Editing Nikolai Myaskovsky (section)

==Final decade==
The year 1941 saw Myaskovsky evacuated, along with Prokofiev and [[Aram Khachaturian]] among others, to what were then the [[Kabardino-Balkaria|Kabardino-Balkar]] regions. There he completed the [[Symphony No. 22 (Myaskovsky)|Symphony-Ballade]] (Symphony No. 22) in B minor, inspired in part by the first few months of the war. Prokofiev's Second String Quartet and Myaskovsky's [[Symphony No. 23 (Myaskovsky)|Symphony No. 23]] and Seventh String Quartet contain themes in common—they are Kabardinian folk-tunes the composers took down during their sojourn in the region.  The sonata-works (symphonies, quartets, etc.) written after this period and into the post-war years (especially starting with the [[Symphony No. 24 (Myaskovsky)|Symphony No. 24]], the piano sonatina, the Ninth Quartet) while Romantic in tone and style, are direct in harmony and development.  He does not deny himself a teasingly neurotic scherzo, as in his last two string quartets (that in the Thirteenth Quartet, his last published work, is frantic, and almost [[chiaroscuro]] but certainly contrasted) and the general paring down of means usually allows for direct and reasonably intense expression, as with the Cello Concerto (dedicated to and premiered by [[Sviatoslav Knushevitsky]]) and Cello Sonata No. 2 (dedicated to [[Mstislav Rostropovich]]).

While not particularly experimental, there is no suggestion—as with some earlier works—that [[Alexander Scriabin]] or [[Arnold Schoenberg]] might still have been influences.  In 1947 Myaskovsky was singled out, with Shostakovich, Khachaturian and Prokofiev, as one of the principal offenders in writing music of anti-Soviet, 'anti-proletarian' and [[Formalism (music)|formalist]] tendencies. Myaskovsky refused to take part in the proceedings, despite a visit from [[Tikhon Khrennikov]] inviting him to deliver a speech of repentance at the next meeting of the Composers' Union.<ref name="yakubov">Manashyr Yakubov, liner notes to Claves CD 50-9415.</ref> He was rehabilitated only after his death from cancer in 1950, leaving an output of eighty-seven published opus numbers spanning some forty years, and students with recollections.