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A Choral Conductor's Guide to Pyotr Ilyich Tchaikovsky's 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 by 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. ii Copyright © 2015 by Olga A. Spriggs All rights reserved iii 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. iv 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 v 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 vi 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, 1 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 2 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. 3 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.
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