Pyotr Ilyich Tchaikovsky, also spelled Chaikovsky, Chaikovskii, or Tschaikowsky, born April 25 [May 7, New Style], 1840, in Votkinsk, Russia, is the most popular Russian composer of all time. His music has always had great appeal for the general public in virtue of its tuneful, open-hearted melodies, impressive harmonies, and colourful, picturesque orchestration, all of which evoke a profound emotional response. His oeuvre includes 7 symphonies, 11 operas, 3 ballets, 5 suites, 3 piano concertos, a violin concerto, 11 overtures (strictly speaking, 3 overtures and 8 single movement programmatic orchestral works), 4 cantatas, 20 choral works, 3 string quartets, a string sextet, and more than 100 songs and piano pieces.
Tchaikovsky was the second of six surviving children of Ilya Tchaikovsky, a manager of the Kamsko-Votkinsk metal works, and Alexandra Assier, a descendant of French émigrés. He manifested a clear interest in music from childhood, and his earliest musical impressions came from an orchestrina in the family home. At age four he made his first recorded attempt at composition, a song written with his younger sister Alexandra. In 1845 he began taking piano lessons with a local tutor, through which he became familiar with Frédéric Chopin’s mazurkas and the piano pieces of Friedrich Kalkbrenner. Since music education was not available in Russian institutions at that time, Tchaikovsky’s parents had not considered that their son might pursue a musical career. Instead, they chose to prepare the high-strung and sensitive boy for a career in the civil service.
Opera, Blood, and Tears
The Life You Give: Peter Tchaikovsky
in celebration of his life in music
May 7 at 1pm EST
See opera information below
In 1850 Tchaikovsky entered the prestigious Imperial School of Jurisprudence in St. Petersburg, a boarding institution for young boys, where he spent nine years. He proved a diligent and successful student who was popular among his peers. At the same time Tchaikovsky formed in this all-male environment intense emotional ties with several of his schoolmates.
In 1854 his mother fell victim to cholera and died. During the boy’s last years at the school, Tchaikovsky’s father finally came to realize his son’s vocation and invited the professional teacher Rudolph Kündinger to give him piano lessons. At age 17 Tchaikovsky came under the influence of the Italian singing instructor Luigi Piccioli, the first person to appreciate his musical talents, and thereafter Tchaikovsky developed a lifelong passion for Italian music. Wolfgang Amadeus Mozart’s Don Giovanni proved another revelation that deeply affected his musical taste. In the summer of 1861 he traveled outside Russia for the first time, visiting Germany, France, and England, and in October of that year he began attending music classes offered by the recently founded Russian Musical Society. When St. Petersburg Conservatory opened the following fall, Tchaikovsky was among its first students. After making the decision to dedicate his life to music, he resigned from the Ministry of Justice, where he had been employed as a clerk.
Tchaikovsky spent nearly three years at St. Petersburg Conservatory, studying harmony and counterpoint with Nikolay Zaremba and composition and instrumentation with Anton Rubinstein. Among his earliest orchestral works was an overture entitled The Storm (composed 1864), a mature attempt at dramatic program music. The first public performance of any of his works took place in August 1865, when Johann Strauss the Younger conducted Tchaikovsky’s Characteristic Dances at a concert in Pavlovsk, near St. Petersburg.
After graduating in December 1865, Tchaikovsky moved to Moscow to teach music theory at the Russian Musical Society, soon thereafter renamed the Moscow Conservatory. He found teaching difficult, but his friendship with the director, Nikolay Rubinstein, who had offered him the position in the first place, helped make it bearable. Within five years Tchaikovsky had produced his first symphony, Symphony No. 1 in G Minor (composed 1866; Winter Daydreams), and his first opera, The Voyevoda (1868).
In 1868 Tchaikovsky met a Belgian mezzo-soprano named Désirée Artôt, with whom he fleetingly contemplated a marriage, but their engagement ended in failure. The opera The Voyevoda was well received, even by the The Five, an influential group of nationalistic Russian composers who never appreciated the cosmopolitanism of Tchaikovsky’s music. In 1869 Tchaikovsky completed Romeo and Juliet, an overture in which he subtly adapted sonata form to mirror the dramatic structure of Shakespeare’s play. Nikolay Rubinstein conducted a successful performance of this work the following year, and it became the first of Tchaikovsky’s compositions eventually to enter the standard international classical repertoire.
In March 1871 the audience at Moscow’s Hall of Nobility witnessed the successful performance of Tchaikovsky’s String Quartet No. 1, and in April 1872 he finished another opera, The Oprichnik. While spending the summer at his sister’s estate in Ukraine, he began to work on his Symphony No. 2 in C Minor, later dubbed The Little Russian, which he completed later that year. The Oprichnik was first performed at the Maryinsky Theatre in St. Petersburg in April 1874. Despite its initial success, the opera did not convince the critics, with whom Tchaikovsky ultimately agreed. His next opera, Vakula the Smith (1874), later revised as Cherevichki (1885; The Little Shoes), was similarly judged. In his early operas the young composer experienced difficulty in striking a balance between creative fervour and his ability to assess critically the work in progress. However, his instrumental works began to earn him his reputation, and, at the end of 1874, Tchaikovsky wrote his Piano Concerto No. 1 in B-flat Minor, a work destined for fame despite its initial rejection by Rubinstein. The concerto premiered successfully in Boston in October 1875, with Hans von Bülow as the soloist. During the summer of 1875, Tchaikovsky composed Symphony No. 3 in D Major, which gained almost immediate acclaim in Russia.
At the very end of 1875, Tchaikovsky left Russia to travel in Europe. He was powerfully impressed by a performance of Georges Bizet’s Carmen at the Opéra-Comique in Paris; in contrast, the production of Richard Wagner’s Ring cycle, which he attended in Bayreuth, Germany, during the summer of 1876, left him cold. In November 1876 he put the final touches on his symphonic fantasia Francesca da Rimini, a work with which he felt particularly pleased. Earlier that year, Tchaikovsky had completed the composition of Swan Lake, which was the first in his famed trilogy of ballets. The ballet’s premiere took place on February 20, 1877, but it was not a success owing to poor staging and choreography, and it was soon dropped from the repertoire.
The growing popularity of Tchaikovsky’s music both within and outside of Russia inevitably resulted in public interest in him and his personal life. Although homosexuality was officially illegal in Russia, the authorities tolerated it among the upper classes. But social and familial pressures, as well as his discomfort with the fact that his younger brother Modest was exhibiting the same sexual tendencies, led to Tchaikovsky’s hasty decision in the summer of 1877 to marry Antonina Milyukova, a young and naive music student who had declared her love for him. Tchaikovsky’s homosexuality, combined with an almost complete lack of compatibility between the couple, resulted in matrimonial disaster—within weeks he fled abroad, never again to live with his wife. This experience forced Tchaikovsky to recognize that he could not find respectability through social conventions and that his sexual orientation could not be changed. On February 13, 1878, he wrote his brother Anatoly from Florence: “Only now, especially after the tale of my marriage, have I finally begun to understand that there is nothing more fruitless than not wanting to be that which I am by nature.”
The year 1876 saw the beginning of the extraordinary relationship that developed between Tchaikovsky and Nadezhda von Meck, the widow of a wealthy railroad tycoon; it became an important component of their lives for the next 14 years. A great admirer of his work, she chose to become his patroness and eventually arranged for him a regular monthly allowance; this enabled him in 1878 to resign from the conservatory and devote his efforts to writing music. Thereafter he could afford to spend the winters in Europe and return to Russia each summer. Although he and his benefactor agreed never to meet, they engaged in a voluminous correspondence that constitutes a remarkable historical and literary record. In the course of it they frankly exchanged their views on a broad spectrum of issues, starting with politics or ideology and ending with such topics as the psychology of creativity, religious faith, and the nature of love.
The period after Tchaikovsky’s departure from Moscow proved creatively very productive. Early in 1878 he finished several of his most famous compositions—the opera Eugene Onegin, the Symphony No. 4 in F Minor, and the Violin Concerto in D Major. From December 1878 to August 1879 he worked on the opera The Maid of Orleans, which was not particularly well received. Over the next 10 years Tchaikovsky produced his operas Mazepa (1883; based on Aleksandr Pushkin’s Poltava) and The Enchantress (1887), as well as the masterly symphonies Manfred (1885) and Symphony No. 5 in E Minor (1888). His other major achievements of this period include Serenade for Strings in C Major, Opus 48 (1880), Capriccio italien (1880), and the 1812 Overture (1880).
At the beginning of 1885, tired of his peregrinations, Tchaikovsky settled down in a rented country house near Klin, outside of Moscow. There he adopted a regular daily routine that included reading, walking in the forest, composing in the mornings and the afternoons, and playing piano duets with friends in the evenings. At the January 1887 premiere of his opera Cherevichki, he finally overcame his longstanding fear of conducting. Moreover, at the end of December he embarked upon his first European concert tour as a conductor, which included Leipzig, Berlin, Prague, Hamburg, Paris, and London. He met with great success and made a second tour in 1889. Between October 1888 and August 1889 he composed his second ballet, The Sleeping Beauty. During the winter of 1890, while staying in Florence, he concentrated on his third Pushkin opera, The Queen of Spades, which was written in just 44 days and is considered one of his finest. Later that year Tchaikovsky was informed by Nadezhda von Meck that she was close to ruin and could not continue his allowance. This was followed by the cessation of their correspondence, a circumstance that caused Tchaikovsky considerable anguish.
In the spring of 1891 Tchaikovsky was invited to visit the United States on the occasion of the inauguration of Carnegie Hall in New York City. He conducted before enthusiastic audiences in New York, Baltimore, and Philadelphia. Upon his return to Russia, he completed his last two compositions for the stage—the one-act opera Iolanta (1891) and a two-act ballet Nutcracker (1892). In February 1893 he began working on his Symphony No. 6 in B Minor (Pathétique), which was destined to become his most celebrated masterpiece. He dedicated it to his nephew Vladimir (Bob) Davydov, who in Tchaikovsky’s late years became increasingly an object of his passionate love. His world stature was confirmed by his triumphant European and American tours and his acceptance in June 1893 of an honorary doctorate from the University of Cambridge.
On October 16 Tchaikovsky conducted his new symphony’s premiere in St. Petersburg. The mixed reaction of the audience, however, did not affect the composer’s belief that the symphony belonged among his best work. On October 21 he suddenly became ill and was diagnosed with cholera, an epidemic that was sweeping through St. Petersburg. Despite all medical efforts to save him, he died four days later from complications arising from the disease. Wild rumours circulated among his contemporaries concerning his possible suicide, which were revived in the late 20th century by some of his biographers, but these allegations cannot be supported by documentary evidence.
For most of the 20th century, critics were profoundly unjust in their severe pronouncements regarding Tchaikovsky’s life and music. During his lifetime, Russian musicians attacked his style as insufficiently nationalistic. In the Soviet Union, however, he became an official icon, of whom no adverse criticism was tolerated; by the same token, no in-depth studies were made of his personality. But in Europe and North America, Tchaikovsky often was judged on the basis of his sexuality, and his music was interpreted as the manifestation of his deviance. His life was portrayed as an incessant emotional turmoil, his character as morbid, hysterical, or guilt-ridden, and his works were proclaimed vulgar, sentimental, and even pathological. This interpretation was the result of a fallacy that over the course of decades projected the current perception of homosexuality onto the past. At the turn of the 21st century, a close scrutiny of Tchaikovsky’s correspondence and diaries, which finally became available to scholars in their uncensored form, led to the realization that this traditional portrayal was fundamentally wrong. As the archival material makes clear, Tchaikovsky eventually succeeded in his adjustment to the social realities of his time, and there is no reason to believe that he was particularly neurotic or that his music possesses any coded messages, as some theorists have claimed.
His artistic philosophy gave priority to what may be called “emotional progression”—i.e., the establishment of an immediate rapport with the audience through the anticipation and eventual achievement of catharsis. His music does not claim intellectual depth but conveys the joys, loves, and sorrows of the human heart with striking and poignant sincerity. In his attempt to synthesize the sublime with the introspective, and also in the symbolism of his later music, Tchaikovsky anticipated certain sensibilities that later became prominent in the culture of Russian modernism.
Tchaikovsky was the leading exponent of Romanticism in its characteristically Russian mold, which owes as much to the French and Italian musical traditions as it does to the German. Although not as ostentatiously as the nationalist composers, such as Modest Mussorgsky and Nikolay Rimsky-Korsakov, Tchaikovsky was clearly inspired by Russian folk music. In the words of the Russian-born composer Igor Stravinsky, “Tchaikovsky drew unconsciously from the true, popular sources of our race.”
The first great Russian symphonist, he exhibited a particular gift for melody and orchestration. In his best work, the powerful tunes underlining musical themes are harmonized into magnificent, formally innovative compositions. His resourceful use of instruments allows easy identification of most of his works by their characteristic sonority. Tchaikovsky excelled primarily as a master of instrumental music; his operas, often eclectic in subject matter and style, do not find much appreciation in the West, with the exception of Eugene Onegin and The Queen of Spades. Whereas most of his operas met with limited success, Tchaikovsky nonetheless proved eminently successful in transforming ballet, then a grand decorative gesture, into a staged musical drama, and thus he revolutionized the genre.
Moreover, Tchaikovsky brought an integrity of design that elevated ballet to the level of symphonic music. To this end, he employed a symphonist’s sense of large-scale structure, organizing successive dances through the use of keys to create a cumulative feeling of purpose, in distinction to the more random or decorative layout in the ballets of his predecessors. His special sense of how melody can engender the dance gave his ballets a unique place in the world’s theatres. The influence of his experimentation is evident in the ballets of Sergey Prokofiev and Aram Khachaturian.
Tchaikovsky’s symphonic poems are part of the line of development in single-movement programmatic works initiated by Franz Liszt, and they run the gamut of expressive and stylistic features that typify the genre. At one extreme the early Fatum (1868) shows a freedom of form and modernist expression. At the other extreme is the classical poise of the Romeo and Juliet fantasy overture, in which passionate Romanticism is counterbalanced by the rigours of the sonata form. Furthermore, Tchaikovsky loosened the strictures of chamber music by introducing unorthodox meter in the scherzo of the Second String Quartet in F Major, Opus 22 (1874), and undermining the sense of key in the finale. His innovation is also evident in the second movement of the string sextet Souvenir de Florence (1890), for which he wrote music that revels in almost pure sound-effect—something more familiar in the orchestral sphere. His skill in counterpoint, the traditional bedrock of chamber music, can also be seen throughout his chamber works.
Tchaikovsky’s approach to solo piano music, on the other hand, remained mostly traditional, that is, it more or less satisfied the 19th-century taste for short salon pieces with descriptive titles, usually arranged in groups, as in the famous The Seasons (1875–76). In several of his piano pieces, Tchaikovsky’s melodic flair surfaces, but on the whole he was far less committed when composing these works than he was when writing his orchestral music, concertos, operas, and chamber compositions.
Tchaikovsky steered an unlikely path between the Russian nationalist tendencies so prominent in the work of his rivals in The Five and the cosmopolitan stance encouraged by his conservatory training. He was both a Russian nationalist and a Westernizer of polished technical skill. He put his personal stamp on the late-19th-century symphony with his last three symphonies; they demonstrate a heightened subjectivity that would influence Gustav Mahler, Sergey Rachmaninoff, and Dmitry Shostakovich and encourage the genre to pass with renewed vigour into the 20th century.
It cannot be denied that the quality of Tchaikovsky’s oeuvre remains uneven. Some of his music is undistinguished—hastily written, repetitious, or self-indulgent. But in such symphonies as his No. 4, No. 5, No. 6, and Manfred and in many of his overtures, suites, and songs, he achieved the unity of melodic inspiration, dramatic content, and mastery of form that elevates him to the premiere rank of the world’s composers.
Alexander Poznansky / Source: Britannica
The Queen of Spades / Pique Dame, Opus 68, 1890
Opera in three acts
Music: Pyotr Tchaikovsky
Libretto: Modest Tchaikovsky
Based on Alexander Pushkin’s novel
Premiered December 19 1890, Mariinsky Theatre, Saint Petersburg
Herman – Tenor
Count Tomsky – Baritone
Prince Yeletsky – Baritone
Chekalinsky – Tenor
Surin – Bass
Chaplitsky – Tenor
Narumov – Bass
Master of Ceremonies – Tenor
In a park, Sourin and Tchekalinsky discuss the strange behavior of their fellow officer Hermann. He seems obsessed with gambling, watching his friends play all night, though he never plays himself. Hermann appears with Count Tomsky and admits to him that he is in love with a girl whose name he doesn’t know. When Prince Yeletsky enters, followed by his fiancée, Lisa, and her grandmother, the old countess, Hermann is shocked to realize that Lisa is his unknown girl. After Yeletsky and the women have left, Tomsky tells the others the story of the countess. Decades ago in Paris, she won a fortune at the gambling table with the help of “the three cards,” a mysterious winning combination. She only ever shared this secret with two other people, and there is a prophecy that she will die at the hands of a third person who will force the secret from her. The men laugh at the story except for Hermann, who is deeply affected by it and decides to learn the countess’s secret.
Lisa thinks about her ambivalent feelings for her fiancé and the impression Hermann has made on her. To her shock, he suddenly appears on the balcony. He declares his love and begs her to have pity on him. Lisa gives in to her feelings and confesses that she loves him too.
Yeletsky has noticed a change in Lisa’s behavior. During a ball, he assures her of his love. Hermann, who is also among the guests, has received a note from Lisa, asking him to meet her. Sourin and Tchekalinsky tease him with remarks about the “three cards.” Lisa slips Hermann the key to a garden door that will lead him to her room and through the countess’s bedroom. She says the old lady will not be there the next day, but Hermann insists on coming that very night, thinking that fate is handing him the chance to learn the countess’s secret.
In the countess’s bedroom, Hermann looks fascinated at a portrait of her as a young woman. He hides as the old lady returns from the ball and, reminiscing about her youth, falls asleep in an armchair. She awakens when Hermann suddenly steps before her and demands to know the secret of the cards. The countess refuses to talk to him, and when Hermann, growing desperate, threatens her with a pistol, she dies of fright. Lisa rushes in. Horrified at the sight of her dead grandmother, she realizes that all Hermann was interested in was the countess’s secret.
Hermann is descending into obsession. In his quarters, he reads a letter from Lisa asking him to meet her at midnight. He recalls the countess’s funeral and suddenly her ghost appears, telling him that he must save Lisa and marry her. The ghost says that his lucky cards will be three, seven, and the ace.
Lisa waits for Hermann by a canal, wondering if he still loves her. When he at last appears, she says they should leave the city together. Hermann refuses, replying that he has learned the secret of the cards and is on his way to the gambling house. Lisa realizes that she has lost him and drowns herself in the canal.
The officers are playing cards, joined by Yeletsky, who has broken off his engagement to Lisa. Hermann enters, distracted, and immediately bets 40,000 rubles. He wins on his first two cards, a three and a seven. Upsetting the others with his maniacal expression, he declares that life is a game. For the final round, he bets on the ace but loses when his card is revealed as the queen of spades. Horrified and imagining the countess’s face staring at him from the card, Hermann stabs himself, asking for Yeletsky and Lisa’s forgiveness.
Source: Metropolitan Opera