#mazeppa

OTD in Music History: Legendary Russian composer Pyotr Tchaikovsky (1840 - 1893) sits down and writes a letter to his friend and colleague, conductor Eduard Napravnik (1839 - 1916), in 1884, letting Napravnik know that Tchaikovsky will not be able to attend the final rehearsals for the St. Petersburg production of his new opera ("Mazeppa") because he must instead stay in Moscow to oversee the final rehearsals of a production of the same opera simultaneously being prepared in that city. When it was time to share “Mazeppa” with the world, Tchaikovsky arranged for two separate “world premieres”: Moscow (February 3, 1884) and St. Petersburg (February 6, 1884), with the latter scheduled to take place under Napravnik´s baton. Unfortunately, at both of these performances, his new opera was regrettably marred by poor casting. The press and the public were both forgiving of these shortcomings in Moscow -- but "Mazeppa" received a much harsher reception in St. Petersburg. Tchaikovsky's brother, Modest, initially hid that fact from Tchaikovsky. When Tchaikovsky learned the harsh truth several weeks later, he advised Modest that he "did well, because knowing that might have killed me." PICTURED: A portrait photograph of Tchaikovsky (c. 1890), as well as a portrait showing Napravnik (c. 1890s) dramatically posed with his conducting baton pointed at a score. Also shown is the original letter that Tchaikovsky wrote to Napravnik, referenced above. It reads in part (translated): "It is impossible for me to leave Moscow, where rehearsals are due to begin any moment now, too. My earnest request to you is simply to rehearse my opera without waiting for me... I am transferring all my rights of authorship concerning interference into studying for and performing the opera entirely with you... I nourish absolute trust in your friendly sympathy for the fate of it... be assured that I am not in the least exaggerating in saying that I unconditionally trust your craftsmanship, experience, and friendship…" Given the poor reception that "Mazeppa" received in St. Petersburg, perhaps Tchaikovsky placed a little *too* much faith in his friend.

a very underrated lady, Adah Isaacs Menken. born to a free black man and a Creole woman in New Orleans in 1835, and was Jewish. She was a bohemian with short hair in the 1860s, who practiced poetry and art, and wrote political articles for the newspaper.

Then she acted in vaudeville plays and despite being a terrible actor wanted to produce a play based on a Lord Byron poem and play the main character Mazeppa (a man). It was a very controversial performance since it ended in a burlesque show on a horse

Here's half the town - if bills be true - To Astley's nightly thronging, To see the Menken throw aside All to her sex belonging, Stripping off woman's modesty, With woman's outward trappings - A barebacked jade on barebacked steed, In Cartlich's old strappings!

Then she had an affair with Alexandre Dumas, and wrote a book of poetry that would be published after her death-- she died of cancer at age 33.

A couple years ago, someone asked me to make a top 10 list of my favorite Liszt pieces. That post got really popular, but tastes change over time and I’ve changed up my list a bit, so consider this a little update:

10. Totentanz

I prefer the solo piano version to the piano concerto original, but overall it’s a really fun piece. One of the few classical pieces that give off a “gothic” vibe and it’s a mix of fun, ‘dark’ drama, and makes me think of the ephemeral quality of October.

9. Les cloches de Geneva; Nocturne

This piece closes the first Year of Pilgrimage, and it is a gorgeous nocturne with little bell chimes. A pretty melody that feels nostalgic. Feels like a daydream.

8. Vallee d’Obermann

From the first Year of Pilgrimage, a meditation on loneliness. It has one main melody that is transformed form angst to acceptance. Liszt uses this technique in multiple works, and I think this one is underrated.

7. La Lugubre Gondola

There are two versions for this, a short one that is in strophic form, and a longer one that has an introduction, and it builds up into a symphonic climax. Either way it is a bleak work that is like a precursor to German Expressionism.

6. Transcendental Etude no. 4, Mazeppa

It’s really interesting, and a little funny, to see Liszt’s “op. 1″, which is a set of etudes he wrote when he was a teenager. The etudes aren’t super difficult, they seem easier than Chopin’s for reference, but he later elaborates them into the insanity of the Transcendental Etudes. Technicality aside, this work is a tour d’force of pianism, and the intensity of the sound world is something else. Imagine you lived in the 19th century and didn’t have access to videos and recordings, and you went to a Liszt concert and heard that live, unlike anything else you’d ever heard before. No wonder people thought he was possessed.

5. Ballade no. 2

The Liszt ballades don’t really hold a candle to Chopin’s in my opinion, but this Ballade is a better exploration of the ideas he worked with in Vallee; one melody, melancholic and dark with chromatic waves underneath, worked into a “redemption through love” type transformation. 

4. Mephisto Waltz no. 3

I really love the Mephisto waltzes now, and the second and third are both eerie in how experimental they are. Both use harmonies that wouldn’t be used more until the likes of Debussy and Scriabin. The third is gorgeous with its opening passage of parallel fourths.

3. Dante Sonata

A more catchy name than its published original, but that doesn’t matter. From the second Year of Pilgrimage, we get the really cool imagery of hell, along with a gorgeous transfiguration of thematic material.

2. Benediction de Dieu dans la solitude

Benediction to God in solitude, it was written in the late 1840s and yet already shows harmonies that Debussy will write with. It’s also one of the best expressions of spirituality in music that I have heard, better than all those overwritten masses and requiems for giant orchestras. It has none of Liszt’s expected theatrics. The passionate parts carry authenticity. People comment on how remarkable it is that Liszt went from flamboyant/extroverted womanizer to a member of the priesthood in his life, but this earlier work of “serious” composition shows the importance of God in his life,

1. Sonata in b minor