Pyotr Ilyich Tchaikovsky: Difference between revisions
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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 [[tchaikovsky:Maydanovo|Maydanovo]] in 1887, on the same day that his old friend [[tchaikovsky:Nikolay Kondratyev|Nikolay Kondratyev]] died after a long illness in Aachen (where Tchaikovsky had visited him that summer): | 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 [[tchaikovsky:Maydanovo|Maydanovo]] in 1887, on the same day that his old friend [[tchaikovsky:Nikolay Kondratyev|Nikolay Kondratyev]] died after a long illness in Aachen (where Tchaikovsky had visited him that summer): | ||
'''Yelena Dyachkova''' ({{ | '''Yelena Dyachkova''' ({{Authorid|o= 0000-0002-1131-0552|r= C-4749-2018}}), Ph.D. in History of Arts and Assistant professor at the [[w:Kyiv Conservatory|Petro 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 (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}} | {{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}} | ||