Pyotr Ilyich Tchaikovsky and the Five

7/27/2019 Pyotr Ilyich Tchaikovsky and the Five

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Pyotr Ilyich Tchaikovsky and The FiveFrom Wikipedia, the free encyclopedia

Pyotr Ilyich Tchaikovsky(top left) and The Five (counter-clockwise from bottom left):Mily

Balakirev,Csar Cui,Alexander Borodin,Modest Mussorgsky, andNikolai Rimsky-

Korsakov.

In mid- to late-19th-century Russia,Pyotr Ilyich Tchaikovskyand a group ofcomposersknown

asThe Fivehad differing opinions on the nature of classicalRussian music, specifically whether it

should follow Western or native compositional practices. Though he displayed musical talent at an

early age, Tchaikovsky decided to studymusicprofessionally only after three years' employment as

acivil servant. As an adult at theSaint Petersburg Conservatory, he learned fromAnton

RubinsteinandNikolai Zarembahow to compose in the manner ofJoseph Haydn,WolfgangAmadeus MozartandLudwig van Beethoven. Tchaikovsky wanted to write professional compositions

of such quality that would stand up to Western scrutiny and thus transcend national barriers, yet

remain distinctively Russian in melody, rhythm and other compositional characteristics. To this end,

he learned to accommodate and, in some ways, amend Western classical rules of composition to the

demands of his unique style; in this manner, he would follow neither his teachers nor his nationalistic

contemporaries in The Five.

The Five, also known as The Mighty Handful (Russian: , Moguchaya kuchka), was a

circle of composers who met in Saint Petersburg in the years 18561870. They were a branch of

theRomantic Nationalistmovement in Russia and shared similar goals with theAbramtsevo
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ColonyandRussian Revivalin the sphere of fine arts. Made up of composersMily

Balakirev,Alexander Borodin,Csar Cui,Modest MussorgskyandNikolai Rimsky-Korsakov, The

Five wanted to produce a specifically Russian kind of art music, rather than one that imitated older

European music or relied on European-style conservatory training. While The Five also looked to

Europe for compositional models, they focused on works by musically progressive contemporaries

such asFrdric Chopin,Franz LisztandRobert Schumann. The Five also believed in using the

melodic, harmonic, tonal and rhythmic properties of Russian folk song, along with exotic melodic,

harmonic and rhythmic elements from music originating in the middle- and far-eastern parts of

theRussian Empire(a practice that would become known as musicalorientalism), as compositional

devices in their own works. While Tchaikovsky himself used folk songs in some of his works, for the

most part he tried to follow Western practices of composition, especially in terms of tonality and tonal

progression. Also, unlike Tchaikovsky, none of The Five was academically trained in composition; in

fact, their leader, Balakirev, considered academicism a threat to musical imagination. Along with

criticVladimir Stasov, who supported The Five, Balakirev attacked the Conservatory and Rubinstein

relentlessly both orally and in print.[1]

As Tchaikovsky had become Rubinstein's best-known student, he was initially considered by

association as a natural target for attack, especially as fodder for Cui's printed critical reviews .[2]

This

attitude changed slightly when Rubinstein left the Saint Petersburg musical scene in 1867. In 1869

Tchaikovsky entered into a working relationship with Balakirev; the result was Tchaikovsky's first

recognized masterpiece, the fantasy-overtureRomeo and Juliet, a work which The Five

wholeheartedly embraced.[3]When Tchaikovsky wrote a positive review of Rimsky-

Korsakov'sFantasy on Serbian Themeshe was welcomed into the circle, despite concerns about the

academic nature of his musical background.[4]

The finale of hisSecond Symphony, nicknamed

theLittle Russian, was also received enthusiastically by the group on its first performance in 1872 .[5]

Tchaikovsky remained friendly but never intimate with most of The Five, ambivalent about their

music; their goals and aesthetics did not match his.[6]

He took pains to ensure his musical

independence from them as well as from the conservative faction at the Conservatory an outcome

facilitated by his acceptance of a professorship at theMoscow Conservatoryoffered to him by Nikolai

Rubinstein, Anton's brother.[7]When Rimsky-Korsakov was offered a professorship at the Saint

Petersburg Conservatory after Zaremba had left, it was to Tchaikovsky that he turned for advice and

guidance.[8]

Later, when Rimsky-Korsakov was under pressure from his fellow nationalists for his

change in attitude on music education and his own intensive studies in music ,[9]

Tchaikovsky

continued to support him morally, telling him that he fully applauded what he was doing and admired

both his artistic modesty and his strength of character.[10]

In the 1880s, long after the members of The

Five had gone their separate ways, another group called theBelyayev circletook up where they left

off. Tchaikovsky enjoyed close relations with the leading members of this groupAlexander

Glazunov,Anatoly Lyadovand, by then, Rimsky-Korsakov.[11]
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Contents

[hide]

1 Prologue: Growing debate

o 1.1 What Is Russia

o 1.2 Embracing the West

o 1.3 Russian music without Russianness

o 1.4 Budding, conflicted nationalism

2 Drawing sides

o 2.1 Tchaikovsky

o 2.2 The Five

o

2.3 Rubinstein and the Saint Petersburg Conservatoryo 2.4 Difference in Russianness

3 With The Five

o 3.1 Balakirev

3.1.1 Initial correspondence

3.1.2 Writing Romeo and Juliet

o 3.2 Rimsky-Korsakov

o 3.3 Stasov, The Tempestand the Little Russian symphony

o 3.4 Tchaikovsky's private concerns about The Five

o 3.5 Balakirev returns

4 Belyayev circle

5 Legacy

6 References

o 6.1 Bibliography

Prologue: Growing debate[edit]

With the exception ofMikhail Glinka, who became the first "truly Russian" composer,[12]

the only

music indigenous to Russia before Tchaikovsky's birthday in 1840 were folkand sacred music;

theRussian Orthodox Church's proscription of secular music had effectively stifled its

development.[13]

Starting in the 17th century, European musicians and composers were invited by the

Imperial Court to fill this void. An Italian opera company was established there after the first

presentation of an opera in Russia in 1731 and senior position of courtmusic directorand court

conductor were created. However, while these positions were held by a string of distinguished

composers, they were all foreigners.[14]

Likewise, while the first public concert in Russia had taken

place in 1746 and though public concerts had become a common occurrence by the end of the

century, most concerts took place in the homes of the aristocracy and were similarly dominated by
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foreigners.[15]

(Exceptions were public concerts held during the six weeks ofLent, when the theaters

were closed.[16]

)

The cultural schism that resulted in Russia's identity crisis began with the arrival of the first foreign

artists. The lower classes, mindful of the then-recent expulsion of foreign rulers during theTime ofTroublesand resurgence of the Orthodox church that followed, viewed Europeans with suspicion and

branded them as heretics and infidels.[17]

As the upper classes adapted European social and artistic

graces and spoke French instead of Russian to distinguish themselves from those under them,[18]

the

lower classes watched "a culture [they] regarded as the creation of the Antichrist "[19]

By the end of the

18th century, the split between peasant and noble had become acute.[20]

The state and the church

failed to promote an image of Russianness that would bridge this gap and appeal to a broad

spectrum of people. Neither did they offer a narrative of Russia's history and traditions that would

unify the populace.[21]

An imperial consciousness, based on French and German social and cultural

values asserted itself in the army and upper classes but differed markedly from what of the peasants,

clergymen and tradesmen considered true Russianness.[22]

What Is Russia[edit]

Pyotr Chaadayev

Beginning in the 1830s, Russianintelligentsiadebated the issue of whether artists negated their

Russianness when they borrowed from European culture or took vital steps toward renewing and

developing Russian culture.[23]

This discussion began in earnest with a "Philosophical Letter" byPyotr

Chaadayev, printed in a journal called The Telescope in September 1836 (and written, ironically

enough, in French). Chaadayev called Russia a cultural non-entity hanging in stasis between Europe

and Asia and seriously questioned its past and future.[24]

"Alone in the world, we have given nothing

to the world, learned nothing from the world and bestowed not a single idea upon the fund of human

ideas," he wrote. "We have not contributed in any way to the progress of the human spirit and
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whatever has come to us from that progress we have disfigured."[25]

He added that, while Russia

might have been able to imitate the West, it had failed to internalize its moral values and ideas .[26]

While the reaction of TsarNicholas Iwas swift (he had the philosopher declared insane and sent off

for medical observation), the effect of Chaadayev's letter was deep and lasting.

[27]

His message wasactually one that many thinking Russians had believed for some time. Author and historianNikolai

Karamzin, for instance, had concluded from his travels through Europe that Russians had become

Westernized only superficially, acting in European fashion but thinking according to native traditions

and mindset.[28]

In doing so, Europeanized Russians betrayed a split identity.[28]

However, the fact that

Chaadayev made his pronouncement a public one brought the matter to the forefront of

conversation. His letter tapped into a deep-seated insecurity common among Russians about their

self-identity and was seen as a pronouncement on Russian culture as it had existed since Peter the

Greatprecarious and shallow, lacking organic development and ethnic substance.[29]

This point,

while difficult to accept, was also impossible to ignore.[30]

The question which arose from it, which

would take Russians the rest of the century to answer, was, very simply, "What is Russia? "[31]

Two groups sought to answer this question.Slavophilesclaimed that Chaadayev was mistaken.

They idealized Russian history before Peter the Great[27]

and claimed the country possessed a distinct

culture, rooted inByzantiumand spread by theRussian Orthodox Church.[30]

The challenge with

Russian culture originated with Peter, who had imposed Western principles upon the nation in the

interest ofperistroika (translated in English as "restructuring" or

"rebuilding").[32]

The Zapadniki("Westernizers"), on the other hand, lauded Peter as a patriot who

wanted to reform his country and bring it on a par with Europe.[33]

Looking forward instead of

backward, they saw Russia as a youthful and inexperienced but with the potential of becoming the

most advanced European civilization by borrowing from Europe and turning its liabilities into

assets.[34]

Embracing the West[edit]

Peter the Great
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While Peter the Great is generally credited with opening Russia to the West, the influx and influence

of Western musicians actually began during the reign ofIvan IV(also known as Ivan the Terrible).

While not a music lover himself, Peter saw European-based entertainments as a mark of civilization

and did nothing to curb what was by then a regular influx of foreign composers, singers and

instrumentalists to the Imperial court.[35]

The court imported Italian opera during the reign of the three

empresses (Anna,ElizabethandCatherine the Great);[36]

the resulting craze by the 1780s spilled

over to the musical world of Saint Petersburg, with two companies, the Italian and the Russian

Opera, giving productions in the city. Western artists became as much in demand as Western music,

which displaced local artists entirely.[37]

A series of Europeans occupied the posts of court conductor

and court composer, beginning in the mid-1750s, among themBaldassare Galuppi,Tommaso

Traetta,Domenico CimarosaandVicente Martn y Soler. Galuppi also wrote music for the Orthodox

church during his tenure.[38]

The combination of large financial rewards for these positions and an

increased spirit of cosmopolitanism encouraged them and others to flock to Saint Petersburg.[37]

The Imperial court was one avenue through which the penchant for Western culture spread. Another

was theCadet Corps, established in 1732 to train young noblemen in the finer points of foreign

etiquette, dress, arts and language to prepare them for diplomatic and military service. Some cadets

were sent abroad for further study.[39]

A third path was through young nobles who went to universities

in France and Germany. At first, they were sent by their families; later they did so at their personal

choice.[19]

As more of these men returned home, the Petrine spirit with which they had been instilled

filtered through the rest of the upper classes.[40]

Possessing Western art, listening to French or Italian

music and acting like Europeans became status symbols that set landowners apart from the serfs

who worked under them and were looked upon as a matter of pride.[41]

Foreign travel also became

paramount, with the Grand Tour becoming "a virtual rite of passage for the

aristocracy."[42]

Meanwhile, the lower classes, which regarded all things European as unholy and

heathenistic due to foreign intervention in theTime of Troubles, watched as their masters "imbibed

and propagated a culture ... regarded as a creation of the Antichrist."[19]

This rift between classes

grew as the practices among the upper classes of speaking mainly French and conducting their daily

lives by European conventions became increasingly ingrained.[43]

Russian music without Russianness[edit]
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7/15

Catterino Cavos

Because of the demand from the aristocracy for European music, Russian classical composers

attempted to write in Western style. When they did so, however, they were hampered by limited

skills. More fortunate individuals such asMaxim BerezovskyandDmitry Bortnianskywere sent to Italy

for further training.[44]

Mikhail Glinka also studied in Italy and Germany. Before writing in his own

style, he gained the attention of high society by composing dance music and a number of works

imitative ofRossini,MozartandBeethoven.[45]

The leading Russian opera composer other than

Glinka wasAlexey Verstovsky, who patterned his works after those of German composerCarl Maria

von Weber.[44]

On the streets of Saint Petersburg, folk song initially prevailed as peasants moved into the city.

However, it became assimilated with arias and songs from European operas, French and Italian

dances and laterGypsyelements into a new genre called rossiyskaya pensnya (translated as

"Russian song"). Only the lyrics and melodies remained Russian; the other elements of the songs

conformed to Western practice.[46]

These songs, also called romansy(romances), became known for

their beauty and dark eroticism and popular among a wide range of Russian music lovers. Glinkacomposed romansy, as didVladimir Sokalskyand a number of other lesser-known composers, and

their qualities may have found their way into Tchaikovsky's music, as well .[47]

Enthusiasm for original Russian folk song among the cultural elite received a boost between 1820

and 1850 when they rediscovered theprotyazhnaya. Known for the extreme beauty of its lyrics and

originality of its music, its words was taken as a model by poets such as Alexander

PushkinandAnton Delvig. Composers eventually investigated these songs for their musical

possibilities, as well. While some of them were adapted to Western styles, on a whole their irregular

rhythms, variable tempos, abundantmelismasand unstable tonality were too far removed fromEuropean music for those used to more Western-oriented romansy.

[48]
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Russian opera was not entirely neglected but it was not being written entirely by Russians,

either.Catterino Cavos, aVenetiancomposer, was a strong advocate and wrote all his mature

operas to Russianlibrettos. Cavos served on the staff of the Imperial Theaters and was in charge of

Russian-language opera at theBolshoi Kamenny Theatre. HisIvan Susanin, written in 1815, told the

story of the peasant who saved the first Tsar from the Poles. Glinka would resurrect the subject two

decades later forA Life for the Tsar.[44]

Budding, conflicted nationalism[edit]

See also:Russian Enlightenment

Mikhail Glinka

A budding interest in Russian nationalism, which led to the debate between Slavophiles and

Westernizers, came as a result of the elite's exposure to the teachings ofthe Enlightenmentduring

their education and travels. This Western European movement espoused, among other things,

strong ideas about national identity and values. It inspired Russian writers to develop a national

literary language distinct from theChurch Slavonicand others to collect folk songs and study popular

customs. In 1818, the Imperial government commissioned Karamzin to write his History of the

Russian State, which he finished six years later. This tome met a growing need for historical

understanding and national self-affirmation in the wake of theNapoleonic Warsin short, the

assurance that Russia had a solid history and an active role to play in international politic s[49]and

did so with a text both accessible and engaging, aimed intentionally at non-specialists.[50]

Through it

and his fiction, Karamzin also showed that modern Russian was a more than adequate vehicle for

literature.[51]

However, since the language employed a syntax and diction based on French and

contained a number ofloanwordsfrom European languages, its adaptation by the literary community

was controversial and widened the cultural rift between classes still further.[51]

In 1836, Glinka's operaA Life for the Tsarwas premiered in Saint Petersburg. This was an event

long-awaited by the intelligentsia. The opera was the first conceived by a Russian composer on a

grand scale, set to a Russian text and patriotic in its appeal .[52]

Its plot fit neatly into the doctrine
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ipedia.org/wiki/Venice,_Italyhttp://en.wikipedia.org/wiki/Catterino_Cavos


9/15

ofOfficial Nationalitybeing promulgated by Nicholas I, thus assuring Imperial approval.[53]

In formal

and stylistic terms,A Life was very much an Italian opera but also showed a sophisticated thematic

structure and a boldness in orchestral scoring.[52]

It was the first tragic opera to enter the Russian

repertore, with Ivan Susanin's death at the end underlining and adding gravitas to the patriotism

running through the whole opera. (In Cavos's version, Ivan is spared at the last minute.)[54]

It was

also the first Russian opera where the music continued throughout, uninterrupted by spoken

dialogue.[52]

Moreoverand this is what amazed contemporaries about the workthe music included

folk songs and Russian national idioms, incorporating them into the drama. Glinka meant his use of

folk songs to reflect the presence of popular characters in the opera, rather than an overt attempt at

nationalism.[55]

Nor do they play a major part in the opera.[56]

Nevertheless, despite a few derogatory

comments about Glinka's use of "coachman's music,"A Life became popular enough to earn obtain

permanent repertory status, the first Russian opera to do so in that country.[57]

Ironically, the success of Rossini'sSemiramideearlier the same season was what allowedA Life to

be staged at all, with virtually all the cast fromSemiramide retained forA Life. DespiteA

Life's success, the furor overSemiramide aroused an overwhelming demand for Italian opera. This

proved a setback for Russian opera in general and particularly for Glinka's next opera,Ruslan and

Lyudmilawhen it was produced in 1842. Its failure prompted Glinka to leave Russia; he died in

exile.[58]

Drawing sides[edit]

Despite Glinka's gaining international attention,[59]the admiration of Liszt and Berlioz for his

music[59]

and his heralding by the latter as "among the outstanding composers of his

time",[60]

Russian aristocrats remained focused exclusively on foreign music.[61]

The stratification of

Russian society hindered Russia's development of classical music. Musicians belonged among the

lowest ranks in society, with no official status and no more rights than peasants. Painters, sculptors

and actors were considered "free artists." Musicians were not. Unless a musician was also a wealthy

aristocrat, the only way he could earn a living was to teach in an academy or work in one of the

Imperial Theaters. In both cases, he served the Russian state on the lowest level of the hierarchy .[62]

Music itself was bound by class structure, as well, and held only a modest role in public life. It was

still considered a privilege of the aristocracy and remained largely in the European-styled salons of

the major palaces.[63]

Nobles spent enormous sums on musical performances for their exclusive

enjoyment and hosted visiting artists such asClara SchumannandFranz Liszt. There were no

ongoing concert societies, no critical press and no public eagerly anticipating new works. No

competent level of music education existed. Private tutors were available in some cities but tended to

be badly trained. Anyone desiring a quality education had to travel abroad .[64]

Composer and pianistAnton Rubinstein's founding of theRussian Musical Societyin 1859 and

theSaint Petersburg Conservatorythree years later were giant steps toward remedying this situation
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but also highly controversial ones. CriticVladimir Stasovand a group of amateur composers

calledThe Five, who believed in developing Russian music independent of European practices, saw

Rubinstein's efforts as antipathetic and fought against him.[65]

Rubinstein did not fight back. Instead,

he concentrated on shepherding his premiere class of students through the Conservatory and did not

allow them to take sides.[66]

Among this group was a young legal clerk named Pyotr Ilyich

Tchaikovsky.[67]

Tchaikovsky[edit]

See also:Pyotr Ilyich Tchaikovsky

Tchaikovsky in his teens.

Tchaikovsky was born in 1840 in Votkinsk, a small town in present-dayUdmurtia, formerly

theImperial Russianprovince ofVyatka. A precocious pupil, he began piano lessons at the age of

five, and could read music as adeptly as his teacher within three years. However, his parents'

passion for his musical talent soon cooled. In 1850, the family decided to send Tchaikovsky to the

Imperial School of Jurisprudence in Saint Petersburg. This establishment mainly served the lesser

nobility or gentry, and would prepare him for a career as a civil servant. As the minimum age for

acceptance was 12, Tchaikovsky was sent by his family to board at the Imperial School ofJurisprudence's preparatory school in Saint Petersburg, 800 miles (1,300 km) from his family home

inAlapayevsk.[68]

Once Tchaikovsky came of age for acceptance, he was transferred to the Imperial

School of Jurisprudence to begin a seven-year course of studies.[69]

Music was not a priority at the School,[70]

but Tchaikovsky regularly attended the theater and the

opera with other students.[71]

He was fond of works byRossini,Bellini,VerdiandMozart. Piano

manufacturer Franz Becker made occasional visits to the School as a token music teacher. This was

the only formal music instruction Tchaikovsky received there. From 1855 the composer's father, Ilya

Tchaikovsky, funded private lessons with Rudolph Kndinger, a well-known piano teacherfromNuremberg, and questioned Kndinger about a musical career for his son. Kndinger replied
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that nothing suggested a potential composer or even a fine performer. Tchaikovsky was told to finish

his course and then try for a post in the Ministry of Justice .[72]

Tchaikovsky graduated on May 25, 1859 with the rank of titular counselor, a low rung on the civil

service ladder. On June 15, he was appointed to the Ministry of Justice in Saint Petersburg. Sixmonths later he became a junior assistant and two months after that, a senior assistant. Tchaikovsky

remained there for the rest of his three-year civil service career.[73]

In 1861, Tchaikovsky attended classes inmusic theoryorganized by the Russian Musical Society

and taught byNikolai Zaremba. A year later he followed Zaremba to the Saint Petersburg

Conservatory. Tchaikovsky would not give up his Ministry post "until I am quite certain that I am

destined to be a musician rather than a civil servant. "[74]

From 1862 to 1865 he

studiedharmony,counterpointandfuguewith Zaremba, while Rubinstein taught him instrumentation

and composition.

[67]

In 1863 he abandoned his civil service career and studied music full-time,graduating in December 1865.

The Five[edit]

See also:The Five

Around Christmas 1855, Glinka was visited byAlexander Ulybyshev, a rich Russian amateur critic,

and his 18-year-old protg Mily Balakirev, who was reportedly on his way to becoming a great

pianist.[75]

Balakirev played his fantasy based on themes fromA Life for the Tsarfor Glinka. Glinka,

pleasantly surprised, praised Balakirev as a musician with a bright future.[75]

Portrait of (left to right)Mily Balakirev,Vladimir OdoevskyandMikhail GlinkabyIlya Repin.

In 1856, Balakirev and critic Vladimir Stasov, who publicly espoused a nationalist agenda for Russian

arts, started gathering young composers through whom to spread ideas and gain a following.[76]First

to meet with them that year was Csar Cui, an army officer who specialized in the science of
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