hall , access-date=6 November 2023 , location=Edinburgh, UK , format=Concert programme notes , date=July 2023, group=note written on 20 March 1937, Lyatoshynsky described the orchestra's behaviour during rehearsals:{{cite web , last1=Kopitsa , first1=Marianna , title=Der Briefwechsel zwischen Boris Lyatoschinski und Reinhold Moritzewitsch Glier , url=https://www.gkr.uni-leipzig.de/institut-fuer-musikwissenschaft/forschung/kulturelle-transfers-identitaeten-und-politische-kontexte/musikerbriefe , website=Musicians' Letters as a Mirror of Supra-Regional Cultural Relations in Central and Eastern Europe , publisher=Leipzig University , access-date=4 November 2023 , ref=none , page=, trans-title= The correspondence between Boris Lyatoschinski and Reinhold Moritzewitsch Glier: Letter 295 Translation , language=de {{blockquote , quote = Throughout the rehearsals, the orchestra members argued about the symphony—some criticized it, others praised it. At the dress rehearsal there was a so-called "discussion" of the work, which consisted of the fact that some of the performing orchestra members behaved incredibly arrogantly and declared that this was "not music" at all, that it was "nonsense", that it was "100% formalism", etc. like that. The symphony was criticised in an article in ''Kultura (newspaper), Soviet Art'', written by the Russian musicologist Daniel Zhitomirsky five days after a rehearsal in which he had been present. Zhytomyrsky accused Lyatoshynsky of Formalism (music), formalism, and described the symphony as an "empty and far-fetched work" that made an "imposing and complex sound" in which "constant ups and downs, multi-meaningful thunderous climaxes reflect the author's claim to depth of thought". The composer told Glière: "I have never had such a devastating review in my life."{{cite web , last1=Kopitsa , first1=Marianna , title=Der Briefwechsel zwischen Boris Lyatoschinski und Reinhold Moritzewitsch Glier , url=https://www.gkr.uni-leipzig.de/institut-fuer-musikwissenschaft/forschung/kulturelle-transfers-identitaeten-und-politische-kontexte/musikerbriefe , website=Musicians' Letters as a Mirror of Supra-Regional Cultural Relations in Central and Eastern Europe , publisher=Leipzig University , access-date=4 November 2023 , ref=none , page=, trans-title= The correspondence between Boris Lyatoschinski and Reinhold Moritzewitsch Glier: Letter 295 Translation , language=de The premiere, scheduled for February 1937, was cancelled by the authorities. The official reason for the cancellation was that the concert would have taken place during a period of national mourning for Sergo Ordzhonikidze,{{cite news , last1=Kopytsia , first1=Marianna , title=Симфонії під... арештом , url=https://day.kyiv.ua/uk/article/kultura/simfoniyi-pid-areshtom , access-date=4 May 2022 , work=The Day (Kyiv) , date=2 March 2012 , page=, trans-title=Symphonies under ... arrest , language=uk the politician regarded by the public as the driving force behind the industrialization of the Soviet Union, who had died suddenly on 18 February.{{sfn, Schlögel, 2012, pp=166{{ndash167

1940 revision and first public performances

The symphony's third movement, which has a positive-sounding conclusion, may have been altered when the score was revised by Lyatoshynsky in 1940, although the musicologist {{Ill, Levon Hakobian, ru, Акопян, Левон Оганесович (музыковед) describes the alterations made by Lyatoshynsky as "minor".{{sfn, Hakobian, 2016, p=138 In April 1941, two months before the Operation Barbarossa, German invasion of the USSR, a concert was held at the National Philharmonic of Ukraine, Kyiv Philharmonic, when Lyatoshynsky conducted the Second Symphony and a number of his other works.{{sfn, Hakobian, 2016, p=138{{cite news , title=100 Великих діячів культури України – Музиканти Лятошинський Борис Михайлович (1894–1968 рр.) , url=https://spektrnews.in.ua/news/100-velikih-d-yach-v-kul-turi-ukra-ni---muzikanti-lyatoshins-kiy-boris-mihaylovich-1894-19/114988#gsc.tab=0 , access-date=6 November 2023 , work=Novosty Spektr , date=13 May 2021 , page=, trans-title=100 Great Cultural Figures of Ukraine – Musicians Borys Mykhailovych Lyatoshinskyi (1894–1968) , language=uk The work was next performed in 1947, in Odesa and Lviv. In a letter to Glière dated 3 November 1937 {{sic, Lyatoshynsky wrote:{{sfn, Kopystia, 2022, p=322 {{Blockquote , text=Now as a composer, I have come to life, just a little. I'm now starting to tour. Today, 3 November, I am going to Odesa, where I will have a concert on the 10th [November 1947], so I will be there all the holidays. There will be six rehearsals. The Second Symphony and other works will be performed. There is going to be a soloist [playing] two romances with an orchestra. At the end of this month, on the 23rd or 30th, there will be a concert in Lviv. In Odesa, they will give me a telegram about the exact date of the concert. I am very happy, of course, about these trips. , author = , source = Lyatoshynsky later described to Glière the frustrations and pleasures of the Odesa and Lviv concerts, both of which included performances of the Second Symphony. He noted that he met with few problems, apart from having to use a cramped rehearsal space in Odesa, and that bad weather in Lviv meant the audience was smaller than expected.{{sfn, Kopystia, 2022, p=322 On 26 November 1947, the Ukrainian teacher and composer {{Ill, Tadeusz Mayersky, uk, Маєрський Тадей Станіславович wrote a short letter to Lyatoshynsky, expressing his admiration after hearing the Second Symphony performed by the {{Ill, Lviv Philharmonic, uk, Львівська національна філармонія імені Мирослава Скорика four days earlier:{{sfn, Savchuk, 2020, p=347 {{Blockquote , text= I am very sorry that I did not have the opportunity to talk to you about your incomparable music, which is so close to me, and that I was not able to express my deep admiration for your talent and skill. Your symphonic music belonging to the cohort of such vast holdings as the symphonies Scriabin, Strauss, Stravinsky, I was very impressed. It's been a long time since I've been so moved as I felt after listening to your Second Symphony. This is a real event, especially for me. I was really charmed. , title= , source=

Renewed criticism, 1948

In April 1948, the symphony was named anti-people and formalistic by the First All-Union Congress of Union of Composers of the USSR.{{sfn, Savchuk, 2020, p=347 The symphony's perceived faults were described in an official government statement: {{Blockquote , text=The anti-national formalist direction in Ukrainian musical art appeared first of all in the works of the composer B. Lyatoshynsky. The Second Symphony of B. Lyatoshynsky is especially alien to the artistic tastes of the Soviet people. The piece is disharmonious, cluttered with unwarranted thunderous sounds of the orchestra, which depress the listener, and in relation to the melody, it is a symphony and colourless. , author= Central Committee of the Communist Party of the Soviet Union , title= , source=''Kultura (newspaper), Sovetskaya Kultura'' (26 May, 1948) Lyatoshynsky wrote afterwards to Glière, "As a composer, I am dead, and I do not know when I will be resurrected."{{cite web , last1=Dowling , first1=Timothy , title=National Symphony Orchestra of Ukraine: UK Tour 2023 , url=https://www.usherhall.co.uk/sites/default/files/attachments/Programme%20National%20Symphony%20Orchestra%20of%20Ukraine.pdf , publisher=Usher Hall , access-date=6 November 2023 , location=Edinburgh, UK , format=Concert programme notes , date=July 2023 The work was allowed to be heard again in 1964, when it was performed by the {{Ill, Lugansk Regional Philharmonic Orchestra, uk, Луганська обласна філармонія.{{cite web , last1=Kuchar , first1=Theodore , author-link=Theodore Kuchar , title=Borys Lyatoshynsky (1895–1968): Symphony No. 2, Op. 26; Symphony No. 3 in B minor, Op. 50 , url=https://www.chandos.net/chanimages/Booklets/MP3540.pdf , publisher=Chandos , access-date=30 October 2023 , date=1993 , pages=3{{ndash4

Score

The symphony is scored for 3 flutes and piccolo, 2 oboes, English horn, 3 clarinets, basset horn, bass clarinet, 3 bassoons, contrabassoon, 4 Horn (instrument), horns, 3 trumpets, 3 trombones, tuba, percussion, harp, and strings.{{cite web , title=Symphony No.2, Op.26 (Lyatoshinsky, Boris) , url=https://imslp.org/wiki/Symphony_No.2%2C_Op.26_(Lyatoshinsky%2C_Boris) , publisher=IMSLP , access-date=30 October 2023 The {{Ill, Central State Archives-Museum of Literature and Art of Ukraine, uk, Центральний державний архів-музей літератури і мистецтва України (TsDAMLM of Ukraine) holds the Autograph (manuscript), autograph score and parts of the Second Symphony.{{cite web , title=ФОНД № 181: Лятошинський Борис Миколайович (1895–1968) український композитор, диригент, музичний педагог, музично-громадський діяч , url=https://csamm.archives.gov.ua/wp-content/uploads/2022/09/0181-1.pdf , publisher=TsDAMLM of Ukraine , access-date=9 November 2023 , location=Kyiv , trans-title=Fund No. 181: Lyatoshynsky Borys Mykolayovych (1895–1968) Ukrainian composer, conductor, music teacher, music and social activist , language=uk , page=19 It is dated 13 March 1936.{{sfn, Bentya, 2015, p=122

Form

The symphony has three movements: #Tempo#Italian tempo markings, Lento {{lang, it, tenebroso e con maesta – Allegro deciso ed impetuoso, italics=no #Tempo#Italian tempo markings, Lento {{lang, it, e tranquillo (Alla ballata), italics=no #Minuet, Andante

Description and analysis

The Second Symphony has been described by the Ukrainian-American composer Virko Baley as Lyatoshynsky's masterpiece.{{sfn, Baley, 2001 The darkest of his five symphonies, it is a complex work that, in the opinion of the music historian Anthony Phillips, reflects "the individual's often conflicting relationship with reality". The work can be interpreted as depicting images of the reality of Soviet life, often using atonality. The Ukrainian musicologist Dina Kanievska has described the symphony as revealing "the rift between beauty and cruelty".{{cite web , last1=Batstone , first1=Leah , title=Ukraine's Avantgarde: A Short History of a Long Tradition , url=https://musicologynow.org/ukraines-avantgarde/ , website=Musicology Now , date=21 November 2022 , access-date=4 November 2023 According to the Ukrainian American conductor Theodore Kuchar:

The Second Symphony ... is the first example of a Ukrainian-Soviet symphonic drama of conflict, with underlying contrast of pictures and moods by means of linear polyphony in the development of symphonic material. Here, however, is an example of a masterpiece doomed for long to remain unheard through historical circumstance. This history of early critical opinion and the consequences of the symphony reflect the general situation in that period of Ukrainian culture, when each new work was judged by its effectiveness in the promulgation of the canons of Soviet Realism. Censors were not satisfied with Lyatoshynsky's success in portraying a complex and eccentric reality and a generally insulting atmosphere throughout the symphony, a work turbulent, nervous, filled with deep pain and flashes of protest, yet, equally clearly, showing the composer's love of life and his ideal of artistic and ethical responsibility to his own people.

Lyatoshynsky's Symphony No. 1 (Lyatoshynsky), First Symphony, with its dynamic finale that conformed with emerging Soviet expectations in large-scale orchestral works,{{sfn, Tammaro, 2017, p=39 is more tuneful than the Second, and more influenced by the style of the Russian composer Alexander Scriabin.{{cite web , last1=Cummings , first1=Robert , title=Boris Lyatoshynsky: Symphonies , url=http://www.classical.net/music/recs/reviews/n/nxs55580a.php , website=Classical Net Review , publisher=Classical Net , access-date=1 May 2022 , date=2014 The symphony contains dramatic contrasts.{{sfn, Anderson, 1994 Lyatoshynsky used the bass clarinet to obtain a distinct orchestral sound, and in combination with the bassoon, a grimly dramatic effect is produced.{{sfn, Shovgenjuk, 2015, p=32{{refn, 1=A similar orchestration effect is also found in his symphonic ballad ''Grazyna'' (1955).{{sfn, Shovgenjuk, 2015, p=32, group=note The symphony's re-occurring motto-like leitmotif acts to give the work a sense of unity:{{sfn, Hakobian, 2016, p=138 {{clear The {{Lang, it, Lento con brio tenebroso e con maesta, italics=no, with its sense of foreboding, begins mysteriously.{{sfn, Hakobian, 2016, p=138 This low-sounding introduction is followed by the {{Lang, it, Allegro deciso ed impetuoso, italics=no, which is similarly dominated by the lower instruments. The gentler second subject, provided by the harp and lower strings, is regularly overcome by the brass and woodwind. The turbulent movement ends in an abrupt way. The {{lang, it, Lento e tranquillo, italics=no is less troubled that either of the other two movements. It opens with a beautiful basset horn solo, accompanied by the harp. The solo is interrupted by the woodwind, but eventually returns to conclude the movement off.{{sfn, Hakobian, 2016, p=138 {{clear In the {{lang, it, Andante, italics=no, the troubled nature of the first movement returns, whilst a tune attempts to lift the listener's spirits as the end of the symphony is approached.{{sfn, Hakobian, 2016, p=138 The symphony finishes on a stressed minor chord, having failed to resolve the sense of conflict that was implicit throughout the work.{{sfn, Hakobian, 2016, p=138

Notes

{{reflist, group=note

References

{{reflist

Sources

* {{cite journal , last1=Anderson , first1=Martin , title=Review , journal=Tempo , date=1994 , issue=190 , via=, pages=47{{ndash53 , jstor=945487 , url=http://www.jstor.org/stable/945487 * {{cite Grove , last1=Baley , first1=Virko , author-link=Virko Baley , date=2001 , title=Lyatoshyns′ky, Borys Mykolayovych , url=https://doi.org/10.1093/gmo/9781561592630.article.17242 , url-access=subscription * {{cite journal , last1=Bentya , first1=Y. V. , title=Особовий фонд Бориса Лятошинського у ЦДАМЛМ України (до 120-річчя від дня народження видатного українського композитора, диригента і педагога) , journal=Archives of Ukraine , date=2015 , volume=298 , issue=4 , pages=121{{ndash135 , url=https://archives.gov.ua/wp-content/uploads/08-4.pdf , trans-title=Personal fund of Borys Lyatoshinskyi at the Central Academy of Music of Ukraine (to the 120th anniversary of the birth of the outstanding Ukrainian composer, conductor and teacher) , publisher=National Library of Ukraine named after V. I. Vernadskyi , location=Kyiv , language=uk * {{cite book , last1=Hakobian , first1=Levon , title=Music of the Soviet Era: 1917–1991 , date=2016 , publisher=Taylor & Francis , isbn=978-13170-9-187-5 , url=https://books.google.com/books?id=eiolDwAAQBAJ * {{cite book , last1=Jaffé , first1=Daniel , title=Historical Dictionary of Russian Music , date=2022 , publisher=Rowman & Littlefield Publishers , isbn=978-15381-3-008-7 , url=https://books.google.com/books?id=fmBVEAAAQBAJ * {{cite journal , last1=Kopystia , first1=Marianna , title=Borys Liatoshynskyi and the artists of Lviv: epistolary notes to the biography of the artist , journal=Modern Art , date=2022 , issue=18 , pages=321{{ndash328 , doi=10.31500/2309-8813.18.2022.273815 , url=, doi-access=free * {{cite thesis , last= Savchuk, first=Ihor , date=2020 , title=Борис Лятошинський І Польська Культура., trans-title=Boris Lyatoshinsky and Polish culture: communicative fields of creativity Комунікативні Поля Творчості , degree=PhD , publisher=National Academy of Arts of Ukraine , location=Kyiv , url=https://mari.kiev.ua/sites/default/files/inline-files/Diser_I_B_Savchuk.pdf * {{cite book , last=Schlögel , first=Karl , author-link=Karl Schlögel , year=2012 , title=Moscow 1937 , translator-last=Livingstone , translator-first=Rodney , publisher=Polity , location=Cambridge, Cambridgeshire , isbn=978-0-7456-5076-0 * {{cite journal , last1=Shovgenjuk , first1=Stepan , title=A bass-clarinett timbre and the features of this using in the symphonyc opuses by Borys Lyatoshinsky , journal=Musicology & Cultural Science / Musikismc'odneoba da Kulturologia , date=2015 , volume=12 , issue=2 , pages=25{{ndash32 , url=https://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=116597278&lang=en-gb&site=eds-live&scope=site , issn=1512-2018 , id=116597278 * {{cite book , last1=Tammaro , first1=Ferrucio , editor1-last=Krohn , editor1-first=Anna , editor2-last=Howell , editor2-first=Tim , editor3-last=Murtomäki , editor3-first=Veijo , title=Jean Sibelius's Legacy Research: on his 150th Anniversary , date=2017 , publisher=Cambridge Scholars Publishing , isbn=978-15275-0-087-7 , url=https://books.google.com/books?id=zMI3DwAAQBAJ , chapter=War Symphonies and Peace Symphonies: Sibelius' Fifth

External links

* {{IMSLP, work=Symphony_No.2%2C_Op.26_(Lyatoshinsky%2C_Boris), cname=Symphony No. 2
Audio recording of the symphony
from the National Symphony Orchestra of Ukraine {{Borys Lyatoshynsky, state=collapsed {{Authority control Symphonies by Borys Lyatoshynsky 1936 compositions Compositions in B minor