Чайковский, Симфония №6

соч. 74 «Патетическая»

“During the journey [to Odessa] the idea for a new symphony occurred to me, this time a programme-symphony but with a programme that shall remain an enigma to all — they may guess as they please but the symphony will be called simply ‘Programme Symphony’ (No. 6). This programme is deeply subjective and while composing it in my mind during my journey I often wept bitterly … in less than 4 days I had completely finished the 1st movement and had already clearly outlined the others in my mind … There will be much that is new as regards form in this symphony and, among other things, the finale will not be a loud Allegro but, on the contrary, a most protracted Adagio.” — Tschaikowski wrote to his nephew Vlad. Davidov, 11 Feb. 1893.

The composer began to work at this “Programme Symphony” on 4 Feb. 1893. By 9 Feb. he had already fully sketched the 1st movement, and from this he passed straight on to the 3rd, then interrupted for the next 5 weeks by conducting requests. He resumed the work on 19 March, and the symphony had been done in sketch form completely within the next 5 days. The orchestration progress started in July, but from there things went slower. “I am not completely satisfied with its instrumentation. Somehow everything is tuning out not quite as I had thought. I will in no way be surprised if this symphony is criticised … But I difinitely consider it the very best, and, especially, the most sincere of all my works. I love it as I have never loved any one of my other musical offspring.” As it shows, Tschaikowski expressed emotional difficulties (but also hopes) to his 6th and final symphony, in his letter to Davidov on 3 August 1893. The orchestration was completed on 12 August, and after seeking assistance from the violinist and composer Julius Konius on bowings, on 20 Aug. Tschaikowski patched the score, with all the marks of tempi, phrasings and dynamics, to the publisher Jurgenson. Before this the symphony was played by the orchestral class of the Moscow Conservatoire, under the direction of Safonov, mainly in order to detect any possible mistakes in the orchestral parts before Tschaikowski could take it to St Petersburg for the première. According to the critic Kashkin, although Tschaikowski was satisfied with the first 3 movements, that he still had doubts about the last, thinking to destroy and replace with a new one after he had heard it performed.

The scheduled première was given on 16 Oct. 1893, under the direction of the composer. Despite several remarks that the symphony lacked thematic distinction, novelty and inspiration of previous works of his, the press was largely favourable to the works itself — but not to the conductor. During the rehearsals Tschaikowski had sensed a feeling of indifference to the work from the orchestra, and this might cause the performance suffered. “… had the new symphony been performed last night under the direction of M. Auer of M. Napravnik, it would have achieved greater success.” (Birzheviye Vedomosti) [Ft. 1]

Ft.1
To be fair, Rimsky-Korsakov (who attend both the première and the 2nd performance, literally under the direction of Napravnik) specifically states that Tschaikowski’s performance was excellent. D. Lloyd-Jones, Edition Eulenburg No.479, foreword vi.

The origin of the title Pathétique is revealed by Modeste Tschaikowski in his biography of his brother. “He did not want to leave it simply with a number, neither did he want to call it ‘Programme Symphony’ as he had originally intended. ‘How can I call it Programme Symphony when I do not want to reveal the programme!’ … the title ‘Pathétique’ suddenly came into my head, and, I remember as if it were only yesterday, ‘Excellent, Modya, bravo, pathétique!’ In my presence he wrote on the score the name that it will always bear.”

8 days after the première, Tschaikowski died suddenly of cholera after drinking some unboiled water. The symphony was performed on 6 November at a memorial concert, under Napravnik. This time it made a profound impression on the public, especially the valedictory character of the last movement, which was now proclaimed to be “prophetic” of the composer’s sudden death.

The unspecified programme [to the movements] will remain an enigma … [but] as we know from some notes that have been preserved, the composer might had planned these movements to be named as Youth, Love, Disappointment and Death (“the ending dies away” he noted).

Published on 10 May 2020.

Reference

Lloyd-Jones, David. Edition Eulenburg №479. E. Eulenburg Ltd. © 1982. Foreword.

Score Edition

Edition Eulenburg №479. E. Eulenburg Ltd. © 1982.