Question: Who is the "Father of the Soviet Symphony" who wrote The Symphony No. 1 in C minor?
Context: The Symphony No. 1 in C minor, Op.  3, by Nikolai Myaskovsky was written in 1908 (and revised 1921). The Rondo in C minor, Op. 1, for solo piano is Chopin's first published work, published in 1825, and dedicated to "Madame de Linde", a family friend with whom Chopin played duets.  The piece contains an "unorthodox (but entirely logical) tonal scheme".  The first phase begins in C minor, moving into E major, A♭ major, then back to C minor.  The second phase moves to D♭ major, finishing in C minor for a final statement of the theme. Symphony No. 1 in B-flat major, Stiles 1.3.4.1 Sy1, the so-called Maori Symphony, is the first symphony by Alfred Hill.  Its first three movements were completed by 1898, but the last movement remained unfinished.  This may have been the second symphony composed in the Antipodes (the first was George Marshall-Hall's "C minor" completed in Melbourne in December 1892).  The first two movements (and maybe the fourth, if it was reconstructed correctly) of this symphony are the only symphonic movements by Hill not to be arranged from his earlier chamber music.  The Finale was reconstructed by Allan Stiles, and the whole symphony got its first performance in 2007.  The approximate duration is 40 minutes. Anton Bruckner's Symphony No. 1 in C minor (WAB 101) was the first symphony the composer thought worthy of performing, and bequeathing to the Vienna national library.  Chronologically, it comes after the Study Symphony in F minor and "before" Symphony in D minor ("No. 0").  The first version of the Symphony No. 2 in C minor was completed after the Symphony in D minor. Progressive tonality is the music compositional practice whereby a piece of music does not finish in the key in which it began, but instead 'progresses' to an ending in a different key or tonality.  To avoid misunderstanding, it should be stressed that in this connection 'different key' means a different tonic, rather than merely a change to a different mode (see: Picardy third and List of major/minor compositions): Gustav Mahler's Second Symphony (1888–94), for example, which moves from a C minor start to an E-flat major conclusion, exhibits 'progressive tonality'—whereas Ludwig van Beethoven's Fifth Symphony (1804–08), which begins in C minor and ends in C major, does not.  A work which ends in the key in which it began may be described as exhibiting 'concentric tonality'.  The terms 'progressive' and 'concentric' were both introduced into musicology by Dika Newlin in her book "Bruckner, Mahler, Schoenberg" (1947). The Symphony No. 3 in C minor is a symphony for orchestra by the American composer Florence Price.  The work was commissioned by the Works Progress Administration's Federal Music Project during the height of the Great Depression.  It was first performed at the Detroit Institute of Arts on November 6, 1940, by the Detroit Civic Orchestra under the conductor Valter Poole.  The composition is Price's third symphony, following her Symphony in E minor—the first symphony by a black woman to be performed by a major American orchestra—and her lost Symphony No. 2. Nikolai Yakovlevich Myaskovsky or Miaskovsky or Miaskowsky (Russian: Никола́й Я́ковлевич Мяско́вский ; 20 April [O.S. 8 April] 1881 – 8 August 1950) was a Russian and Soviet composer.  He is sometimes referred to as the "Father of the Soviet Symphony".  Myaskovsky was awarded the Stalin Prize five times, more than any other composer. Anton Bruckner’s Symphony No. 2 in C minor, sometimes known as the “Symphony of Pauses,” was completed in 1872, premiered in Vienna the following year with Bruckner himself on the podium, and given a substantial revision in 1877.  (The "Internationale Bruckner-Gesellschaft" thus recognizes two versions.)  The work was also adjusted by the composer right before its premiere as well as in 1876 and 1892.  The composition date of 1872 places this music after the Symphony "No. 0" in D minor, which was itself composed "after" the Symphony No. 1 in C minor.  The Second is the only numbered Bruckner symphony without a dedication; Franz Liszt tacitly rejected the dedication, and Richard Wagner chose the Symphony No. 3 in D minor when offered both works. Anton Bruckner's “Study” Symphony in F minor (Studiensymphonie), WAB 99, was written in 1863 as an exercise under Otto Kitzler's instruction in form and orchestration.  Scholars at first believed that the next symphony Bruckner wrote was the so-called Symphony No. 0, thus this symphony is sometimes called Symphony No. 00 in F minor.  In any case, musicologists are sure now that the next symphony Bruckner wrote after this one was Symphony No. 1 in C minor.  Together with the Linz version of Symphony No. 1, the Study Symphony was not written in Vienna like all Bruckner's other symphonies. Piano Concerto No. 4 in C minor, Op.  44 by Camille Saint-Saëns, is the composer's most structurally innovative piano concerto.  In one sense it is structured like a four-movement symphony, but these are grouped in pairs.  That is, the piece is divided into two parts, each of which combines two main movements (I.  A moderate-tempo Theme and Variations in C Minor; II.  A slower, related Theme and Variations in Ab Major; III.  Scherzo in C Minor; IV.  Finale in C Major).  However, in each part there is a bridge-like transitional section, between the two main "movements" – for example, a fugal Andante in part II functions as an interlude between the two main triple-meter sections.
Answer: Nikolai Myaskovsky