P.I. Tchaikovsky "Symphony number 5"
The man and his fate - this is a complex philosophical topic throughout his life painfully agitated the great Russian composer Peter Ilyich Tchaikovsky. Constantly tormented by mental agony and in a state of deep psychological crisis, he talentedly displayed all his painful experiences in his writings. The first such work of the genius maestro, narrating about human life and the formidable power of rock, was "Symphony No. 4", and this topic was continued in "Symphony No. 5" - a work that a wonderful Russian composer Sergey Ivanovich Taneyev described as one of the best works of Peter Ilyich.
History of creation
In 1877 Peter Ilyich Tchaikovsky, moving away from the lyrico-psychological direction in his work, he wrote a landmark work - the fruit of ardent spiritual aspiration, in which with incredible force he demonstrated the fight of man with the inevitability of fate - fate. This creation of the composer, which entered the history of Russian music as a psychological drama, was "Symphony number 4"Ten years have passed, but the problems that troubled the maestro at the age of 37 continued to excite his soul. For such a long time, Tchaikovsky's thoughts, feelings, outlook on life and religion have undoubtedly changed. With something he resigned , but he considered something not so important, but, nevertheless, he again and again reflected on the topic of concern to him: man, destiny and fatal forces that impede the striving towards everything that is bright.
He was trying to stifle with hard work the thought and mental agony that had plagued Pyotr Ilyich. In the autumn of 1887, the maestro stood behind the conductor's console at the Mariinsky Theater on the premiere performances of The Sorceress, then was invited to Moscow to participate in symphony concerts. Then he had a big concert tour in Europe with a visit to Berlin, Leipzig, Hamburg, Prague, London and Paris. These tours for the 48-year-old composer were triumphant and rich with new pleasant acquaintances. Subsequently, Tchaikovsky had heartfelt memories of meetings with a Norwegian composer. By Edward Griegand also with the eighty-year-old director of the Philharmonic Society in Hamburg, the venerable Theodore Ave-Lalleman, whom Peter Ilyich called his great friend.
Returning to his homeland after four months of tedious trips, in April 1988, Tchaikovsky retired to the Frolovskoye estate and began to work on his new work, Symphony No. 5, a thought about which he had hatched while he was still abroad. The composer's mental state at that time continued to be tense, and the composition of the symphony at first was given to him with such difficulty that the maestro began to doubt his strength: whether his creative abilities had dried up. However, by mid-August, the work, created with constant alterations and alterations, was completed, and in the fall was completely corrected.
The premiere performance of the Fifth Symphony was held on November 5 of the same year at a concert of the St. Petersburg Philharmonic Society, whose program included only works by Peter Ilyich. Moscow music lovers met the composer’s new composition on December 10 at a concert presented by the Russian Musical Society. In both capitals, the author himself stood behind the conductor's stand. The listeners of St. Petersburg and Moscow accepted the symphony quite cordially, however, the opinions of critics regarding the new work were not unanimous, and the maestro himself spoke very unflatteringly about his work. In the letters to friends, he wrote that he considered him unsuccessful: too motley, insincere and even repulsive. Only a few months later, after the performance of the symphony in Hamburg, Tchaikovsky changed his attitude to his creation, finally recognizing his dignity.
Interesting Facts
- Peter Ilyich Tchaikovsky wrote "Symphony No. 5" retiring to the estate "Frolovskoe", located near the town of Klin. The composer liked this “heavenly paradise” so much that he even dreamed of buying it out and being buried there. The picturesque nature of the estate inspired Pyotr Ilyich not only to compose a brilliant symphony, but also to such outstanding masterpieces as the Hamlet overture-fantasy, ballet "Sleeping Beauty", sextet "The Memory of Florence", romances (op. 65). In addition, in the "Frolovsky" maestro did the instrumentation opera "Queen of Spades".
- The Fifth Symphony was the first work, the premiere performance of which was conducted by Tchaikovsky himself. The composer did not like to get up to the conductor's console, since he had a bad experience at a young age, which left unfavorable memories for the rest of his life. Trying to overcome the arisen "complex", Peter Ilyich with his inner strength forced himself to take the baton and stand up to the orchestra.
- In 1888, during his tour of Europe, Peter Ilyich met the founder and director of the Philharmonic Society in Hamburg, Theodor Ave-Lalleman, who, despite his respectable eighty years of age, organized the composer's concerts. Pleasant intercourse with the venerable old man, attending all of Tchaikovsky's rehearsals, left the maestro many good memories. In order to testify his respect for such a respected person, Peter Ilyich dedicated to him his new work, written after a big touring tour - "Symphony No. 5". In the spring of next year, the composer specially visited Hamburg to present his dedication to Ave-Lallemand, however, unfortunately, due to illness, an elderly person could not attend the concert.
- In the United States, "Symphony No. 5" was initially greeted very unkindly. The work was so disliked by the public that after the concerts it was aggressively set up, and in the newspaper publications Tchaikovsky was called "wild Cossack" and "wild Kalmyk".
- The famous solo horn from the second part of "Symphony No. 5" is included in the orchestral difficulties. The quality of the performance of this solo is estimated professional skills of the horn player.
- After listening to the performance of the symphony, many assume that the intro part is played by the bass clarinet. In fact, the composer entrusted its conduct to two clarinets, sounding in unison in low Tessitura, not typical for this instrument. This topic is included in the list of orchestral difficulties for the clarinet.
Content
Symphony No. 5 (e-moll) is a four-part composition that begins with a harsh and sorrowful theme performed by the first and second clarinet in unison to the gloomy accompaniment of stringed instruments that sound in a low register. At its core, it is a mourning march, symbolizing the inevitable, fatal forces that pursue a person throughout life. Maybe this is why the composer is conducting the grim theme of fate stated in the introduction through the whole work.
- First part - Andante. Allegro con anima. The main part, which immediately follows the introduction, sounds very quiet and timid at first. Performed by clarinet and bassoon it is close in character to the topic of introduction and at first also resembles a gloomy march. Further, the music is significantly transformed: due to the sharpening rhythms, the movement becomes choppy. Gradually increasing dynamics leads to an emotional climax of the section. The rapidly developing main part gives way to a new musical image - a chant with a romantic touch of a side part, the middle episode of which is a gentle and sensual waltz. Then the lyrical theme is interrupted by sharp chords, returning to a dramatic musical narration. In the development of the intensity of the collisions is increasing, and the tragedy of music increases.
- The second part of - Andante cantabile, con alcuna licenza, which is the brightest example of Tchaikovsky's lyrics, begins with a sad choir performed by altos, cellos and double basseson which the horn horn solo is then superimposed. The lyrical motifs of the clarinet and oboe. Everything develops into a beautiful expressive elegy with an endless flood of melody, which is suddenly interrupted by the harsh theme of rock. After a short pause, the theme of the elegy returns, but this time it receives intensive development, and becomes more expressive. Then breaking the idyllic mood and, as it were, sweeping away everything in its path, the leitmotif of fateful fate bursts in again, and behind it the main theme of the second part joylessly sounds.
- The third part. Allegro moderato. This is a sweet lyric waltz with a beautiful melodic line moving from one instrument to another. The tender topic of the section, which leads away from the hustle and bustle of anxiety into the world of dreams, gradually begins to develop vigorously and gains freedom and breadth. All confusion and anxiety goes away and even the terrible topic of fate performed by the clarinet and bassoon gently reminds of itself only at the end of the piece.
- Fourth part. The final. Andante maestoso. Allegro vivace. The last sounds of the waltz did not have time to sound, as the final part solemnly began. At first it is a transformed theme of the entry, in the form of a slow march, although now it is presented by the composer as volitional and courageous in color. Next, an image invades, resembling with its swift temperament and whirling movement of the scene of a national festival. However, the theme of rock, cutting through the sound of the entire orchestra, again and again shrillly declares itself. Subsequently, she loses her awesome connotation and, in a brilliant triumphant finale, sounds in a major mood.
More than a hundred and twenty years have passed since the great Russian composer Peter Ilyich Tchaikovsky presented to the audience his charming beauty of music "Symphony No. 5". All this time, music critics and famous conductors are trying to comprehend the hidden meaning of this outstanding work and unravel the maestro's idea: who did emerge as the victor in the fierce fight of a man with his fate?
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