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TCHAIKOVKSY - THE CRUCIBLE YEARS - 1877 - 1878
To truly understand the man behind the music, a look at what makes a human being named Pyotr Ilyich Tchaikovsky must be examined. This examination should be viewed in the context of the historical times of his existence.
19th century Europe was the Victorian Era. It was a time of puritanical morality when secrets had to be kept to protect one from social disgrace, or worse. Tchaikovsky was a homosexual, which at that time was considered to be highly immoral and sinful. Any practice of homosexuality was viewed as a criminal act, subject not only to disgrace, but could often result in imprisonment and social ruin. The composer, being very religious and spiritual, hated himself for being one, and kept this a fearfully guarded secret. Only his brother, Modeste, whom he regarded as his trusted confidant, knew of this.
Pyotr Illyich was a very sensitive and shy man. It is obvious that this might have been the reason for his preferred elusiveness. His human psyche could easily be shattered, which was the reason for his desire to drive himself into the hard work of musical composition. In this way, he could escape from his concept of his own human frailty. As a composer, he was not only a genius, but also a romantic.
EUGENE ONEGIN - AN OPERATIC ILLUSION
Tchaikovsky had already tried his hand at writing operas. He was also a compulsive reader. In years prior to 1876, he was inspired to compose several operas as inspired from his readings. Most had limited, or no success and are not in today's repertory. One rare exception is his opera, EUGENE ONEGIN, based on a novel by Alexander Pushkin. The composer was obsessed by the novel, especially regarding the heroine, Tatyana, who was jilted by the titled character. Tchaikovsky poured his heart out over Tatyana writing a letter to Onegin, begging for his love. The famous letter scene and aria, is one of the most moving performed operatic repertory.
Alas, he still had to teach at the conservatory. At that time, it was the only way he could earn a living. Tchaikovsky, the romantic, carried his obsession of the jilted Tatyana with him into the reality of having to teach classes. Antonina Miliukoff was a young student in his music theory class who had a "crush" on her teacher. Her infatuation with the composer was emotionally expressed in numerous letters that she wrote to him. She seemed to pour her heart out to him, indicating that she could not live except if he were by her side. When he read these letters, he began to associate Antonina Miliukoff with the fictional Tatyana. Could he, Pyotr Illyich Tchaikovsky be the heartless Eugene Onegin?
Then there was something else. He was already 36 years old and still unmarried. Perhaps, just perhaps, if he married and lived with a woman, he might be "cured" from his homosexuality! Such was little known about the subject at that time. Such was little known of the real Antonina to him.
In July, 1877, Pyotr Illyich Tchaikovsky and Antonina Miliukoff were married.
wedding picture of
Tchaikovsky and his wife
1877
REALITY BECOMES A LIVING NIGHTMARE
It was not long after July 6, 1877, the day of the wedding that the dream image of Tatyana went into a state of rigamortis. The reality of living with this woman whom he had hardly known became unbearable, driving him from their home to flee from her presence. Her sexual demands upon him became unbearable. He left for the remainder of the summer, running here and there, even making a puny attempt of drowning himself within the shallow depths of the Moscow River. He returned home in the early autumn in another attempt to find her compatibility. The attempt not only failed, but also exacerbated his neurosis to compel him to "escape" to St. Petersburg, where at the railway station, he collapsed and was taken to a nearby hotel where he remained unconscious for the next two days. His family was contacted and Modeste, after conferring with his brother's doctors, concluded that the best possibility for a cure was to leave Russia. He was sent to Clarens, a small village on the shores of Lake Geneva in Switzerland to recuperate.
Thus, began the life of Tchaikovsky, the world traveler.
Lake Geneva, Switzerland, where Tchaikovsky spent the winter and spring of 1877 and 1878. Clarens is now a part of the resort town of Montreux, as seen protruding on the lake.
THE OTHER WOMAN AND THE KINDER SIDE OF DESTINY
Tchaikovsky began the slow process of recuperation in the quiet exile along the shores of Lake Geneva. His secret had been safe, for even during his delirium, he had not uttered a hint of his homosexuality. Antonina did not know of it either, as he dared not to disclose his secret until he thought he would be "cured". Furthermore, she was too naive to suspect his sexual orientation. Thus the fear of blackmail was non existent. Prior to his engagement, his musical message came to the ears of Nadejda Philaretovna Von Meck, a wealthy widow, whose late German born husband engineered the "straight line" railway between Moscow and St. Petersburg. She became infatuated with his music which was introduced to her by Nicholas Rubinstein, and there began a "romance" that remained for the next 12 years. It was a love affair of letters written between them, and a patronage of 6000 rubles yearly which she contributed to the composer so that he could give up teaching and apply himself to musical composition.
They agreed to never dare to meet physically, as they were both recluses. Tchaikovsky would write letters to her and compose music, and in return, she would also correspond, and send him money to live on.
Nadejda Philaretovna Von Meck,
Tchaikovsky's patroness
THE SUN COMES OUT ENDING THE GLOOM
Florence - A favorite destination
Venice - Piazza San Marco
In January and February, 1878, the composer traveled to Italy, thanks to Nadejda's provided travel expenses. For a Russian, exposed to harsh winters, Italy as a destination was a therapy. By spring, he returned to Clarens, awaiting a rendezvous with Josef Kotek, a highly accomplished violinist, whom Tchaikovsky would work with in completing the D Major Violin Concerto.
THE VIOLIN CONCERTO - SPRING 1878
Nadejda wrote to the recovering composer, sending him the financial support which he needed. She also enclosed his badly needed moral support, inspiring him to create new music. And with this came the "new" Tchaikovsky, when his genius was rekindled. If ever a message of recovery was to be heard, it was, and still is in his Violin Concerto in D Major, opus 35, which he composed in Clarens. The first movement begins in a "once upon a time" introduction, leading to the lovely melodic theme, first heard as a love song to springtime. Then, after an orchestral development and statement of another lovely counter theme, the original theme returns in strength like a triumphant polonaise. There is a wonderful set of variations for the entire orchestra to perform, which leads to the cadenza violin solo section. The second movement is an elegiac adagio whose melody and statement is so typically Russian. The third movement returns to a frenzy set of vigorous themes in rapid dialogue between the orchestra and soloist, culminating in a joyful, blood rushing finale.
When first performed in 1881, many contemporaries of Tchaikovsky criticized the work as being too difficult to perform, or "unplayable". True, it is a challenging piece, but it remains one of the most popular violin concertos in today's concert hall repertory.
THE FOURTH SYMPHONY
The first of his three most popular and frequently performed symphonies was composed in Clarens, also in the spring of 1878. The Symphony No. 4 in F minor, opus 36, represents the outpouring of a matured genius. He dedicated the work to his patroness, referring to it as "our" symphony. In his letters to Nadejda, he explains what the four movements represent in his outlook on life as a "loner".
Listener's notes
The first movement which bears a certain similarity to that of Beethoven's Fifth Symphony, is introduced by the brass section, ominously trumpeting a harsh theme of "fate". To the composer, "fate" is the bringer of unhappiness and woe. The alternate theme, one of sadness and compassion, after being singularly introduced then repeats itself into a tormenting "dog fight" with the original "fate" theme, culminating in an abrupt coda. The second movement, the adagio, is described as sadly remembering what was and no longer can be. There are two themes. One is a melody of resignation to life's emptiness, while the second has an endearing association with nostalgic memories. The third movement is unique and innovative in the form of a scherzo whose theme is "plucked" in pizzicato form by the string section rather than just being " played". The triumphant fourth movement has the feeling of going to a country festival, where "if you cannot find solace in your own isolation, then go to the people, even if you are just an unknown observing stranger, just to see them enjoy life, despite that you are alone by yourself can raise one's spirits". The "fate" theme from the first movement is again heard, but is drowned out by the happier theme of the finale movement.
The Fourth Symphony is a mirror of the composer's personality in which isolation was his nemesis, but also served as his protection.
By the time the warm sun of summer thawed out the cold Russian steppes, Pyotr Ilyich Tchaikovsky was well enough to return home.
The 1880's was a warmer decade. Click Tchaikovsky in the 1880's
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