Pyotr Ilyich Tchaikovsky: Difference between revisions

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On the subject of Tchaikovsky’s views on religion, it is very instructive to turn to his ''special diary''. On 22 February/6 March 1886, he noted there:
 
{{Quote|text=What an infinitely deep abyss between the Old and the New Testament! Am reading the Psalms of David and do not understand why, first, they are placed so high artistically and, second, in what way they could have anything in common with the Gospel. David is entirely worldly. The whole human race he divides into two unequal parts: in one, the godless (here belongs the vast majority), in the other, the godly and at their head he places himself. Upon the godless, he invokes in each psalm divine punishment, upon the godly, reward; but both punishment and reward are earthly. The sinners will be annihilated; the godly will reap the benefits of all the blessings of earthly life. How unlike Christ who prayed for his enemies and to his fellow man promised not earthly blessings but the Kingdom of Heaven. What eternal poetry and, touching to tears, what feeling of love and pity toward mankind in the words: “Come unto me all ye that labor and are heavy laden.” All the Psalms of David are nothing in comparison with these simple words.|author=Pyotr Tchaikovsky|source<ref name="Lakond">Wladimir Lakond, ''The Diaries of Tchaikovsky'' (1945), p. 244''</ref>}}
 
This contrast between the Old and New Testament and his admiration for the figure of Christ, and, in particular, for Christ’s exhortation: “Come unto me all ye that labour and are heavy laden” ({{Bible quote|version=NABRE|ref=Matthew 11:28}}) — the underlying idea of which he once tried to set into music — are themes he often returned to in those years. Another interesting diary entry is that which he made in Maydanovo on 21 September/3 October 1887, on the same day that his old friend Nikolay Kondratyev died after a long illness in Aachen (where Tchaikovsky had visited him that summer):
 
'''Yelena Dyachkova''', Ph.D. in History of Arts and Assistant professor at the P.I. Tchaikovsky National Music Academy of Ukraine, wrote an interesting essay entitled “Tchaikovsky and the Bible”. Her thesis begins by stating:
{{Quote|text=How strange it was for me to read that 365 days ago I was still afraid to acknowledge that, despite all the fervor of sympathetic feelings awakened by Christ, I dared to doubt His Divinity. Since then, my religion has become infinitely more clear; I thought much about God, about life and death during all that time, and especially in Aachen the vital questions: why? how? wherefore? occupied and hung over me disturbingly. I would like sometime to expound in detail my religion if only for the sake of explaining my beliefs to myself, once and for all, and the borderline where, after speculation, they begin. But life with its excitement rushes on, and I do not know whether I will succeed in expressing that Creed which recently has developed in me. It has developed very clearly, but still I have not adopted it as yet in my prayers. I still pray as before, as they taught me to pray. But then, God hardly needs to know how and why one prays. God does not need prayer. But we need it.|author=Pyotr Tchaikovsky|source=Wladimir Lakond, ''The Diaries of Tchaikovsky'' (1945), p. 249}}
 
{{quote|text=Biblical mythology as a possible programme for a musical work never attracted Tchaikovsky's interest. Epistolary heritage also does not give the reason to suppose that the Bible was the composer's favourite book. Nevertheless, these superficially obvious facts do not settle the question about Tchaikovsky and the Bible. The Bible, together with ancient mythology, forms one of the basic conceptual paradigms of European culture. Its major semantic and psychological constants, such as the linear perception of time as a stream flowing from its source (the Creation) towards the end (the Judgement Day), the fear of Death, the responsibility for deeds (ethi- cal principles), and finally, treating anguish and torments of the indi- vidual as a spiritual feat, are characteristics of practically all the works belonging to the European literature tradition. In particular, these constants may be perceived as peculiar cultural and artistic archetypes in Tchaikovsky's work.|author=Yelena Dyachkova|source=Tchaikovsky and the Bible}}
It is possible that the Fifth Symphony grew out of some of these reflections, as suggested by Tchaikovsky’s notes on the initial sketches.<ref>http://www.tchaikovsky-research.net/en/Works/Symphonies/TH029.html see the work history</ref>
 
It was in the decade 1877 and 1887 that Tchaikovsky created most of his spirtual works. This also happened to be a time in which his close friendship with Nikolaj Kondrat'ev and family was under some stress, and they did not visit each other very much. During this time Tchaikovsky thought about existential questions, up to creating his own creed. In 1877 the composer writes:
Yelena Dyachkova, Ph.D. in History of Arts and Assistant professor at the P.I. Tchaikovsky National Music Academy of Ukraine, wrote an interesting essay entitled “Tchaikovsky and the Bible”. Her thesis begins by stating:
 
{{quote|text=I have forgotten that there are plenty of people who managed to create for themselves an harmonic set of ideas that replaced religion for them. It remains for me only to envy those people. It seems to me that all my life I am doomed to doubt and to look for a way out of contradictions|author=Pyotr Tchaikovsky|source=Pëtr Il'ic Cajkovskij, ''Perepiska s N. F. fon-Mekk'', vol. 1, p. 111 (letter from Venice, December 5-17, 1877)}}
{{quote|text=Biblical mythology as a possible programme for a musical work never attracted Tchaikovsky's interest. Epistolary heritage also does not give the reason to suppose that the Bible was the composer's favourite book. Nevertheless, these superficially obvious facts do not settle the question about Tchaikovsky and the Bible.|author=Yelena Dyachkova|source=Tchaikovsky and the Bible}}
 
And in 1887 again the composer makes a record in his diary:
 
{{Quotequote|text=How strange it was for me to read that 365 days ago I was still afraid to acknowledge that, despite all the fervor of sympathetic feelings awakened by Christ, I dared to doubt His Divinity. Since then, my religion has become infinitely more clear; I thoughthave been thinking much about God, about life and death during all thatthis time, and especially in Aachen the vitalfatal questions: why?- what for, how?, whereforewhy? - often occupied me and hunganxiously overflashed mebefore disturbinglyme. It is the religion of mine that I would like sometime to expoundword in detail mysome religiontime, if only forto theclarify sake of explaining my beliefs tofor myself, once and forforever all,my beliefs and thethat borderlineborder where, afterthey speculation,arise theyafter beginthe speculation. ButHowever, life with its excitementvanities rushesflies onby, and I do notdon't know whetherif I willshall succeedhave intime to expressingexpress that CreedCredo which recentlythat has developedbeen inworked out by me lately. It has developedbeen worked out very clearly, but stillnevertheless, I havedo not adopteduse it asfor yetmy inpraying mypractice prayersyet. I am praying still pray as before, as theyI taughtwas metaught to pray. But thenHowever, God hardly needs to know how and why onepeople prayspray. God does not need prayer. But we need it.|author=Pyotr Tchaikovsky|source=Wladimir<ref extends="Lakond">p. 249</ref> <ref>Dnevniki, ''TheP. DiariesI. of TchaikovskyCajkovskogo'' (1945), p. 249213 (record of September 21, 1887)</ref>}}
... in which she also touches upon Tchaikovsky’s admiration for St Joan of Arc (the subject of another recent posting).
 
{{quote|text=Ironically, Kondrat'ev's words: ''"Pray, my friend, pray. God will help you to get out of this situation"''<ref name="Perepiska">Pëtr Il'ic Cajkovskij, ''Perepiska s N. F. fon-Mekk'', vol. 1, p. 113-114 (letter from Venice, December 5-17, 1877)</ref>, that had offended Tchaikovsky so much in 1877, appeared to be prophetic.|author=Yelena Dyachkova|source=Tchaikovsky and the Bible}}
 
It is possible that the Fifth Symphony grew out of some of these reflections, as suggested by Tchaikovsky’s notes on the initial sketches.<ref>see the work history http://www.tchaikovsky-research.net/en/Works/Symphonies/TH029.html see the work history</ref>
 
Though having many doubts about christianity, Tchaikovsky however liked and at times attended Orthodox liturgies. Yelena Dyachkova writes:
 
{{quote|text=It gave him strong emotional experience. ''"My attitude to church completely differs from yours,"'' Tchaikovsky wrote to Nadežda von Meck. ''"For me it still keeps plenty of poetic charm. I attend mass very often; in my opinion, the Liturgy of John Chrysostom is one of the greatest artistic works. Being attentive at our Orthodox service and going carefully into the sense of every ceremony, you are certainly touched by the spirit. I also love all night vigil. To go on Saturday to an old small church, to stand in twilight filled with incense smoke, to dip into yourself and to search inside yourself for the answer to eternal questions: what for, when, where to, why?, awaking from muse when the choir begins to sing "From my youth many passions possess me", and to give yourself up to the influence of the fascinating poetry of this psalm, to be filled with some quiet admiration, when holy doors open and it is heard "Praise God from Heaven!", - oh, I like all that enormously, it is one of my greatest delights!"''<ref extends="Perepiska">vol. 1, p. 91 (letter from Vienna, November 23 - December 5, 1877)</ref> In another letter the composer writes: ''"This week I have attended many church services and experienced great artistic delight. The Orthodox service acts upon the soul amazingly, if it is arranged, for example, like here in the Church of the Saviour!"''<ref extends="Perepiska">vol. 3, p. 270 (letter from the way from Moscow to Kamenka, April 7, 1884)</ref>|author=Yelena Dyachkova|source=Tchaikovsky and the Bible}}
 
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