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Tchaikovsky's music has never been stigmatized in Russia by the composer's sexuality. This view centered, once again, on the ever-dependable Pathetique. Tongues wagged all over Russia. It has become canonical to read apochryphal meaning into Tchaikovsky's final work. This is the tale that was brought out of the Soviet Union by Alexandra Orlova, an emigre musicologist with excellent credentials, who had worked for a time in the Tchaikovsky archive, still housed in his former residence at Klin, and had published fine documentary chronicles on the lives of the Russian composers Glinka, Musorgsky, Rimsky-Korsakov and Tchaikovsky himself. In the first movement, the only one with a distinctly poetic basis, he is, as ever, "le Byron de nos jours"; and in the later ones, where he is confessedly the orchestral voluptuary, he is Byronic in that too. To find out more, including how to control cookies, see here:

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The Controversial Composer

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Leave a Reply Cancel reply Enter your comment here The most notable merit of the symphony is its freedom from the frightful effeminacy of most modern works of the romantic school. There is no reason to suppose that Shaw did not know what thousands of Russians knew about Tchaikovsky, and no reason to suppose that he cared about it, by , any more than they did. Pateticheskaya simfoniya means roughly the same thing Beethoven meant when he called his Sonata in F minor, op. Both views were typical in their day.

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I have published seventeen books including edited volumes. Only once within his lifetime, and obliquely, was Tchaikovsky's sexual irregularity ever broached in print. Though homosexuality was prohibited by law in many countries, including Russia, it was a virtually unprosecuted crime for anyone possessing rank, respectability or money. Alexander Poznansky, an emigre historian who has since published the one worthwhile biography of Tchaikovsky, had no trouble at all demonstrating its implausibility on many counts-- forensic, medical, toxological, historical--in an article that appeared in in the journal Nineteenth-Century Music. These comically contrasting opinions pertain to the same symphony, Tchaikovsky's Fourth. The Carnegie Hall program book proclaimed him, with Brahms and Saint- Saens, one of the three greatest living musicians, and some of the New York papers huckstered him up into unchallenged supremacy. My beginning the blog coincided with my retirement.

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