Fatum: Difference between revisions
en>Sauli Niemi m (→Instrumentation: Fine-tuning) |
No edit summary |
||
| (2 intermediate revisions by 2 users not shown) | |||
| Line 5: | Line 5: | ||
==Duration== | ==Duration== | ||
The fantasia is in one movement: Moderato assai—Più mosso, | The fantasia is in one movement: Moderato assai—Più mosso, largamente (C minor, 407 bars), lasting around 15 to 20 minutes in performance. | ||
==Composition== | ==Composition== | ||
Information on the composition of the fantasia is given in three letters from the composer to [[Anatoly Tchaikovsky]]. On 10/22 September 1868: "I' | Information on the composition of the fantasia is given in three letters from the composer to [[Anatoly Tchaikovsky]]. On 10/22 September 1868: "I haven't written anything new and I can't settle on anything" <ref name="note1"/>. On 25 September/6 October 1868: "I'm writing a symphonic thing called ''Fatum''" <ref name="note2"/>. On 21 October/2 November 1868: "I've written an orchestral fantasia" <ref name="note3"/>. Therefore, sketches for the ''Fatum'' were commenced sometime between 10/22 September and 25 September/7 October, and was completed by 21 October/2 November 1868. Tchaikovsky orchestrated the fantasia during December <ref name="note4"/>. | ||
Before the first performance in February 1869, bars 16–25 were deleted by the composer, on the grounds that they were "ugly | Before the first performance in February 1869, bars 16–25 were deleted by the composer, on the grounds that they were "ugly in terms of the music and the instrumentation" <ref name="note5"/>. | ||
==Subject== | ==Subject== | ||
The programme for the fantasia is unknown, but the concert bill for its first performance contained an epigraph of verses by [[Konstantin Batyushkov]]: | The programme for the fantasia is unknown, but the concert bill for its first performance contained an epigraph of verses by [[Konstantin Batyushkov]]: | ||
{{quote|Do you recall the cry<br/>Of | {{quote|Do you recall the cry<br/>Of grey Melchizedek as he prepared to die?<br/>Man, he exclaimed, is born a slave; a slave<br/>He must descend into the grave<br/>And Death will hardly tell him why<br/>He haunts the magic vale of tears,<br/>Suffers and weeps, endures and disappears <ref name="note6"/>.}} | ||
This epigraph drew harsh criticism from [[Herman Laroche]] <ref name="note7"/> and [[Mily Balakirev]], and there are two conflicting accounts of its origins. In the first, the epigraph was added without the composer's knowledge <ref name="note8"/>. This account of the history of the epigraph was described by [[Sergey Rachinsky]] in a letter to [[Laroche]]: | This epigraph drew harsh criticism from [[Herman Laroche]] <ref name="note7"/> and [[Mily Balakirev]], and there are two conflicting accounts of its origins. In the first, the epigraph was added without the composer's knowledge <ref name="note8"/>. This account of the history of the epigraph was described by [[Sergey Rachinsky]] in a letter to [[Laroche]]: | ||
{{quote|As the concert programme was going to press, [[Nikolay Rubinstein]] was concerned, as always, with the descriptions given for the Musical Society; in his view the title ''Fatum'' was too vague, and he thought it advisable to attach a few simple verses, in order to explain the significance of the title. It so happened that I (not having heard a single note of Mr Tchaikovsky's symphony) went up to [[Nikolay Rubinstein|Mr Rubinstein]] and suggested this poem by [[Batyushkov]], which was hitherto unknown to either [[Nikolay Rubinstein|Mr Rubinstein]] or Mr Tchaikovsky. Won over by the beautiful melancholy of [[Batyushkov]]'s verse, [[Nikolay Rubinstein|Mr Rubinstein]] agreed with me at once, and added them to the concert programme <ref name="note9"/>.}} | {{quote|As the concert programme was going to press, [[Nikolay Rubinstein]] was concerned, as always, with the descriptions given for the Musical Society; in his view the title ''Fatum'' was too vague, and he thought it advisable to attach a few simple verses, in order to explain the significance of the title. It so happened that I (not having heard a single note of Mr Tchaikovsky's symphony) went up to [[Nikolay Rubinstein|Mr Rubinstein]] and suggested this poem by [[Batyushkov]], which was hitherto unknown to either [[Nikolay Rubinstein|Mr Rubinstein]] or Mr Tchaikovsky. Won over by the beautiful melancholy of [[Batyushkov]]'s verse, [[Nikolay Rubinstein|Mr Rubinstein]] agreed with me at once, and added them to the concert programme <ref name="note9"/>.}} | ||
The second story, related in [[Ivan Klimenko]]'s reminiscences of Tchaikovsky <ref name="note10"/>, attributes the idea for the epigraph to [[Klimenko]] himself. After hearing the rehearsals of the fantasia, he stated his opinion that either an epigraph was required to explain the title, or the title should be expunged. He received the support of [[Sergey Rachinsky]] who recommended [[Batyushkov]]'s verses to Tchaikovsky in the capacity of an epigraph. With the composer's agreement, [[Rachinsky]] there and then added the verses to the manuscript score. | The second story, related in [[Ivan Klimenko]]'s reminiscences of Tchaikovsky <ref name="note10"/>, attributes the idea for the epigraph to [[Klimenko]] himself. After hearing the rehearsals of the fantasia, he stated his opinion that either an epigraph was required to explain the title, or the title should be expunged. He received the support of [[Sergey Rachinsky]], who recommended [[Batyushkov]]'s verses to Tchaikovsky in the capacity of an epigraph. With the composer's agreement, [[Rachinsky]] there and then added the verses to the manuscript score. | ||
==Performances== | ==Performances== | ||
On 15/27 February 1869 the premiere of the fantasia took place at the eighth concert of the Russian Musical Society in [[Moscow]], conducted by [[Nikolay Rubinstein]]. After the concert, Tchaikovsky told his brother [[Anatoly]]: "This | On 15/27 February 1869, the premiere of the fantasia took place at the eighth concert of the Russian Musical Society in [[Moscow]], conducted by [[Nikolay Rubinstein]]. After the concert, Tchaikovsky told his brother [[Anatoly]]: "This seems to be the best thing I've written so far — at least, that's what others say (a significant success)." <ref name="note11"/>. | ||
In [[Saint Petersburg]], ''Fatum'' was performed on 17/29 March 1869 at the ninth symphony concert of the Russian Musical Society, conducted by [[Mily Balakirev]]. It was not a success. In the surviving correspondence between [[Balakirev]] and Tchaikovsky, some letters dating from February to May 1869 relate to ''Fatum'' and its performance. Among them are two letters from [[Balakirev]] containing critiques of the work, of which the one with the most unfavourable judgement was not sent to Tchaikovsky <ref name="note12"/>. | In [[Saint Petersburg]], ''Fatum'' was performed on 17/29 March 1869 at the ninth symphony concert of the Russian Musical Society, conducted by [[Mily Balakirev]]. It was not a success. In the surviving correspondence between [[Balakirev]] and Tchaikovsky, some letters dating from February to May 1869 relate to ''Fatum'' and its performance. Among them are two letters from [[Balakirev]] containing critiques of the work, of which the one with the most unfavourable judgement was not sent to Tchaikovsky <ref name="note12"/>. | ||
| Line 32: | Line 32: | ||
==Publication== | ==Publication== | ||
After Tchaikovsky's death the score of the fantasia was reconstructed from the orchestral parts used for the first performances by Ivan Shorning, librarian at the [[Moscow]] Conservatory. This reconstruction was published by [[Mitrofan Belyayev]] in 1896 as Op. 77 <ref name="note14"/>. An arrangement of ''Fatum'' for piano duet, published at the same time, was made by [[Nikolay Sokolov]]. | After Tchaikovsky's death, the score of the fantasia was reconstructed from the orchestral parts used for the first performances by Ivan Shorning, librarian at the [[Moscow]] Conservatory. This reconstruction was published by [[Mitrofan Belyayev]] in 1896 as Op. 77 <ref name="note14"/>. An arrangement of ''Fatum'' for piano duet, published at the same time, was made by [[Nikolay Sokolov]]. | ||
In 1960 ''Fatum'' was published in volume 22 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Irina Iordan. | In 1960, ''Fatum'' was published in volume 22 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Irina Iordan. | ||
==Recordings== | ==Recordings== | ||
| Line 56: | Line 56: | ||
<ref name="note5">[[Letter 134]] to [[Mily Balakirev]], 13/25 March 1869. This section was retained in [[Belyayev]]'s posthumous edition.</ref> | <ref name="note5">[[Letter 134]] to [[Mily Balakirev]], 13/25 March 1869. This section was retained in [[Belyayev]]'s posthumous edition.</ref> | ||
<ref name="note6">From the poem ''Apophthegm of Melchizedek'' (Изречение Мельхиседека), in a translation by Vladimir Nabokov (1899-1977).</ref> | <ref name="note6">From the poem ''Apophthegm of Melchizedek'' (Изречение Мельхиседека), in a translation by Vladimir Nabokov (1899-1977).</ref> | ||
<ref name="note7">{{bib|1922/41| Собрание музвкально-критических статей ; том 2, часть 2}} (1924), pp. 1–5.</ref> | <ref name="note7">{{bib|1922/41|Собрание музвкально-критических статей ; том 2, часть 2}} (1924), pp. 1–5.</ref> | ||
<ref name="note8">{{bib|1922/41| Собрание музвкально-критических статей ; том 2, часть 2}} (1924), pp. 5–7.</ref> | <ref name="note8">{{bib|1922/41|Собрание музвкально-критических статей ; том 2, часть 2}} (1924), pp. 5–7.</ref> | ||
<ref name="note9"> | <ref name="note9">{{bib|1869/5|Концерты Русского музыкального общества 7-й, 8-й и 9-й}} (1869).</ref> | ||
<ref name="note10"> | <ref name="note10">{{bib|1908/14|Мой воспоминания о Петре Ильиче Чайковском}} (1908), pp. 11–13. This account is not supported by other documents.</ref> | ||
<ref name="note11">[[Letter 131]] to [[Anatoly Tchaikovsky]], 15/27 February-16/28 February 1869.</ref> | <ref name="note11">[[Letter 131]] to [[Anatoly Tchaikovsky]], 15/27 February-16/28 February 1869.</ref> | ||
<ref name="note12">See [[Letter 132]], between 16/28 February and 22 February/6 March 1869; [[Letter 134]], 13/25 March 1869; and [[Letter 138]], 3/15 May 1869 to [[Mily Balakirev]]; also [[Balakirev]]'s letters to Tchaikovsky of 11/23 March, 18/30 March, 19/31 March and 31 March/12 April 1869 — [[Saint Petersburg]] Public Library.</ref> | <ref name="note12">See [[Letter 132]], between 16/28 February and 22 February/6 March 1869; [[Letter 134]], 13/25 March 1869; and [[Letter 138]], 3/15 May 1869 to [[Mily Balakirev]]; also [[Balakirev]]'s letters to Tchaikovsky of 11/23 March, 18/30 March, 19/31 March and 31 March/12 April 1869 — [[Saint Petersburg]] Public Library.</ref> | ||
<ref name="note13">See [[Letter 997]] to [[Nadezhda von Meck]], 2/14 December 1878.</ref> | <ref name="note13">See [[Letter 997]] to [[Nadezhda von Meck]], 2/14 December 1878.</ref> | ||
<ref name="note14">See letters from [[Mitrofan Belyayev]] to [[Modest Tchaikovsky]], 18/30 March and 1/13 April 1898, and letter from [[Mitrofan Belyayev]] to [[Sergey Taneyev]], 10/22 April 1898 — [[Klin]] House-Museum Archive.</ref> | <ref name="note14">See letters from [[Mitrofan Belyayev]] to [[Modest Tchaikovsky]], 18/30 March and 1/13 April 1898, and letter from [[Mitrofan Belyayev]] to [[Sergey Taneyev]], 10/22 April 1898 — [[Klin]] House-Museum Archive (б<sup>10</sup>, Nos. 395–396 and в<sup>11</sup>, No. 589).</ref> | ||
</references> | </references> | ||
[[Category:Orchestral Music]] | [[Category:Orchestral Music]] | ||
Latest revision as of 12:20, 2 August 2023
Tchaikovsky's symphonic fantasia Fatum (Фатум), in C minor (TH 41 ; ČW 38) was written between September and December 1868. After the first performances the composer destroyed the full score, but after his death it was reconstructed from the surviving orchestral parts and published as "Op. 77".
Instrumentation
Tchaikovsky employed a larger orchestral compliment than in any of his previous works: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets (in B-flat), 2 bassoons + 4 horns (in F), 3 trumpets (in F), 3 trombones, tuba + 3 timpani, triangle, cymbals, bass drum, tam tam + harp, violins I, violins II, violas, cellos and double basses.
Duration
The fantasia is in one movement: Moderato assai—Più mosso, largamente (C minor, 407 bars), lasting around 15 to 20 minutes in performance.
Composition
Information on the composition of the fantasia is given in three letters from the composer to Anatoly Tchaikovsky. On 10/22 September 1868: "I haven't written anything new and I can't settle on anything" [1]. On 25 September/6 October 1868: "I'm writing a symphonic thing called Fatum" [2]. On 21 October/2 November 1868: "I've written an orchestral fantasia" [3]. Therefore, sketches for the Fatum were commenced sometime between 10/22 September and 25 September/7 October, and was completed by 21 October/2 November 1868. Tchaikovsky orchestrated the fantasia during December [4].
Before the first performance in February 1869, bars 16–25 were deleted by the composer, on the grounds that they were "ugly in terms of the music and the instrumentation" [5].
Subject
The programme for the fantasia is unknown, but the concert bill for its first performance contained an epigraph of verses by Konstantin Batyushkov:
Do you recall the cry
Of grey Melchizedek as he prepared to die?
Man, he exclaimed, is born a slave; a slave
He must descend into the grave
And Death will hardly tell him why
He haunts the magic vale of tears,
Suffers and weeps, endures and disappears [6].
This epigraph drew harsh criticism from Herman Laroche [7] and Mily Balakirev, and there are two conflicting accounts of its origins. In the first, the epigraph was added without the composer's knowledge [8]. This account of the history of the epigraph was described by Sergey Rachinsky in a letter to Laroche:
As the concert programme was going to press, Nikolay Rubinstein was concerned, as always, with the descriptions given for the Musical Society; in his view the title Fatum was too vague, and he thought it advisable to attach a few simple verses, in order to explain the significance of the title. It so happened that I (not having heard a single note of Mr Tchaikovsky's symphony) went up to Mr Rubinstein and suggested this poem by Batyushkov, which was hitherto unknown to either Mr Rubinstein or Mr Tchaikovsky. Won over by the beautiful melancholy of Batyushkov's verse, Mr Rubinstein agreed with me at once, and added them to the concert programme [9].
The second story, related in Ivan Klimenko's reminiscences of Tchaikovsky [10], attributes the idea for the epigraph to Klimenko himself. After hearing the rehearsals of the fantasia, he stated his opinion that either an epigraph was required to explain the title, or the title should be expunged. He received the support of Sergey Rachinsky, who recommended Batyushkov's verses to Tchaikovsky in the capacity of an epigraph. With the composer's agreement, Rachinsky there and then added the verses to the manuscript score.
Performances
On 15/27 February 1869, the premiere of the fantasia took place at the eighth concert of the Russian Musical Society in Moscow, conducted by Nikolay Rubinstein. After the concert, Tchaikovsky told his brother Anatoly: "This seems to be the best thing I've written so far — at least, that's what others say (a significant success)." [11].
In Saint Petersburg, Fatum was performed on 17/29 March 1869 at the ninth symphony concert of the Russian Musical Society, conducted by Mily Balakirev. It was not a success. In the surviving correspondence between Balakirev and Tchaikovsky, some letters dating from February to May 1869 relate to Fatum and its performance. Among them are two letters from Balakirev containing critiques of the work, of which the one with the most unfavourable judgement was not sent to Tchaikovsky [12].
The London premiere of the work took place in a concert at the Queen's Hall on 16/28 October 1899, conducted by Henry Wood.
Autographs
Whether under the influence of Balakirev's criticism, or because the composer's attitude to Fatum changed over time, the composer destroyed the manuscript score in the 1870s [13].
Publication
After Tchaikovsky's death, the score of the fantasia was reconstructed from the orchestral parts used for the first performances by Ivan Shorning, librarian at the Moscow Conservatory. This reconstruction was published by Mitrofan Belyayev in 1896 as Op. 77 [14]. An arrangement of Fatum for piano duet, published at the same time, was made by Nikolay Sokolov.
In 1960, Fatum was published in volume 22 of Tchaikovsky's Complete Collected Works, edited by Irina Iordan.
Recordings
- See: Discography
Dedication
Fatum was dedicated to Mily Balakirev, who had encouraged Tchaikovsky to write the fantasia.
Related Works
The fantasia's lyrical theme in A-flat major (from bar 43) appeared almost unchanged (but in the key of D-flat major) in the second part of the duet for Natalya and Andrey in the opera The Oprichnik (Act IV, No. 16).
External Links
- Internet Music Score Library Project (IMSLP) — downloadable scores
Notes and References
- ↑ Letter 118 to Anatoly Tchaikovsky, 10/22 September 1868.
- ↑ Letter 121 to Anatoly Tchaikovsky, 25 September/7 October 1868.
- ↑ Letter 122 to Anatoly Tchaikovsky, 21 October/2 November 1868.
- ↑ See Letter 124 to Modest Tchaikovsky, mid/late December 1868.
- ↑ Letter 134 to Mily Balakirev, 13/25 March 1869. This section was retained in Belyayev's posthumous edition.
- ↑ From the poem Apophthegm of Melchizedek (Изречение Мельхиседека), in a translation by Vladimir Nabokov (1899-1977).
- ↑ Г. А. Ларош. Собрание музыкально-критических статей, том 2, часть 1 (1924), pp. 1–5.
- ↑ Г. А. Ларош. Собрание музыкально-критических статей, том 2, часть 1 (1924), pp. 5–7.
- ↑ Концерты Русского музыкального общества 7-й, 8-й и 9-й (1869).
- ↑ Мои воспоминания о Петре Ильиче Чайковском (1908), pp. 11–13. This account is not supported by other documents.
- ↑ Letter 131 to Anatoly Tchaikovsky, 15/27 February-16/28 February 1869.
- ↑ See Letter 132, between 16/28 February and 22 February/6 March 1869; Letter 134, 13/25 March 1869; and Letter 138, 3/15 May 1869 to Mily Balakirev; also Balakirev's letters to Tchaikovsky of 11/23 March, 18/30 March, 19/31 March and 31 March/12 April 1869 — Saint Petersburg Public Library.
- ↑ See Letter 997 to Nadezhda von Meck, 2/14 December 1878.
- ↑ See letters from Mitrofan Belyayev to Modest Tchaikovsky, 18/30 March and 1/13 April 1898, and letter from Mitrofan Belyayev to Sergey Taneyev, 10/22 April 1898 — Klin House-Museum Archive (б10, Nos. 395–396 and в11, No. 589).
