Symphony No.5 in C major "Slavonic" - Borys Lyatoshynsky

Ukrainian State Symphony Orchestra conducted by Theodore Kuchar

I - Andante maestoso - Allegro molto: 0:00
II - Lento e mesto - Andante tranquillo - Grave - Andante tranquillo - Lento e mesto: 8:15
III - Moderato - Allegro energico: 15:27

From the early 1950s, Lyatoshynsky became interested in Slavonic musical heritage, and this manifested itself in a series of orchestral compositions. Following the Slavonic Concerto, Op. 54 (1953) and Slavonic Overture (1961), he completed a three-movement Symphony from 1965-66: his Fifth, and gave it the subtitle ‘Slavyanskaya’ (‘Slavonic’).

The first movement is written in sonata form with an introduction. It opens with a stately, hymn-like theme marked Andante maestoso. This is based on an ancient Rus song about the knight-errant folk hero Il’ya Muromets, who was reputed to have saved the city of Kiev from a greedy Prince who attempted to invade it. The theme is introduced by six horns playing in unison, without harmonic support; they are then joined by other members of the brass section playing the material canonically, but in multiple keys at the same time.

The tension and uncertainty of the introduction sets the stage for an energetic Allegro molto, the main body of the movement. The principal theme is constructed from two Russian folk-tunes, which Lyatoshynsky blends into an energetic, dance-like motif. This is presented alongside two subordinate lyrical themes, based on Yugoslav melodies. After a massive climax based on the initial fanfare, a brief but complex development starts in which the folk motifs and materials receive a modern treatment in which the unusual but masterful counterpoint of the composer shines. The opening Muromets song returns to mark the recapitulation. The work ends with the strings in pizzicato.

The second movement is written in four sections: outer Lento e mesto sections surround two marked Andante tranquillo, between which sits a central Grave. The entire movement is based on two Bulgarian folk-tunes. It opens with the folk tune "Oh my friend Petko, rise up" presented by the flute over the snare drum, repeated by a solo of the viola. The second one, "Bring here the maiden", is a more serene and contemplative melody, presented by the oboe and reminiscent of a mountain shepherd’s song, which is repeated in the form of a canon with a denser structure. There is a feeling of unfolding narrative in their presentation, as if recounting the events of ancient Slavic history. In the central section, the first theme or folksong is interpreted in a tragical way with the brass and percussion. Then the themes are recapitulated in an inverted way, ending quietly suggesting a tragic ending.

The third movement is written as a modified rondo form in which, again, returns the listener to the world of the folk-dance and church music. Starts with a recall of the brass fanfare of the first movement. Continues with the presentation of a main theme of an energic and dancing character. A contrasting lyrical theme is interpreted by the English horn, with a violin solo over an impressionistic orchestral atmosphere. Percussion blows gives way to a recapitulation of the rhythmic main theme, enhanced by woodwinds solos in a complex counterpoint. Then the slow theme is interpreted with the elongated notes forming a tune of a mournful spirit in reference to the folk themes from the second theme, accompanied by the beating of the timpani. The final part begins with a new fanfare from the brass. The bells interpret the Muromets folk theme later accompanied by the brass chorale. Dissonant and strident chords symbolize evil, which will finally be defeated. The brass solemnly interpret the chorale with a new appearance of the bells. The victorious recapitulation of the Muromets leads to a conclusive ending.

There is a growing sense of unrest and inner conflict as this work progresses; yet in its final episode, as previous material is drawn together in an almost fresco-like presentation, the Muromets song once again appears as the affirmation of a proud race. This depiction of the deep and universal bond shared by all Slavic cultures lends the work a powerful political message; and this has given Lyatoshynsky’s work greater significance not only as a Ukrainian composition, but within the broader culture of the former Soviet Union.

Picture: "Bogatyrs" (1898) by the Russian artist Viktor Vasnetsov.

Sources: https://www.naxos.com/mainsite/blurbs... and http://www.historiadelasinfonia.es/na...