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Tchaikovsky / Петр Ильич Чайковский (1840–1893) Дэниэль Джаффе Открывающая Симфонию Тема

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Tchaikovsky / Петр Ильич Чайковский (1840–1893) Дэниэль Джаффе Открывающая Симфонию Тема T T H C H V A M A E IK A L O R ER V II Y N GE IEV RA SK SK RG T R N Y Y ORCHES 4 SY NO E U MPHONY K TCRAC 2 THE NUTCRACKER / SYMPHONY NO 4 MARIINSKY ПЕТР ИЛЬИЧ ЧАЙКОВСКИЙ (1840–1893) оркестр. В финале после живого и бодрого начала вступает DISC 1 более приглушенная аранжировка русской народной песни «Во СИМФОНИЯ № 4 ФА МИНОР, поле березонька стояла…», которая повторяется несколько OP. 36 (1877–78) раз в разных вариантах до тех пор, пока опять не возникает PYOTR ILYICH TCHAIKOVSKY / ПЕТР ИЛЬИЧ ЧАЙКОВСКИЙ (1840–1893) Дэниэль Джаффе открывающая симфонию тема. Снова звучит русская народная The Nutcracker, Op. 71 / Щелкунчик, Op. 71 (1891–92) песня, но ее прерывают роковые фанфары первой части. И Чайковского всегда восхищала французская музыка, особенно, все же из явного уныния возрождается – как птица-феникс – музыка Жоржа Бизе. 20 января 1876 года, находясь в Париже, задорная тема финала, которая сперва возникает у валторн, ACT ONE он побывал на представлении оперы Бизе «Кармен», премьера а потом неумолимо движется к эффектному концу. которой состоялась меньше чем за год до того. Чайковский 1 Overture [Увертюра] 3’28’’ был потрясен и растроган и сюжетом, и тем, как живо и просто Бизе его преподнес. Особенно поразил русского Tableau I композитора финал оперы, который он описывал так: «смерть 2 No 1 Scene (The Christmas Tree) [Сцена (Сцена украшения и зажигания ёлки)] 3’44’’ двух главных действующих лиц, которых злой рок, fatum, ЩЕЛКУНЧИК, OP. 71 (1891–92) 3 No 2 March [Марш] 2’26’’ столкнул и через ряд страданий привел к неизбежному концу». Дэниэль Джаффе 4 No 3 Children’s Galop and Dance of the Parents [Детский галоп и вход (танец) родителей] 2’19’’ Всего через год и три месяца, в мае 1877 года, Чайковский начал 5 No 4 Dance scene (Arrival of Drosselmeyer) [Сцена с танцами] 5’06’’ С юных лет Чайковского тянуло к спектаклям, отмеченным работу над Четвертой симфонией и к концу месяца практически присутствием волшебства или фантазии, таким как «Волшебный 6 No 5 Scene and Grandfather Dance [Сцена и танец Гросфатер] 6’16’’ завершил три первые части. Затем он отложил работу и стрелок» Вебера или «Дон Жуан» Моцарта. Увидав «Жизель» 7 No 6 Scene (Clara and the Nutcracker) [Сцена] 6’59’’ 1 июня впервые отправился в гости к молодой женщине Адана, он стал балетоманом. Увлечение было настолько Антонине Милюковой, а два дня спустя обручился с ней. 8 No 7 Scene (The Battle) [Сцена] 3’12’’ сильным, что, едва закончив Петербургскую консерваторию в Их быстротечный, но сыгравший огромную роль роман 1866 году, Чайковский сочинил короткий балет для развлечения Tableau II возник всего месяцем ранее по инициативе Милюковой, своих племянниц – дочерей его сестры Саши – под названием двадцативосьмилетней бывшей студентки Чайковского, 9 No 8 Scene (A Pine Forest in Winter) [Сцена] 3’25’’ «Озеро лебедей». Его племянник, Юрий Давыдов, вспоминал, которая послала ему письмо с признанием в любви. Возможно, что Чайковский не только написал музыку, но и «выдумывал «па» 10 No 9 Waltz of the Snowflakes [Вальс снежных хлопьев] 6’07’’ Чайковский менее чем когда-либо мог перед этим устоять, и пируэты и сам их проделывал, показывая исполнителям, что от поскольку в тот момент сочинял оперу «Евгений Онегин» по них требуется. В эти минуты дядя Петр, раскрасневшийся, потный, ACT TWO пушкинскому роману в стихах, где Татьяна объясняется в поющий мелодию, представлял довольно забавное зрелище». любви главному герою и наталкивается на холодную и вежливую Tableau III отповедь. Чайковский, сочувствуя Татьяне, презирал Онегина, Впоследствии Чайковский превратил это домашнее развлечение 11 No 10 Scene (The Magic Castle in the Land of Sweets) [Сцена] 3’48’’ ответ которого казался ему бездушным и черствым. Возможно в четырехактный балет «Лебединое озеро». Хотя премьера, и то, что он надеялся скрыть свою склонность к гомосексуальной 12 No 11 Scene (Clara and Nutcracker Prince) [Сцена] 4’18’’ состоявшаяся в 1877 году в Большом театре, отличалась любви под покровом «обычного» брака, хотя, как он признавался посредственной хореографией и равнодушным исполнением, 13 No 12a Divertissement – Chocolate (Spanish Dance) [Шоколад (Испанский танец)] 1’06’’ ближайшим друзьям и родственникам, Антонину он не любил. музыка тем не менее была на голову выше обычной балетной 14 No 12b Coffee (Arabian Dance) [Кофе (Арабский танец)] 2’38’’ Все это кончилась катастрофой, которая, как утверждали, партитуры, и вскоре талант Чайковского был высоко оценен привела Чайковского на грань самоубийства. Новобрачные 15 No 12c Tea (Chinese Dance) [Чай (Китайский танец)] 1’19’’ главой Дирекции императорских театров Иваном Всеволожским. прожили вместе всего полтора месяца, после чего Чайковский 16 No 12d Trepak (Russian Dance) [Трепак (Русский танец)] 1’06’’ покинул жену, чтобы никогда уже с нею не встречаться, а Отвечая с 1881 года, в частности, за Мариинский театр, 17 No 12e Dance of the Reed Pipes [Танец пастушков] 2’21’’ объяснять Антонине, почему она больше не увидит мужа, Всеволожский вскоре показал себя талантливым администратором 18 No 12f Mother Ginger and the Polichinelles (Clowns) [Полишинели] 2’30’’ предоставил ближайшим друзьям и коллегам. с особым даром способствовать созданию новых балетов. Начиная со «Спящей красавицы» Чайковского, (1890), он Часто пишут, что это прискорбное и эмоционально бурное вдохновлял постановки, в которых музыка, хореография и Total duration / Общее время звучания 62’08’’ развитие событий нашло отражение в Четвертой симфонии, оформление (Всеволожский сам был автором сотен великолепных однако, в реальности, бОльшая часть симфонии была по театральных костюмов) были объединены единым замыслом, а существу написана еще до женитьбы, так что если Четвертая не, как прежде, случайно собраны вместе. Подход Всеволожского DISC 2 о чем-то и свидетельствует, то скорее о том фаталистическом взял за образец, а позднее развил легендарный импресарио настрое, которой и привел Чайковского к его злополучным начала ХХ века Сергей Дягилев. шагам. Похоже, что работа над завершением симфонии после ACT TWO (continued) разрыва с Антониной имела скорее целительное воздействие. Огромный успех «Спящей красавицы», в работе над которой Tableau III (continued) В особенности ее торжествующий финал, сочинявшийся, тесно сотрудничали Всеволожский, Чайковский и легендарный когда вся история была уже позади, как будто пронизан 1 No 13 Waltz of the Flowers [Вальс цветов] 7’37’’ хореограф Мариус Петипа, естественно побудил Всеволожского исступленным чувством освобождения, которое Чайковский задуматься о создании следующего балета теми же людьми. Тогда 2 No 14a Pas de deux – Intrada [Танец принца Оршада и Феи Драже] 5’39’’ испытывал, «спасшись» от своего брака (хотя юридически в России огромной популярностью пользовался «Щелкунчик» 3 No 14b Pas de deux – Variation I (Tarantella) [Вариация I: Тарантелла] 0’36’’ они оставались мужем и женой до конца его дней). При том, Гофмана в переложении Александра Дюма-отца. В сказке речь что симфонию он закончил в январе 1878 года, ее первые три 4 No 14c Pas de deux – Variation II (Dance of the Sugar-Plum Fairy) [Вариация II: Танец Феи Драже] 2’03’’ идет о маленькой девочке (сегодня почти повсеместно именуемой части были подробно прописаны до июня 1877 года, почему Клара, хотя первоначально ее звали Мари), которой крестный – 5 No 14d Pas de deux – Coda [Кода] 1’23’’ и роковая встреча с Милюковой, и влияние оперы «Кармен» чудаковатый часовщик и создатель механических игрушек, 6 No 15a Final Waltz [Финальный вальс] 3’22’’ Бизе оказываются напрямую с нею связаны. Дроссельмейер – дарит на Рождество Щелкунчика. Ночью 7 No 15b Apotheosis [Апофеоз] 1’28’’ девочка и Щелкунчик сражаются со страшной армией мышей, Тема «судьбы» открыто заявлена уже в самом начале симфонии в ходе которой она спасает своего героя. Ее признание в грозными фанфарами – ее начинают валторны и вскоре безоглядной любви снимает с него заклятие, и Щелкунчик The Orchestra of the Mariinsky Theatre / Симфонический оркестр Мариинского театра подхватывают трубы, в первой части фанфары возвращаются Conductor / Дирижeр – Valery GERGIEV / Валерий ГЕРГИЕB предстает перед ней в своем первоначальном обличье несколько раз. Однако «судьба», заимствованная из «Кармен», прекрасного молодого человека. пронизывает всю часть еще и более тонким и тайным образом. PYOTR ILYICH TCHAIKOVSKY / ПЕТР ИЛЬИЧ ЧАЙКОВСКИЙ (1840–1893) Необычная тональность симфонии, фа минор, роднит ее с двумя Поначалау, когда Всеволожский впервые предложил Чайковскому ключевыми сценами оперы Бизе – сценой появления Тореадора Symphony No 4 in F minor, Op. 36 / Симфония № 4 фа минор, Op. 36 (1877–78) историю, основанную на версии Дюма, композитору, как и той, где Кармен гадает на картах. Чайковский разрабатывает вспоминал его брат Модест, сюжет «очень мало нравился». заимствованную в этих двух сценах тему, взвинчивая ее и Несомненно, Чайковский восхищался мрачной фантазией 8 i. Andante sostenuto – Moderato con anima 19’16’’ создавая одно из самых неистовых симфонических вступлений. гофмановского оригинала, так что, возможно, он был разочарован Последующие части как будто отражают желание спастись от 9 ii. Andantino in modo di canzona 11’28’’ тем пресным пересказом, который предложил ему Всеволожский судьбы или, по крайней мере, примириться с ней. Сперва идет (в финале этого варианта Клара и Щелкунчик попадают в 10 iii. Scherzo: Pizzicato ostinato – Allegro 5’32’’ медленная, несколько меланхолическая часть со страстным детский конфетный рай). И все же Чайковского уговорили 11 iv. Finale: Allegro con fuoco 8’30’’ центральным эпизодом, где партитура струнных напоминает
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