PETER ILYICH TCHAIKOVSKY (1840-83)
Violin Concerto in D Major, Op. 35
Scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, strings and solo violin
"I neither know, nor can I understand why, despite such favorable circumstances, I am not disposed to work. Am I played out? I have to squeeze out of myself weak and worthless ideas, and ponder every bar. But I shall achieve my goal, and I hope inspiration will dawn upon me." At his retreat in Clarens, Switzerland, Tchaikovsky initiated a new composition project in 1878 that he hoped would revive his beleaguered spirits. The disillusionment caused by his short-lived, disastrous marriage to Antonina Ivanovna Milyukova still clouded his thoughts and dulled his imagination.
Josef Kotek, a graduate of the Moscow Conservatory, arrived in Clarens, bringing a welcome breath of fresh air. This young violinist was resident musician to the wealthy and eccentric Nadezhda von Meck. Two years earlier, Kotek had convinced her to commission several short works for violin and orchestra from Tchaikovsky. Thrilled by the results, she offered Tchaikovsky a substantial annual salary, freeing him from teaching responsibilities at the conservatory. As Tchaikovsky's patron and friend, the influential Meck helped expedite his divorce proceedings. Plans for a violin concerto quickly came into focus. By March 28, 1878, Tchaikovsky had completed three movements. Dissatisfied with the slow movement, he excised it and wrote another. (The original movement later became the Méditation in his Souvenir d'un lieu cher, Op. 42.) Orchestration was completed on April 11.
Tchaikovsky praised Kotek for his devotion to the new work: "How lovingly he busies himself with my concerto! It goes without saying that I would have been able to do nothing without him. He plays it marvelously!" In the end, however, Tchaikovsky dedicated the concerto to Leopold Auer, though he refused to perform it, claiming that it was "unviolinistic"-a situation far too reminiscent of the Piano Concerto No. 1 debacle with Nikolai Rubinstein. Another violinist, Adolf Brodsky, gave the premiere.
The Violin Concerto in D Major, Op. 35, displays an uncommon Classical balance in its first few measures. After orchestral tension builds, the violin enters and, after a pause, the full-blooded Romantic first theme is proclaimed. The solo violin introduces a deeply felt second theme. Following the development there is a sparkling cadenza and a restatement of the main themes. Inspiration for the Canzonetta probably came from Tchaikovsky's recent trip to Italy. The woodwind opening is succeeded by an embellished Italianate violin melody. A second idea weaves a continuous line. The initial violin and wind themes return in reverse order. Without pause the wildly exuberant finale follows. An infectious folk-like spontaneity characterizes the violin refrain. Rustic drones accompany a sensuous second theme. The refrain, never far in the background, finally catapults the movement to its conclusion.
Excerpts from Swan Lake, Op. 20
Scored for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, percussion, harp and strings
Officials at the Bolshoi Theater commissioned a full-length ballet in 1875 from Tchaikovsky, who wrote, "I accepted the work, partly because I want the money, but also because I have long had the wish to try my hand at this kind of music." At that time, new ballet productions in Moscow were a rarity. The Bolshoi had only recently begun to shed its reputation as the Saint Petersburg Ballet's provincial cousin. Oftentimes the theater imported complete productions from the imperial capital, since Bolshoi-mounted ballets regularly suffered from amateurish set designs, recycled theater costumes and shoddy orchestral playing.
The Swan Lake legend had been in Tchaikovsky's thoughts before the commission. Several events link the composer to his balletic subject. First, the composer's descendants remember a short Swan Lake children's ballet (mostly unrelated to the more familiar ballet), written by Tchaikovsky in 1871 or earlier, which was performed at private family gatherings. The large-scale ballet scenario likely originated during the next few years within one of the Moscow artists clubs tha0t Tchaikovsky had joined after moving to the city. The actual librettist (or librettists) remains anonymous to this day. A final influence arose during Tchaikovsky's visit to Bayreuth in the summer of 1876 for the first integral performances of Wagner's Ring cycle. The portions of those four music dramas featuring Siegfried, as well as the virtuous swan in Lohengrin, may resonate in Tchaikovsky's ballet scenario.
The completed Swan Lake score exceeded the technical capabilities of the Bolshoi musicians and their well-intentioned, but amateur conductor Stepan Ryabov. The work's full effect suffered further from tampering by the choreographer, Julius Reisinger, who removed and rearranged scenes and even substituted excerpts from other ballet scores. Predictably, musical and dramatic coherence disintegrated, and the production received only lukewarm reviews. (This tradition of rearranging Tchaikovsky's music continues in some modern productions.)
The original libretto presents the following scenario: The enchanted princess Odette, who has been transformed into a swan by a magic spell, can regain her human form by finding a true and constant love. Prince Siegfried encounters Odette at twilight and falls in love with her. Siegfried selects a bride at his coming-of-age celebration, a princess who resembles Odette. He discovers upon making his vows that the princess is Odile, the evil daughter of Rothbart. Siegfried has unwittingly betrayed Odette. The prince is later discovered drowned at the edge of the lake. The swans glide across the lake, and Odette once again awaits a true love.
"1812" Festival Overture , Op. 49
Scored for two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, two cornets, two tenor and one bass trombones, tuba, timpani, triangle, tambourine, snare drum, bass drum, cymbals, chimes, cannons and strings
"The overture will be very loud, noisy, but I wrote it without any warm feelings of love so it will probably be of no artistic worth." Unquestionably Tchaikovsky produced an overture with "very loud, noisy portions," but the rest of his assessment missed wide of the mark. The "1812" Festival Overture ranks as perhaps Tchaikovsky's most popular composition for its sentimental, as well as artistic, worth.
Nikolai Rubinstein requested a new work from Tchaikovsky for the upcoming Exhibition of Arts and Crafts in Moscow. This 1882 exhibition coincided with the scheduled dedication of the new Cathedral of the Redeemer and a 70th-anniversary commemoration of the Russian resistance to Napoleon's assault. Tchaikovsky's "festival overture" was given a grand, open-air first performance (such as this evening's). A massive assemblage of instruments filled the cathedral square with sound-a military band, an enormous orchestra, a company of artillery and pealing bells from the church towers.
Tchaikovsky composed his "1812" Festival Overture between October 12 and November 19, 1880, with the Napoleonic defeat in mind. An old Russian anthem-a patriotic prayer-serves as the slow introductory theme: "Lord, save Thy people and bless Thine heritage; grant victory to our land, our sovereign and his warriors over the invaders, and by the power of Thy cross preserve Thy commonwealth." The tempo increases as the conflict builds. Among the main themes is a Russian children's folksong. French troops advance to the strains of the Marseillaise, but the Russian anthem spurs the people to victory.
-Program notes © 2015 Todd E. Sullivan
