Uploaded May 2026 | Updated September 2026, 2 weeks ago
Novosibirsk Academic Symphony Orchestra conducted by Thomas Sanderling.
I - Allegro: 0:00
II - Andantino, quasi allegretto - Largamente: 11:00
III - Scherzo. Vivace assai (𝅗𝅥 = 84) - Trio. Moderato assai (𝅘𝅥 = 80) - Poco più mosso (𝅗𝅥 = 44) - Tempo I (Vivace assai): 16:39
IV - Finale. Allegro molto - Più stretto - Allegro moderato. Molto maestoso - Ritardando: 22:30
Taneyev's Symphony No.1 was composed between 1873-4, probably written as a composition exercise under Tchaikovsky during Taneyev's studies at the Moscow Conservatory. The score was presented at Taneyev's final conservatory examination in 1875, which earned him a gold medal in composition. However, and despite the praise the symphony got, the piece was neither performed nor published during the composer's lifetime. It was only discovered in 1916, after Taneyev's death, published on 1948 and premiered shortly after. Taneyev's highly self-critical nature probably made him considered the work unworthy of publication.
Although highly independent as a mature artist, Taneyev was understandably under Tchaikovsky's influence during the early years of his career. Many of his compositions dating from the 1870s were inspired by Tchaikovsky's works in instrumental, vocal, and symphonic genres. Influenced by his mentor's music, Taneyev probably took Tchaikovsky's Symphony No.2 as a model for his own first. He had attended the première of the "Little Russian" in 1873 in Moscow, beginning work on his first symphony soon after. The piece also shows some Germanic influences from Schumann in its layout, with two substantial outer movements surrounding two short ones. However, Taneyev was already developing a technical and musical personality of his own, most notable for the shape of his melodies, use of counterpoint and preference for textural clarity.
The first movement is structured in sonata form. It begins with a dramatic and rhythmic main theme in E minor, presented in form of a march. A more lyrical and cantabile second theme in G major is introduced by woodwind, soon taken by strings. The development features a skillful contrapuntal combination and development of the material, as well as a distinctive orchestration. The music reaches an expressive and dramatic climax, which leads to the recapitulation of the themes in the home key of E minor. The return of the main theme on woodwinds launches a dramatic and imposing coda, ending the allegro with repeated and fateful E minor chords.
The second movement is a short intermezzo written in ternary form. It opens with a gentle, dance-like introduction lightly scored for exchanges between strings and woodwind. Then a lyrical main theme in B-flat major is presented by strings and clarinet, with brief modulations to G minor. The central section features a broad and melodic second theme in E-flat major, introduced by legato strings in a cantabile manner. The main material is then recapitulated, alternating between major and minor. A brief climax leads to a gentle coda with which the andantino ends in G minor.
The third movement is a scherzo, also in ternary form. It begins with a Beethovenian rhythmic main theme in E minor, closely resembling a Mazurka (a Polish dance form) in its marked and syncopated rhythms. The trio section features a widely lyrical and cantabile second theme in D major, reminiscent of Tchaikovsky and presented between woodwinds and strings. The scherzo is then recapitulated, ending with a sudden crescendo.
The fourth movement is written in sonata form. It opens with a rhythmic and lively main theme on strings in E major, based on the Russian folksong "Ne lyod treshchit" (It's not the ice cracking) that was later used by Stravinsky in the "Coachmen’s Dance" from Petrushka (Tableau IV), perhaps as an homage to his admired teacher. A chromatic transition leads to a lyrical and cantabile second theme on clarinet and strings, rising in a passionate climax. The development is largely dominated by the folksong, transformed in a contrapuntal fashion while the music modulates. A vigorous climax is then reached on the main theme, leading to a varied recapitulation of the material in the home key of E major. The symphony then concludes with a grand, apotheosic coda in E major.
Picture: "Seventeenth-Century Moscow Street on a Public Holiday" (1895) by the Russian painter Andrei Ryabushkin.
Musical analysis partially written by myself. Sources: tinyurl.com/26gqpsdy, tinyurl.com/2a79xh8w and tinyurl.com/22cza2rc
To check the score: tinyurl.com/2ckfr9p7
Novosibirsk Academic Symphony Orchestra conducted by Thomas Sanderling.
I - Allegro: 0:00
II - Andantino, quasi allegretto - Largamente: 11:00
III - Scherzo. Vivace assai (𝅗𝅥 = 84) - Trio. Moderato assai (𝅘𝅥 = 80) - Poco più mosso (𝅗𝅥 = 44) - Tempo I (Vivace assai): 16:39
IV - Finale. Allegro molto - Più stretto - Allegro moderato. Molto maestoso - Ritardando: 22:30
Taneyev's Symphony No.1 was composed between 1873-4, probably written as a composition exercise under Tchaikovsky during Taneyev's studies at the Moscow Conservatory. The score was presented at Taneyev's final conservatory examination in 1875, which earned him a gold medal in composition. However, and despite the praise the symphony got, the piece was neither performed nor published during the composer's lifetime. It was only discovered in 1916, after Taneyev's death, published on 1948 and premiered shortly after. Taneyev's highly self-critical nature probably made him considered the work unworthy of publication.
Although highly independent as a mature artist, Taneyev was understandably under Tchaikovsky's influence during the early years of his career. Many of his compositions dating from the 1870s were inspired by Tchaikovsky's works in instrumental, vocal, and symphonic genres. Influenced by his mentor's music, Taneyev probably took Tchaikovsky's Symphony No.2 as a model for his own first. He had attended the première of the "Little Russian" in 1873 in Moscow, beginning work on his first symphony soon after. The piece also shows some Germanic influences from Schumann in its layout, with two substantial outer movements surrounding two short ones. However, Taneyev was already developing a technical and musical personality of his own, most notable for the shape of his melodies, use of counterpoint and preference for textural clarity.
The first movement is structured in sonata form. It begins with a dramatic and rhythmic main theme in E minor, presented in form of a march. A more lyrical and cantabile second theme in G major is introduced by woodwind, soon taken by strings. The development features a skillful contrapuntal combination and development of the material, as well as a distinctive orchestration. The music reaches an expressive and dramatic climax, which leads to the recapitulation of the themes in the home key of E minor. The return of the main theme on woodwinds launches a dramatic and imposing coda, ending the allegro with repeated and fateful E minor chords.
The second movement is a short intermezzo written in ternary form. It opens with a gentle, dance-like introduction lightly scored for exchanges between strings and woodwind. Then a lyrical main theme in B-flat major is presented by strings and clarinet, with brief modulations to G minor. The central section features a broad and melodic second theme in E-flat major, introduced by legato strings in a cantabile manner. The main material is then recapitulated, alternating between major and minor. A brief climax leads to a gentle coda with which the andantino ends in G minor.
The third movement is a scherzo, also in ternary form. It begins with a Beethovenian rhythmic main theme in E minor, closely resembling a Mazurka (a Polish dance form) in its marked and syncopated rhythms. The trio section features a widely lyrical and cantabile second theme in D major, reminiscent of Tchaikovsky and presented between woodwinds and strings. The scherzo is then recapitulated, ending with a sudden crescendo.
The fourth movement is written in sonata form. It opens with a rhythmic and lively main theme on strings in E major, based on the Russian folksong "Ne lyod treshchit" (It's not the ice cracking) that was later used by Stravinsky in the "Coachmen’s Dance" from Petrushka (Tableau IV), perhaps as an homage to his admired teacher. A chromatic transition leads to a lyrical and cantabile second theme on clarinet and strings, rising in a passionate climax. The development is largely dominated by the folksong, transformed in a contrapuntal fashion while the music modulates. A vigorous climax is then reached on the main theme, leading to a varied recapitulation of the material in the home key of E major. The symphony then concludes with a grand, apotheosic coda in E major.
Picture: "Seventeenth-Century Moscow Street on a Public Holiday" (1895) by the Russian painter Andrei Ryabushkin.
Musical analysis partially written by myself. Sources: tinyurl.com/26gqpsdy, tinyurl.com/2a79xh8w and tinyurl.com/22cza2rc
To check the score: tinyurl.com/2ckfr9p7
