{ program notes death-haunted first and last movements and its extraordinary highs and lows, epitomizes its creator. And Tchaikovsky seemed to know this as he completed it in August 1893.“ I definitely think it is by far the best and in particular … the most sincere of all my pieces. I love it as I have never loved any other of my musical children,” he wrote to his nephew and the piece’ s dedicatee, Vladimir“ Bob” Davydov.
With its dying finale— unprecedented for a symphony at this time, though it would be much copied afterward— the Sixth Symphony mostly bewildered the St. Petersburg audience at its premiere under the composer’ s baton on October 28, 1893. But eight days later, Tchaikovsky suddenly died of cholera( though rumors of suicide persist to this day), and this eerie coincidence with a work that seemed to foretell his own death vaulted the“ Pathétique” into a fame it has never lost.
However, as the composer began this work in February 1893 he was probably thinking of death— always a morbid obsession with him— only as a fearful abstraction. The last year of his life was a good one. He was enjoying international fame— earning an honorary doctorate from Cambridge University. And his Sixth Symphony came to Tchaikovsky, who usually struggled with his symphonies, in an uncharacteristic flood of inspiration. He sketched the first movement in just four days.
Tchaikovsky admitted there was a nonmusical program inspiring this work, but he would never reveal its identity.“ Let them try and guess it! … The theme of it is full of subjective feeling, so much so that as I was mentally composing it … I frequently shed tears.” As the work was about to be published, Tchaikovsky told his brother Modest it needed a subtitle. Modest suggested“ Tragic,” but his brother shook his head. Then Modest came up with the French word“ Pathétique.” It is a misleading title to English-speakers because the English
“ pathetic” suggests“ inadequate, feeble.” However, the corresponding French and Russian words relate more closely to its Greek original pathos, carrying the more appropriate meaning of“ suffering.”
First movement: Out of the sepulchral tones of low strings emerges a lone bassoon, like the voice of death, which tries languidly to launch the first theme, but cannot. As the tempo increases to Allegro, the violas deliver the full theme in the home key of B minor; it is aggressive yet nervous and rich in developmental possibilities. More memorable is the second theme, introduced by muted violins and cellos; it is one of Tchaikovsky’ s most famous melodies, full of Romantic yearning. Suddenly, the dramatic development bursts on us fortissimo. The frenzy subsides briefly for a brass chorale, intoning the Russian Orthodox funeral chant“ With the Saints,” and closes with a passionately tragic passage for the brass.
Tchaikovsky adored the ballet; it was his ideal escape from dark thoughts. And that’ s
HAVE A NIGHT OUT. IT’ S ON US.
All concerts at Peabody are now FREE, from classical to contemporary to jazz.
Highlights this year include:
• Peabody Symphony Orchestra with conductor MARIN ALSOP
Saturday, February 4 at 8:00 pm
• Peabody Concert Orchestra with guest conductor NICHOLAS HERSH
Friday, February 10 at 8:00 pm
• Peabody Symphony Orchestra with students of the graduate conducting program
Tuesday, February 28 at 8:00 pm
Find your favorites at peabody. jhu. edu, or by calling 667-208-6620.
January – February 2017 | Overture 15