A Choral Conductor's Guide to Pyotr Ilyich Tchaikovsky's

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A Choral Conductor’s Guide to Pyotr Ilyich Tchaikovsky’s “Moscow” Coronation Cantata

A document submitted to the Division of Graduate Studies and Research of the University of Cincinnati

in partial fulfillment of the requirements for the

DOCTOR OF MUSICAL ARTS

in the Ensembles and Conducting Division of the College-Conservatory of Music

July 23, 2015

Olga Artemova Spriggs

B.M., California State University, Long Beach, 2006

M.M., California State University, Long Beach, 2010

Advisor: Reader: Reader:

Brett Scott, D. M. A. Earl Rivers, D. M. A. Kenneth Griffiths, M. M.

ABSTRACT

This document provides a guide to the rarely performed “Moscow” Coronation Cantata of Pyotr Ilyich Tchaikovsky (1840-93) as well as a new choral score with transliterated 1886 text by Apollon Maikov. It draws attention to the musical style of the Cantata, providing insight into the development of the thematic material. It compares the Cantata to Tchaikovsky’s previous compositions such as the 1812 Overture and it explores the link between this work, Mikhail

Glinka’s A Life for a Tsar, and Alexei Lvov’s Russian Hymn for the Tsar. Additionally, the document illuminates how the Cantata aided the composer financially in the long run and the impact it left on his own compositions that followed. The document addresses the two text versions found in editions of the Cantata and provides a textual guide to teaching and performing the work. The document culminates with a piano/vocal edition of the Cantata with transliterated text by Apollon Maikov.

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ACKNOWLEDGEMENTS

Thank you to my incredible committee at the College-Conservatory of Music – Dr. Brett

Scott, Dr. Earl Rivers and Prof. Kenneth Griffiths - for your wisdom, guidance, suggestions, support, encouragement, revisions and patience throughout this process.

A special thank you to Nathanael Tronerud, without whom the new edition would not have come to fruition. Thank you for your meticulous engraving skills and countless hours inputting the IPA text and its numerous revisions.

Thank you to my mother, Dr. Alina Artemova, who helped shed light on the text of the

Cantata, both in translation and transliteration. You made the discovery process significantly easier with your knowledge and expertise in Russian music, language and history.

Thank you Dr. Guk Hui Han and Christopher Luthi for your hours of playing and listening to the Cantata, and for your suggestions of the accompaniment revisions.

Thank you, Dr. Kristine Forney, for helping me find more sources when I thought I was at a dead end.

And most importantly, thank you to my loving husband and best friend, Jeremy, who supported me every step of the way and who took amazing care of our baby girl while I researched, edited and wrote this document.

CONTENTS

INTRODUCTION 1

Why the Cantata 2

CHAPTER

1. HISTORICAL CONTEXT, ORIGIN AND PURPOSE OF THE CANTATA 4

Alexander III 4 Importance of Accepting the Commission 6 The Cantata in the Twentieth Century 7

2. TEXT OF THE CANTATA 10

The Inspiration for the Text 10 Exploration of the Cantata Text by Movement 14 Cantata after the Russian Revolution of 1917 19

3. A CLOSER MUSICAL EXAMINATION 23

The Motive from Alexei Lvov’s Hymn for the Tsar 25 Transformation, Development and Expansion of Motives 27 Motivic Outline 30 Similarities to other Tchaikovsky compositions 34 The Cantata as an Expression of Tchaikovsky’s Compositional Style 37 Conclusion 41

4. PERFORMANCE CONSIDERATIONS 42

Guide to Russian Language Pronunciation in the Cantata 42 Accompaniment Revisions in the New Edition 49

CONCLUSION 57

BIBLIOGRAPHY 58

DISCOGRAPHY 61

APPENDIX 62

1. IPA TRANSLITERATION AND PHONETIC PRONUNCIATION 62

Movement 1 62 Movement 2 64 Movement 3 65 Movement 4 67 Movement 5 70 Movement 6 71

2. ENGLISH TRANSLATION 75

Movement 1 76 Movement 2 76 Movement 3 77 Movement 4 78 Movement 5 79 Movement 6

3. SIDE-BY-SIDE COMPARISON OF THE ORIGINAL AND 80 REVISED TEXTS

4. CHORAL EDITION 85

Introduction

Pyotr Ilyich Tchaikovsky was born in 1840 in Votkinsk, Russia. In his short fifty-three years he produced some of today’s most commonly performed repertoire. By 1883, when he was commissioned to write the Cantata, he had already composed four symphonies, four string quartets, two piano concertos and a violin concerto, two cantatas, the ballet Swan Lake,

Variations on a Rococo Theme, the 1812 Overture, several secular choruses with orchestra, a setting of the Liturgy of St. John Chrysostom, and the operas Voyevoda, Oprichnik, Evgeni

Onegin and Orleanskaya Deva. It was in the midst of work on his next opera, Mazeppa, that

Tchaikovsky received the commission for the “Moscow” Coronation Cantata.

Tchaikovsky wrote the Cantata for baritone and mezzo-soprano solos, chorus and orchestra. The work was premiered in Moscow on May 27, 1883 in the Faceted Palace of the

Moscow Kremlin. The performance took place in a ceremony following the coronation when the

Tsar dined alone in the presence of those who had partaken in the previous ceremony.

Performers included mezzo-soprano Elizaveta Andreyevna Lavrovskaya who had suggested to

Tchaikovsky the idea of setting Pushkin’s Evgeni Onegin in an opera, baritone Ivan

Aleksandrovich Mel’nikov who sang in all of Tchaikovsky’s operas except Iolanta, and the

Bolshoi Theater chorus and orchestra conducted by Eduard Frantsevich Napravnik, who premiered many of Tchaikovsky’s works.

The Cantata is divided into six movements. The first and third movements are for chorus and orchestra, movements two and five are ariosos for mezzo-soprano, movement four is a baritone monologue with chorus, and the final sixth movement is a festive finale. The Cantata was originally conceived with an orchestral accompaniment that included two flutes and piccolo, pairs of oboes, clarinets and bassoons, four horns, two trumpets, three trombones, tuba, timpani,

harp and strings. A piano reduction by Tchaikovsky himself was written directly below the full score and published first in 1885. The full score and parts followed in 1888.

Why the Cantata

The Cantata has become a symbol of nationalism and patriotism, particularly in Russia.

For Tchaikovsky it served as a stepping-stone for better opportunities. Tchaikovsky’s willingness to accept the City of Moscow’s commission benefitted his career by not only reaffirming his position as a major European composer, but by allowing him to acquire and successfully maintain the friendship, respect and patronage of Tsar Alexander III. In return for his compositions, Tchaikovsky was praised and rewarded financially. Although he did not want payment for the Moscow Cantata and the Festival March, the new Tsar sent him a ring.

Coincidentally, Tchaikovsky pawned the ring, but lost the claim receipt almost immediately, thus not receiving any money in the short term.

Despite the fact that he did not acquire any money for the commissions, his years of writing for the royals pleased Tsar Alexander. Tchaikovsky had become a beloved composer.

After completing his Mazeppa, he wrote to his publisher Pyotr Ivanovich Jurgenson, requesting a higher payment for his two years of work on the opera. Jurgenson obliged, and rather than paying him the previously offered 1,000 rubles, paid 2,400. Additionally, major theaters producing his opera in Moscow and St. Petersburg agreed to pay him ten percent royalties from the tickets sales rather than the typical eight percent. He was actively involved in these productions by request of the companies, which showed the amount of respect given the admired composer. Tchaikovsky would later earn the Order of St. Vladimir and a regular pension of

3,000 rubles from the Tsar. When Tchaikovsky passed away in 1894, the Tsar paid for all of his

burial expenses and ordered the Directorate of the Imperial Theaters to organize the funeral.1

Had Tchaikovsky chosen to spend the spring of 1883 finishing work on Mazeppa and rejected the commission, it is possible that he would not have encountered the same fortunes.2

It is my hope that in presenting this document the Cantata will be brought to the attention of the choral community, especially those without the resources to engage an orchestra. I hope my new choral/vocal edition and the Russian transliteration and guide will allow choirs of various backgrounds to study and perform this piece. It is my intent to allow this work to shine in its original form with text by Maikov. This document includes historical information, an overall musical analysis and its connection to the text, a guide to the Russian text and pronunciation as well as an IPA and phonetic transliterations and translation.

1 Alexander Poznansky. Tchaikovsky: The Quest for the Inner Man. (New York: Schirmer Books, 1991), 594. 2Ibid, 420.

Chapter 1: Historical Context, Origin and Purpose of the Cantata

Alexander III

Alexander Alexandrovich Romanov was born in 1845, the second son of Tsar Alexander

II and his wife Maria Alexandrovna (of Hesse). Alexander’s older brother Nicholas was heir apparent, first in line of succession to the throne. While Nicholas’ education focused on preparing him for the responsibilities of a Tsar, Alexander’s studies focused on army training and warfare strategies.

In 1864 Nicholas became engaged to Princess Dagmar of Denmark, the second daughter of King Christian IX of Denmark and Princess Louise of Hesse-Kassel. However, on a tour of

Europe later that year, Nicholas contracted meningitis and died at the age of 21 on April 24,

1865. With Nicholas’s sudden death, Alexander became the new heir apparent to the throne. In

1895, Charles Lowe wrote of Alexander,

This Alexander had been trained simply as a soldier, without special political or linguistic education, and was constitutionally phlegmatic, with ‘the melancholy juices redundant all over.’ His massive frame and Herculean strength became celebrated, and his fortunate marriage, in 18693, to his brother’s fiancée, the Princess Dagmar of Denmark, soon roused him to a sense of his inadequate training for the enormous responsibilities of his new position.4

It is speculated that on his deathbed Nicholas asked Alexander to marry Princess Dagmar, perhaps to continue the alliance with Denmark rather than for romantic reasons. Alexander obeyed, and in 1866 the Princess Maria Fyodorovna (as she became known) and Alexander were married. Even though their marriage was perhaps more political than romantic, the couple remained faithful to each other throughout their lifetime. They produced five children and unlike

3 1869, according to the old Russian Calendar. 4 Carolyn Shipman and Charles Waddell Chesnutt, review of Alexander III, by Charles Lowe, The Critic: A Weekly Review of Literature and Arts 23 (January-June 1895): 306.

other Tsars and Emperors, Alexander was a devoted husband to his wife. It was for this unexpectedly perfect marriage that Tchaikovsky first composed a royal work.

In 1866 the director of the Moscow Conservatory, Nikolay Rubinstein, commissioned

Tchaikovsky to write music for Alexander III who was visiting Moscow with his new bride.5

Tchaikovsky composed the Festival Overture on the Danish National Anthem. However, the piece was not premiered at the celebration. The newspaper, The Voice, published the following,

…in the original programme an overture by Mr. Tchaikovsky was advertised... It was decided that Mr. Tchaikovsky's overture, which combines the themes of the Russian and Danish national anthem, should not be performed because the talented young composer, for some unknown reason, set our Russian national anthem in the minor key, which completely transforms the character of this well-known tune.6

Seventeen years later, in 1881, Alexander III’s father, the reigning Tsar Alexander II, was assassinated, and the city began the preparations for crowning Alexander III.

In March 1883, two months before the coronation ceremony, Tchaikovsky received a commission to simplify and arrange the chorus Slavsya or “Glory” from Glinka’s opera, A Life for a Tsar. The chorus was meant for 7,500 singers and would end with a triumphant transition into the National Anthem as the new Tsar processed to the Kremlin.

Two commissions from the City of Moscow Coronation Committee followed a few weeks later. The first was for a festival march, and the second was for a Cantata on newly written patriotic texts of the Russian poet Apollon Nikolayevich Maikov (1821-97). In the weeks before Tchaikovsky was contacted, Anton Rubinstein had been approached by the City of

5 At this point, St. Petersburg was the established center of Russia. It was later renamed Petrograd in 1914, Leningrad in 1924 and back to St. Petersburg in 1991. 6 On 12/24 April 1867 in the newspaper The Voice, "Rostislav" in his article ‘A brief look back at the concert season'.

Moscow with the same proposition. However, Rubinstein rejected the commission due to the short time period allowed and recommended Tchaikovsky. Tchaikovsky, unlike his friend, could not refuse. In a letter to his patroness and friend Nadezhda von Meck on March 21 Tchaikovsky wrote, “The President of the Commission says in his letter that only I can extricate them from their difficulties because Anton Rubinstein has declined on the grounds that the notice was too short and has recommended me.” He continued in the same letter, writing, “My first thought was to refuse, but then I decided I had at all costs to try to fulfill both commissions on time. I know from reliable sources that the Tsar is very disposed towards me (that is, to my music), and I would not want it to reach him that I had refused.” 7

Importance of Accepting the Commission

Three years prior, in 1880, Tchaikovsky was in a tight financial situation and needed money. He had already borrowed from Nadezhda von Meck, who was having her own financial difficulties at the same time. In his desperation he wrote Alexander III asking for a loan, one that he insisted he would repay from royalties of his new compositions. In reply, Alexander sent him three thousand rubles, but as a gift rather than a loan. From that point Tchaikovsky was indebted to the future Tsar. When the Coronation commissions arrived Tchaikovsky felt that by writing these works he would express his personal gratitude to Alexander. He set aside work on

Mazeppa and began work on the Cantata and Festival March, again writing in a letter to von

Meck, ““Both works, particularly the Cantata, will have to be produced with a rapidity which

7 Transcribed in David Brown The Years of Wandering (Tchaikovsky, Polnoye sobraniye sochineniy: literaturniye proizvedeniya i perepisaka, v. 12, Moscow, 1953-81).

horrifies me. For six weeks I am going to have to wear myself out in sleepless nights and drive myself to the point of exhaustion.”8

The Cantata and Festival March were completed a short two weeks later and sent to the city of Moscow. They were premiered on May 27, 1883 in the ceremony following the coronation. Tchaikovsky was proud of his rapid accomplishments, writing to von Meck in 1883,

“I have never written anything as quickly as these two pieces [March and Cantata]. I think I can objectively evaluate these two works by saying that March is noisy but bad..., but the Cantata is far from being as bad as you might think, judging by the speed with which it was written.”9

Seven years after the commission, in 1890, Tchaikovsky reflected on the Cantata and its compositional process in a letter to the Grand Duke Konstantin Konstantinovich:

Regarding Maykov, I remember how it fell to me to write a Coronation Cantata on his text. At the time I was staying in Paris... Suddenly I received a proposal, already declined by Anton Rubinstein, to write a Coronation Cantata in two weeks... I considered that to carry out such a proposition was impossible within such an outrageously short time scale, and gave vent to my feelings to my brother Modest, who at that time happened to have a book of Maykov’s verses; my admiration for these was such that they involuntarily stirred my inspiration, and so that I would not forget, I wrote on the book in pencil the musical ideas that had come into my head. Had this not happened, then there probably would have been no Coronation Cantata, but under the spell of this magic the Cantata was ready and dispatched in time, and I consider it to be among the best of my compositions.10

The Cantata in the Twentieth Century

The Cantata underwent an important change after the Russian Revolution of 1917. With the monarchy overthrown, any mention of a Tsar, royal family or the church was strictly forbidden. Thus, the singing and playing of the Tsarist Hymn ceased and works with this theme

8 Alexandra Orlova, Tchaikovsky: A Self-Portrait. (New York: Oxford University Press, 1990), 246. 9 David Brown. The Years of Wandering 1878 – 1885. Vol. 3 of Tchaikovsky: A Biographical and Critical Study. (New York: W.W. Norton & Co., 1986), 213. 10 Letter 4114 to Grand Duke Konstantin Konstantinovich, 18/30 May 1890 Tchaikovsky Research http://www.tchaikovsky-research.net/en/Works/Cantatas/TH069/index.html (accessed May 2015).

were no longer performed. This included not only the Moscow Cantata, but also Tchaikovsky’s works as a whole. Even the famous 1812 Overture was republished in 1940 with the hymn removed. Not only these works, but also the composers who wrote them became suspect, since most of them composed for an aristocratic society. The following comments became a common occurrence and remained prominent through the twentieth century: “What is closer to the proletariat, the pessimism of Tchaikovsky and the false heroics of Beethoven, a century out of date, or the precise rhythms and excitement of Deshevov’s Rails?”11

Many nineteenth and twentieth century works, both by composers of the “Mighty

Handful”12 and also Mikhail Glinka, Sergei Prokofiev and Tchaikovsky, ceased to be performed until the middle of the twentieth century when librettist and translator, Alexei Ivanovich

Mashistov, began reworking the texts. Dr. Laura Stanfield Prichard of Northeastern University in

Boston writes of Mashistov:

He became known for the ritualistic de-Stalinification and secularization of many Russian vocal scores and he prepared Russian translations of European masterworks such as Beethoven’s Choral Fantasy…[Mashistov] collaborated with Soviet composers to adapt literary works as operas…assisted with the sound recording for five Soviet films and was one of the most prolific writers for the TASS studio, contributing to dozens of posters from 1941 to 1946, although his texts were sometimes criticized for shoddy craftsmanship.13

11 Quoted in Boris Schwarz, Music and Musical Life in Soviet Russia 1917-1970, pg. 53. Vladimir Deshevov (1889- 1955) was a Russian composer of the early Soviet era, now much forgotten and less performed. “Rails” is a short avant-garde composition for piano with a focus on repeated notes, angular lines and dissonant harmonies. 12 The “Mighty Handful” refers to a group of five Russian composers who focused on writing music reflecting the Russian culture and its roots, and shying away from Western European influences. These five composers included Mily Balakirev, Cesar Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin. “They were greatly influenced by Mikhail Glinka and influenced future composers like Mikhail Ippolitov-Ivanov, Sergei Prokofiev, Igor Stravinsky and Dmitri Shostakovich. Additionally, the Mighty Handful were interested in incorporating melodies and tonalities of the Orient, specifically those from the Caucasus and Cossacks, and steering away from the use of Westernized compositional techniques. The music of the Mighty Handful utilized whole-tone scales, heterophony, parallel fourths and fifths, pentatonic scale, and often-times direct quotes of folk songs.” Olga Artemova. “A Choral Conductor’s Guide to Alexander Borodin’s ‘Polovetsian Dances’” Dissertation (California State University, Long Beach, 2010) 13 Laura Stanfield Prichard, http://www.musikmph.de/musical_scores/vorworte/1561.html (accessed May 1, 2015).

For the Cantata Alexei Mashistov rewrote the text removing any mention of a Tsar or higher being and leaving the music untouched. A new revised version was published in

Tchaikovsky’s Complete Collected Works, volume 27 (orchestral) and 33 (choral/vocal) in 1960.

Chapter 2: Text of the Cantata

Apollon Nikolayevich Maikov (1821-97) was a well-known Russian poet and translator.

He was fascinated with and studied ancient Greece and Rome throughout most of his life. His writing focused on Russian history, culture and nature, often creating a parallel between the cities of Russia and the great cities of Greece and the Roman Empire. His translations included the epic poem The Tale of Igor’s Campaign (1870) from Old East Slavic to Russian, and writings by Goethe and Heine. A number of Russian composers including Cesar Cui, Anton

Rubinstein, Sergei Rachmaninoff and Nikolai Rimsky-Korsakov set his poetry to music.

Tchaikovsky’s settings of Maikov’s texts include the Six Romances, op. 16 and the Cantata.

In 1882, a member of the City of Moscow Coronation Committee informally discussed with Tchaikovsky the possibility of a cantata for the upcoming occasion. Tchaikovsky then suggested approaching either Apollon Maikov or Yakov Polonsky (1819-98) as sources for the text. Polonsky would not have been a new collaboration for Tchaikovsky, as he had previously used his libretto for the opera Vakula the Smith (1874) – later revised as Cherevichky (1885) - and a specially written text for the Cantata for the Opening of the Polytechnic Exhibition (1872).

In 1883, when Tchaikovsky received the official commissioning letter from the Committee, the text from Apollon Maikov was already included in the letter.

The Inspiration for the Text

The text of the Cantata references one of the largest invasions in Russian history - the invasion of Russia by the Mongols and Tatars in the thirteenth century as part of the Genghis

Khan conquests. Maikov’s text also indirectly references Napoleon’s invasion with the Grand

Armée in 1812.

In the thirteenth century, sons of Vladimir II governed their own cities in the principalities of Kievan Rus’. Each brother sought more power for himself and fought for control of the other’s domains. As the fighting continued, the cities depleted their resources and in doing so created a divide in the once unified Kievan Rus’. Genghis Khan, on a quest to form the largest empire, saw the weakness and sent an army of 20,000 under the control of generals

Subutai and Jebe to take over Kievan Rus’. The Mongols were met with an untrained, ill- equipped and overall unprepared army of 80,000 in the Battle of Kalka River in 1223. Having won the battle, the Mongol tribes captured and, quite literally,14 squashed the princes. However, the Mongols did not stay in the Kievan state and returned back to the Asian steppe.

In 1237-40, Kievan Rus’ was invaded again by the Mongolian army, this time under the conquests of Batu Khan, the grandson of Genghis Khan. An army of 200,000 lead by Ögedei

Khan fought and conquered armies from numerous cities including Moscow, Suzdal, Chernigov,

Pereyaslav and finally, Kiev. The only city to remain intact was Novgorod, ruled by Alexander

Nevsky, who surrendered to the Mongols at the invasion.15 All other cities fought the invading

Mongolian armies, lost and were inevitably burned and heavily damaged. Those people who did not escape were either captured and turned into slaves, or killed. The cities became part of the

Golden Horde under Mongol (Tatar) rule for two centuries until 1480 when Ivan III, the Great

Prince of Moscow, drove out the Golden Horde and united the divided principalities into one land. While the Russian lands did not stay peaceful for a long period of time, the next large invasion did not occur until the early nineteenth century.

14 The Mongol generals Jefe and Subutai built large platforms on which they sat and feasted. They threw the princes under these platforms and crushed them to death as they ate. 15 In addition, Novgorod was invaded in 1240 and 1242, first by the Swedes and second by the Livonian Brothers of the Sword, part of a German Teutonic Order. Armies under the direction of Alexander successfully pushed out the Swedes at the battle of Neva, thus sparing the north of further invasions and earning Alexander the nickname Alexander Nevsky.

The year of 1812 is a tremendously important year in Russian history, equivalent in weight to the Independence Day celebrations in the United States, as it was the beginning and end of the Otechestvennaya Voina of 1812 or the Patriotic War of 1812.16 In June 1812,

Napoleon and his Grand Armée of approximately 500,000 soldiers invaded Western Russia in hopes of making Tsar Alexander I agree to cease trade with Britain and thus complete his plan of

European dominance. The Russian Army, under the direction of Marshal Kutuzov, was aware they could not win against Napoleon’s largest army. Thus, they began to strategically retreat. By

September, the Grand Armée had shrunk by two thirds due to starvation, fatigue, lack of supplies, small attacks by the Russian army, captivity by the Russians, or desertion. Tsar

Alexander, realizing the Grand Armée was closing in on Moscow, insisted on a battle to attempt to hold off the troops from the city. On September 7, the French reached the city of Borodino, some 75 miles away from Moscow, where finally the Russian Army met and fought one of the bloodiest battles in history with over 100,000 lives lost. Neither side gained a solid victory.

Russia, realizing they could no long afford to ward off the French, retreated and evacuated the city.

Napoleon’s army arrived in Moscow on September 14, but found the city deserted with no one to welcome the Emperor. That night the wooden city of Moscow began to burn. The jails were purposefully left unlocked, the fire hoses taken apart and the homes set up with flammable materials. The French could not fight the flames fast enough. Using scorched earth tactics, the

Russians not only starved out the French, but they took away shelter and instilled fear. With the notorious Russian winter rapidly approaching, the French army was exhausted, hungry, and sick, and was now faced with an early onset of the cold weather. Since they had not expected the

16 This term, “Otechestvennaya Voina,” should not be confused with the term “Velikaya Otechestvennaya Voina,” or Great Patriotic War, which refers to the German invasion of Russia during World War II.

invasion to last this long, they did not have the appropriate clothing to ward off the below- freezing temperatures and windy climate. The French had no choice but to retreat and take the long 500-mile walk home. Out of more than 500,000 soldiers who began the invasion, only

10,000 survived. This invasion was important not only for Russia, but for the rest of Europe as it began Napoleon’s downfall. Moscow, which was made mostly of wooden materials, was burnt almost completely to the ground, but the Moscovites began to return and rebuild their great city.

In 1880, Nikolai Rubinstein suggested to Tchaikovsky that he compose a piece for the completion of the Cathedral of Christ the Savior – commissioned by Tsar Alexander I in memory of the Russian victory over Napoleon - and the approaching 25th anniversary of Tsar Alexander

II’s coronation. Tchaikovsky obliged and in six weeks composed the 1812 Overture.

Unfortunately, Alexander II was assassinated, so the overture did not receive the dramatic and glorious premiere it was due until later in 1882.

Three years later, with the 1812 Overture still fresh in his mind, he began work on the

Cantata. The text Maikov created restated the events of the Mongol invasion of Kievan Rus’ and echoed the events of 1812. Tchaikovsky, having been touched by the poetry, set each movement carefully and thoughtfully, writing,

The text Maikov has written for the Cantata is very beautiful and poetic. There is a bit of patriotic vapouring, but apart from this the piece is deeply felt and written with originality. It has freshness and its tone is sincere, which is making it possible for me, too, somehow not only to stand aside from the difficulties of the task but, as long as I observe a proper decorum, to put into my music a measure of the feeling warmed in me by Maikov’s beautiful lines.”17

17 Brown, 214.

Exploration of the Cantata Text by Movement

The first movement paints a picture of the birth of a great city, Moscow, which the princes would visit for hunting and enjoyment. The mood changes with the description of the sun covered by smoke clouds as the Tatars invaded Moscow and began burning it to the ground.

As with the 1812 Overture, Tchaikovsky sets the opening for hymn-like celli in divisi, marked Andante religioso. The meter is an unstable 6/8 and later 9/8, reflecting the turmoil Rus’ was facing in the thirteenth century as the cities fell to the powers of the Mongols and the Golden

Horde. The English musicologist and Tchaikovsky scholar, David Brown, in The Years of

Wandering writes of mm. 27 – 40, “The reduction to men’s voices only, together with an increased agitation in the fertile orchestral ornamentation, is sufficient to signal the arrival of the alien hordes rolling wave after wave across Russia…”18

The “agitation” and “rolling wave(s)” to which Brown refers are found in the rapid, consecutive ascending chromatic scales of the orchestra in mm. 33-40. In the measures that follow, a sudden shift to the women’s voices, accompanied colla parte by the woodwinds and string tremolos represents the people coming together from the different cities to escape the horde. They ask each other from where has each person come and in response name all of the cities attacked and claimed by the Mongols, including Suzdal, Chernigov, Kiev and Pereyaslav.

Tchaikovsky reflects this dialogue by setting the altos and sopranos in alternation with each other.

The final section of the first movement in 9/8 meter represents the final plea for mercy, as

Moscow is left in isolation in the dark night. The isolation is found not only in the repetition of text, but in the unsettled movement of the French horn motive from E to F as the winds play the

18 Ibid., 216.

opening choral phrase from mm. 12-13. Together this paints a picture of an empty, dark, quiet city as the people look back and remember their homeland before the invasion.

The second movement, a mezzo-soprano arioso, often extracted as a performance piece, is a glimmer of hope for the people. The bright shining star to which Maikov refers, is perhaps a symbol for the fires burning in the city of Moscow, set by the Russian people as they left the city. As the fires burn, the people watch, wait and pray. Maikov also makes a reference to the shining star being a burning candle lit by the Savior Peter, Great Prince of Moscow. This is a reference to Saint Peter, who lived during the late thirteenth century and early fourteenth centuries, and predicted the release of Rus’ from the Tatar hold and the creation of Moscow as the new center of Rus. He was a beacon of hope for the Russian princes and people.

The third movement is a joyous celebration of victory. Of the third movement Brown writes, “Quietly Moscow recovers, becoming a beacon to the surrounding peoples, and this rebirth is joyfully celebrated in the rousing chorus of the third movement.”19 The clouds have parted, the sun has begun to shine once again, the clock has struck and the bells are ringing out.

The Golden Horde has dissipated and left the land. In the palace a Moscow Tsar, presumably a reference to Ivan the Great, sits at the throne, who with his foot squashed out the enemy – the

Golden Horde - and sent “him” away.

While Tchaikovsky does not explicitly state the Cantata is in D major, it can be inferred based on the progression of keys from movement to movement. The third movement is the first movement of the Cantata in the triumphant key of D major – the previous two having been A major (dominant) and B minor (parallel minor). By triumphantly setting this movement in D major Tchaikovsky symbolizes strength and stability of the Russian city, and exuberance of the

19 Ibid., 218.

Russian people. Additionally, since this is the first mention of the Tsar sitting at the throne, perhaps the use of the tonic D major key represents the high authority and greatness of the emperor. Tchaikovsky includes a few elements of text painting as well among the repetitive short motivic phrases. An example is found in mm. 45-51, where immediately following the description of the Kremlin and the golden tops of the cathedrals, Tchaikovsky writes an ascending line from A natural to D in the upper winds, upper brass and upper strings ascending via half steps to represent the tremendous height of these monuments, as if leading the eyes upward. At the same time, he writes a descent in the lower winds, brass and strings to represent the greatness and foundation of these monuments. The third movement closes as triumphantly as it began, again with an ascent in the upper instruments and a descent in the lower, symbolizing the success and greatness of the Grand Prince.

The fourth movement elevates the prince to even greater proportions comparing him at first to Constantine the Great, the first Christian Roman Emperor, ruler of Constantinople, who strengthened the Roman Empire and made it the wealthiest city in Europe. The prince is then compared to the rising star over Jerusalem; what the star was for Jerusalem, he is for the city of

Moscow. Finally, Maikov’s text closes with the firmest statement of the Cantata text: “Two

Romes have fallen, a third stands, there shall not be a fourth!” This text is sung by the baritone at first and then echoed in affirmation by the full chorus. Maikov’s in-depth study of the history of the Roman Empire is apparent in this movement. The reference to Constantinople and the

Romans in comparison to Moscow is a bold statement, but one that Maikov, a true nationalist, believed to be true. The line “two Romes have fallen” has a double meaning. Rome itself has fallen twice, the first time to the Visigoths in 410 in the sacking of Rome and the second largest time in the fifteenth century, when it fell to the Ottoman Empire. Moscow, too, has fallen most

tragically twice, the first time to the Mongols and Tatars and the second time to Napoleon. In the second half of the nineteenth century, the “third” Moscow stood without invasions and national disturbances. The proclamation of “there shall not be a fourth!” is indicative of the confidence exuded by the people of Moscow. Brown suggests the definition might lie in the combination of the previous ideas, writing, “…it ends with a triumphant declaration: ‘Two Romes have fallen

[Rome itself to the Goths in 410, Constantinople to the Ottoman Turks in 1453], the third

[Moscow] stands: there shall not be a fourth!’”20

Additionally, a connection between the Roman and Russian empires may be found in the coronation ceremony itself. The term “Tsar” is derived from the Roman name “Caesar.”

Maxwell Wooley in Coronation Rites states, “In 1453 Constantinople was taken by the Turks, and the Greek Empire came to an end. But the Greek coronation rite still survives, and is used in the Russian tongue at the coronation of the Czars of Russia 1, who regard themselves as the successors of the Greek Caesars.”21 Ironically, this Tsarist Empire would only last 24 more years, ending with the reign of Nicholas II, the son of Alexander III, in a bloody Russian

Revolution.

Up until this point Tchaikovsky had stayed in a predictable pattern in terms of his use of tonalities moving from A major to B minor to D major and back to B minor. In this penultimate movement, it is possible the choice of E-flat minor was driven by the unique prayerful text.

Where other movements have been in the form of narration, this movement is a direct prayer for strength, courage, wisdom and guidance from the soldier himself. The choice of a minor key perhaps represents the soldier, who is carrying the heavy burden of knowing he might die

20 Ibid. 21 Wooley, Maxwell, B.D., Coronation Rites. (Cambridge University Press, 1915), 27. https://ia700401.us.archive.org/12/items/coronationrites00wooluoft/coronationrites00wooluoft_bw.pdf (accessed May 2015).

sacrificing himself for the good of his country. He feels ready for battle and the fire flames of the burning city, but feels unworthy of God’s love, thus asking for strength and wisdom.

The key of E-flat minor is distant from D major. Perhaps this distance in tonality represents the distance between God and man, heaven and earth, the attainable and unattainable.

Perhaps it is showing that God will be close to the soldier on the arduous journey (E-flat is close to D), but far away in a physical sense (E-flat is a distant relative from D). The movement ends with a repeated motivic element ascending in sequence over four and a half octaves as a prayer being lifted up and then returns back down to the worldly soldier on his quest.

The parallel here between the Cantata and the Coronation ceremony is significant.

Immediately prior to the crowning of the new Tsar, the following prayer is read as the people bow their heads:

To Thee alone, King of mankind, has he to whom Thou hast entrusted the earthly kingdom bowed his neck with us. And we pray Thee, Lord of all, keep him under Thine own shadow; strengthen his kingdom; grant that he may do continually those things which are pleasing to Thee; make to arise in his days righteousness and abundance of peace; that in his tranquility we may lead a tranquil and quiet life in all godliness and gravity. For Thou art the King of peace and the Saviour of our souls and bodies and to Thee we ascribe glory: to the Father and to the Son, and to the Holy Spirit, now and ever, and unto the ages of ages. Amen.22

This prayer reflects the same mood set by the Cantata in the penultimate movement, immediately before the praises are sung by the baritone and the chorus.

The final movement of the Cantata serves as a summation of the preceding movements.

A great boom and thunder of the canons are heard as the land defends itself. The people and the nations across five seas are united and strengthened. They join together to praise God and the new noble Tsar. The finale following the baritone monologue is a triumphant chorus in praise of

22 Ibid., 23.

the Emperor, his wife, and his son, Nicholas (sung by the mezzo and baritone soloists) with each instance being met by the repetition of the word “Slava!” or “Glory!” by the chorus. As the soloists and choirs unite together for the first time, they sing in praise of the bread, the kind people and the elderly. The movement closes with numerous exclamations of the word “Slava” and drives the Cantata to a thunderous close.

Cantata after the Russian Revolution of 1917

The year 1917 brought terror to Russia with two revolutions, the first in February, and the second in October. The royal family was forced to abdicate after the first revolution, and following the October revolution, the Bolshevik government, spearheaded by Vladimir Lenin, replaced the Imperial throne.

When Lenin died in 1924, Joseph Stalin began his ascent to the leadership of the

Communist Party. In 1932, following the party’s issue of the resolution entitled “On the

Reconstruction of Literary and Artistic Organizations”23 the Union of Soviet Composers was formed to censor composers, performers, concert halls, theaters, radio, television, and other artistic and musical outlets. The decree called for more avant-garde compositions, music that echoed the Communist ideals, used patriotic or folk content, and was simple and appealing to the public.

Religion, too, came under scrutiny in the Communist era. While religion was not outlawed under the Communist regime in the first part of the century, clergy and believers were subject to mockery, imprisonment in camps or mental hospitals, and in some cases torture and death. The Orthodox Church was heavily suppressed and religion discouraged in schools. Many

23 “On Restructuring Literary-Artistic Organizations – Decree of the Central Committee of the VKP 23 April 1932” SovLit.net http://www.sovlit.net/decree1932/ (accessed May 2015).

churches were turned into secular spaces, vandalized or destroyed. The mention of God or the belief in God was ridiculed and carried serious consequences. It was not until after World War II that the Orthodox Church was allowed to return (only to be suppressed again a decade later under Nikita Khrushchev).

Tchaikovsky’s Cantata, written for a Tsar’s coronation, was very different from what the

Communist party considered ideal. Thus, along with a number of other Tchaikovsky works, including the 1812 Overture, it remained unperformed until Alexei Mashistov revised the

Maikov text and created a “more suitable” version.

Limited information can be found about Alexei Ivanovich Mashistov, who was born in

1904 (date of death unknown). He received his education at the Moscow Conservatory of Music and in 1928 began to work in the film industry. He is best known for his work as a librettist, translator and writer of propaganda material for the TASS studio, the Russian news agency still active today.

In revising the Cantata text, Mashistov extracted any mention of a deity or a prince or

Tsar. Drastic changes were made to the second, third, fourth, fifth and sixth movements. The first movement remained relatively intact with only a few textual adjustments. Communist ideology became prominent in the revision. Any mention of God, or power derived from a higher being, was eliminated and replaced with the people’s born rights and truths. The romantic and lush character of the original poetry was lost and replaced with strict Communist ideology.

One of the most prominent examples of these changes occurs in the fifth movement. Here

“God” is replaced by “truth” and the will to fight is replaced by a duty to fight to the death for one’s country. The table below demonstrates the two versions of the text from the fifth movement of the Cantata, the first column by Maikov, the second a revised version by

Mashistov. A full chart comparing the two Cantata texts may be found in the Appendix section of this document.

Movement V Movement V Pre-Revolution Text Post-Revolution Revised Text24 Мне ли, Господи, мне ль по силам ты Мне ли долг велит стяг борьбы тяжкий крест даешь? поднять в смертный бой вступить? Не достоин есмь я твоей любви! Кто поможет мне на пути моём? Разве ты мне дашь силу крепкую, Разве ты одна, правда светлая, умудришь меня, умудришь меня ты силы мне придашь, крепишь меня своей мудростью! ты в этот грозный час!

Я ж как верный раб предаюсь тебе и Коль погибнуть мне суждено в готов в огонь и во всяку скорбь, ибо бою, я лицом к лицу встретить дорог мне не земной почет, а Христов смерть готов. Мне не жизнь мила, венец. не людской почёт, мне дороже их дело правое!

Is it for me, God, is it for me you give Is it duty calling me to raise the such a heavy cross? fighting flag, to enter a fight to the I am not worthy of your love! death? Will you really give me mighty strength, Who will help me on my journey? make me wiser, make me wiser with Are you alone, bright truth, give me your wisdom! strength, support me in this dark hour!

I, like a loyal slave, give myself to you, If dying in battle is my fate, I am and am ready to go into the fire and ready to face death face to face. Life burning flames, because precious to me is not the sweetest to me, nor the are not the earthly honors, but Christ’s people’s honors, dearer to me is their wreath. just cause.

In 1883, Tchaikovsky’s publisher, Pyotr Ivanovich Jurgenson, published the choral parts of the Cantata. The piano/vocal score followed in December 1885, and the full score and orchestral parts in June 1888. After the Russian Revolution, the company was put under government control and renamed Государственное Музыкальное Издательство (or

24 Translation by Olga Spriggs with text from the full score found at http://imslp.org/wiki/Moscow_(Tchaikovsky,_Pyotr).

Government Music Publishing) or for short Музгиз (Muzgiz). In 1960, all of Tchaikovsky’s works were republished in his Complete Collected Works. In this new publication, volume 27 contained the full score of the Cantata and volume 33 the piano/vocal score. These used

Mashistov’s revised texts and are still in use today. The original manuscript, however, still exists and is held at the Glinka State Central Museum of Musical Culture in Moscow, Russia. The full manuscript is also readily accessible online through the culture.ru website.25

25 “Manuscript of Moscow. Cantata in 6 Parts.” Портал Культурного Наследия России Культура.рф. http://www.culture.ru/project/tchaikovsky/objects/1962 (accessed May 2015).

Chapter 3: A Closer Musical Examination

Motivic Outline as Proposed by David Brown in The Years of Wandering

The Cantata has not received as much scholarly attention as some of Tchaikovsky’s other works. In researching this document, there was almost no information that explored the Cantata in any significant depth. Brown has provided the most in-depth look into the Cantata. In his book The Years of Wandering, Brown theorizes that most of the motives in the Cantata are interconnected by one motivic outline. A chart from page 216 of the book explaining this idea is excerpted below in Figure 1. The motive is noted in Figure 1a.

Brown introduces the primary motive’s outline as beginning on the fifth scale degree, ascending to the flat sixth and descending stepwise to the tonic. He states that this outline comes from Ivan Susanin’s aria in Mikhail Glinka’s A Life for a Tsar and connects motivically to the melodic structure in the opening measures of the Russian Hymn for the Tsar, “Bozhe Tsarya

Hrani,” by Alexei Lvov. In explaining the first instance of the motive in the Cantata Brown writes, “It is here that the first echo of Susanin is heard, for the horns finally give birth to a cadential phrase...it is surely not coincidence that it also comes close to the initial contour of the

Russian national anthem, the other element which had been featured in Tchaikovsky’s first coronation offering.”26

26 Brown, 216.

Figure 1: Chart from The Years of Wandering by David Brown, page 216.27

Motive from Mikhail Glinka’s A Life for the Tsar – Ivan Susanin’s Aria

27 Ibid.

Brown points out that perhaps Tchaikovsky borrowed the motive from Glinka’s opera to reflect the nationalistic and patriotic character of the text. At the time, Glinka was one of the most prominent nationalistic composers, paving the way for “The Mighty Handful” and influencing many composers. In the plot of his opera A Life for the Tsar the patriotic hero, Ivan

Susanin, sacrifices his life to save the Tsar, symbolizing the highest respect for an emperor and for his country. Coupled with the nationalistic character of Maikov’s text, reworking material from a nationalistic opera composed by the most important nationalistic composer of the time was simply a way for Tchaikovsky to reinforce the patriotic nature of the celebration for which the Cantata was being composed. Tchaikovsky excerpted a motive from Ivan Susanin’s monologue and aria from Act IV (Figure 2) and allowed it to serve as the outline of much of the motivic material in the new Cantata. In doing so Tchaikovsky also created a link to the Russian

National Anthem, the Hymn for the Tsar.

Figure 2 - The following excerpt is from the first two measures of Susanin’s Aria:

The Motive from Alexei Lvov’s Hymn for the Tsar

In addition to the “Susanin” motive, Brown argues that the motivic outline pointed out in

Figure 1a clearly resembles the Hymn for a Tsar, found in Figure 1i. The Hymn for the Tsar was composed in 1833 by Alexander Lvov for Tsar Nicholas I. This Hymn continued to be used as the national anthem until the Russian Revolution in 1917 and made its way into many of

Tchaikovsky’s compositions. It can be heard in his Cantata for the Opening of the Polytechnic

Exhibition in Moscow, op. 67 (1872), Marche Slave, op. 31 (1876), Volunteer Fleet March, op.

(1878), 1812 Overture, op. 49 (1880), and the Festival Coronation March, op. 50 (1883).

While the Hymn is not quoted as boldly here as in the 1812 Overture, it is alluded to in the coda of the fourth movement of the Cantata at the Moderato con moto. The following

Figures show these excerpts as a comparison. The first excerpt is the unifying motivic outline as proposed by Brown. The second excerpt is of the main motive from the opening of the Hymn for a Tsar. The final excerpt shows a reference to this motive in the right hand of the piano as it descends sequentially to the left hand with a cadence in B major.

(Figure 1a) - Motivic outline as proposed by Brown:

Figure 3 - Hymn for a Tsar mm. 1-2:

Figure 4 - Cantata, Movement IV, mm. 55-71

Once Tchaikovsky had established the motivic material, he used it throughout the

Cantata as a tool for development and unification.

Transformation, Development and Expansion of Motives

Brown’s suggested motivic outline may be found at the closing measures of the first movement of the Cantata. It first appears as a two-note minor mode motive in the choir and repeats every measure. With the shift from F-natural to F-sharp it creates a major sonority and

culminates with a full statement in the final two measures as a descending motive in the left hand of the piano:

Figure 5 - Cantata, Movement I – Chorus28

Tchaikovsky brings back this particular motive three times within the Cantata. The first return is in the second movement at the end of the instrumental sections that precede and conclude the solo, seen in the following excerpt (Figure 6):

28 Pyotr Ilyich Tchaikovsky. “Moskva Kantata.” Vol. 27 in P.I. Tchaikovsky: Complete Collected Works. Moscow: Muzgiz, 1960.

Figure 6 - Cantata – Movement II – Arioso (mezzo-soprano)

It returns again at the closing of the fourth movement when it is interwoven into the texture of the final twelve measures (see above, Figure 4). The final statement of this descending motive is found in the final four measures of the fifth movement (Figure 7).

Figure 7 - Cantata, Movement V

Motivic Outline

In the second movement, the motivic outline is embellished but serves as the primary musical material. It is first heard in the orchestral introduction to the second movement and is promptly followed by the melody given to the mezzo-soprano soloist. Tchaikovsky embellishes the original ascent to the sixth by climbing up to the tonic before falling down through the octave. The second statement of this motive in the accompaniment is embellished even further with the ascent through the sixth and the tonic to the third above and falling back through an arpeggiated motion. The following excerpts demonstrate these effects and show how the motive is woven into the second movement (Figure 8).

Figure 8 – Cantata, Movement II

The “Susanin” motive is not as prominent in the third movement. It does not appear in the lines of the choir or the accompaniment but a variation of it can be heard in mm. 7-28 in the horns (Figure 9).

Figure 9:

In the fourth movement the “Susanin” motive is found in the opening of the baritone solo

(Figure 10):

Figure 10 - Cantata, Movement IV, mm. 12- 14

Tchaikovsky then reuses the same motive in the development of the fifth movement’s mezzo-soprano arioso, recalling the previous movement’s character and connecting the two

thematically. The solo line captures the essence of the “Susanin” motive, but is deceiving because of its downward leap of a fifth and its overall length (Figure 11).29

Figure 11 - Cantata, Movement V – Arioso (mezzo-soprano)

In the final movement of the Cantata, the motive can be heard quite clearly at the Allegro con spirito, particularly in the melody sung by the mezzo-soprano and played by the accompaniment that doubles her (Figure 12).

Figure 12 - Cantata, Movement VI – Allegro con spirito

29 Tchaikovsky became such a fan of the opening idea that he reused it later as Pauline’s Aria in the opera Pikovaya Dama.

All of the previous motives are centered on the same intervallic idea of an ascending step from the fifth scale degree that then descends stepwise to the tonic.30 As the Cantata progresses, the motives begin to evolve and develop.

Another interesting connection can be found between the opening of the third and fourth movements. In the third movement, the vocal line of the soprano section is heard again as the theme of a fugal subject in the opening of the fourth movement. By examining Figures 13 and

14, these can be compared:

Figure 13 – Cantata, Movement III, mm. 1-5

30 Brown illustrates the use of some of these motives in The Years of Wandering (p. 216, Ex. 188a-k) with the excerpts transposed to start on the same note.

Figure 14 – Cantata, Movement IV, mm. 1-11

Additionally, Brown points out that this material is in fact another borrowing from

Glinka’s A Life for a Tsar. This time Tchaikovsky quotes the opening of the first chorus of the opera in Act I, excerpted below.

Figure 15 – A Life for a Tsar (Mikhail Glinka), Act I, no. 1

Similarities to other Tchaikovsky compositions

The Cantata is unique in Tchaikovsky’s output in that it opens with a hymn-like introduction by the celli divided into four parts (Figure 16), a device found only in the 1812

Overture (Figure 17). Tchaikovsky’s Symphony no. 6, movement I is similar in character with a

slow, homophonic entrance, but lacks the celli in divisi and is also augmented by the bassoon and contrabass (Figure 18).

Figure 16 – Cantata, Movement I, opening

Figure 17 – 1812 Overture, opening

Figure 18 – Symphony no. 6, Movement I

The unique entrances of the Cantata and 1812 Overture give a sense of nationalism and hymn-like praise to otherwise secular compositions.

It can also be theorized that these motivic ideas are also related to one of the most common Russian folk songs, “Vo pole berezka stoyala” or “A birch tree stood in the field.”

(Figure 19) It was not unusual for Tchaikovsky to incorporate this song into his compositions.

He included direct quotations of it in his Symphony no. 4 and allowed it to serve as one of the main motives in the fourth movement (Figure 20).

Figure 19 – “Vo pole bereza stoyala”

Figure 20 – Tchaikovsky, Symphony no. 4, mvt. IV (Piano reduction shown)

Together these motives not only create unity throughout the piece, but also evoke the patriotic and nationalistic character of the Cantata. By incorporating the idea of the Hymn for the

Tsar without actually directly quoting the piece as well as referencing the Russian folk song,

Tchaikovsky creates an elegant and expressive Cantata, which served its purpose of praise for the city of Moscow and its ruler.

The Cantata as an Expression of Tchaikovsky’s Compositional Style

Tchaikovsky considered himself a patriot. He praised the future Alexander III at least partially because Alexander had graciously rewarded the young composer monetarily in the earlier part of the century. While Tchaikovsky was not part of the “Mighty Handful,” he did include references to Russian folk melodies in his compositions as well as odes to the Emperor.

Perhaps one reason why the motivic relationship in many of his works seems similar is that he uses much of the same musical language and sources as a way of creating nationalistic music.

His music was meant to resonate not only with the aristocracy, but also with the Russian people.

By often using stepwise motion, Tchaikovsky created “singable” melodies that were easily repeated by the average Russian listener. He also relied on repetition and sequence to strengthen the motives and melodies. This technique is a predominant feature throughout most of his works and especially in the Cantata.

Tchaikovsky’s harmonic structure is not overwhelmingly complex, relying heavily on ostinato and pedal tones as a way of emphasizing motivic ideas. One example of this is the last eleven measures of the first movement, with the repeating ostinato beginning in the chorus and moving to the French horn. The use of a prolonged pedal tone may be found in the fourth movement, mm. 55-72, in the timpani and contrabasses, later amplified with the addition of tuba and bassoons. These instruments prolong a B pedal tone while the remainder of the orchestra repeats a descending motive sequentially outlining a B-diminished-7 chord over a span of two octaves.

The form of the Cantata is also fairly simple. The following chart outlines and describes the form of each movement (Figure 21).

Figure 21

KEY TEMPO FORM METER

Through composed MVT. I A major Andante Religioso (♪ = 104) with 6/8, 9/8 motivic variation

Moderato con moto (♩ = 104) MVT. II B minor ABA' 3/4 Tranquillo (♩ = 84)

AA' MVT. III D major Allegro (♩= 132) 2/4 Binary

Moderato (♩ = 104) Largo (♩. = 68) ABAC MVT. IV B minor Meno Mosso (♩ = 50) 4/4, 12/8, 6/8, 2/4 Coda L’istesso tempo (♩. = 63) Moderato con mosso (♩ = 100)

MVT. V E-flat minor Andante Molto Sostenuto (♩ = 66) ABA 4/4,

Moderato con moto (♩ = 108) Meno mosso (♩ = 84) E-flat minor/ Through MVT. VI Andante con moto (♩ = 80) 4/4, 2/4, 4/4, 2/4 D major Allegro con spirito (♩ = 144) composed Molto piu mosso prestissimo ( = 126)

While the use of the keys A major (dominant) and B minor (parallel minor) are typical for movements in a D major work, the use of E-flat minor in the penultimate movement is startling and refreshing. At a glance, there is no logical explanation for the choice of this somewhat random key; however, it is possible that his choice of the E-flat minor was a way to emphasize the relationship of the flat sixth to the tonic key. If considering only key relationships, look to the sixth movement for answers, specifically mm. 24-30 (Figure 21). In m. 24,

Tchaikovsky writes an F major chord, following a chromatic step-wise descent in the bass line over five measures from G-flat to the F major chord in second inversion. This sudden stop of forward motion at F major is important in that it signals the beginning of the end of the baritone solo. In m. 26 he writes a B-flat major chord, leading the ear to believe he was using the F major chord as a potential dominant to that B-flat major chord. In m. 29, he includes an Italian

Augmented Sixth chord on B-flat. This chord acts as the subdominant and sets the tone for the dominant chord of A major found in m. 30. It can thus be theorized that the E-flat acts as the seventh in the key of F, the dominant of B-flat major, which is in turn the flattened sixth step in the D major scale. This reflects the consistent use of the flat sixth not only in the motivic material but also in the key relationships between movements. Tchaikovsky also created a musical link through the E-flat minor key to both the patriotic text of the Cantata and the 1812

Overture, which will be discussed in the following chapter.

Figure 21 – Cantata, movement VI, mm. 22-33

Conclusion

The motives throughout the Cantata are adaptations and variations on a single motivic outline. Each movement is defined by a unique motive, but when examining the grand scheme of the Cantata, the motives are clearly linked. Additionally, by connecting these motives to Glinka and to the National Hymn, the Cantata becomes more patriotic and nationalistic in character. It is evident that Tchaikovsky was mindful of how he set the text so as not to take away from its expressive nature, but rather to amplify it. As the hero in Susanin’s Aria prepares to sacrifice his life for his Tsar, the hero of Maikov’s poem in the fifth movement does the same in a plea for guidance and help. Tchaikovsky’s linking of motives also reinforces the Pan-Slavic nature of

Maikov’s poetry. This is particularly evident in the first and fourth movements with the mention of various countries from which others have come to praise their one king. The final result becomes a unified, nationalistic and exciting Cantata.

Chapter 4: Performance Considerations

Guide to Russian Language Pronunciation in the Cantata

To a native Russian speaker and conductor or singer, the Cantata is not a particularly difficult work. However, a non-native speaker might brush the piece aside purely on the basis that it has “too much Russian text,” a rather unfortunate act. The most common stumbling blocks in the current edition in Tchaikovsky’s Complete Collected Works, v. 33 or the free IMSLP edition are the lack of text under each vocal line, use of the Cyrillic text without a phonetic transliteration and a difficult to read score. The new edition will resolve all of these issues, while this chapter will help the conductor and singer understand the basics of the Russian language as they relate to the Cantata.

The Vowels

While the American alphabet has 26 letters, the Russian language uses 33 Cyrillic letters

– 20 consonants, 10 vowels, 2 modifiers and 1 semi-vowel. Figure 22 below shows the IPA equivalent of the Cyrillic and the Romanized transliteration.31

As with any language vowels and consonants are to be modified depending on their syllabic stress and the letter that follows or precedes them. In various editions of Russian music, many discrepancies exist between the transliterated Russian and the actual Russian pronunciation because of this vowel modification or reduction.

31 Portions of this chapter have been adapted from the author’s Master’s Thesis entitled “A Choral Guide to Alexander Borodin’s ‘Polovetsian Dances’.”

Figure 22: Russian Cyrillic alphabet and IPA chart. Top: Russian Cyrillic, Middle: IPA Symbol, Bottom: Romanized transliteration. *The letter [й] is a semi-vowel and is always found next to a vowel and never alone between consonants. **The [ъ] and [ь] letters are modifiers and do not have an IPA equivalent. They let the reader know whether the preceding letter is pronounced as a hard or soft consonant. ^The letters [ш] and [ц] are never softened. It is considered that the letter [щ] is the softened version of [ш].

Aа Ƃб Bв Гг Дд Eе Ёё Жж Зз Ии Йй*32 [ɑ] [b] [v] [g] [d] [jɛ] [jo] [ʒ] [z] [i] [j] or [i] ah b v g d yeh yoh zh z ee y (as in “your”) Kк Лл Mм Hн Oо Пп Pр33 Cс Tт Уу Фф [k] [l] [m] [n] [o] [p] [r] [s] [t] [u] [f] k l m n oh p r s t oo f Xх Цц Чч Шш^ Щщ Ъъ Ыы Ьь Ээ Юю Яя [x] [ts] [tʃ] [ʃ] [ᶋᶋ] - [ɨ] - [ɛ] [ju] [jɑ] kh ts^ ch sh shch ** iy ** eh yoo yah

Unlike Church Slavonic in which the vowels are pronounced as written, i.e. “о” is pronounced [o], the spoken Russian language uses the reduction of vowels in unstressed syllables. Thus, a stressed “o” is still pronounced [o], but an unstressed [o] vowel is modified - or reduced - to a neutral vowel. There are many discrepancies as to which neutral vowel it should be reduced.

32 The Russian letter [й] acts as a semi-vowel or sometimes a glide. When a word begins with [й], it will be pronounced as a glide [j] as in the word “йод” [jod]. However, when it is found in the middle of a word or at the end, the intensity of the [j] is based on the tempo and desired lyricism of the music. If the desired effect is a short, abrupt [й] found in a fast movement, the singer should use [j]. However, when the tempo is slower and more lyric, it is best to use [i] to create a more elongated and natural pronunciation. An example of this elongation is found in the first movement phrase “ты прости прощай мил родимый край.” It is suggested that the performer use the [i] vowel to represent [й] here, rather than the more abrupt [j], thus creating the following transliteration: [tɨ prɑ-‘st̡̡̡̡i prɑ-‘ᶋᶋɑi ᶆil rɑ-‘ᶁi-mɨi krɑi] and a more legato phrase. In all cases, the preceding vowel will always be the dominant, sung vowel and the [i] or [j] will simply be added at the end of the audible note, just as other consonants. In the case of the diphthong, the two vowels should not be treated equally unless notated in the music. 33 In Russian, the letter [Pp] is pronounced as a rolled [r]. If a student is unable to pronounce a rolled [Pp], they may be asked to sing with a gentle [d] sound instead. It would be incorrect for a singer to sing an “American” [r].

Dr. Anton Belov in A Guide to Russian Diction writes, “In Russian singing diction the use of the true schwa is usually avoided. There are several shadings of this sound in conversational Russian. However, most vowels that are reduced to a schwa in speech must be sung as a slightly weakened [a].”34

Musica Russica, the top publisher of Russian choral music in the US, uses the symbol [ŏ] for a reduced and unstressed “o” vowel. Richard Sylvester in Tchaikovsky’s Complete Songs uses the Library of Congress system for transliteration and reduces the vowel “o” to an “a” when not stressed.35 Daniel Jones and Dennis Ward in The Phonetics of Russian use the [ʌ], but only in the reduction of vowel that is immediately preceding a stressed syllable. They additionally explain that the [ʌ] vowel is a “sound midway between ə and the ɑ.”36

In this document, in the case of an unstressed “a” or “o,” vowels have been reduced to a

[ʌ] vowel more suited for singers. This will allow the singer not to overstress the “a” sound while still maintaining the reduction of an unstressed vowel. However, in slower movements or where a note is lengthened, the primary vowel will be kept in order to preserve the legato structure of the line and a more natural sound production. Additionally, in multi-syllabic words, where the stressed syllable is preceded by two unstressed [a] or [o] vowels, the first vowel will be reduced to a [ʌ], but the second syllable will remain an [ɑ] to reflect the slight difference in the openness of the vowel. An example of this is the word “кабана” where the reduction would be [kʌbɑnɑ].

While other Russian IPA guides use different letter vowels to represent this differentiation, the following edition is simplified so as not to create further confusion for the beginning Russian singer.

34 Anton Belov. “A Guide to Russian Diction,” Russian Art Song, http://www.russianartsong.com/A-Guide-to- Russian-Diction-Full-Version.pdf (accessed 6/10/15), 6. 35 Richard Sylvester. Tchaikovsky’s Complete Songs. (Bloomington: Indianan University Press, 2002), xiv. 36 Daniel Jones and Dennis Ward. The Phonetics of Russian. (London: Cambridge University Press, 1969), 50.

Lastly, it should be noted that finding the stressed and unstressed syllable in the Cantata is as simple as following the melodic line. Tchaikovsky, Borodin, Rimsky-Korsakov and many other nineteenth century composers gave much attention to the natural prosody of the text. Thus, the stressed syllables almost always fall on the same place as the musical stress. The featured edition uses an apostrophe (‘) preceding a stressed syllable to denote the location of the accent.

Additionally, each syllable has been divided using a dash (-) to show syllabification.

The Russian [ы] and [x]

Two of the most difficult sounds in the Russian language, which have no equivalent in

English are [ы] and [x]. The [ы] is a relative (or allophone)37 of the [i] and [I] sounds, but is much darker and produced at the back of the throat with low placement of the tongue. The

Russian author Ruben Avanesov in Phonetics of Contemporary Literary Russian Language, describes the letter [ы], saying, “When forming [ы], the body of the tongue is slightly moved toward the back, away from the teeth, and the full back of the tongue is raised high (additionally, the tip of the tongue is also slightly raised).”38 Anton Belov adds, “The tip of the tongue is on or close to the bottom teeth. The front of the tongue is in the positions of [i], the back of the tongue is moved slightly forward. Though this vowel is a close relative of English [I] as in inn, its exact equivalent does not occur in any Western European language. A similar vowel, however, is found in Turkish and Korean.”39

37 Ibid., 6. 38 Avanesov, R.I. Fonetika Sovremennogo Russkogo Literaturnogo Yazika. (Moscow: Moscow University Press, 1959), 91. Translated by Olga Artemova. The original Russian text reads: “При образовании [ы] тело языка несколько отодвинуто назад от зубов и высоко приподнята вся спинка языка (причем несколько приподнят также кончик языка).” 39 Belov, 6.

Equally as foreign to the English language is the Russian [x] as in the word “Христов.”

This sound should be produced by sending air through the vocal cords while saying the English letter [h]. Joan Wall, in her book Diction for Singers, suggests that it is the equivalent of the

German Ach-Laut. The German Ach-Laut, however, is too harsh for the Russian language and needs to be modified to sound like passing air with no fricative or guttural sounds formed in the back of the throat. Daniel Jones in Phonetics of Russian states:

There is very little friction in the Russian x, much less than in the German x, as in ach (ax), less even than in the Scots x, as in loch (lox). At times the friction is barely audible. The German or Scots x may be taken as a starting-point for the production of Russian x. Alternatively the sound may be reached by starting from k and then releasing the closure slightly so that air passes between the tongue and the palate in a continuous stream. In either case the friction must then be reduced until it is very slight.40

Joan Wall, further explains the production of the Russian [x], saying,

Produce [x] by directing an energetic air stream between the velum and the arched back of the tongue. You may think of the sound as a fricative [k]. Try pronouncing the velar- plosive [k] several time [k k k k], then prolong the sound of the attack, [kxxxx]. Finally, remove the initial [k], attacking and sustaining the sound of [x]. The Ach-Laut is always an aspirated sound; it is never pronounced as the plosive [k].41

The [x] sound is found in the Cantata in words like “князьях,” “Христов,”

“отхлынула,” “всех,” “ханский,” “восточных,” and others, and should be produced effortlessly with air. Therefore, when the choir is required to sing words with a [x] at a forte dynamic, the production consists of air and never of a [k] or Hebrew guttural [ḥ] sound.

Consonants

In addition to the different vowel modifications, the consonants also need to be brought to attention. The Russian language incorporates both hard consonants and soft consonants,

40 Jones and Ward, 143. 41 Joan Wall et al. Diction for Singers. (Dallas: Pst…Inc., 1990)

which are more difficult to find in the English language (see Figure 23). Soft consonants occur when the consonant is followed by letters [e], [ë], [и], [ю], [я] or the softening symbol [ь].

Figure 23: Soft Russian consonants and their IPA equivalents. *There are no English equivalents for these sounds.

Ƃ B Г Д Ж З K Л M H [ ᶀ ] [ ᶌ ] [ ᶃ ] [ ᶁ ] Never [ ᶎ ] [ ᶄ ] [ ᶅ ] [ ᶆ ] [ ᶇ ] beautiful view ague dew soft azure cute lieu mute new

П P C T Ф X Ц Ч Ш Щ [ ᶈ ] [ ᶉ ] [ ᶊ ] [ t̡̡ ] [ ᶂ ] [ ᶍ ] Never [ tᶋ ] Never [ ᶋ ] pew * * tune few huge soft cheese soft Shoe

The sound formation of soft consonants lies in raising the tongue higher than for hard consonants, so that the tongue touches the back of the teeth. This action happens most frequently in English when a consonant is followed by a [ju] sound as noted above. Some consonants do not have equivalents in the English language and should be practiced separately.42

In order to create a more accurate pronunciation, it is especially important to distinguish between the softened, plosive consonants like [ᶁ] and [t̡̡] and the dental, hard consonants like [d] and [t]. The plosives should be audible to the ear and more present in choral singing as compared to their dental counterparts. The dental [d] and [t] are fairly simple, as they are found in the

English language in words like “down” or “town.” While these are produced by touching the tip of the tongue to the back of the upper teeth and lowering the middle of the tongue, the plosive [ᶁ] and [t̡̡], as Anton Belov states, are produced when “the tip of the tongue touches the lower teeth; the middle of the tongue is pressed against the hard palate. The air escapes between the mid-

42 Soft consonants are found in words like “ключика,” “река,” “звёздочка,” and many more.

tongue and the hard palate.”43 Doing this correctly will produce a slight “s” sound after the plosive “t” and a slight “z” sound after the plosive “d.” Making this distinction alone can tremendously improve the authenticity of the Russian pronunciation.

Knowledge of these basic diction rules allows the singer not only to learn the text accurately, but to use it for future study of Russian music. Meticulous attention to the pronunciation will be the key to an authentic performance.

43 Belov, 12.

Accompaniment Revisions in the New Edition

Tchaikovsky created a piano reduction and orchestration side-by-side. For this reason very few changes were made to the piano reduction itself in this edition. Rather, suggestions have been made as to how difficult passages might be altered in order to become more idiomatic for the piano. The following changes are shown and described below.

Figure 24: Excerpt from Tchaikovsky’s manuscript of the Cantata, Movement II Arioso. The piano reduction is at the bottom of the page.

Movement I

1. Mm. 20, 23, 37 and 39 have been adjusted by revoicing for ease of playing the ascending

chordal arpeggios at the required tempo.

Movement II

2. Mm. 26 and 28 have also been revoiced to avoid to the rather large leap of a tenth in

the left hand.

Movement III

3. In mm. 7-8 and 58-59, the grace notes have been reduced to only two in order to be

more idiomatic for rapid playing on the piano as opposed to a full orchestra.

4. In mm. 30-31, 34-35, 81-82 and 85-86 the top note of every octave in the left hand

except the downbeat have been removed to facilitate more accuracy at a rapid tempo.

5. In mm. 21-29, the string sixteenth note tremolos were turned into quarter note stacked

chords. In doing so, the accompaniment became more playable at Tchaikovsky’s

tempo of 132 to the quarter note and created a rhythmic doubling of the choral parts

without compromising the integrity of the original orchestral accompaniment.

Movement V

6. M. 1: While Tchaikovsky does not specify rolled chords in his manuscript, he does

write arpeggiated chords for the harp in the full score. Thus, the chords could be

rolled by the piano to imitate the full orchestration.44 This was not a revision in the

edition provided in this document, but is offered as a suggestion.

44 Tchaikovsky makes this addition later in Pauline’s Aria from Pique Dame.

Movement VI

7. The opening of the final movement is one of the most technically difficult passages in

the Cantata as it requires both the right and left hand to play the same chord in a

triplet rhythm at a fast tempo. This section has not been revised in the new edition in

order to preserve Tchaikovsky’s original intents, but a few suggestions have been

made as to how one might approach this particular opening phrase. Tchaikovsky sets

the tempo at 108 to the quarter note. Due to the bright tempo, achieving the desired

effect of French horns alternating with bassoons and oboes on the piano is rather

challenging. Thus, a possible way to remedy this issue is to play the tonic E-flat on

beats 1-4 in the left hand, while the right hand plays the top two notes (B-flat and G-

flat) in the first two chords of the triplet followed by the bottom note (E-flat) in the

original rhythm. After consultation among other collaborative pianists, it has been

suggested that the damper pedal may also be used to a pianist’s advantage to achieve

Tchaikovsky’s desired effect.

8. In mm. 77, a minor change has been made in removing a doubled D note in the

second beat.

9. The same kind of revision was made in m. 84 by removing a doubled F-sharp from

the third beat of the measure.

10. In mm. 89, 91 and 107, the A major chord and the following passing chord have been

revoiced in order to accommodate a more natural reach for the pianist.

11. Mm. 92-108 were simplified due to the fast tempo of the movement, in this case 144

to the quarter note. A change has been made from the string tremolos to eighth note

octave scales in the right hand passages.

12. Finally, in mm. 139 and 140, the eighth notes in the left hand have been replaced by a

tremolo as reflected in the full score by the timpani roll.

I believe these revisions will allow the work to not only be more idiomatic for the piano and more approachable for the pianist, but will, also, better represent the orchestral score in the form of piano accompaniment.

CONCLUSION

While the Cantata was not intended to be one of Tchaikovsky’s greatest works, it served as a stepping-stone and benefitted his career in the long run by reaffirming his position as a major European composer and allowing him to acquire and successfully maintain the friendship, respect and patronage of Tsar Alexander III. In return he was praised and rewarded financially both immediately and later in his career. Had Tchaikovsky chosen to spend the spring of 1883 finishing work on Mazeppa, it is possible that he would not have encountered the same fortunes.45

This document allows the performer to discover the Cantata, a treasure in Tchaikovsky’s musical output. It presents an in-depth historical background, motivic musical connections and an accessible transliteration and translation of the original Russian text in hopes choirs at the collegiate, community and professional levels will program the Cantata as part of their concert repertoire.

45Poznansky, 420.

Selected Bibliography

Abraham, Gerald. The Music of Tchaikovsky. New York: Norton & Co. Inc., 1946.

Adams, David. “A Handbook of Diction for Singers: Italian, German, French.” New York: Oxford University Press, 1999.

Avanesov, R.I.. Fonetika Sovremennogo Russkogo Literaturnogo Yazika. Moscow: Moscow University Press, 1956. “Manuscript of Moscow. Cantata in 6 Parts.” Портал Культурного Наследия России Культура.рф. http://www.culture.ru/project/tchaikovsky/objects/1962 (accessed May 1, 2015).

Bacu, Dumitru. The Anti-Humans. Student Re-Education in Romanian Prisons. Colorado: Englewood, 1971. Bidwell, Charles. “An Alternate Phonemic Analysis of Russian.” The Slavic and East European Journal 6, no. 2 (1962): 125-129. Belov, Anton., “A Guide to Russian Diction,” Russian Art Song, http://www.russianartsong.com/A-Guide-to-Russian-Diction-Full-Version.pdf (accessed 8.1.2014).

Brown, David. Tchaikovsky: The Man and his Music. New York: Pegasus Books, 2007.

______. The Years of Wandering 1878 – 1885. Vol. 3 of Tchaikovsky: A Biographical and Critical Study. New York: W.W. Norton & Co. New York, 1986.

“Cantata ‘Moskva’ by Peter Ilyich Tchaikovsky,” St. Petersburg Theater Potudan, http://www.potudan.ru/proizvedenia/kantata-moskva-petra-ilicha-chajkovskogo.html (accessed 8.1.2014).

Cioroianu, Adrian. On the Shoulders of Marx. An Incursion into the History of Romanian Communism. Bucharest: Editura Curtea Veche, 2005.

Cox, Richard Garner. “Singing in English: A Manual of English Diction for Singers and Choral Directors.” Lawton, Oklahoma: American Choral Directors Association, 1990.

Crosswhite, Katherine Margaret. “Vowel Reduction in Russian: A Unified Account of Standard, Dialectal, and ‘Dissimilate’ Patterns.” University of Rochester, Working Papers in the Language Sciences 1, no. 1 (2000): 107-172.

Frumkis, Tatyana. "P. I. Tchaikovsky's Cantata Moscow. (Un)random Text in an (Un)random Context” in Москва и Mосковский Текст Русской Культуры. Moscow: Издательство центр Российский Государственный гуманитарный институт, 1998.

______. “P. I. Čajkovskijs Kantate Moskva zur Krönung Zar Aleksandrs III im Jahre 1883” in Tschaikowsky-Gesellschaft Mitteilungen, Heft 7, 2000.

Glinka, Mikhail. A Life for the Tsar. Moscow: Muzgiz, 1965.

Grayson, Craig M.. “Russian Lyric Diction: A Practical Guide with Introduction and Annotation and a Bibliography with Annotations on Selected Sources.” DMA diss., University of Washington, 2012. https://digital.lib.washington.edu/researchworks/bitstream/handle/1773/20548/Grayson_ washington_0250E_10459.pdf?sequence=1&isAllowed=y (accessed May 2015).

Haller, Steven J.. “Coronation Cantata,” American Record Guide 66, no. 6 (November 2003): 69-70.

Holden, Anthony. Tchaikovsky. New York: Bantam Press, 1995.

Jones, Daniel, and Ward Dennis. The Phonetics of Russian. London: Cambridge University Press, 1969.

Keldish, U., “Tchaikovsky. Cantata ‘Moskva’,” Belcanto.ru, Ivan Fyodorov, http://www.belcanto.ru/or-tchaikovsky-moscow.html (accessed August 1, 2014).

Kerridge, W.H. “The Union of Soviet Composers,” The Musical Times 75, no. 1102 (December 1934), http://www.jstor.org/stable/919586?seq=1#page_scan_tab_contents (accessed May 2015).

Krilova, V.D., “Incidental Cantata of the Late 19th and Early 20th Centuries: The Russian Variant of the Genre,” Filologia, http://www.unn.ru/pages/issues/vestnik/99999999_West_2009_3/45.pdf (accessed August 1, 2014).

Mountfield, David. Pyotr Ilyich Tchaikovsky: 1840 – 1893. New Jersey: Chartwell Books, Inc., 1990.

Orlova, Alexandra. Tchaikovsky: A Self-Portrait. New York: Oxford University Press, 1990.

“On Restructuring Literary-Artistic Organizations – Decree of the Central Committee of the VKP 23 April 1932” SovLit.net http://www.sovlit.net/decree1932/ (Accessed May 2015)

Parsons, William, “Tchaikovsky, the Tsars, and the Tsarist National Anthem.” In Tchaikovsky and His Contemporaries: A Centennial Symposium, edited by Alexandar Mihailovic, 227-33. Westport, CT: Greenwood Press, 1999.

Piatak, Jean. Russian Songs and Arias: Phonetic Readings, Word-by-Word Translations, and a Concise Guide to Russian Diction. Dallas, TX: Pst. Inc., 1991.

Poznansky, Alexander. Tchaikovsky: The Quest for the Inner Man. New York: Schirmer Books, 1991.

Prichard, Laura Stanfield. “Mikhail Ivanovich Glinka, http://www.musikmph.de/musical_scores/vorworte/1561.html (accessed May 15, 2015).

R.H.. Review of Recording Three Russian Cantatas, Andrei Christyakov [conductor]. Opera News, May 1994.

Rozanova, U. “P.I. Tchaikovsky, Cantata ‘Moscow’,” ArsLonga, http://arsl.ru/?page=74 (accessed October, 2014).

Sheil, Richard Fort. A Singer’s Manual of Foreign Language Dictions. 6th ed. New York: YBK Publishers, 2004.

Tarakanov, Boris. “Comments.” Musical Archive of Boris Tarakanov, http://notes.tarakanov.net/moscow/chaik.txt (accessed August 2014).

Tchaikovsky, Piotr Ilyich. Complete Collection of Works. Vol. 3 of Literaturniye Proizvideniya i Perepiska. Edited by K.U. Davidova and G.I. Labutina. Moscow: Muzika, 1966.

______. Letters to his Family: An Autobiography. New York: Stein and Day Publishers, 1981.

______. “Moskva Kantata.” Vol. 27 in P.I. Tchaikovsky: Complete Collected Works. Moscow: Muzgiz, 1960.

______. Suite no.1 for Symphony Orchestra. Moscow: Muzika, 1976.

Sylvester, Richard D., Tchaikovsky’s Complete Songs. Bloomington: Indianan University Press, 2002.

Videman, P.E., “Tchaikovsky: Life and Work of a Russian Composer,” Tchaikovsky, Ivan Fyodorov, http://www.tchaikov.ru/choir.html (accessed August, 2014).

Wall, Joan. International Phonetic Alphabet for Singers: A Manual for English and Foreign Language Diction. Dallas, Texas: Pst. Inc., 1989.

Wortman, Richard S.. “The Coronation of Alexander III” in Tchaikovsky and His World. Princeton, New Jersey: Princeton University Press, 1998.

Selected Discography

Cherkasov, Gennadi, dir. Tchaikovsky: Symphony no. 5 and Cantata “Moscow” for Choir, Soloists and Orchestra. Moscow Radio Symphony Orchestra and Chorus. Alto/Musical Concepts 1105. 2010.

Christyakov, Andrei, dir. Three Russian Cantatas by Taneyev, Rachmaninoff, Tchaikovsky. Choir and Orchestra of the Moscow Choral Academy. Le Chante du Monde 288069. 1996.

Gergiev, Valeriy, dir. Tchaikovsky: 1812 Overture, Moscow Cantata, Marche Slave. Mariinsky Orchestra and Chorus. Mariinsky MAR0503. 2009.

Golovanov, Nikolai, dir. Tchaikovsky – Moscow Cantata. Moscow Radio Chorus and Large Symphony Orchestra. Gebhardt 58. 2005.

Litton, Andrew, dir. Tchaikovsky: 1812 Overture; Moscow Coronation Cantata; The Sleeping Beauty; The Voyevoda. Dallas Symphony Orchestra and Chorus. Delos 3196. 1996.

Rozhdestvenskiy, Gennady, dir. Tchaikovsky: Moscow Coronation Cantata; Ode to Joy – Cantata; Dmitri the Imposter – Incidental Music. Moscow Radio Symphony Orchestra and Chorus. Citadel Records 88138. 1999.

APPENDIX

IPA Transliteration of Apollon Maikov’s Text

Movement 1

С мала ключика студеная потекла река; ‘smɑlʌ ‘kᶅutᶋikɑ stuᶁe‘nɑjʌ pʌt̡̡̡̡e‘klɑ ᶉe‘kɑ s mala klyutchika studenaya patekla reka

С невелика зачиналась каменна Москва sᶇeᶌe‘ᶅikɑ zʌtᶋi‘nɑlʌᶊ kɑᶆen‘nɑ mɑs‘kvɑ s nevelika zachinalas kamenna maskva

Наезжали тут князья тешиться по тeмным лесам nɑje‘ʒʒɑᶅi tut ‘kᶇɑᶎjʌ ‘t̡̡̡̡ɛʃɨtsʌ pʌ t̡̡̡̡ɛm‘nɨm ᶅe‘sɑm nayezhali tut knyazya teshitsa pa temnim lesam

Кабана травить, в тихих заводях лебедей стрелять kʌbɑ‘nɑ trɑ‘vit̡̡̡̡ ‘ftiᶍix ‘zɑvʌᶁɑx ᶅeᶀe‘ᶁɛi ‘stᶉeᶅɑt̡̡̡̡ kabana travit ftihih zavadyah lebedey strelyat

Гой не туча в синем небе расстилается goi ᶇe ‘tuʧɑ ‘fᶊiᶇem ‘ᶇɛᶀe rɑst̡̡̡̡i‘lɑjetsʌ goy ne tucha fsinem nebe rastilayetsa

Злы татары вал за валом по Руси валят; zlɨ tɑ‘tɑrɨ vɑl zɑ ‘vɑlʌm pɑ ru‘ᶊi vɑ‘ᶅɑt zli tatari val za valam pa rusi valyat

Не видать в дыму красна солнышка, ᶇe ᶌi‘dɑt̡̡̡̡ vdɨ‘mu ‘krɑsnʌ ‘solnɨʃkʌ ne vidat vdimu krasna solnishka

Стоном стон стоит по лицу земли, ‘stonʌm ‘ston stɑ‘it pʌ ᶅi‘tsu ᶎem‘ᶅi stonam ston stait pa litsu zemli

Где не бьют людей – гонят полоны gᶁɛ ᶇe ᶀjut ᶅu‘ᶁɛj ‘goᶇʌt ‘polʌnɨ Gde ne byut lyudei gonyat polani

Полоняночки идут; друг друга спрашивают: pʌlɑ‘ᶇɑnʌʧ̡̡ki i‘dut drug ‘drugɑ ‘sprɑʃɨvʌjut palanyanachki idut drug druga sprashivayut

из которой веси, из какого города? is kɑ‘torʌi ‘ᶌɛᶊi is kɑ‘kovʌ ‘gorʌdɑ is katorai vesi iz kakova gorada

Я из Киева…Я из Чернигова… jɑ is ‘ᶄijevɑ jɑ is ʧ̡̡ɛr‘ᶇigʌvɑ ya is kiyeva ya is chernigava

Я из Суздаля…Из Переяслава… jɑ is ‘suzdʌᶅɑ is ᶈeᶉe‘jɑslʌvɑ ya is suzdalya is pereyaslava

Ты прости-прощай мил родимый край tɨ prɑ‘st̡̡̡̡i prɑ‘ᶋᶋɑi ᶆil rʌ‘ᶁimɨi krɑi ti prasti prasshai mil radimiy krai

Ты в конец ли, Господи, на Русь прогневался? tɨ fkɑ‘ᶇɛts ᶅi ‘gospʌᶁi nɑ ruᶊ prɑg‘ᶇevɑlsʌ ti fkanets li gospadi na rus pragenvalsa

Ни пощады ей не будет, ни спасенья? ni pɑ‘ᶋᶋɑdɨ jɛi ᶇe ‘buᶁet ᶇi ‘spɑᶊeᶇjɑ ni passhadi yey ne budet ni spasenya

В людях рознь идёт, в князьях которы, ‘vᶅuᶁʌx rozᶇ i‘ᶁot ‘fkᶇɑᶎjʌx ‘kotʌrɨ Vlyudah rozn idyot fknyazyah ‘kotari

Где ни глянь, кругом тёмна ночь лежит непроглядная gᶁɛ ᶇi gᶅɑᶇ kru‘gom ‘t̡̡̡̡omnɑ notᶋ ᶅe‘ʒɨt ᶇe prɑ‘gᶅɑdnʌjɑ! Gde ni glyan krugom tyomna noch lezhit ne praglyadnaya

Movement 2

То не звёздочка засветилася в непроглядной тьме to ᶇe ‘zᶌozdʌʧkɑ zʌsᶌe‘t̡̡̡̡ilʌsʌ vᶇeprɑ‘gᶅɑdnʌi t̡̡̡̡ᶆɛ to ne zvyozdatchka zasvetilasya vnepraglyadnay tme

то зажглась свеча воску ярого в каменной Москве; to zɑʒ‘glɑᶊ sᶌe‘ʧɑ ‘vosku ‘jɑrʌvɑ fkɑᶆen‘noi mʌs‘kᶌɛ to zazhglas svetcha vosku yarava fkamennoy maskve

Зажигал её там Святитель Петр да Московский князь, zɑʒɨ‘gɑl je‘jo tɑm sᶌɑ‘t̡̡̡̡it̡̡̡̡eᶅ ᶈotr dɑ mɑs‘kofski kᶇɑᶎ zazhigal yeyo tam svyatitel pyotr da maskofskiy knyaz

заприметили люди русские с далека её, zʌpri‘ᶆɛt̡̡̡̡iᶅi ‘ᶅuᶁi ‘russkijɛ sdɑᶅe‘kɑ je‘jo zaprimetili lyudi russkiye zdaleka yeyo

ободрилися, на неё глядят, ʌbɑ‘dᶉiᶅisʌ nɑ ᶇe‘jo gᶅɑ‘ᶁɑt abadrilisya na neyo glyadyat

Богу молятся, а она горит-разгорается, светит всей Руси; ‘bogu ‘moᶅʌtsʌ ɑ ɑ‘nɑ gʌ‘ᶉit rʌzgɑ‘rɑjetsʌ ‘sᶌɛt̡̡̡̡it ‘fᶊɛi ru‘ᶊi Bogu molyatsa a ana garit razgarayetsa svetit fsey rusi

А Московский князь возвышается, думу думает ɑ mɑs‘kofsᶄi kᶇɑᶊ vʌzvɨ‘ʃɑjetsʌ ‘dumu ‘dumʌjɛt a maskofskiy knyas vazvishayetsa dumu dumayet

думу думает, дело делает не торопится! ‘dumu ‘dumʌjɛt ‘ᶁɛlʌ ‘ᶁɛlʌjɛt ᶇe tɑ‘roᶈitsʌ dumu dumayet dela delayet ne taropitsa

Movement 3

Час ударил жданный, радостный! ʧɑs u‘dɑᶉil ‘ʒdɑnnɨi ‘rɑdʌsnɨj Chas udaril zhdanniy radasniy

Колокольный звон по всей Руси, kʌlɑ‘kol̡̡nɨi zvon pɑ fᶊɛi ru‘ᶊi kalakolniy zvon pa fsei rusi

И молебны по церквам поют, i mɑ‘ᶅɛbnɨ pʌ tsɛr‘kvɑm pɑ‘jut i malebni pa tserkvam payut

И по всей земле веселие! i pʌ fᶊɛi ᶎem‘ᶅɛ ᶌe‘ᶊɛᶅijɛ i pa fsei zemle veseliye

Словно мутны воды вешние, ‘slovnʌ ‘mutnɨ ‘vodɨ ‘ᶌɛʃᶇijɛ slovna mutni void veshniye

Золота Орда растаяла, zʌlɑ‘tɑ ɑr‘dɑ rɑs‘tɑjʌlɑ zalata arda rastayala

От святой Руси отхлынула! ʌt sᶌɑ‘toj ru‘ᶊi ɑt‘xᶅɨnulʌ at svyatoi rusi at-hlinula

Пронеслися тучи чёрные prʌᶇe‘sᶅisʌ ‘tutᶋi ‘ʧornɨjɛ praneslisya tuchi chorniye

Вышло солнце из-за тёмных туч, ‘vɨʃlʌ ‘sontsɛ ‘izzɑ ‘t̡̡̡̡omnɨx tuʧ vishla sontse iz-za tom tyomnih tuch

Засветился им Московский кремль, zʌsᶌe‘t̡̡̡̡ilsʌ im mɑs‘kofski kᶉɛmᶅ zasvetilsya im maskofskiy kreml

Золотые храмов маковки! zʌlɑ‘tɨjɛ ‘xrɑmʌf ‘mɑkʌfᶄi zalatiya hramaf makafki

А в палате узарочатой ɑ fpɑ‘lɑt̡̡̡̡ɛ uzɑ‘roʧʌtʌj a fpalate uzarochatai

Всех светлей сидит и радостней fᶊɛx sᶌet‘ᶅɛi ᶊi‘ᶁit i ‘rɑdʌsᶇei fseh svetlei sidit i radasnei

На престоле сам Московский князь, nɑ pᶉi‘stoᶅe sɑm mɑs‘kofsᶄi kᶇɑᶊ na pristolye sam maskofskiy knyas

Самодержец всей Руси, sʌmɑ‘ᶁɛrʒɛts fᶊɛi ru‘ᶊi samaderzhets fsei rusi

А не Ханский уже данничек. ɑ ᶇe ‘xɑnsᶄi u‘ʒɛ ‘dɑnᶇitᶋɛk a ne hanskiy uzhe dannichek

Его ноженькой растоптана je‘vo ‘noʒɛᶇkʌi rɑs‘toptʌnɑ yevo nozhenkai rastoptana

Басма Ханская валяется, bʌs‘mɑ ‘xɑnskʌjɑ vɑ‘ᶅɑjetsʌ basma hanskaya valyayetsa

И бегут толпою конюхи i ᶀe‘gut tɑl‘poju ‘koᶇuᶍi i begut talpoyu konyuhi

Выметать её на задний двор. vɨᶆe‘tɑt̡̡̡̡ je‘jo nɑ ‘zɑdᶇi dvor vimetat yeyo na zadneei dvor

Movement 4

Уж как из лесу, лесу тёмного uʃ kɑk iz ‘ᶅɛsu, ‘ᶅɛsu ‘t̡̡̡̡omnʌvʌ Ush kak iz lesu lesu tyomnava

богатырь выезжал в поле чистое, bʌgɑ‘tɨᶉ vɨjɛ‘ʒʒɑl ‘fpoᶅɛ ‘tᶋistʌjɛ bugatir viyezhal fpolye chistaye

В поле чистое во великий свет. ‘fpoᶅɛ ‘tᶋistʌjɛ vʌ ᶌe‘ᶅiᶄi sᶌɛt Fpolye chistaye va velikii svet

Погулять ему б да потешиться, pʌgu‘ᶅɑt̡̡̡̡ je‘mub dɑ pɑ‘t̡̡̡̡ɛʃɨtsʌ pagulyat yemu b da pateshitsa

Силой-удалью похвалятися, ‘ᶊilʌi ‘udʌᶅju pʌxvɑ‘ᶅɑt̡̡̡̡isʌ silai udalyu pahvalyatisa

Да как вышел он во великий свет, dɑ kɑk ‘vɨʃɛl on vʌ ᶌe‘ᶅiᶄi sᶌɛt da kak vishel on va velikii svet

Увидали его люди божии uᶌi‘dɑᶅi je‘vo ‘ᶅuᶁi ‘boʒɨi uvidali yego ludi bozhiyi

Ото всей страны восточныя ɑtɑ ‘fᶊɛi strɑ‘nɨ vɑs‘toʧnɨjɑ ata fsei strain vastochniya

И взмолилися громко плачутся i vzmɑ‘ᶅiᶅisʌ ‘gromkʌ ‘plɑʧutsʌ i vzmalilisa gromka plachutsa

Одолели нас силы тёмные ɑdɑ‘ᶅɛᶅi nɑs ‘ᶊilɨ ‘t̡̡̡̡omnɨjɛ adaleli nas sily tyomniye

Церкви Божии у нас все поруганы ‘tsɛrkᶌi ‘boʒji u nɑs fᶊɛ pɑ‘rugʌnɨ tserkvi bozhyi nas fse parugani

Наши царства все ниспровергнуты ‘nɑʃɨ ‘tsɑrstvʌ fᶊɛ ᶇisprɑ‘ᶌɛrgnutɨ nashi tsarstva fse nispravergnuti

Царство Сербское и Иверское ‘tsɑrstvʌ ‘ᶊɛrpskʌjɛ i:i‘ᶌɛrskʌjɛ tsarstva serpskaye i iverskaye

И Болгарское, и велик престол i bɑl‘gɑrskʌjɛ i ᶌe‘ᶅik pᶉe‘stol i balgarskaye i velik presto

Константинова царя города. kʌnstɑn‘t̡̡̡̡inʌvɑ ‘tsɑᶉɑ ‘gorʌdɑ kunstantinava tsarya gorada

Ты для всех теперь, для восточных стран tɨ dᶅɑ fᶊɛx t̡̡̡̡e‘ᶈɛᶉ dᶅɑ vɑs‘toʧnɨx strɑn ti dlya fseh teper dlya vastochnih stran

Что звезда взошла Вифлеемская ʃto zᶌe‘zdɑ vzɑ‘ʃlɑ ᶌifᶅi‘jɛmskʌjɑ shto zvezda vzashla vifliyemskaya

Во своей святой каменной Москве! vɑ svɑ‘jɛi sᶌɑ‘toj kɑᶆen‘noj mɑs‘kᶌɛ va svayei svyatoy kamennoi maskve

Полюбил тебя и избрал Господь, pʌᶅu‘ᶀil t̡̡̡̡e‘ᶀɑ i:iz‘brɑl gɑs‘pot̡̡ palyubil tebya i izbral gaspot

Повязать тебе Константинов меч pʌᶌɑ‘zɑt̡̡̡̡ t̡̡̡̡e‘ᶀɛ kʌnstɑn‘t̡̡̡̡inʌf ᶆɛʧ pavyazat tebye kunstaninaf mech

И венчаться венцом Мономаховым. i ᶌeᶇ‘ʧɑtsʌ ᶌen‘tsom mʌnɑ‘mɑxʌvɨm i venchatsa ventsom manamahavim

Сирых быть тебе да защитником, ‘ᶊirɨx bɨt̡̡̡̡ t̡̡̡̡e‘ᶀɛ dɑ zɑ‘ᶋᶋitᶇikʌm siryh byt tebye da zaschitnikam

Попленённых быть избавителем, pʌ pᶅe‘ᶇonnɨx bɨt̡̡̡̡ izbɑ‘ᶌit̡̡̡̡eᶅɛm paplenyonnih byt izbavitelyem

А Москве твоей есть пророчества: ɑ mɑs‘kᶌɛ tvɑ‘jɛj jeᶊt̡̡̡̡ prɑ‘rotᶋɛstvɑ a maskve tvayei yest prarochestva

Пали два Рима, третий стоит, ‘pɑᶅi dvɑ ‘ᶉimɑ ‘tᶉɛt̡̡̡̡i stɑ‘it pali dva rima tretiy stait

а четвёртому не быть! ɑ tᶋɛt‘ᶌortʌmu ᶇɛ bɨt̡̡ a chetvyortamu ne byt

Movement 5

Мне ли, Господи, мне ль по силам ты тяжкий крест даешь? mᶇɛ ᶅi ‘gospʌᶁi mᶇɛ͜ ᶅ pɑ ‘ᶊilʌm tɨ ‘t̡̡̡̡ɑʃᶄij kᶉɛst dɑ‘joʃ mne li gospadi, mnel pa silam ti tyashkii krest dayosh

Не достоин есмь я твоей любви! ᶇɛ dɑ‘stoin jɛᶊᶆ jɑ tvɑ‘jɛi ᶅuᶀ‘ᶌi ne dastoin yesm ya tvayey lubvi

Разве ты мне дашь силу крепкую, ‘rɑzᶌɛ tɨ mᶇɛ dɑʃ ‘ᶊilu ‘kᶉɛpkuju razve ti mne dash silu krepkuyu

умудришь меня ты своей мудростью! umu‘dᶉiʃ ᶆe‘ᶇɑ tɨ svɑ‘jɛi ‘mudrʌst̡̡̡̡ ju umudrish menya ti svayey mudrastyu

Я ж ка верный раб предаюсь тебе jɑʃ kɑk ‘ᶌɛrnɨi rɑp pᶉedɑ‘juᶊ t̡̡̡̡e‘ᶀɛ yash kak verniy rap predayus tebe

и готов в огонь и во всяку скорбь, i gɑ‘tof vɑ‘goᶇ i vɑ ‘fᶊɑku skoᶉᶀ i gatof vagon i va fsyaku skorb

ибо дорог мне не земной почет, а Христов венец. ‘ibɑ ‘dorʌg mᶇɛ ᶇe ᶎem‘noi pɑ‘tᶋot ɑ xᶉis‘tof ᶌe‘ᶇɛts iba dorak mne ne zemnoy patchot a hristof venets

Movement 6

По Руси пошёл стук и гром большой, Pʌ ru‘ᶊi pɑ‘ʃol stuk i grom bɑᶅ‘ʃoj Pa rusi pashol stuk i grom balshoi

Чтоб сковать себе броню крепкую, ʃtop skɑ‘vɑt̡̡̡̡ ᶊe‘ᶀɛ ‘broᶇu ‘kᶉɛpkuju shtop skavat sebe bronyu krepkuyu

Броню крепкую не себе одной, bro‘ᶇu ‘kᶉɛpkuju ᶇe ᶊe‘ᶀɛ ɑd‘noj bronyu krepkuyu ne sebe adnoi

А что есть людей меж пяти морей. ɑ ʃto jɛᶊt̡̡̡̡ ᶅu‘ᶁɛi ᶆɛʃ ᶈɑ‘t̡̡̡̡i mɑ‘ᶉɛj a shto yest lyudei mezh pyati marei

Чтобы жить им всем, что одна семья, ‘ʃtobɨ ʒɨt̡̡̡̡ im fᶊɛm ʃto ɑd‘nɑ ᶊeᶆ‘jɑ shtobi zhit im fsem shto adna semya

Что одна семья под одним вождём ʃto ɑd‘nɑ ᶊeᶆ‘jɑ pʌd ɑd‘ᶇim vɑʒ‘ᶁom shto adna semya pad adnim vazhdyom

правды божеской только ищучи и для ближнего ‘prɑvdɨ ‘boʒɛskʌj ‘toᶅkʌ ‘iᶋᶋutᶋi i dᶅɑ ‘bᶅiʒᶇevʌ Pravdi bozheskai tolka ischuchi i dlya blizhnego

не жалеючи во спасение сложить голову, ᶇe ʒɑ‘ᶅɛjutᶋi vʌ spɑ‘ᶊɛᶇijɛ slʌ‘ʒɨt̡̡̡̡ ‘golʌvu ne zhalyeyuchi va spaseniye slazhit golavu

ибо выше нет, чем сия любовь. ‘ibʌ ‘vɨʃɛ ᶇɛt ʧɛm si‘jɑ ᶅu‘boᶂ iba vishe net chem siya lyubof

Ради славы той потрудилися ‘rɑᶁi ‘slɑvɨ toj pʌtru‘ᶁiᶅisʌ radi slavi toy patrudilisa

все цари ее благоверные fᶊɛ tsɑ‘ᶉi je‘jo blʌgɑ‘ᶌɛrnɨjɛ fse tsaree yeyo blagaverniye

и все предки твои, царь возлюбленный, i fᶊɛ ‘pᶉɛtᶄi tvɑ‘i tsɑᶉ vɑz‘ᶅubᶅennɨi i fse pretki tvaee tsar vazlyublenniy

днесь на царствие нам помазанный, dᶇɛᶊ nɑ ‘tsɑrstᶌije nɑm pɑ‘mɑzʌnnɨi dnes na tsarstviye nam pamazanniy

добродетельми изукрашенный, dʌbrɑ‘ᶁɛt̡̡̡̡eᶅᶆi izu‘krɑʃɛnnɨi dabradetelmi izukrashenniy

Божьей милостью нам дарованный! ‘boʒjɛi ‘ᶆilʌᶊt̡̡̡̡ju nɑm dɑ‘rovʌnnɨi Bozhyei milastyu nam darovanniy

И гряди ж ты в путь, православный Царь! i gᶉɑ‘ᶁiʃ tɨ fput̡̡̡̡ prʌvɑ‘slɑvnɨi tsɑᶉ i gryadi zh ti f put pravaslavniy tsar

Да великим твоим царским деланьем dɑ ᶌe‘ᶅiᶄim tvɑ‘im ‘tsɑrsᶄim ‘ᶁɛlɑᶇjɛm da velikim tvaim tsarskim delanyem

и смиреньем твоим перед Господом i sᶆi‘ᶉɛᶇjɛm tvɑ‘im ‘ᶈɛᶉɛd ‘gospɑdʌm i smirenyem tvaim pered gospadam

о тебе сердца твоих поданных ɑ t̡̡̡̡e‘ᶀɛ ᶊɛr‘tsɑ tvɑ‘ix ‘podɑnnɨx a tebe sertsa tvaih podannih

да возрадуются! dɑ vɑz‘rɑdujutsʌ da vazraduyutsa

И пройдёт твоя далеко в людях слава! i prɑi‘ᶁot tvɑ‘jɑ dɑᶅe‘ko v ‘ᶅuᶁɑx ‘slɑvɑ i praidyot tvaya dalɛko vlyudah slava

Слава Богу на небе, слава! ‘slɑvɑ ‘bogu nɑ ‘ᶇɛᶀɛ ‘slɑvɑ slava bodu na nebe slava

Государю нашему на сей земле, слава! gʌsu‘dɑᶉu ‘nɑʃɛmu nɑ ᶊɛi ᶎem‘ᶅɛ ‘slɑvɑ gasudaryu nashemu na sei zemle slava

Государыне супруге Его, слава! gʌsu‘dɑrɨᶇɛ su‘pruᶃɛ je‘vo ‘slɑvɑ gasudarinye suprige yevo slava

Государю Наследнику, слава! gʌsu‘dɑᶉu nɑ‘sᶅɛdᶇiku ‘slɑvɑ gasudaryu nasledniku slava

Всему царскому дому Его, слава! fᶊe‘mu ‘tsɑrskʌmu ‘domu je‘vo ‘slɑvɑ fsemu tsarsamu domu yevo slava

И всему Его народу, слава! i fᶊe‘mu je‘vo nɑ‘rodu ‘slɑvɑ i fsemu jevo narodu slava

Его верным слугам слава, je‘vo ‘ᶌɛrnɨm ‘slugʌm ‘slɑvɑ yevo vermin slugam slava

и гостям именитым его слава, i gɑᶊ‘t̡̡̡̡ɑm iᶆe‘ᶇitɨm je‘vo ‘slɑvɑ i gastyam imenitim yevo slava

чтобы правда была на Руси ‘ʃtobɨ ‘prɑvdɑ bɨ‘lɑ nɑ ru‘ᶊi shtobi pravda bila na rusi

краше солнца светлого, слава! ‘krɑʃɛ ‘sontsɑ ‘sᶌɛtlʌvɑ ‘slɑvɑ krashe sontsa svetlava slava

А эту песнь мы хлебу поём ɑ ‘ɛtu ᶈɛᶊᶇ mɨ ‘xᶅɛbu pɑ‘jom a etu pesn mi hlebu payom

Хлебу честь воздаём, слава! ‘xᶅɛbu ʧɛᶊt̡̡̡̡ vʌzdɑ‘jom ‘slɑvɑ hlebu chest vazdayom slava

Старым людям на утешенье, ‘stɑrɨm ‘ᶅuᶁʌm nɑ u‘t̡̡̡̡ɛʃɛᶇjɛ starim lyudyam na uteshenye

добрым людям на услышанье, слава! ‘dobrɨm ‘ᶅuᶁʌm nɑ u‘slɨʃɛᶇjɛ ‘slɑvɑ dobrim lyudyam na uslishenye slava

Слава, слава, слава во веки веков, слава! ‘slɑvɑ ‘slɑvɑ ‘slɑvɑ vɑ ‘ᶌɛᶄi ᶌe‘kov ‘slɑvɑ slava slava slava va veki vekov slava

Text and Translation

Movement 1

С мала ключика студеная потекла река; From a small spring, flowed the icy river; С невелика зачиналась каменна Москва From nothing grew the stone Moscow Наезжали тут князья тешиться Princes came here for enjoyment по тёмным лесам in the dark woods Кабана травить, в тихих заводях To hunt wild boar, to shoot swans лебедей стрелять. in quiet backwaters. Гой не туча в синем небе расстилается Oh, not a cloud stretches across the blue sky Злы татары вал за валом по Руси валят; Evil Tatars, wave after wave, flock across Rus’ Не видать в дыму красна солнышка, The bright sun is not be seen in the smoke Стоном стон стоит по лицу земли, Crying the face of the earth, Где не бьют людей – Where the people aren’t killed – гонят полоны they are taken captive Полоняночки идут; The concubines46 go asking each other: друг друга спрашивают: из которой веси, из какого города? From which town are you, from which city? Я из Киева…Я из Чернигова… I’m from Kiev…I’m from Chernigov… Я из Суздаля…Из Переяслава… I’m from Suzdal…from Pereyaslav Ты прости-прощай мил родимый край Farewell my native land Ты в конец ли, Господи, Have you finally, Lord, become angry with на Русь прогневался? Rus’? Ни пощады ей не будет, ни спасенья? Will there be no mercy for her, no salvation? В людях рознь идёт, в князьях которы, The people dissent, the princes feud, Где ни глянь, Wherever you look кругом тёмна ночь лежит непроглядная. dark invisible night lies all around.

46 In this case “полоняночки” refers to the Russian women who have been enslaves as concubines to entertain the Khan and his men.

Movement 2

То не звёздочка засветилася That isn’t a star which started shining в непроглядной тьме in the invisible night, то зажглась свеча воску ярого But a wax candle lit in spring в каменной Москве; in stone Moscow. Зажигал её там Святитель Петр It was lit there by Saviour Peter, да Московский князь, Prince of Moscow, заприметили люди русские с далека её, The Russian people noticed it from afar, ободрилися, на неё глядят, encouraged, they are watching it, Богу молятся, а она горит-разгорается, praying to God, and, it is burning, warming, светит всей Руси; lighting up all Rus. А Московский князь возвышается, And the Moscow Prince rises, думу думает thinking his thoughts, думу думает, дело делает не торопится! thinking his thought, doing his deeds, not hurrying!

Movement 3

Час ударил жданный, радостный! The awaited, joyful hour has struck! Колокольный звон по всей Руси, Bells are ringing all around Rus’ И молебны по церквам поют, And prayers are being sung in churches, И по всей земле веселие! And happiness throughout all the earth! Словно мутны воды вешние, Like muddy spring waters, Золота Орда растаяла, The Golden Horde has melted away, От святой Руси отхлинула! Drained from holy Rus' Пронеслися тучи чёрные Black clouds have swept away, Вышло солнце из-за тёмных туч, The sun has emerged from the dark clouds Засветился им Московский кремль, The Moscow Kremlin lit up for them Золотые храмов маковки! The Golden cupolas of the churches! А в палате узарочатой And in the woven palace Всех светлей сидит и радостней Sits on the throne, brighter and happier than На престоле сам Московский князь, all, the Moscow Prince himself, Самодержец всей Руси, The autocrat of all Rus’ А не Ханский уже данничек. And not a Khan’s henchman. Его ноженькой растоптана Trampled by his47 foot Басма Ханская валяется, The Khan’s basma48 lies И бегут толпою конюхи And the crowds of grooms run Выметать её на задний двор. To sweep it to the backyard.

47 “His” in this case referring to the Moscow Prince. 48 Special plate issued by the Tatar Khans.

Movement 4

Уж как из лесу, лесу тёмного Just as from the dark woods, богатырь выезжал в поле чистое, A hero emerged into a clean field В поле чистое во великий свет. Onto a clean field, into great light. Погулять ему б да потешиться, To walk there, to enjoy himself, Силой-удалью похвалятися, To boast of strength and boldness Да как вышел он во великий свет, But as he came into the great light, Увидали его люди божии God’s people saw him Ото всей страны восточныя From all the eastern lands И взмолилися громко плачутся And begging, loudly crying Одолели нас силы тёмные Dark forces overpowered us Церкви Божии у нас все поруганы Our God’s churches are desecrated Наши царства все ниспровергнуты Our kingdoms have all been overthrown Царство Сербское и Иверское The Serbian kingdom and the Iberian И Болгарское, и велик престол The Bulgarian, and great is the throne Константинова царя города. Of Tsar Constantine’s city. Ты для всех теперь, для восточных стран You are, for everyone, for the eastern lands Что звезда взошла Вифлеемская Like the rising Bethlehem star Во своей святой каменной Москве! In your holy stone Mosco*w. Полюбил тебя и избрал Господь, God loved you and chose you Повязать тебе Константинов меч To take Constantine’s sword И венчаться венцом Мономаховым. And marry with Monomakh’s wreath49 Сирых быть тебе да защитником, For the fearful to be their protector Попленённых быть избавителем, For the captive to be their rescuer А Москве твоей есть пророчества: And for your Moscow, there is a prophecy Пали два Рима, третий стоит, Two Romes have fallen, a third stands, а четвёртому не быть! There shall not be a fourth!

49 Monomakh refers to Vladimir Vsevolodich Monomakh or Vladimir II (1053-1125), the great emperor of Kievan Rus’. He ruled Smolensk, Chernigov and Pereyaslav before he became Kievan emperor. He gained his last name from his mother, the daughter of Konstantine IX Monomakh, ruler of the Byzantine Empire.

Movement 5

Мне ли, Господи, мне ль по силам ты Is it for me, God, is it for me тяжкий крест даешь? you give such a heavy cross? Не достоин есмь я твоей любви! I am not worthy of your love! Разве ты мне дашь силу крепкую, Will you really give me mighty strength, умудришь меня ты своей мудростью! make me wiser, make me wiser with your wisdom!

Я ж ка верный раб предаюсь тебе I, like a loyal slave, give myself to you, и готов в огонь и во всяку скорбь, and am ready to go into the fire and burning flames, ибо дорог мне не земной почет, because precious to me are not the earthly а Христов венец. honors, but Christ’s wreath.

Movement 6

По Руси пошёл стук и гром большой, A great boom and thunder fell over Rus’ Чтоб сковать себе броню крепкую, To forge together a mighty armor Броню крепкую не себе одной, A mighty armor not only for herself А что есть людей меж пяти морей. But for people across the five seas. Чтобы жить им всем, что одна семья, So that they all may live like one family Что одна семья под одним вождём Like one family under one leader правды божеской только ищучи Searching for God’s truth alone и для ближнего не жалеючи And for your neighbor without hesitation во спасение сложить голову, To lay down one’s life for a friend ибо выше нет, чем сия любовь. There is no greater love than this. Ради славы той потрудилися For the reign of glory все цари её благоверные all her Tsar’s persevered и все предки твои, царь возлюбленный, and all your ancestors, beloved Tsar, днесь на царствие нам помазанный, Today anointed for our kingdom добродетельми изукрашенный, Beautified with righteousness Божьей милостью нам дарованный! Given to us by God’s grace.

И гряди ж ты в путь, православный Царь! So go on your way, righteous Tsar! Да великим твоим царским деланьем Do all your great Tsar deeds и смиреньем твоим перед Господом And be humbled before God о тебе сердца твоих поданных For you the hearts of your servants да возрадуются! Will rejoice! И пройдёт твоя далеко в людях слава! And your glory will go far among the people!

Слава Богу на небе, слава! Glory to God in heaven, glory! Государю нашему на сей земле, слава! To the Sovereign of our land, glory! Государыне супруге Его, слава! The His Sovereign spouse, glory! Государю Наследнику, слава! To the Sovereign heir, glory! Всему царскому дому Его, слава! To His whole Kingdom, glory! И всему Его народу, слава! And to all His people, glory! Его верным слугам слава, To His loyal servants, glory! и гостям именитым его слава, And His famous guests, glory! чтобы правда была на Руси So that truth was in Rus’ краше солнца светлого, слава! Brighter than the shining sun, glory! А эту песнь мы хлебу поём And this song we sing to the bread Хлебу честь воздаём, слава! To the bread we give honor, glory! Старым людям на утешенье, To the elderly people for comfort добрым людям на услышанье, слава! To the kind people for their listening, glory! Слава, слава, слава во веки веков, слава! Glory, glory, glory in the age of ages, glory!

Side by Side Comparison of Original Text by Apollon Maikov and the Revised Communist Text by Alexei Mashistov

Alexei Apollon Maikov English English Mashistov Original Text Translation Translation Revised Text Movement I mm. 30-31 “Злы татары…” “Angry Tatars…” “Орды “Enemy вражьи…” hordes…” mm. 53-55 “Ты в конец ли, “Have you “Не ужель Руси “Does Rus’ have Господи, на finally, Lord, погибать to die a painful Русь taken your anger смертью death…” прогневался…” out on Rus’…” лютую…” mm. 58-59 “…в князьях “in princes …” “…меж князей “…fighting которы…” вражда…” between princes…” Movement II mm. 13 – 43 “то зажглась “then the wax “то затеплился “then the fire свеча воску candle began to огонёк в тиши, в grew warmer in ярого в burn in spring in каменной silence in stone каменной stone Moscow. It Москве; то Moscow. A ray Москве; was lit there by надежды луч с of hope from a Зажигал её там Saviour Peter, малой искорки small spark lit up Святитель Петр Prince of возгорелся в in it. The Russian да Московский Moscow, The ней. people noticed it князь, Russian people Заприметили from afar, заприметили noticed it from люди русские с encouraged, they люди русские с afar, encouraged, далека его, are watching далека её, they are watching заприметили, Moscow, and ободрилися, на it, praying to ободрилися, на there a light is неё глядят, Богу God, and, it is Москву глядят, а burning, getting молятся, а она burning, в ней свет горит brighter, lighting горит- warming, lighting разгорается, up all Rus. And разгорается, up all Rus. And светит всей the people in светит всей the Moscow Руси; А народ в Moscow don’t Руси; А Prince rises, Москве по sleep at night, Московский thinking his ночам не спит, thinking their князь thoughts…” думу думает…” thoughts…” возвышается, думу думает…” Movement III mm. 5 – 28 “Колокольный “Bells are ringing “избавленья час “deliverance hour звон по всей all around Rus’ для всей Руси; и for all of Rus; Руси, и молебны встречает and Moscow sees по церквам светлый день a bright day and

поют, и по всей And prayers are Москва и по happiness земле веселие! being sung in всей земле throughout all the Словно мутны churches, веселие! Как earth! As воды вешние, And happiness снега порою springtime snow Золота Орда throughout all the вешнею, вражья at times, the растаяла, от earth! полчища enemy hordes святой Руси Like muddy растаяли, утекли melted away, the отхлынула…” spring waters, водою мутною.” muddy waters The Golden washed them Horde has melted away.” away, Drained from holy Rus' ” mm. 52 – 79 “А в палате “And in the “А в палате “And in the узарочатой, всех woven palace узарочатой woven palace, светлей сидит и Sits on the собрались удалы met the brave радостней на throne, brighter витязи, и пирует warriors, and престоле сам and happier than с ними вся feasting with Московский all, the Moscow Москва; сбросил them is all of князь, Prince himself, с плеч богатырь- Moscow; the самодержец The autocrat of народ иго hero shrugged off всей Руси, а не all Rus’ вражье, иго of his shoulders ханский And not a Khan’s тяжкое, мы the enemy yoke, ужеданничек. henchman. грабителей the heavy yoke, Его ноженькой Trampled by his50 прогнали прочь, we drove the растоптана foot растоптали robbers away, басма ханская The Khan’s басму trampled khan’s валяется…” basma51 lies…” ханскую…” basma…”

Movement IV mm. 18 – 23 “…увидали его “…God’s people “…увидали его “…his blood люди божии ото saw him from all братья кровные, brothers saw him, всей страны the eastern lands что к нему шли came to him with восточныя и and begging, да с горькой bitter pity, взмолилися loudly crying; жалобой, и begging, loudly громко dark forces взмолилися, crying; dark плачутся; overpowered us громко forces Одолели нас our God’s плачутся; overpowered us, силы тёмные, churches are Одолели нас our eyes weary церкви Божии у desecrated our силы тёмные, from tears, our нас все kingdoms have потускнели от kingdoms all поруганы, наши all been слёз наши overthrown; the царства все overthrown, the оченьки, наши Serbian and ниспровергнуты, Serbian kingdom царства все Iberian

50 “His” in this case referring to the Moscow Prince 51 Special plate issued by the Tatar Khan’s

царство and the Iberian, ниспровергнуты: kingdoms, Сербское и the Bulgarian, царство Chernogorian and Иверское, и and great is the Сербское, и Bulgarian, all Болгарское, и throne of Tsar Иверское, aroud the people велик престол Constantine’s Черногорское и moan, the blood Константинова city. You are, for Болгарское, spills. You are, царя города. Ты everyone, for the всюду стонет for everyone для всех теперь, eastern lands like люд, всюду now, for the для восточных the rising льётся кровь. Ты Slavic lands, like стран что звезда Bethlehem star для всех теперь, the rising guiding взошла in your holy для славянских North Star, above Вифлеемская во stone Moscow. стран, что звезда native Rus’, in своей каменной God loved you взошла stone Moscow. Москве! and chose you путеводная на Полюбил тебя и To take родной Руси, в Faith gives you избрал Господь, Constantine’s каменной the glorious part повязать тебе sword and marry Москве. of a hero! Aren’t Константинов with Суждена тебе you from birth меч и венчаться Monomakh’s доля славная, destined to be the венцом wreath. богатырская! Не protector of the Мономаховым. For the fearful to тебе ль от hurt, rescuer of Сирых быть be their protector, рождения the oppressed, тебе да for the captive to назначено всем there is a reason защитником, be their rescuer, обиженным they say about попленённых and for your быть Moscow: быть Moscow, there is защитником, избавителем, а a prophecy угнетённым Москве твоей “Two Romes быть есть have fallen, a избавителем, о пророчества:” third stands, Москве не даром There shall not be ведь сказано: a fourth!” Movement V Мне ли, Is it for me, God, Мне ли долг Is it duty calling Господи, is it for me you велит me мне ль по силам give such a heavy стяг борьбы to raise the ты тяжкий крест cross? поднять в fighting flag, to даешь? Не I am not worthy смертный бой enter a fight to достоин есмь я of your love! вступить? Кто the death? Who твоей любви! Will you really поможет мне на will help me on Разве ты мне give me mighty пути моём? my journey? Are дашь силу strength, Разве ты одна, you alone, bright крепкую, make me wiser, правда светлая, truth, умудришь меня, make me wiser силы мне give me strength, умудришь меня with your придашь, support me in this wisdom! крепишь меня dark hour!

ты своей ты в этот мудростью! I, like a loyal грозный час! Я ж ка верный slave, give раб предаюсь myself to you, Коль погибнуть тебе и готов в and am ready to мне суждено в If dying in battle огонь и во всяку go into the fire бою, я лицом к is my fate, I am скорбь, ибо and burning лицу встретить ready to face дорог мне не flames, because смерть готов. death face to земной почет, а precious to me Мне не жизнь face. Life is not Христов венец. are not the мила, не the sweetest to earthly honors, людской почёт, me, nor the but Christ’s мне дороже их people’s honors, wreath. дело правое! dearer to me is their just cause. Movement VI mm. 11-86 “…что одна “…Like one “…что одна “…Like one семья под одним family under one семья undivided family, вождем, правды leader searching неделимая, searching for божеской только for God’s truth правдой veritable truth ищучи и для alone and for истинной только alone and lay ближнего не your neighbor ищучи и для down one’s life жалеючи во without hesitation Родины не for the спасение to lay down one’s жалеючи во Motherland сложить голову, life for a friend, спасение without ибо выше нет, there is no greater сложить голову, hesitation, there чем сия любовь. love than this. ибо выше нет, is no greater love Ради славы той For the reign of чем сия любовь! than this! The потрудилися все glory all her Ради славы той Russian people цари ее Tsars persevered потрудилися на persevered for благоверные и and all your веку своём люди the reign of glory все предки твои, ancestors, русские по from our fathers’ царь beloved Tsar, заветам and grandfathers’ возлюбленный, today anointed отцовскими vows, on the днесь на for our kingdom, дедовским, по order of our dear царствие нам beautified with наказу любимой homeland, and помазанный, righteousness родины, и стоять we will remain to добродетельми given to us by на том обещаем do so, we all изукрашенный, God’s grace. мы все от promise from the Божьей старого и до old to the young. милостью нам So go on your малого! дарованный! way, righteous Так живи вовек, So live on forever Tsar! наш родимый our native land, И гряди ж ты в Do all your great край, расцветай, bloom, become путь, Tsar deeds and be молодей, что young like the православный humbled before земля весной, earth at Царь! Да God украшайся springtime,

великим твоим for you the hearts трудами сынов beautify with the царским of your servants своих, чтобы labor of your деланьем и will rejoice! And глядючи на sons, so that смиреньем your glory will Отчизну мать people rejoice твоим перед go far among the люди when they see the Господом о тебе people! радовались! И Motherland. And сердца твоих пройдёт твоя your glory will поданных да далеко в мире go far among the возрадуются! И слава! people! пройдёт твоя далеко в людях Слава солнцу на Glory to the sun слава! небе, слава! На in the sky, glory! земле могучей On our mighty Слава Богу на Glory to God in нашей Родине, Motherland, небе, слава! heaven, glory! слава! Мудрый glory! To the Государю To the Sovereign кормчим wise rulers of our нашему на сей of our land, державы нашей, state, glory! To земле, слава! glory! слава! Нашим our valiant wars, Государыне The His доблестным glory! To those супруге Его, Sovereign воинам слава! who labor for our слава! Государю spouse, glory! Всем кто good, glory! For Наследнику, To the Sovereign трудится нам на ages, to all слава! Всему heir, glory! благо, слава! На people, glory! To царскому дому To His whole века всему all our brothers, Его, слава! И Kingdom, glory! народу слава! glory, to all our всему Его And to all His Всем народам welcome guests, народу, слава! people, glory! братьям слава, glory! So that Его верным To His loyal всем желанным truth was more слугам слава, servants, glory! гостям нашим beautiful in Rus именитым And His famous слава! Чтобы than the bright гостям его guests, glory! правда была на sun, glory! слава, чтобы So that truth was Руси краше правда была на in Rus’ солнца светлого, Руси краше Brighter than the слава! солнца светлого, shining sun, слава! glory! mm. 102-110 Старым людям To the elderly Старым людям To the elderly на утешенье, people for на утешенье, people for добрым людям comfort молодым да на comfort, to the на услышанье, To the kind услышанье, young for their слава! people for their слава! listening, glory! listening, glory!

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