Tchaikovsky Symphony No.1 ‘Winter Daydreams’ Symphony No.6 ‘Pathétique’
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TCHAIKOVSKY SYMPHONY NO.1 ‘WINTER DAYDREAMS’ SYMPHONY NO.6 ‘PATHÉTIQUE’ VLADIMIR JUROWSKI conductor LONDON PHILHARMONIC ORCHESTRA TCHAIKOVSKY with an unmistakable Slavic accent. From trombones, tuba, cymbals and bass drum SYMPHONY NO.1 ‘WINTER DAYDREAMS’ the start there is a strong sense of forward- adding their weight to the orchestra for the SYMPHONY NO.6 ‘PATHÉTIQUE’ gliding momentum, like the easy movement first time. The exuberance can sound a little of a sleigh across smooth snow. Tchaikovsky’s forced (a rare indication of Tchaikovsky’s state sharp, clear orchestration registers of mind at the time he wrote it?). But after all impressions of cold very effectively, while his labours, Tchaikovsky is surely entitled to a Tchaikovsky’s First Symphony is such an in piano score by the beginning of June 1867. from time to time warm string harmonies bit of over-the-top celebration. endearing, vital, seductively atmospheric work But his troubles weren’t over yet. Rubinstein manage to convey a sense of cosiness and that one would imagine it must have been a was highly critical of the completed score, and security – this traveller is clearly well wrapped Early in 1893, nearly twenty years after joy to write. In fact the opposite is true: few, if virtually ordered Tchaikovsky to revise it. Even up and enjoying his ‘winter daydreams’. completing the final revision of the First any of his other works caused Tchaikovsky such then it didn’t please, and only the Scherzo was Symphony, Tchaikovsky returned home to protracted pain. He was twenty-six when he performed – unsuccessfully. More alterations The slow movement is still more effective. Russia after an extended foreign trip. He was began it, having freshly graduated from the St were made, and then at last, in February 1868, An eloquent theme for muted strings leads brim-full of ideas, and hugely excited about Petersburg Conservatoire and walked straight the First Symphony had its first full performance to a long oboe tune, with answering birdcalls the symphony he planned to write – it was to into a job at the newly-created Conservatoire in Moscow. This time it was a huge success; but on flute, unmistakably Russian in so many be his Sixth. Within four days he had finished in Moscow. At first, things looked encouraging. Tchaikovsky’s self-doubt was not appeased, and of its melodic twists and turns. The rest of the first movement. ‘You cannot imagine His first orchestral performance (the Overture it wasn’t until 1874 that he at last allowed the the movement is essentially a meditation what bliss I feel’, he wrote to his nephew and in F major) had been a success, and his teacher, still further-revised score to be published. (daydreams again) on phrases from this confidante Vladimir (‘Bob’) Davidov, ‘assured the pianist and composer Anton Rubinstein, tune, with occasional reminiscences of the that my time has not yet passed and that I had urged him to write a symphony. But then Surprisingly, despite memories of this flute’s birdsong, all done with much more can still work.’ Then followed an intriguing came a crushing review of another work, and agonizing slow birth, Tchaikovsky always skill and imagination than Tchaikovsky’s half-confession: the new symphony came Tchaikovsky’s confidence plummeted: ‘I spent maintained a special affection for his First later judgement would have us believe. ‘this time with a programme, but with such the entire day wandering aimlessly about the Symphony. ‘For all its glaring deficiencies’, The return of the opening string theme at a programme that will remain a mystery to town’ he told a friend, ‘repeating to myself “I he wrote in 1883, ‘I have a soft spot for it. the end is also deftly timed. Then comes an everyone – let them guess.’ Even with his am sterile, I am a nonentity, nothing will ever Although it is immature in many respects agile, lightly dancing Scherzo, with wonderful beloved Bob (to whom he dedicated the come of me, I have no talent”.’ He soldiered on it is essentially better and richer in content use of woodwind colours (a very mature Sixth Symphony) Tchaikovsky was guarded: with the new symphony, but his determination than many other more mature works.’ As Tchaikovskian touch). Hesitant cellos and ‘the programme itself, whatever it may be, to keep working through the nights (inevitably so often, he was being harsh: the First basses suggest for a moment that the central is imbued with subjectivity, and quite often resulting in severe insomnia) led eventually to Symphony may have its faults, but they are trio section might be darker hued, but what during my wandering, composing it in my a frightening breakdown. hardly ‘glaring’, and most of the time the actually emerges is a warm, suave waltz mind, I wept terribly.’ freshness of the material fully compensates. theme on violins and cellos. After a sombre In the end, work seems to have saved The opening theme (flute and bassoon above slow introduction, the Finale soon sets off at a As Tchaikovsky anticipated, there has been plenty Tchaikovsky, and the symphony was finished shimmering violins) is a lovely inspiration, more determined pace in the major key, with of guessing about the possible ‘meaning’ of TCHAIKOVSKY with an unmistakable Slavic accent. From trombones, tuba, cymbals and bass drum SYMPHONY NO.1 ‘WINTER DAYDREAMS’ the start there is a strong sense of forward- adding their weight to the orchestra for the SYMPHONY NO.6 ‘PATHÉTIQUE’ gliding momentum, like the easy movement first time. The exuberance can sound a little of a sleigh across smooth snow. Tchaikovsky’s forced (a rare indication of Tchaikovsky’s state sharp, clear orchestration registers of mind at the time he wrote it?). But after all impressions of cold very effectively, while his labours, Tchaikovsky is surely entitled to a Tchaikovsky’s First Symphony is such an in piano score by the beginning of June 1867. from time to time warm string harmonies bit of over-the-top celebration. endearing, vital, seductively atmospheric work But his troubles weren’t over yet. Rubinstein manage to convey a sense of cosiness and that one would imagine it must have been a was highly critical of the completed score, and security – this traveller is clearly well wrapped Early in 1893, nearly twenty years after joy to write. In fact the opposite is true: few, if virtually ordered Tchaikovsky to revise it. Even up and enjoying his ‘winter daydreams’. completing the final revision of the First any of his other works caused Tchaikovsky such then it didn’t please, and only the Scherzo was Symphony, Tchaikovsky returned home to protracted pain. He was twenty-six when he performed – unsuccessfully. More alterations The slow movement is still more effective. Russia after an extended foreign trip. He was began it, having freshly graduated from the St were made, and then at last, in February 1868, An eloquent theme for muted strings leads brim-full of ideas, and hugely excited about Petersburg Conservatoire and walked straight the First Symphony had its first full performance to a long oboe tune, with answering birdcalls the symphony he planned to write – it was to into a job at the newly-created Conservatoire in Moscow. This time it was a huge success; but on flute, unmistakably Russian in so many be his Sixth. Within four days he had finished in Moscow. At first, things looked encouraging. Tchaikovsky’s self-doubt was not appeased, and of its melodic twists and turns. The rest of the first movement. ‘You cannot imagine His first orchestral performance (the Overture it wasn’t until 1874 that he at last allowed the the movement is essentially a meditation what bliss I feel’, he wrote to his nephew and in F major) had been a success, and his teacher, still further-revised score to be published. (daydreams again) on phrases from this confidante Vladimir (‘Bob’) Davidov, ‘assured the pianist and composer Anton Rubinstein, tune, with occasional reminiscences of the that my time has not yet passed and that I had urged him to write a symphony. But then Surprisingly, despite memories of this flute’s birdsong, all done with much more can still work.’ Then followed an intriguing came a crushing review of another work, and agonizing slow birth, Tchaikovsky always skill and imagination than Tchaikovsky’s half-confession: the new symphony came Tchaikovsky’s confidence plummeted: ‘I spent maintained a special affection for his First later judgement would have us believe. ‘this time with a programme, but with such the entire day wandering aimlessly about the Symphony. ‘For all its glaring deficiencies’, The return of the opening string theme at a programme that will remain a mystery to town’ he told a friend, ‘repeating to myself “I he wrote in 1883, ‘I have a soft spot for it. the end is also deftly timed. Then comes an everyone – let them guess.’ Even with his am sterile, I am a nonentity, nothing will ever Although it is immature in many respects agile, lightly dancing Scherzo, with wonderful beloved Bob (to whom he dedicated the come of me, I have no talent”.’ He soldiered on it is essentially better and richer in content use of woodwind colours (a very mature Sixth Symphony) Tchaikovsky was guarded: with the new symphony, but his determination than many other more mature works.’ As Tchaikovskian touch). Hesitant cellos and ‘the programme itself, whatever it may be, to keep working through the nights (inevitably so often, he was being harsh: the First basses suggest for a moment that the central is imbued with subjectivity, and quite often resulting in severe insomnia) led eventually to Symphony may have its faults, but they are trio section might be darker hued, but what during my wandering, composing it in my a frightening breakdown.