Symphony No.4 in B flat minor - Borys Lyatoshynsky

Ukrainian State Symphony Orchestra conducted by Theodore Kuchar

I - Andante sostenuto e maestoso - Allegro moderato ma risoluto assai - (attacca): 0:00
II - Lento tenebroso - Andante - (attacca): 10:02
III - Allegro molto risoluto: 18:19

The Fourth Symphony of Borys Lyatoshynsky was completed in 1963, being premiered in Leningrad with the Philharmonic Orchestra, under the direction of the leading Soviet conductor Nathan Rachlin. Following the première, the critic M. Bialik published a glowing review of the work, observing that the composer’s creative process and brilliant orchestration was proof of the ever-developing and distinctive tradition of a truly Ukrainian classical music. The work is divided in three movements without a break.

Bialik went on to point out that, although Lyatoshynsky made use of a contemporary musical language, he never entirely abandoned tonality, and also incorporated Ukrainian folk-music. The first Kiev performance of the Symphony met with similar acclaim, and two notable performances followed in 1965: on 9 January, under Lyatoshynsy’s own direction, the piece was given to celebrate his 70th birthday; and in March, the work featured in a programme of major contemporary symphonic music, hosted by the Assembly of the Union of Ukrainian Composers. Both critics and performers placed the Fourth Symphony alongside other European masterpieces by composers such as Shostakovich, Prokofiev, Bartók, Honegger and Szymanowski. And of course, there was no doubt as to its importance within the development of Ukrainian music.

The first movement is written in a modified sonata form with an introduction. It begins with a slow introduction where two opposing ideas are presented, a dissonant but strong motive, presented by the brass, and a second most impressionistic presented by the bass of the woodwinds. These elements are the basis of the main themes of the Allegro. The main theme is angular and rhythmically irregular, in contrast, the second theme is more melodic but still dissonant and somber. These ideas are developed with extreme anguish and anxiety, reaching the climax with both themes in counterpoint. Instead of a recapitulation, a slow section follows as a transition to the next movement, without any resolution of the struggle.

The second movement is written in three sections, connected by a broad, solemn chorale, which is passed around the orchestra; and this is complemented by a second theme, a "Peredzvoniv" or church bell melody, that grows out of the murky, multilayered chorale accompaniment, drawing heavily upon Ukrainian folk-music models. It opens with a dark passacaglia sustained by the bass woodwinds and the strings in tremolo, over which the brass and percussion adds on. In the central part an impresionistic lyrical theme intensifies until it becomes more obscure. In the third section, the brass chorale reappears with its bell ornaments, followed by the "Peredzvoniv". The harp makes a transition to the next movement.

The third movement is written in a modified sonata form. The main theme is turbulent and impetuous, contrasted by a dark and dissonantly lyrical second theme. Once again, contrast is crucial to the development of the movement, and the initial energy is lost as the music drops into quiet melancholy. The development ends with the second theme in crescendo until it reaches a great climax. The last part begins with a variant of the main theme of the first movement, which reaches a new potent climax. Although the tension once again builds, it only swells each time to dip again and finally, The chorale from the second movement, followed by the serene beauty of the "Peredzvoniv" returns to conclude the Symphony in peace.

Picture: "Workers in the Snow" (1913) by the Norwegian painter Edvard Munch.

Sources: http://www.historiadelasinfonia.es/naciones/la-sinfonia-en-rusia/ucrania/lyatoshinsky/ and https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.555580&catNum=555580&filetype=About%20this%20Recording&language=English#

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