Pyotr Ilyich Tchaikovsky: Difference between revisions
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'''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: | '''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=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 ( | {{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 (ethical 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 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: | 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: | ||
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And in 1887 again the composer makes a record in his diary: | And in 1887 again the composer makes a record in his diary: | ||
{{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 have been thinking much about God, life and death all this time, and especially in Aachen the fatal questions - what for, how, why? - often occupied me and anxiously flashed before me. It is the religion of mine that I would like to word in detail some time, if only to clarify for myself once and forever my beliefs and that border where they arise after the speculation. However, life with its vanities flies by, and I don't know if I shall have time to express that Credo that has been worked out by me lately. It has been worked out very clearly, but nevertheless, I do not use it for my praying practice yet. I am praying still as before, as I was taught to pray. However, God hardly needs to know how and why people pray. God does not need prayer. But we need it|author=Pyotr Tchaikovsky<ref | {{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 have been thinking much about God, life and death all this time, and especially in Aachen the fatal questions - what for, how, why? - often occupied me and anxiously flashed before me. It is the religion of mine that I would like to word in detail some time, if only to clarify for myself once and forever my beliefs and that border where they arise after the speculation. However, life with its vanities flies by, and I don't know if I shall have time to express that Credo that has been worked out by me lately. It has been worked out very clearly, but nevertheless, I do not use it for my praying practice yet. I am praying still as before, as I was taught to pray. However, God hardly needs to know how and why people pray. God does not need prayer. But we need it|author=Pyotr Tchaikovsky<ref>Wladimir Lakond, ''The Diaries of Tchaikovsky'' (1945), p. 249</ref> <ref>Dnevniki, ''P. I. Cajkovskogo'', p. 213 (record of September 21, 1887)</ref>}} | ||
{{quote|text=Ironically, Kondrat'ev's words: ''"Pray, my friend, pray. God will help you to get out of this situation"''<ref | {{quote|text=Ironically, Kondrat'ev's words: ''"Pray, my friend, pray. God will help you to get out of this situation"''<ref>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</ref> | 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</ref> | ||
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Though having many doubts about christianity, Tchaikovsky however liked and at times attended Orthodox liturgies. Yelena Dyachkova writes: | 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 | {{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>Pëtr Il'ic Cajkovskij, ''Perepiska s N. F. fon-Mekk'', 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>Pëtr Il'ic Cajkovskij, ''Perepiska s N. F. fon-Mekk'', 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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