Overview
Introduction
In 1893 Kalinnikov was appointed to his first important musical post, as second conductor of the Italian Opera in Moscow. Not many months before he had also been given a post, on the recommendation of Pyotr Tchaikovsky, as conductor of the Malïy Theatre in the same city. His career seemed set to take off, but ongoing health problems, including tuberculosis, forced Kalinnikov to resign those posts within months of having received them. By 1894, Kalinnikov was settled in the warmer climate of Yalta, in the South Crimea, where he lived until his premature death in 1901. It was at Yalta that Kalinnikov wrote some of his most popular works, including the biggest success of his career, the Symphony No. 1, written over the years 1894 and 1895. The symphony, dedicated to Kalinnikov's teacher S.N. Kruglikov, was given its premiere in Kiev at a Russian Music Society concert conducted by Vinogradsky. The audience loved the work, requesting and receiving repeat performances of the work's two middle movements. Further successful performances followed soon all over Europe, including Vienna, Paris, London, and Berlin.
The reception the work enjoyed is not hard to understand. Kalinnikov loads his symphony with memorable melodies, he develops them with great skill, and his fluent and colorful orchestration calls Tchaikovsky to mind. The arresting theme with which the work opens is evocative of Russian folk song. Later in the Allegro moderato first movement, a broad second theme emerges in the strings, with decorations provided by the woodwinds. The fluently contrapuntal development section reminds the listener that Kalinnikov had practiced polyphonic writing in a series of fugues composed in the 1880s. The lyrical and melancholy second movement, Andante commodamente, is highlighted by a rich main theme in the oboe over pizzicato strings. Russian folk song is once again called to mind in the swaggering theme of the Scherzo third movement; the more restrained middle section featuring another folksy melody over a drone. The rousing Finale comes complete with reminders of some of the themes heard earlier in the work; the extroverted main theme interacts with some of those earlier tunes, leading to a powerful and triumphant conclusion.
Parts/Movements
- Allegro moderato
- Andante commodamente
- Scherzo. Allegro non troppo
- Finale. Allegro moderato
