and Nikolai Roslavets, Myaskovsky was one of the leaders of the Association for Contemporary Music. While he remained in close contact with Prokofiev during the latter's years of exile from the USSR, he never followed him there. Myaskovsky's reaction to the events of 1917–21 inspired his Symphony No. 6 (1921–1923, rev. 1947—this is the version that is almost always played or recorded) his only choral symphony and the longest of his 27 symphonies, sets a brief poem (in Russian though the score allows Latin alternatively—see the American Symphony Orchestra page below on the origins of the poem—the soul looking at the body it has abandoned.) The finale contains quite a few quotes—the Dies Irae theme, as well as French revolutionary tunes. The years 1921–1933, the first years of his teaching at the Moscow Conservatory, were the years in which he experimented most, producing works such as the Tenth and Thirteenth symphonies, the fourth piano sonata and his first string quartet. Perhaps the best example of this experimentative phase is the Thirteenth symphony, which was the only one of his works to be premiered in the United States. In the 1920s and 1930s Myaskovsky's symphonies were quite frequently played in Western Europe and the USA. His works were issued by Universal Edition, one of Europe's most prestigious publishers. In 1935, a survey made by CBS of its radio audience asking the question "Who, in your opinion, of contemporary composers will remain among the world's great in 100 years?" placed Myaskovsky in the top ten along with Prokofiev, Rachmaninoff, Shostakovich, Richard Strauss, Stravinsky, Sibelius, Ravel, de Falla and Fritz Kreisler. The next few years after 1933 are characterized mostly by his apparent discontinuation of his experimental trend, though with no general decrease in craftsmanship. The Violin Concerto dates from these years, the first of two or three concerti, depending on what one counts, the second being for cello, and a third if one counts the Lyric Concertino, Op. 32 as a concerto work. Another work from the period up to 1940 is the one-movement Symphony No. 21 in F-sharp minor, Op. 51, a compact and mostly lyrical work, very different in harmonic language from the Thirteenth. Despite his personal feelings about the Stalinist regime, Myaskovsky did his best not to engage in overt confrontation with the Soviet state. While some of his works refer to contemporary themes, they do not do so