Symphony Orchestra

About the Program

Program notes by Mark Bilyeu

Pyotr Ilyich Tchaikovsky
Symphony No. 6 in B Minor, op. 74, Pathétique
Born May 7, 1840 Votkinsk, Russia
Died November 6, 1893 Saint Petersburg, Russia
composed 1893
Premiered October 28, 1893, St. Petersburg, Russia, Pyotr Ilyich Tchaikovsky, conductor
50 minutes
 

It was at the request of Nadezhda von Meck, the noblewoman and major financial supporter of the composer, that Tchaikovsky wrote extensive program notes for his fourth symphony. This was the first time he had done so, having been skeptical of program music (music with extra-musical context and narrative), which he believed threatened to cheapen the music itself. Five years and two (rather programmatic) symphonies later, the composer wrote a letter to his beloved nephew, Vladimir:

During my journey I had the idea for another symphony, this time with a programme, but such a programme that will remain an enigma to everyone—let them guess; the symphony shall be entitled: A Programme Symphony (No. 6); Symphonie à Programme (No. 6); Programm-Symphonie (No. 6). The programme itself will be suffused with subjectivity, and not infrequently during my travels, while composing it in my head, I wept a great deal. Upon my return I sat down to write the sketches, and the work went so furiously and quickly that in less than four days the first movement was completely ready, and the remaining movements already clearly outlined in my head... The form of this symphony will have much that is new, and amongst other things, the finale will not be a noisy allegro, but on the contrary, a long drawn-out adagio. You can't imagine how blissful I feel in the conviction that my time is not yet passed, and to work is still possible. Of course I might be mistaken, but I don't think so.

So much of this sixth symphony’s magnetism is wrapped up in the life of the composer, and in the unanswered questions that remain regarding the work’s “subjectivity.” Ultimately, the music of Tchaikovsky speaks for itself: it continues to affect audiences and musicians, regardless of the composer’s personal life, his struggles, failures—and his triumphs—which keep musicologists and historians in business. 

Tchaikovsky dedicated the symphony to his nephew Vladimir (who often went by “Bob,” the nickname given to him by his family). It is a fact that Tchaikovsky struggled with his homosexuality, as did his younger brother Modest, and their nephew Vladimir. As Vladimir grew into adulthood, Tchaikovsky’s affection towards (and longing for) his nephew also grew. While many an uncomfortable letter was penned, and while Vladimir also nurtured the relationship with his uncle, there is absolutely no evidence that the attraction moved beyond longing. When one considers this relationship, the work’s dedication, and the letter above describing the work as causing him to “weep a great deal,” it is an easy and logical line to draw from the composer’s intense struggle within himself to this symphony.

Another facet which has caused much skepticism and interest is the shocking timeline of Tchaikovsky’s death in relation to the premiere of this symphony. The work was first heard by public audiences in St. Petersburg on Saturday, October 28, 1893, and nine days later, on the following Monday, the composer died of cholera. Scholars have researched and argued for entire careers seeking to definitively say whether the cholera was a self-induced death sentence to escape a scandalous public outing, or if there are hidden codes of self-loathing within the music to support such an act of self harm. We also know that before his death, Tchaikovsky’s publishers wrote to confirm the new subtitle of “Pathétique,” which, unlike its English cognate, suggests an “impassioned suffering” rather than something weak or inadequate. While taken separately, none of these aspects might raise an eyebrow, yet it is hard to deny a certain amount of intrigue when these parts are taken as a whole. 

The work itself, does, as Tchaikovsky wrote to his nephew, “have much that is new,” and has proven itself as a lynch pin for the work of other symphonists including Mahler and Shostakovich. The first movement opens with severity, alternating themes of stark bleakness and hopeful serenity, while also quoting part of the Russian Orthodox Requiem: a chant sung over the coffin “With thy saints, O Christ, give peace to the soul of thy servant” (another argument for the planned death of the composer?). Be also on guard for the bassoon solo leading into the development! The solo is marked as pppppp (pianissississississimo), and followed by an eruption from the full orchestra. You’ve been warned.

The middle two movements include a hiccuping waltz in 5/4 time and a third movement which, for many composers, would have served as an outstanding final movement to a symphony. The waltz pays homage to Tchaikovsky’s indelible mark as a ballet composer, while the third movement showcases a rather virile and obstinate side of the same composer. The movement’s epic conclusion often elicits early applause.

The final movement is where Tchaikovsky’s innovation blazes through, as he returns to the tempo of the opening movement, Adagio lamentoso, as if to declare that the suffering and despair have always been present, despite the passing moments of joy and hope. Annotator and composer Donald Francis Tovey described the movement as “a stroke of genius which solves all the artistic problems that have proved most baffling to symphonic writers since Beethoven.” There is a constant feeling of descent as the symphony concludes: a gong strikes, muted string basses pulsate, and the symphony sinks into silence. 

“I absolutely consider it to be the best, and in particular, the most sincere of all my creations,” Tchaikovsky wrote in a letter to his nephew, “I love it as I have never loved any of my other musical offspring."

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About the Conductor

Farkhad Khudyev

Farkhad Khudyev is the winner of the Gold Medal “Beethoven 250” at the 1st International Arthur Nikisch Conducting Competition; the Solti Foundation US 2018 and 2022 Career Assistance Award; the Best Interpretation Prize at the 1st International Taipei Conducting Competition; the 3rd prize at the 8th International Sir Georg Solti Conducting Competition; and the Gold Medal/Grand Prize at the 2007 National Fischoff Competition. Khudyev has worked with orchestras worldwide including the London Philharmonic Orchestra, Frankfurt Radio Symphony Orchestra, Frankfurt Opera Orchestra, Danish National Symphony Orchestra, Seattle Symphony, Dallas Symphony, Los Angeles Philharmonic, San Diego Symphony, Monterey Symphony, George Enescu Philharmonic Orchestra, Xi’an Symphony Orchestra and the State Taipei Chinese Orchestra. Farkhad was born in Turkmenistan, where he studied at the State Music School for gifted musicians, and then completed his studies at Interlochen Arts Academy, Oberlin Conservatory and Yale University. Khudyev serves as the Music Director of the University of Texas Symphony Orchestra in Austin, and the Orchestral Institute at the Hidden Valley Institute of the Arts in Carmel, California.

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Symphony Orchestra

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Upcoming Events

Ring in the season with the Butler School’s annual Holiday Concert with music for everyone to enjoy. You’ll hear traditional holiday carols and winter favorites across many genres, including excerpts from Bach’s Magnificat, jazz standards like “I’ll Be Home for Christmas,” and Hanukkah songs from Sephardic and Mizrahi Jewish traditions.

Saturday, December 5, 7:30 p.m.
Sunday ,December 6, 4:00 p.m.
Bates Recital Hall 

Tickets

UNIVERSITY ORCHESTRA
Free Admission
Tuesday, November 17, 7:30 p.m.
Bates Recital Hall
 

Symphony Orchestra
Wednesday, February 10, 7:30 p.m.
Bates Recital Hall
 

UNIVERSITY ORCHESTRA
Free Admission
Tuesday, February 23, 7:30 p.m.
Bates Recital Hall
 

CHAMBER ORCHESTRA
Selections from Le Faucon
Free Admission
Friday, February 26, 7:30 p.m.
Bates Recital Hall
 

SYMPHONY ORCHESTRA
with Leah Crocetto, soprano & Emil Khudyev, clarinet
Friday, April 2, 7:30 p.m.
Bates Recital Hall
 

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