Classical Works Spotlight #341--Tchaikovsky

[erik]

The three ballets that Tchaikovsky created the music for were the ones that set the standard for all ballets (Russian and otherwise) from that point on. The middle one of his celebrated trilogy is in this week's Classical Works Spotlight.

Tchaikovsky: THE SLEEPING BEAUTY (COMPLETE BALLET)

As has been documented, the world of classical ballet owes a debt, which may be impossible to pay, to what Tchaikovsky did with his three ballets. “Swan Lake” was the first, in 1875; and “Nutcracker” was the last, in 1892. In-between those two masterpieces lies the 1889 work “The Sleeping Beauty.” The timeless story was written by Charles Perrault, and the suggestion that Tchaikovsky make this the subject of the ballet was made by Ivan Vsevolozhsky, the director of the Imperial Theatres in St. Petersburg. The composer readily accepted the commission, although he was also aware that “Swan Lake” had yet to meet with any kind of enthusiasm. The scenario that Tchaikovsky worked for the ballet was based on the Grimm Brothers’ concept of the story; and the main focus of the ballet was the basic human battle between the good Lilac Fairy and her evil doppelganger Carabosse, while also still concerning the attention to the sleeping princess Florine and her Prince Charming. Such a massive work, which by even modern standards consumes anywhere from two and a half to three hours, did frequently tax Tchaikovsky’s stamina; but he had finished the massive score by May 1889 in anticipation of the ballet’s premiere on January 15, 1890 at the Marinsky Theatre in St. Petersburg. The perennially insecure composer was glad that “Sleeping Beauty” was a much more instantaneous success than “Swan Lake” had been, but he never lived long enough to see its success outside of Russia. It was really only in the first years of the 20th century that any of the composer’s three ballets saw performances on stages in Europe and America that would be deemed even adequate; but it didn’t take long for them, including “Sleeping Beauty”, to influence the direction of the ballet form, particularly with respect to both Stravinsky and Prokofiev.



London Symphony Orchestra/ANDRE PREVIN (EMI)

[egoodstein]

Marvelous ballet, as all those great ones you mention. Not all ballet music I find so wonderful to just listen to, but Tchaikovsky's is often magical, with a great deal of imposing and important
musical content. And certainly as you say looms large in influencing successors like Prokofiev/Stravinsky (even when consciously doing different stuff!), & really all dance since. This is a solid recording I think too. I've liked the ones conducted by Gergiev andDorati too. Need to listen again to SB-- thanks!

[erik]

This particular recording was made during the height of Previn's tenure at the LSO's principal conductor (nee Music Director) in the 1970s, as he did all three Tchaikovsky ballet scores, with "Nutcracker" being recorded in 1972, and "Swan Lake" in 1976; "The Sleeping Beauty" was recorded in 1974. He has always had a natural feel for Tchaikovsky, equal, I think, to what he would do for English composers like Vaughan Williams, and for Prokofiev (whose ballet "Cinderella" was, I think, influenced to a certain extent by this work).

Of course, the old saw that is sometimes raised about Tchaikovsky is that his ballet scores sound too symphonic, while his symphonies (the last three, especially) seem too balletic. I've never understood that, since there are times when these forms overlap one another with numerous composers. I guess it happened with Tchaikovsky a lot more than with anyone else.