Петар Иљич Чајковски

Из пројекта Википедија

Петар Иљич Чајковски (руски: Пётр Ильич Чайкoвский, Пјотр Иљич Чајковскиј;  послушај био је руски композитор позног роматизма. Рођен је 7. маја 1840. године. Појавио се у руској музици истовремено са композиторима 'Руске петорке' али није био њихов члан. Његова музика, која је садржала руски карактер, била је јако добро прихваћена. Ипак садржала је више западних елемената и ако је успешно комбиновао интернационалне елементе са елементима руске народне музике. Предавао је хармонију на конзерваторијуму у Москви и писао музичке критике. Материјалну независност и боравак у иностранству омогућила му је његова меценаткиња Надежда вон Мек, а њихово дописивање важан је извор података о стваралачком раду и естетским погледима Чајковског. Наступао је као диригент сопствених дела по Русији, Европи и САД-у.

Садржај 1 Детињство 2 Музичка каријера 3 Приватни живот 4 Смрт 5 Дела 5.1 Балети 5.2 Опере 5.3 Симфоније 5.4 Концерти 5.5 Друга дела 5.5.1 За оркестар 5.5.2 За хор, песме, камерна музика и солистичке композиције за клавир и виолину

[уреди] Детињство

Петар Иљич Чајковски рођен у градићу Воткинск (у данашњој Руској републици Удмуртији у то време Вјатка Губернија административна покрајина Царске Русије). Његов отац је радио у владиним рудницима као рударски инжењер. Његова мама (друга од три жене његовог оца), звала се Александра (Рускиња Француског порекла). Његов десет година млађи брат био је Модест Иљич Чајковски драматург, либерал и преводилац. Од своје пете године ишао је на часове клавира и већ за неколико месеци свирао је одлично. 1850, његов отац је добио посао на институту за технологију у Петрограду. На том универзитету Чајковски је завршио филозофију права и наставио са часовима клавира код директора музичке библиотеке. Чајковски је са четрнаест година компоновао валцер у помен на своју мајку која је умрла од колере.

Напустио је школу 1859 и запослио се као секретар у министарству правде, где се убрзо затим прикључио хору министарства. 1861 Чајковски је наставио да проширује своје знање о музици. Почео је да учи теорију музике уз помоћ пријатеља Николаја Зарембе. Заремба се уписао на Петроградски конзерваторијум. Од 1862 до 1865 Чајковски је наставио да проучава хармонију и контрапункт са Зарембом a оркестрацију и композицију са директором и оснивачем конзерваторијума Антоном Рубинштајном.

[уреди] Музичка каријера

енглески?: After graduating, Tchaikovsky was approached by Anton Rubinstein's younger brother Nikolai to become professor of harmony, composition, and the history of music. Tchaikovsky gladly accepted the position, as his father had retired and lost his property. The next ten years were spent teaching and composing. Teaching proved taxing, and in 1877 he suffered a breakdown. After a year off, he attempted to return to teaching, but retired his post soon after. He spent some time in Italy and Switzerland, but eventually took residence with his sister, who had an estate just outside Kiev.

Tchaikovsky took to orchestral conducting after filling in at a performance in Moscow of his opera Tcharodyeika (Чародейка: the Enchantress/Sorceress) (1885-7). Overcoming a life-long stage fright, his confidence gradually increased to the extent that he regularly took to conducting his pieces.

Tchaikovsky visited America in 1891 in a triumphant tour to conduct performances of his works. On May 5, he conducted the New York Symphony Society's orchestra in a performance of Marche Solenelle on the opening night of New York's Carnegie Hall. That evening was followed by subsequent performances of his Third Suite on May 7, and the a cappella choruses Pater Noster and Legend on May 8.

Just nine days after the first performance of his Sixth Symphony, Pathétique, in 1893, in St Petersburg, Tchaikovsky died (see section below).

Some musicologists (e.g. Milton Cross, David Ewen) believe that he consciously wrote his Sixth Symphony as his own Requiem. In the development section of the first movement, the rapidly progressing evolution of the transformed first theme suddenly "shifts into neutral" in the strings, and a rather quiet, harmonized chorale emerges in the trombones. The trombone theme bears absolutely no relation to the music that preceded it, and none to the music which follows it. It appears to be a musical "non sequitur", an anomaly — but it is from the Russian Orthodox Mass for the Dead, in which it is sung to the words: "And may his soul rest with the souls of all the saints." Tchaikovsky was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery in St Petersburg.

His music included some of the most renowned pieces of the romantic period. Many of his works were inspired by events in his life.

[уреди] Приватни живот

During his education at the School of Jurisprudence, he was infatuated with a soprano, but she married another man. One of his conservatory students, Antonina Milyukova, began writing him passionate letters around the time that he had made up his mind to "marry whoever will have me." He did not even remember her from his classes, but her letters were very persistent, and he hastily married her on July 18, 1877. Within days, while still on their honeymoon, he deeply regretted his decision. Two weeks after the wedding the composer attempted suicide by wading in a cold river. He later fled to St Petersburg a nervous wreck, and was separated from his wife after only six weeks. The couple never saw each other again. Antonina Milyukova died in a mental institution in 1917. They remained legally married until his death.

The composer's homosexuality, as well as its importance to his life and music, has long been recognized, though knowledge about it was especially suppressed during the Soviet era.^[1] Although some historians continue to view him as heterosexual, many others - such as Rictor Norton and Alexander Poznansky - accept that some of Tchaikovsky's relationships were homosexual, such as the ones with his servant Alyosha and his nephew, Vladimir Davidov. Evidence that Tchaikovsky was homosexual is drawn from his letters and diaries, as well as the letters of his brother, Modest, who was also homosexual.

A far more influential woman in Tchaikovsky's life was a wealthy widow, Nadezhda von Meck, with whom he exchanged 1,200 letters between 1877 and 1890. At her insistence they never met; they did encounter each other on two occasions, purely by chance, but did not converse. As well as financial support in the amount of 6,000 rubles a year, she expressed interest in his musical career and admiration for his music. However, after 14 years she ended the relationship unexpectedly, claiming bankruptcy. It was during this period that Tchaikovsky achieved success throughout Europe and (by his own account), in 1891, even greater accolades in the United States. In fact, he was the conductor, on May 5th, 1891, at the official opening night of Carnegie Hall.

Meck's claim of financial ruin is disregarded by some who believe that she ended her patronage of Tchaikovsky because she supposedly discovered the composer's homosexuality. It is possible she was planning to marry off one of her daughters to Tchaikovsky, as she also supposedly tried to marry one of them to Claude Debussy, who had lived in Russia for a time as music teacher to her family. Also, one of her sons, Nikolay, was married to Tchaikovsky's niece Anna Davydova.

Tchaikovsky's life is the subject of Ken Russell's motion picture The Music Lovers. Two other motion pictures were based on his life - the low-budgeted, sanitized and highly fictionalized Song of My Heart, released in 1948, and the 1969 Russian-language "Tchaikovsky" , which was nominated for an Academy Award for Best Foreign Language Film. His last name derives from the word chaika (чайка), meaning seagull in a number of Slavic languages. His family origins may not have been entirely Russian. In an early letter to Nadezhda von Meck, Tchaikovsky wrote that his name was Polish and his ancestors were "probably Polish."

[уреди] Смрт

Until recent years it had been generally assumed that Tchaikovsky died of cholera after drinking contaminated water. However, a controversial theory published in 1980 by Aleksandra Orlova and based only on oral history (i.e., without documentary evidence), explains Tchaikovsky's death as a suicide.

In this account, Tchaikovsky committed suicide by consuming small doses of arsenic following an attempt to blackmail him over his homosexuality. His alleged death by cholera (whose symptoms have some similarity with arsenic poisoning) is supposed to have been a cover for this suicide. According to the theory, Tchaikovsky's own brother Modest Tchaikovsky, also homosexual, helped conspire to keep the secret. There are many circumstantial events that some say lend credence to the theory, such as wrong dates on the death certificate, conflicting testimony from Modest and the doctor about the timeline of his death, the fact that Tchaikovsky's funeral was open casket, and that the sheets from his deathbed were merely laundered instead of being burned. There are also passages in Rimsky-Korsakov's autobiography years later about how people at the funeral kissed Tchaikovsky on the face, even though he had died from cholera. These passages were deleted by Russian authorities from later editions of Rimsky-Korsakov's book.

The suicide theory is hotly disputed by others, including Alexander Poznansky, who argues that Tchaikovsky could easily have drunk tainted water because his class regarded cholera as a disease that afflicted only poor people, or because restaurants would mix cool boiled water with unboiled; that the circumstances of his death are entirely consistent with cholera; and that homosexuality ("gentlemanly games") was widely tolerated among the upper classes of Tsarist Russia. To this day, no one knows how Tchaikovsky truly died.

The English composer Michael Finnissy has composed a short opera, Shameful Vice, about Tchaikovsky's last days and death.

[уреди] Дела

[уреди] Балети

Чајковски је познат по својим балетима. Балете је почео да компонује последњих година свог живота. Након последња два, његови савременици су почели да га цене као јако доброг композитора балета.

• (1875–1876): Лабудово језеро или Лабуђе језеро, Op. 20. Први балет који је написао Чајковски. Први пут је изведен 1877 у Бољшој театру у Москви са неколико пропуста. Коначна верзија је представљена 1895 а писали су је Мариус Петипа и Лев Иванов. Последњу прераду написао је композитор Рикардо Дриго и тако се изводи и дан данас.
• (1888–1889): Успавана лепотица, Op. 66. Чајковски је овај балет сматрао за совоје најбоље дело. Први пут је изведен 1890 у театру Марински у Петрограду.
• (1891–1892): Крцко орашчић, Op. 71. То је последњи балет који је написао Чајковски. Он сам није био много задовољан овим делом. Нерадо је прихватио понуду да компонује овај балет. Између осталог овај балет је познат по употреби челесте, инструмента који је већ користио у свом мање познатом симфонијском делу Војвода (премијера 1891).

[уреди] Опере

Tchaikovsky completed ten operas, although one of these is mostly lost and another exists in two significantly different versions. In the West his most famous are Eugene Onegin and The Queen of Spades.

• Voyevoda (Воевода – The Voivode, Op. 3, 1867 – 1868)

Full score destroyed by composer, but posthumously reconstructed from sketches and orchestral parts

• Undina (Ундина or Undine, 1869)

Was not completed. Only a march sequence from this opera saw the light of day, as the second movement of his Symphony #2 in C Minor and a few other segments are occasionally heard as concert pieces. Interestingly, while Tchaikovsky revised the Second symphony twice in his lifetime, he did not alter the second movement (taken from the Undina material) during either revision. The rest of the score of Undina was destroyed by the composer.

• The Oprichnik (Опричник), 1870–1872

Premiere April 24 [OS April 12], 1874, St Petersburg

• Vakula the Smith (Кузнец Вакула – Kuznets Vakula), Op. 14, 1874;

Revised later as Cherevichki, premiere December 6 [OS November 24], 1876, St Petersburg

• Eugene Onegin (Евгений Онегин – Yevgeny Onegin), Op. 24, 1877–1878

Premiere March 29 [OS March 17] 1879 at the Moscow Conservatory

• The Maid of Orleans (Орлеанская дева – Orleanskaya deva), 1878–1879

Premiere February 25 [OS February 13], 1881, St Petersburg

• Mazepa (Мазепа), 1881–1883

Premiere February 15 [OS February 3] 1884, Moscow

• Cherevichki (Черевички; revision of Vakula the Smith) 1885

Premiere January 31 [OS January 19], 1887, Moscow)

• The Enchantress (or The Sorceress, Чародейка – Charodeyka), 1885–1887

Premiere November 1 [OS October 20] 1887, St Petersburg

• The Queen of Spades (Пиковая дама - Pikovaya dama), Op. 68, 1890

Premiere December 19 [OS December 7] 1890, St Petersburg

• Iolanta (Иоланта – Iolanthe), Op. 69, 1891

First performance: Maryinsky Theatre, St Petersburg, 1892. Originally performed on a double-bill with The Nutcracker

(Note: A "Chorus of Insects" was composed for the projected opera Mandragora [Мандрагора] of 1870).

[уреди] Симфоније

Tchaikovsky's earlier symphonies are generally optimistic works of nationalistic character, while the later symphonies are more intensely dramatic, particularly in the Sixth, a clear declaration of despair. The last three of his numbered symphonies (the fourth, fifth and sixth) are recognised as highly original examples of symphonic form and are frequently performed.

• (1866): No. 1 in G minor, Op. 13, Winter Daydreams
• (1872): No. 2 in C minor, Op. 17, Little Russian
• (1875): No. 3 in D major, Op. 29, Polish
• (1877–1878): No. 4 in F minor, Op. 36
• (1885): Manfred Symphony, B minor, Op. 58. Inspired by Byron's poem Manfred
• (1888): No. 5 in E minor, Op. 64
• (Symphony No. 7: see below, Piano Concerto No. 3)
• (1893): No. 6 in B minor, Op. 74, Pathétique

He also wrote four orchestral suites in the ten years between the 4th and 5th symphonies. He originally intended to designate one or more of these as a "symphony" but was persuaded to alter the title. The four suites are nonetheless symphonic in character, and, compared to the last three symphonies, are undeservedly neglected.

[уреди] Концерти

• (1874–1875): Of his three piano concerti, it is No.1 in B-flat minor, Op. 23, which is best known and most highly regarded, and one of the most popular piano concertos ever written. It was initially rejected by its dedicatee, the pianist Nikolai Rubinstein, as poorly composed and unplayable, and subsequently premiered by Hans von Bülow (who was delighted to find such a piece to play) in Boston, Massachusetts on 25 October, 1875. Rubinstein later admitted his error of judgement, and included the work in his own repertoire.
• (1878): His Violin Concerto in D major, Op. 35, was composed in less than a month during March and April 1878, but its first performance was delayed until 1881 because Leopold Auer, the violinist to whom Tchaikovsky had intended to dedicate the work, refused to perform it: he stated that it was unplayable. Instead it was first performed by the relatively unknown Austrian violinist Adolf Brodsky, who received the work by chance. This violin concerto is one of the most popular concertos for the instrument and is frequently performed today.
• (1879): Tchaikovsky's Piano Concerto No. 2, Op. 44, is an eloquent, less extroverted piece with a violin and cello added as soloists in the second movement.
• (1892): The so-called "Piano Concerto No. 3" has a curious and complicated history. Commenced after the Symphony No. 5, it was intended initially to be the composer's next (i.e., sixth) symphony. However, after nearly finishing the sketches and some orchestration of the first movement, Tchaikovsky abandoned work on this score as a symphony. However, in 1893, after beginning work on what is now known as Symphony No. 6 (Pathétique), he reworked the sketches of the first movement and completed the instrumentation to create a piece for piano and orchestra known as Allegro de concert or Konzertstück (published posthumously as Op. 75). Tchaikovsky also produced a piano arrangement of the slow movement (Andante) and last movement (Finale) of the symphony. He turned the scherzo into another piano piece, the "Scherzo-fantasie" in E-flat minor, Op. 72, No. 10. After Tchaikovsky's death, the composer Sergei Taneyev completed and orchestrated the Andante and Finale, published as Op. 79. A reconstruction of the original symphony from the sketches and various reworkings was accomplished during 1951–1955 by the Soviet composer Semyon Bogatyrev, who brought the symphony into finished, fully orchestrated form and issued the score as Tchaikovsky's Symphony No 7 in E-flat major.^[2]

[уреди] Друга дела

[уреди] За оркестар

• (1869 revised 1870, 1880): Romeo and Juliet Fantasy Overture. This piece contains one of the world's most famous melodies. The tremendously famous love theme in the middle of this long symphonic poem has been used countless times in commercials and movies, frequently as a spoof to traditional love scenes.
• (1873): The Tempest Symphonic Fantasia After Shakespeare, Op. 18
• (1876): Slavonic March/Marche Slave, Op. 31. This piece is another well-known Tchaikovsky piece and is often played in conjunction with the 1812 Overture. This work uses the Tsarist National Anthem (as does the 1812). This piece is mostly in a minor key and is yet another very recognisable piece, commonly referenced in cartoons, commercials and the media. The piece is much in the style of a capriccio. The German heavy metal band Accept played the introduction of this piece for their song Metal Heart.
• (1876): Francesca da Rimini, Op. 32. This piece has been described as "pure melodrama" similar to stretches of Verdi operas; [1] some passages are similar to sword-fight clashes in Romeo and Juliet. When Francesca da Rimini was conducted by Leonard Bernstein in 1989, slowed from 40 minutes to 50, it was reviewed in the New York Times as a "masterpiece". [2]
• (1880): Capriccio Italien, Op. 45. This piece is a traditional caprice or capriccio (in Italian) in an Italian style. Tchaikovsky stayed in Italy in the late 1870s to early 1880s and throughout the various festivals he heard many themes, some of which were played by trumpets, samples of which can be heard in this caprice. It has a lighter character than many of his works, even "bouncy" in places, and is often performed today in addition to the 1812 Overture.

The title used in English-speaking countries is a linguistic hybrid: it contains an Italian word ("Capriccio") and a French word ("Italien"). A fully Italian version would be Capriccio Italiano; a fully French version would be Caprice Italien.

• (1880): Serenade in C for String Orchestra, Op. 48. The first movement, In the form of a sonatina, was an homage to Mozart. The second movement is a Waltz, followed by an Elegy and a spirited Russian finale, Tema Russo. In his score, Tchaikovsky supposedly wrote, "The larger the string orchestra, the better will the composer's desires be fulfilled."
• (1880): 1812 Overture, Op. 49. This piece was reluctantly written by Tchaikovsky to commemorate the Russian victory over Napoleon in the Napoleonic Wars. It is known for its traditional Russian themes (such as the old Tsarist National Anthem) as well as its famously triumphant and bombastic coda at the end which uses 16 cannon shots and a chorus of church bells. Despite its popularity, Tchaikovsky wrote that he "did not have his heart in it".

[уреди] За хор, песме, камерна музика и солистичке композиције за клавир и виолину

• (1871) Гудачки квартет Бр. 1 у Д дуру, Оп. 11
• (1876) Варијације на Рококо тему за чело и оркестар, Оп. 33.
• (1876) Клавирски комади "Месеци године", Оп. 37а
• Три комада: Медитација, Скерцо и Мелодија Оп. 42, за виолину и калвир
• (1882) Трио клавира у а молу, Оп. 50
• (1886) Думка, клавирски комад у Ц дуру Оп. 59
• (1890) Гудачки секстет "Сувенир из Фиренце", Оп. 70

За комплетан списак дела по бројевима опуса погледајте: [3]. За више детаља о датумима погледајте: [4].