In particular, but not only, for the Cello Concerto Myaskovsky Nikolai, very well interpreted

Nikolai Myaskovsky was born in 1881 in Novo-Georgievsk near Warsaw (Poland, at that time part of Russia), where his father, a Russian officer, was stationed. He was Lieutenant of Engineers in 1906 when he resigned from the Army to enter the St. Petersburg Conservatory in 1906, where he was a pupil of Nikolai Rimsky-Korsakov (1844-1908) and Anatoly Lyadov (from 1855 to 1914 ) after taking over for a few months with Glière Reinhold (1874-1956). He quickly befriended a classmate study, ten years younger, Sergei Prokofiev (1891-1953), who throughout his life he remained a close friend. His musical career was rudely interrupted by the war, where he was seriously wounded. In 1921 he became professor of composition at the Moscow Conservatory, where he had many students, including Vissarion Shebalin (1902-1963), Aram Khachaturian (1903-1978), Dmitri Kabalevsky (1904-1987), Evgeni Golubev (1910 -1988), German Galinin (1922-1966) and Boris Boris Tschaikowski (1925-1996), where his intellectual integrity made him the nickname "musical conscience of Moscow". In 1947 he was denounced by name in the company of Gavriil Popov (1904-1972), Dmitri Shostakovich (1906-1975), Vissarion Shebalin, Serge Prokofiev, Aram Khachaturian and Kabalevsky Dmitri as "formalist", the worst accusation that the Stalinist regime could pronounce against an artist. He died of cancer in 1950.

Myaskovsky, initially very close to Alexander Scriabin (1871-1915) and the philosophy of Fyodor Dostoyevsky (1821-1881), combines melodic inspiration deeply Russian, combined with a music writing technique influenced by the "Group of Six ". It is an essential bridge to understand the passage of Russian music of the nineteenth century to the twentieth.

Cello Concerto Op. 66 Myaskovsky, one of the finest work he wrote, was composed in late 1944 for the cellist Sviatoslav Knouchevitski, who created the 17 March 1945 with the Orchestra of the Soviet Radio in the direction of Alexander Orlov. The concerto, which enjoyed immediate popularity with the Russian public and remains one of the most preferred compositions of Myaskovsky, is in two movements: the first, Lento ma non troppo, the concerto begins with a melancholy introduction, which forms the basis lyrical dialogue that ensues between soloist and orchestra. Renouncing the virtuoso style of the traditional concerto, Myaskovsky requires consideration of the soloist high sensitivity, a lot of heat in the expression, and constantly cantabile game. The second movement, Allegro vivace, immediately introduced a real contrast, but evocative of the first episode comes quickly interrupt the dancing rhythm and removed. After a second attempt to emerge a climate that would finally exuberant concerto ends with a new statement, quiet and introspective, the opening theme of the work.