BBC Proms 25. Tchakovsky & Sibelious
Немногие композиторы так ярко запечатлели жизненные невзгоды, как Чайковский. «Это судьба», — писал композитор в 1877 году, сражаясь с начальными нотами своей Симфонии № 4. «Она висит над твоей головой, как дамоклов меч». К последним страницам симфонии Чайковский вырвал надежду из отчаяния. Йон Стургордс дирижирует своим филармоническим оркестром BBC в этой полнокровной симфонии после нежной, белой светимости Концерта для валторны Ганса Абрахамсена и резкой драмы симфонической фантазии Сибелиуса «Дочь Похьёлы», основанной на сказке из финского народного эпоса «Калевала», в которой древний бард Вяйнямёйнен пытается добиться расположения прекрасной Дочери Севера. Выпускной бал открывается недооцененной драматической увертюрой Шумана к его опере на основе средневековой легенды о святой Женевьеве Брабантской «Геновева».
The premiere of the Fifth Symphony took place on November 5 (17), 1888 in St. Petersburg, conducted by the composer himself, the critics' reviews were mixed. Tchaikovsky initially considered the Fifth Symphony weaker than the previous one, and therefore a failure, in particular from a letter to N. F. von Meck:
Having played my new symphony twice in St. Petersburg and once in Prague, I came to the conclusion that this symphony is unsuccessful. There is something repulsive in it, some excess of motley and insincerity, artificiality. And the public instinctively recognises this. It was very clear to me that the ovations of which I was the subject related to my previous work, and the symphony itself is incapable of captivating or, at least, pleasing. The awareness of all this causes me an acute, painful feeling of dissatisfaction with myself.
Have I really, as they say, written myself out, and can I now only repeat myself and imitate my previous style?
With the phrase “in my previous style,” Tchaikovsky makes it clear that the theme of fate and destiny, which he addressed in the Fourth Symphony, was raised again, and therefore the composer’s mental turmoil did not leave him. Only in the spring of 1889, after the performance of the Fifth Symphony in Hamburg, did the composer change his mind, recognising a number of obvious merits in the work.
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