Manfred Symphony
Encyclopedia
The Manfred Symphony in B minor, Op. 58, is a programmatic
symphony
composed by Pyotr Ilyich Tchaikovsky
between May and September 1885. It is based on the poem "Manfred
" written by Lord Byron in 1817. It is the only one of Tchaikovsky's symphonies he completed that is not numbered (the Symphony in E flat
is a conjectural work left unfinished by the composer) and was written between the Fourth
and Fifth Symphonies
.
Like the fantasy-overture Romeo and Juliet
, Tchaikovsky wrote the Manfred Symphony at the behest of nationalist composer Mily Balakirev
, who provided a program written by critic Vladimir Stasov. Stasov had sent the program to Balakirev in 1868, hoping that Balakirev would write a symphony based on it. Balakirev did not feel capable of carrying out this project and sent the program to French composer Hector Berlioz
, whose programmatic works had genuinely impressed him. Berlioz refused, claiming old age and ill health, and returned the program to Balakirev. Balakirev kept the program until he reestablished contact with Tchaikovsky in the early 1880s.
The Manfred Symphony is the only programmatic symphonic work by Tchaikovsky in more than one movement. He initially considered the work one of his best, and in a typical reversal of opinion later considered destroying all but the opening movement. The symphony was greeted with mixed reviews, some finding much to laud in it, and others feeling that its programmatic aspects only weakened it. Manfred remained rarely performed for many years, probably due to its length and complexity. It has been recorded with increasing frequency but is still seldom heard in the concert hall.
lugubre. Manfred wanders in the Alps. Weary of the fatal question of existence, tormented by hopeless longings and the memory of past crimes, he suffers cruel spiritual pangs. He has plunged into occult sciences and commands the mighty powers of darkness, but neither they nor anything in this world can give him the forgetfulness to which alone he vainly aspires. The memory of the lost Astarte, once passionately loved, gnaws his heart and there is neither limit nor end to Manfred's despair.Vivace
con spirito. The Alpine fairy appears before Manfred in the rainbow from the spray of a waterfall.
Andante con moto. A picture of the bare, simple, free life of the mountain folk.
, then the three-note call of a hunter. The opening theme returns. We hear a brief and lively peasant dance, then an agitated outburst, before the opening theme returns. The opening pastoral theme eventually returns more spaciously and in a fuller, more decorative scoring. The hunter sounds his horn; the music fades.
Allegro
con fuoco. The subterranean palace of Arimanes. Infernal orgy. Appearance of Manfred in the middle of the bacchanal. Evocation and appearance of the shade of Astarte. He is pardoned. Death of Manfred.
Brass
Percussion
Keyboard
Strings
During his second and final trip to Russia in the winter of 1867-68, French composer Hector Berlioz
conducted his program symphony Harold en Italie. The work caused considerable stir. Its subject was very much to the tastes of its audiences, whose enthusiasm for the works of Lord Byron had not exhausted itself as it had begun to do in Europe. Berlioz's use of a four-movement structure for writing program music
intrigued many Russian musicians. One immediate consequence was Nikolai Rimsky-Korsakov
's four movement suite Antar
, written in 1868. At roughly the same time as Rimsky-Korsakov composed Antar, critic Vladimir Stasov wrote a scenario for a sequel to Harold, this time based on Byron's poem "Manfred
" and sent it to nationalist composer Mily Balakirev
. Balakirev did not feel attracted to the idea, so he forwarded the program to Berlioz, only hinting it was not entirely his own. Berlioz declined, claiming old age and ill health. He returned the program to Balakirev, who kept it. A little over a year later, Berlioz was dead, and by 1872 Balakirev was embroiled in a personal crisis that silenced him creatively.
Tchaikovsky's entrance into this story was strictly by circumstance. He finished his final revision of his fantasy-overture Romeo and Juliet
in 1880, a work on which he and Balakirev had worked tirelessly together a decade earlier, and which was dedicated to Balakirev. Since Balakirev had dropped away from the music scene in the intervening time, Tchaikovsky asked the publisher Bessel to send a copy of the printed score to Balakirev, thinking he would have a current address. Whether the publisher delayed in filfilling this request or Balakirev did not reply, no news was forthcoming as to whether Balakirev had received the score, so Tchaikovsky wrote to Balakirev in September 1881. Balakirev wrote back, thanking Tchaikovsky profusely for the score. In the same letter, Balakirev suggested another project—"the programme for another symphony ... which you could handle superbly." He presented Stasov's detailed plan, explaining it was not in his character to engage in such composition. As he explained in a letter to Tchaikovsky in October 1882, "this magnificent subject is unsuitable, it doesn't harmonise with my inner frame of mind". When Tchaikovsky showed polite interest, Balakirev sent a copy of Stasov's program, which he had amended with suggested key
signatures for each movement and representative works which Tchaikovsky had already written to give some idea of what Balakirev had in mind. Balakirev also gave warning to avoid "vulgarities in the manner of German fanfares and Jägermusik," plus instructions about the layout of the flute and percussion parts.
Tchaikovsky declined the project at first. He claimed the subject left him cold and seemed too close to Berlioz's work for him to manage anything but a piece that would lack inspiration and originality. Balakirev persisted. "You must, of course, make an effort," he exhorted, "take a more self-critical approach, don't hurry things." His importunity finally changed Tchaikovsky's mind—after two years of effort. So did Tchaikovsky's re-reading "Manfred" for himself while tending to his friend Iosif Kotek
in Davos
, Switzerland
, nestled in the same Alps
in which the poem was set. Once he returned home, Tchaikovsky revised the draft Balakirev had made from Stasov's programme and began sketching the first movement.
Tchaikovsky may have found a subject in "Manfred" for which he could comfortably compose. However, there was a difference between placing a personal program into a symphony and writing such a work to a literary program. He wrote to his friend and former student Sergei Taneyev
, "Composing a program symphony, I have the sensation of being a charlatan and cheating the public; I am paying them not hard cash but rubbishy bits of paper money." However, he later wrote to Emilia Pavlovskaya, "The symphony has turned out to be huge, serious, difficult, absorbing all my time, sometimes to utter exhaustion; but an inner voice tells me that my labor is not in vain and that this work will perhaps be the best of my symphonic works."
Instead of following Balakirev's instructions slavishly, Tchaikovsky wrote it in his own style. Initially, he considered it to be one of his best compositions, but wanted a few years later to destroy the score, though that intention was never carried out.
The Manfred Symphony was first performed in Moscow
on 11 March 1886, with Max Erdmannsdörfer
as conductor. It is dedicated to Balakirev.
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Several features make Manfred unique among Tchaikovsky's works. It is the only programmatic work he wrote in more than one movement. The first two movements do not recapitulate
their middle sections. The entire work is not only extremely long, playing up to and sometimes over an hour, but it is designed with the utmost spaciousness in mind. There is nothing else in Tchaikovsky's works that captures the long-breathed deliberation of the third movement or the practically verbatim recapitulation of the widely variegated opening section of the second movement following the equally huge middle section. At least one critic has suggested that, in its heroic but perfectly judged dimensions, Manfred resembles Richard Strauss
's later tone poem
A Hero's Life.
Of all Tchaikovsky's major neglected works, Manfred may be the one which least deserves this fate. While Tchaikovsky had his doubts about program music, he was actually better able to handle large forms when there was the impulse of an emotional idea behind the music. He apparently felt such an impulse—if not from Byron's poem, then from the program Balakirev gave him—and that impulse brought forth a work of great originality and power. While he did not follow Berlioz in how he might have handled the program, Tchaikovsky did make use of an idée fixe
recurring in all four movements. He also followed a Berliozian design of a lengthy, reflective, melancholy opening movement, two colorful interludes as inner movements, and a finale in which Berlioz' Brigands' Orgy becomes (without any hint from the poem) a bacchanal.
Here again is the description of the first movement from the program:
It is not hard to see how these carefully selected elements might appeal to Tchaikovsky. Free from having to reconcile the first movement to sonata form
, Tchaikovsky constructs his own form which succeeds well as an expression of the program. A massive opening motive associated with Manfred himself expresses both the strength and gloom of his character. This motive returns at crucial parts to identify Manfred's part in the action. Beneath this theme is a musical structure that, while not conforming to the traditional recapitulation
of themes in sonata form, succeeds in moving forward without losing unity or degenerating into a series of episodes. It is a musical portrait of the guilty, doomed sensibility, drawn strongly as Berlioz' Harold. This was perhaps the aspect of Byron which appealed most vividly to Russians; it also may have touched closely on Tchaikovsky's own situation.
The two inner movements work as effective structural contrasts to the opening drama. The waterfall in the second movement gives Tchaikovsky the opportunity for one of his longest and most beautifully worked out scherzo
s, scored with a delicacy that Berlioz might have admired; Tchaikovsky's Alpine experiences might have come in handy here. For the third movement pastorale, Balakirev had hoped for a Russian version of the corresponding movement from the Symphonie fantastique
. Tchaikovsky's version is more conventional, with two simple themes—one graceful, the other more roughly rustic. It forms in its static quality an idealized retreat before the turmoil of the finale. The finale reflects Harold en Italie in the exuberance of the revelling. Tchaikovsky manages to add a fugue
, a return of Astarte and a death scene at the end.'
Nevertheless, musicologist David Brown
considered the finale the weakest part of Manfred, not because of the music itself but of the programme. Up to this point, Brown writes, Tchaikovsky had very successfully reconciled extramusical specifications with musical structure. Now the program takes over, resulting in a fragmented movement with musical disruption and non sequiturs. The fatal flaw is the fugue, which Tchaikovsky wrote to convey the Arimane hoarde's reaction to Manfred's appearance amongst them. A fugue, Brown argues, is by nature undramatic in both its fixation on one thematic idea and its measured progress; therefore, it cannot help but sound stodgy, resulting in a misstep from which the music never fully recovers. Musicologist Ralph Wood, in contrast, stated that while the finale may have its faults, there is still much about the music that is quite good.
, the member of the Russian nationalistic music group known as The Five
whose reviews of Tchaikovsky's compositions were mostly negative, praised Manfred. Cui commented especially on the "masterly description of Manfred's gloomy, noble image" in the opening movement and the "ravishing refinement" of the scherzo, concluding that "we can only thank [Tchaikovsky] for his new contribution to the treasure-store of our nation's symphonic music." The composer's friend, critic Herman Laroche, was less positive, calling Manfred "among the most raw and unfinished of [Tchaikovsky's] compositions." While admitting the work was "full of melodic warmth and sincerity", Laroche criticized its programmatic aspects, which left "an impression of mystery and uncertainty cribbed from Liszt
, though cribbed not in a mechanical fashion but with the addition of some of the technical sequins which cost our deft and resourceful composer so little effort."
Some regard Manfred as one of Tchaikovsky's most brilliant and inspired works; conductor Arturo Toscanini
considered it the composer's greatest composition. (This did not stop him from making changes in the score when he performed and recorded it, including a number of cuts). However, others despise it. According to music critic David Hurwitz, composer-conductor Leonard Bernstein
referred to it as "trash" and never recorded it.
Some critics have commented that, for all Tchaikovsky's distrust of program music and Manfreds kinship to a Berlioz work he did not wish to repeat, the symphony proves its composer's capacity to infuse another composer's example with his own personality, provided the emotional nature of the work found a response in him. These critics have called Manfred one of the great program symphonies of the 19th century.
The Manfred Symphony was voted number 75 in the ABC Classic FM Top 100 Symphony Countdown
in 2009.
. Conductors who have recorded the work include Arturo Toscanini
, Lorin Maazel
, André Previn
, Bernard Haitink
, Eugene Ormandy
, Yuri Temirkanov
, Yevgeny Svetlanov, Riccardo Muti
, Igor Markevitch
, Andrew Litton
, Mikhail Pletnev
, Vladimir Fedoseyev
, Riccardo Chailly
, Mariss Jansons
, Vasily Petrenko
, Zubin Mehta
, Vladimir Jurowski
and others.
Manfred is less frequently performed in concert. This is due to its length, unfamiliarity, and its requirement for a large orchestra, including obbligato organ. It is also considered to be a virtuoso work and difficult to play well.
Program music
Program music or programme music is a type of art music that attempts to musically render an extra-musical narrative. The narrative itself might be offered to the audience in the form of program notes, inviting imaginative correlations with the music...
symphony
Symphony
A symphony is an extended musical composition in Western classical music, scored almost always for orchestra. A symphony usually contains at least one movement or episode composed according to the sonata principle...
composed by Pyotr Ilyich Tchaikovsky
Pyotr Ilyich Tchaikovsky
Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky (Russian: Пётр Ильи́ч Чайко́вский ; often "Peter Ilich Tchaikovsky" in English. His names are also transliterated "Piotr" or "Petr"; "Ilitsch", "Il'ich" or "Illyich"; and "Tschaikowski", "Tschaikowsky", "Chajkovskij"...
between May and September 1885. It is based on the poem "Manfred
Manfred
Manfred is a dramatic poem written in 1816–1817 by Lord Byron. It contains supernatural elements, in keeping with the popularity of the ghost story in England at the time. It is a typical example of a Romantic closet drama...
" written by Lord Byron in 1817. It is the only one of Tchaikovsky's symphonies he completed that is not numbered (the Symphony in E flat
Symphony in E flat (Tchaikovsky)
Pyotr Ilyich Tchaikovsky's Symphony in E flat, Op. posth., was commenced after the Symphony No. 5, and was intended initially to be the composer's next symphony. Tchaikovsky abandoned this work in 1892, only to reuse much of it in the Third Piano Concerto and Andante and Finale for piano and...
is a conjectural work left unfinished by the composer) and was written between the Fourth
Symphony No. 4 (Tchaikovsky)
Pyotr Ilyich Tchaikovsky's Symphony No. 4 in F minor, Op. 36, was written between 1877 and 1878. The symphony's first performance was at a Russian Musical Society concert in Saint Petersburg on February 10 /February 22 1878, with Nikolai Rubinstein as conductor.- Form :The symphony is in four...
and Fifth Symphonies
Symphony No. 5 (Tchaikovsky)
The Symphony No. 5 in E minor, Op. 64 by Pyotr Ilyich Tchaikovsky was composed between May and August 1888 and was first performed in St Petersburg at the Hall of Nobility on November 6 of that year with Tchaikovsky conducting. It is dedicated to Theodore Avé-Lallemant.-Structure:A typical...
.
Like the fantasy-overture Romeo and Juliet
Romeo and Juliet (Tchaikovsky)
Romeo and Juliet is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeare's play of the same name. Like other composers such as Berlioz and Prokofiev, Tchaikovsky was deeply inspired by Shakespeare and wrote works based on The...
, Tchaikovsky wrote the Manfred Symphony at the behest of nationalist composer Mily Balakirev
Mily Balakirev
Mily Alexeyevich Balakirev ,Russia was still using old style dates in the 19th century, and information sources used in the article sometimes report dates as old style rather than new style. Dates in the article are taken verbatim from the source and therefore are in the same style as the source...
, who provided a program written by critic Vladimir Stasov. Stasov had sent the program to Balakirev in 1868, hoping that Balakirev would write a symphony based on it. Balakirev did not feel capable of carrying out this project and sent the program to French composer Hector Berlioz
Hector Berlioz
Hector Berlioz was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts . Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a...
, whose programmatic works had genuinely impressed him. Berlioz refused, claiming old age and ill health, and returned the program to Balakirev. Balakirev kept the program until he reestablished contact with Tchaikovsky in the early 1880s.
The Manfred Symphony is the only programmatic symphonic work by Tchaikovsky in more than one movement. He initially considered the work one of his best, and in a typical reversal of opinion later considered destroying all but the opening movement. The symphony was greeted with mixed reviews, some finding much to laud in it, and others feeling that its programmatic aspects only weakened it. Manfred remained rarely performed for many years, probably due to its length and complexity. It has been recorded with increasing frequency but is still seldom heard in the concert hall.
Form
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
lugubre. Manfred wanders in the Alps. Weary of the fatal question of existence, tormented by hopeless longings and the memory of past crimes, he suffers cruel spiritual pangs. He has plunged into occult sciences and commands the mighty powers of darkness, but neither they nor anything in this world can give him the forgetfulness to which alone he vainly aspires. The memory of the lost Astarte, once passionately loved, gnaws his heart and there is neither limit nor end to Manfred's despair.
- The musical embodiment of this program note is presented in five extensive musical slabs spaced out by four silences. A brooding first theme, briefly unharmonized, builds to music both spacious and monolithic. A second theme leads to a second musical slab, this time pushing forward with the loudest climax Tchaikovsky ever wrote. The music in the third slab seems calmer, while the fourth slab marks the appearance of Astarte. The fifth slab culminates in a frantic climax and a series of abrupt, final chords.
Vivace
Vivace is Italian for "lively" and "vivid". It is pronounced in the International Phonetic Alphabet.Vivace is used as an Italian musical term indicating a movement that is in a lively mood ....
con spirito. The Alpine fairy appears before Manfred in the rainbow from the spray of a waterfall.
- Tchaikovsky's efforts in exploring fresh possibilities in scoring allowed him to present his music with new colors and more refined contrasts. In this scherzo, it seems as though the orchestration creates the music, as though Tchaikovsky has thought directly in colors and textures, making these the primary focus. Put simply, there is no tune and little definition of any harmonic base, creating a world alluring, fragile and magical. The point becomes clear when an actual and lyrical tune enters the central section of the movement.
- This
Siciliana
The siciliana or siciliano is a musical style or genre often included as a movement within larger pieces of music starting in the Baroque period. It is in a slow 6/8 or 12/8 time with lilting rhythms making it somewhat resemble a slow jig, and is usually in a minor key. It was used for arias in...
, then the three-note call of a hunter. The opening theme returns. We hear a brief and lively peasant dance, then an agitated outburst, before the opening theme returns. The opening pastoral theme eventually returns more spaciously and in a fuller, more decorative scoring. The hunter sounds his horn; the music fades.
Tempo
In musical terminology, tempo is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...
con fuoco. The subterranean palace of Arimanes. Infernal orgy. Appearance of Manfred in the middle of the bacchanal. Evocation and appearance of the shade of Astarte. He is pardoned. Death of Manfred.
- Many critics consider the finale to be fatally flawed, but the problem lies less with music than with the program. Up to this point Tchaikovsky has done well at reconciling the extra-musical requirements for each movement with the music itself. Now, however, the program takes over, beginning with a fugueFugueIn music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
, which is by its nature academic and undramatic, to depict the horde's discovery of Manfred within their midst. The result, though in many ways becoming a condensed recapitulation of the latter half of the first movement, becomes a fragmented movement with musical disruption and non-sequiturs, ending with the Germanic chorale depicting Manfred's death scene.
Orchestration
Woodwinds- 3 FluteFluteThe flute is a musical instrument of the woodwind family. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening...
s (3rd doubling piccoloPiccoloThe piccolo is a half-size flute, and a member of the woodwind family of musical instruments. The piccolo has the same fingerings as its larger sibling, the standard transverse flute, but the sound it produces is an octave higher than written...
) - 2 OboeOboeThe oboe is a double reed musical instrument of the woodwind family. In English, prior to 1770, the instrument was called "hautbois" , "hoboy", or "French hoboy". The spelling "oboe" was adopted into English ca...
s, - Cor anglaisCor anglaisThe cor anglais , or English horn , is a double-reed woodwind instrument in the oboe family....
- 2 ClarinetClarinetThe clarinet is a musical instrument of woodwind type. The name derives from adding the suffix -et to the Italian word clarino , as the first clarinets had a strident tone similar to that of a trumpet. The instrument has an approximately cylindrical bore, and uses a single reed...
s in A, B-flat - Bass clarinetBass clarinetThe bass clarinet is a musical instrument of the clarinet family. Like the more common soprano B clarinet, it is usually pitched in B , but it plays notes an octave below the soprano B clarinet...
- 3 BassoonBassoonThe bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor registers, and occasionally higher. Appearing in its modern form in the 19th century, the bassoon figures prominently in orchestral, concert band and chamber music literature...
s
Brass
- 4 HornHorn (instrument)The horn is a brass instrument consisting of about of tubing wrapped into a coil with a flared bell. A musician who plays the horn is called a horn player ....
s - 2 CornetCornetThe cornet is a brass instrument very similar to the trumpet, distinguished by its conical bore, compact shape, and mellower tone quality. The most common cornet is a transposing instrument in B. It is not related to the renaissance and early baroque cornett or cornetto.-History:The cornet was...
s - 2 TrumpetTrumpetThe trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments, dating back to at least 1500 BCE. They are played by blowing air through closed lips, producing a "buzzing" sound which starts a standing wave vibration in the air...
s - 3 TromboneTromboneThe trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the player’s vibrating lips cause the air column inside the instrument to vibrate...
s - TubaTubaThe tuba is the largest and lowest-pitched brass instrument. Sound is produced by vibrating or "buzzing" the lips into a large cupped mouthpiece. It is one of the most recent additions to the modern symphony orchestra, first appearing in the mid-19th century, when it largely replaced the...
Percussion
- TimpaniTimpaniTimpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet...
- Bass drumBass drumBass drums are percussion instruments that can vary in size and are used in several musical genres. Three major types of bass drums can be distinguished. The type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum . It is the largest drum of...
- CymbalCymbalCymbals are a common percussion instrument. Cymbals consist of thin, normally round plates of various alloys; see cymbal making for a discussion of their manufacture. The greater majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a...
s - Tam-tam
- TriangleTriangle (instrument)The triangle is an idiophone type of musical instrument in the percussion family. It is a bar of metal, usually steel but sometimes other metals like beryllium copper, bent into a triangle shape. The instrument is usually held by a loop of some form of thread or wire at the top curve...
- TambourineTambourineThe tambourine or marine is a musical instrument of the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called "zils". Classically the term tambourine denotes an instrument with a drumhead, though some variants may not have a head at all....
- BellBell (instrument)A bell is a simple sound-making device. The bell is a percussion instrument and an idiophone. Its form is usually a hollow, cup-shaped object, which resonates upon being struck...
s
Keyboard
- HarmoniumHarmoniumA harmonium is a free-standing keyboard instrument similar to a reed organ. Sound is produced by air being blown through sets of free reeds, resulting in a sound similar to that of an accordion...
(usually played on OrganOrgan (music)The organ , is a keyboard instrument of one or more divisions, each played with its own keyboard operated either with the hands or with the feet. The organ is a relatively old musical instrument in the Western musical tradition, dating from the time of Ctesibius of Alexandria who is credited with...
) featured in the climactic coda of the finale.
Strings
- ViolinViolinThe violin is a string instrument, usually with four strings tuned in perfect fifths. It is the smallest, highest-pitched member of the violin family of string instruments, which includes the viola and cello....
s I & II - ViolaViolaThe viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.- Form :The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin , with an average...
s - CelloCelloThe cello is a bowed string instrument with four strings tuned in perfect fifths. It is a member of the violin family of musical instruments, which also includes the violin, viola, and double bass. Old forms of the instrument in the Baroque era are baryton and viol .A person who plays a cello is...
s - Double bassDouble bassThe double bass, also called the string bass, upright bass, standup bass or contrabass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra, with strings usually tuned to E1, A1, D2 and G2...
es - 2 HarpHarpThe harp is a multi-stringed instrument which has the plane of its strings positioned perpendicularly to the soundboard. Organologically, it is in the general category of chordophones and has its own sub category . All harps have a neck, resonator and strings...
s
Overview
Hector Berlioz
Hector Berlioz was a French Romantic composer, best known for his compositions Symphonie fantastique and Grande messe des morts . Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works; as a...
conducted his program symphony Harold en Italie. The work caused considerable stir. Its subject was very much to the tastes of its audiences, whose enthusiasm for the works of Lord Byron had not exhausted itself as it had begun to do in Europe. Berlioz's use of a four-movement structure for writing program music
Program music
Program music or programme music is a type of art music that attempts to musically render an extra-musical narrative. The narrative itself might be offered to the audience in the form of program notes, inviting imaginative correlations with the music...
intrigued many Russian musicians. One immediate consequence was Nikolai Rimsky-Korsakov
Nikolai Rimsky-Korsakov
Nikolai Andreyevich Rimsky-Korsakov was a Russian composer, and a member of the group of composers known as The Five.The Five, also known as The Mighty Handful or The Mighty Coterie, refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856–1870: Mily Balakirev , César...
's four movement suite Antar
Antar (Rimsky-Korsakov)
Antar is a composition for symphony orchestra in four movements by the Russian composer Nikolai Rimsky-Korsakov. He wrote the piece in 1868 but revised the work in 1875 and 1891. He initially called this work his Second Symphony. He later reconsidered and called it a symphonic suite...
, written in 1868. At roughly the same time as Rimsky-Korsakov composed Antar, critic Vladimir Stasov wrote a scenario for a sequel to Harold, this time based on Byron's poem "Manfred
Manfred
Manfred is a dramatic poem written in 1816–1817 by Lord Byron. It contains supernatural elements, in keeping with the popularity of the ghost story in England at the time. It is a typical example of a Romantic closet drama...
" and sent it to nationalist composer Mily Balakirev
Mily Balakirev
Mily Alexeyevich Balakirev ,Russia was still using old style dates in the 19th century, and information sources used in the article sometimes report dates as old style rather than new style. Dates in the article are taken verbatim from the source and therefore are in the same style as the source...
. Balakirev did not feel attracted to the idea, so he forwarded the program to Berlioz, only hinting it was not entirely his own. Berlioz declined, claiming old age and ill health. He returned the program to Balakirev, who kept it. A little over a year later, Berlioz was dead, and by 1872 Balakirev was embroiled in a personal crisis that silenced him creatively.
Tchaikovsky's entrance into this story was strictly by circumstance. He finished his final revision of his fantasy-overture Romeo and Juliet
Romeo and Juliet (Tchaikovsky)
Romeo and Juliet is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeare's play of the same name. Like other composers such as Berlioz and Prokofiev, Tchaikovsky was deeply inspired by Shakespeare and wrote works based on The...
in 1880, a work on which he and Balakirev had worked tirelessly together a decade earlier, and which was dedicated to Balakirev. Since Balakirev had dropped away from the music scene in the intervening time, Tchaikovsky asked the publisher Bessel to send a copy of the printed score to Balakirev, thinking he would have a current address. Whether the publisher delayed in filfilling this request or Balakirev did not reply, no news was forthcoming as to whether Balakirev had received the score, so Tchaikovsky wrote to Balakirev in September 1881. Balakirev wrote back, thanking Tchaikovsky profusely for the score. In the same letter, Balakirev suggested another project—"the programme for another symphony ... which you could handle superbly." He presented Stasov's detailed plan, explaining it was not in his character to engage in such composition. As he explained in a letter to Tchaikovsky in October 1882, "this magnificent subject is unsuitable, it doesn't harmonise with my inner frame of mind". When Tchaikovsky showed polite interest, Balakirev sent a copy of Stasov's program, which he had amended with suggested key
Key (music)
In music theory, the term key is used in many different and sometimes contradictory ways. A common use is to speak of music as being "in" a specific key, such as in the key of C major or in the key of F-sharp. Sometimes the terms "major" or "minor" are appended, as in the key of A minor or in the...
signatures for each movement and representative works which Tchaikovsky had already written to give some idea of what Balakirev had in mind. Balakirev also gave warning to avoid "vulgarities in the manner of German fanfares and Jägermusik," plus instructions about the layout of the flute and percussion parts.
Tchaikovsky declined the project at first. He claimed the subject left him cold and seemed too close to Berlioz's work for him to manage anything but a piece that would lack inspiration and originality. Balakirev persisted. "You must, of course, make an effort," he exhorted, "take a more self-critical approach, don't hurry things." His importunity finally changed Tchaikovsky's mind—after two years of effort. So did Tchaikovsky's re-reading "Manfred" for himself while tending to his friend Iosif Kotek
Iosif Kotek
Iosif Iosifovich Kotek was a Russian violinist remembered for his association with Pyotr Ilyich Tchaikovsky. He assisted Tchaikovsky with technical issues in the writing of the solo part in his Violin Concerto in D...
in Davos
Davos
Davos is a municipality in the district of Prättigau/Davos in the canton of Graubünden, Switzerland. It has a permanent population of 11,248 . Davos is located on the Landwasser River, in the Swiss Alps, between the Plessur and Albula Range...
, Switzerland
Switzerland
Switzerland name of one of the Swiss cantons. ; ; ; or ), in its full name the Swiss Confederation , is a federal republic consisting of 26 cantons, with Bern as the seat of the federal authorities. The country is situated in Western Europe,Or Central Europe depending on the definition....
, nestled in the same Alps
Alps
The Alps is one of the great mountain range systems of Europe, stretching from Austria and Slovenia in the east through Italy, Switzerland, Liechtenstein and Germany to France in the west....
in which the poem was set. Once he returned home, Tchaikovsky revised the draft Balakirev had made from Stasov's programme and began sketching the first movement.
Tchaikovsky may have found a subject in "Manfred" for which he could comfortably compose. However, there was a difference between placing a personal program into a symphony and writing such a work to a literary program. He wrote to his friend and former student Sergei Taneyev
Sergei Taneyev
Sergei Ivanovich Taneyev , was a Russian composer, pianist, teacher of composition, music theorist and author.-Life:...
, "Composing a program symphony, I have the sensation of being a charlatan and cheating the public; I am paying them not hard cash but rubbishy bits of paper money." However, he later wrote to Emilia Pavlovskaya, "The symphony has turned out to be huge, serious, difficult, absorbing all my time, sometimes to utter exhaustion; but an inner voice tells me that my labor is not in vain and that this work will perhaps be the best of my symphonic works."
Instead of following Balakirev's instructions slavishly, Tchaikovsky wrote it in his own style. Initially, he considered it to be one of his best compositions, but wanted a few years later to destroy the score, though that intention was never carried out.
The Manfred Symphony was first performed in Moscow
Moscow
Moscow is the capital, the most populous city, and the most populous federal subject of Russia. The city is a major political, economic, cultural, scientific, religious, financial, educational, and transportation centre of Russia and the continent...
on 11 March 1886, with Max Erdmannsdörfer
Max Erdmannsdörfer
Max Erdmannsdörfer was a German conductor, pianist and composer....
as conductor. It is dedicated to Balakirev.
Analysis
Recapitulation (music)
In music theory, the recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition...
their middle sections. The entire work is not only extremely long, playing up to and sometimes over an hour, but it is designed with the utmost spaciousness in mind. There is nothing else in Tchaikovsky's works that captures the long-breathed deliberation of the third movement or the practically verbatim recapitulation of the widely variegated opening section of the second movement following the equally huge middle section. At least one critic has suggested that, in its heroic but perfectly judged dimensions, Manfred resembles Richard Strauss
Richard Strauss
Richard Georg Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier and Salome; his Lieder, especially his Four Last Songs; and his tone poems and orchestral works, such as Death and Transfiguration, Till...
's later tone poem
Symphonic poem
A symphonic poem or tone poem is a piece of orchestral music in a single continuous section in which the content of a poem, a story or novel, a painting, a landscape or another source is illustrated or evoked. The term was first applied by Hungarian composer Franz Liszt to his 13 works in this vein...
A Hero's Life.
Of all Tchaikovsky's major neglected works, Manfred may be the one which least deserves this fate. While Tchaikovsky had his doubts about program music, he was actually better able to handle large forms when there was the impulse of an emotional idea behind the music. He apparently felt such an impulse—if not from Byron's poem, then from the program Balakirev gave him—and that impulse brought forth a work of great originality and power. While he did not follow Berlioz in how he might have handled the program, Tchaikovsky did make use of an idée fixe
Leitmotif
A leitmotif , sometimes written leit-motif, is a musical term , referring to a recurring theme, associated with a particular person, place, or idea. It is closely related to the musical idea of idée fixe...
recurring in all four movements. He also followed a Berliozian design of a lengthy, reflective, melancholy opening movement, two colorful interludes as inner movements, and a finale in which Berlioz' Brigands' Orgy becomes (without any hint from the poem) a bacchanal.
Here again is the description of the first movement from the program:
Manfred wanders in the Alpine mountains. His life is shattered, but he is obsessed with life's unanswerable questions. In life nothing remains for him except memories. Images of his ideal Astarte permeate his thoughts, and he vainly calls to her. Only the echo from the cliffs repeats her name. Memories and thoughts bum and gnaw at him. He seeks and begs for oblivion, which no-one can give him.
It is not hard to see how these carefully selected elements might appeal to Tchaikovsky. Free from having to reconcile the first movement to sonata form
Sonata form
Sonata form is a large-scale musical structure used widely since the middle of the 18th century . While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement...
, Tchaikovsky constructs his own form which succeeds well as an expression of the program. A massive opening motive associated with Manfred himself expresses both the strength and gloom of his character. This motive returns at crucial parts to identify Manfred's part in the action. Beneath this theme is a musical structure that, while not conforming to the traditional recapitulation
Recapitulation (music)
In music theory, the recapitulation is one of the sections of a movement written in sonata form. The recapitulation occurs after the movement's development section, and typically presents once more the musical themes from the movement's exposition...
of themes in sonata form, succeeds in moving forward without losing unity or degenerating into a series of episodes. It is a musical portrait of the guilty, doomed sensibility, drawn strongly as Berlioz' Harold. This was perhaps the aspect of Byron which appealed most vividly to Russians; it also may have touched closely on Tchaikovsky's own situation.
The two inner movements work as effective structural contrasts to the opening drama. The waterfall in the second movement gives Tchaikovsky the opportunity for one of his longest and most beautifully worked out scherzo
Scherzo
A scherzo is a piece of music, often a movement from a larger piece such as a symphony or a sonata. The scherzo's precise definition has varied over the years, but it often refers to a movement which replaces the minuet as the third movement in a four-movement work, such as a symphony, sonata, or...
s, scored with a delicacy that Berlioz might have admired; Tchaikovsky's Alpine experiences might have come in handy here. For the third movement pastorale, Balakirev had hoped for a Russian version of the corresponding movement from the Symphonie fantastique
Symphonie Fantastique
Symphonie Fantastique: Épisode de la vie d'un Artiste...en cinq parties , Op. 14, is a program symphony written by the French composer Hector Berlioz in 1830. It is one of the most important and representative pieces of the early Romantic period, and is still very popular with concert audiences...
. Tchaikovsky's version is more conventional, with two simple themes—one graceful, the other more roughly rustic. It forms in its static quality an idealized retreat before the turmoil of the finale. The finale reflects Harold en Italie in the exuberance of the revelling. Tchaikovsky manages to add a fugue
Fugue
In music, a fugue is a compositional technique in two or more voices, built on a subject that is introduced at the beginning in imitation and recurs frequently in the course of the composition....
, a return of Astarte and a death scene at the end.'
Nevertheless, musicologist David Brown
David Brown (musicologist)
David Brown is an English musicologist, most noteworthy for his major study of Tchaikovsky’s life and works.Brown studied English, Latin and music at the University of Sheffield, graduating in 1951, and took his MusB there . During national service he studied Russian and was commissioned in the...
considered the finale the weakest part of Manfred, not because of the music itself but of the programme. Up to this point, Brown writes, Tchaikovsky had very successfully reconciled extramusical specifications with musical structure. Now the program takes over, resulting in a fragmented movement with musical disruption and non sequiturs. The fatal flaw is the fugue, which Tchaikovsky wrote to convey the Arimane hoarde's reaction to Manfred's appearance amongst them. A fugue, Brown argues, is by nature undramatic in both its fixation on one thematic idea and its measured progress; therefore, it cannot help but sound stodgy, resulting in a misstep from which the music never fully recovers. Musicologist Ralph Wood, in contrast, stated that while the finale may have its faults, there is still much about the music that is quite good.
Key signatures
Below are the key signatures Balakirev initially envisioned for Manfred, what he later suggested, and what Tchaikovsky eventually used in the symphony:- Balakirev (1882)
- (I) F sharp minor
- (second subject in D major)
- (II) A major (slow movement)
- (III) D major (scherzo)
- (IV) F sharp minor
- (appearance of Astarte in D flat)
- Balakirev (1884)
- (I) B flat minor
- (second subject in D major)
- (II) G flat major (slow movement)
- (III) D major (scherzo)
- (IV) B flat minor
- (appearance of Astarte in D flat);
- coda—B flat major
- Tchaikovsky (1885)
- (I) Tonally ambiguous (only
- establishing B minor more than
- halfway through the movement)
- (second subject in B major)
- (II) B minor, D major,
- B minor (scherzo)
- (III) G major (slow movement)
- (IV) B minor (appearance
- of Astarte in D flat);
- coda in B major.
Critical views
Critics were divided on Manfred from the work's outset. César CuiCésar Cui
César Antonovich Cui was a Russian of French and Lithuanian descent. His profession was as an army officer and a teacher of fortifications; his avocational life has particular significance in the history of music, in that he was a composer and music critic; in this sideline he is known as a...
, the member of the Russian nationalistic music group known as The Five
The Five
The Five, also known as The Mighty Handful or The Mighty Coterie , refers to a circle of composers who met in Saint Petersburg, Russia, in the years 1856–1870: Mily Balakirev , César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin...
whose reviews of Tchaikovsky's compositions were mostly negative, praised Manfred. Cui commented especially on the "masterly description of Manfred's gloomy, noble image" in the opening movement and the "ravishing refinement" of the scherzo, concluding that "we can only thank [Tchaikovsky] for his new contribution to the treasure-store of our nation's symphonic music." The composer's friend, critic Herman Laroche, was less positive, calling Manfred "among the most raw and unfinished of [Tchaikovsky's] compositions." While admitting the work was "full of melodic warmth and sincerity", Laroche criticized its programmatic aspects, which left "an impression of mystery and uncertainty cribbed from Liszt
Franz Liszt
Franz Liszt ; ), was a 19th-century Hungarian composer, pianist, conductor, and teacher.Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age...
, though cribbed not in a mechanical fashion but with the addition of some of the technical sequins which cost our deft and resourceful composer so little effort."
Some regard Manfred as one of Tchaikovsky's most brilliant and inspired works; conductor Arturo Toscanini
Arturo Toscanini
Arturo Toscanini was an Italian conductor. One of the most acclaimed musicians of the late 19th and 20th century, he was renowned for his intensity, his perfectionism, his ear for orchestral detail and sonority, and his photographic memory...
considered it the composer's greatest composition. (This did not stop him from making changes in the score when he performed and recorded it, including a number of cuts). However, others despise it. According to music critic David Hurwitz, composer-conductor Leonard Bernstein
Leonard Bernstein
Leonard Bernstein August 25, 1918 – October 14, 1990) was an American conductor, composer, author, music lecturer and pianist. He was among the first conductors born and educated in the United States of America to receive worldwide acclaim...
referred to it as "trash" and never recorded it.
Some critics have commented that, for all Tchaikovsky's distrust of program music and Manfreds kinship to a Berlioz work he did not wish to repeat, the symphony proves its composer's capacity to infuse another composer's example with his own personality, provided the emotional nature of the work found a response in him. These critics have called Manfred one of the great program symphonies of the 19th century.
The Manfred Symphony was voted number 75 in the ABC Classic FM Top 100 Symphony Countdown
Classic 100 Symphony (ABC)
During 2009, the Australian ABC Classic FM radio station conducted a survey of listeners' favourite symphonies. Participants were permitted to vote for their three preferred symphonies...
in 2009.
Recordings
The symphony has been recorded many times, with recordings made by major orchestras and conductorsConducting
Conducting is the art of directing a musical performance by way of visible gestures. The primary duties of the conductor are to unify performers, set the tempo, execute clear preparations and beats, and to listen critically and shape the sound of the ensemble...
. Conductors who have recorded the work include Arturo Toscanini
Arturo Toscanini
Arturo Toscanini was an Italian conductor. One of the most acclaimed musicians of the late 19th and 20th century, he was renowned for his intensity, his perfectionism, his ear for orchestral detail and sonority, and his photographic memory...
, Lorin Maazel
Lorin Maazel
Lorin Varencove Maazel is an American conductor, violinist and composer.- Early life :Maazel was born to Jewish-American parents in Neuilly-sur-Seine in France and brought up in the United States, primarily at his parents' home in Pittsburgh's Oakland neighborhood. His father, Lincoln Maazel , was...
, André Previn
André Previn
André George Previn, KBE is an American pianist, conductor, and composer. He is considered one of the most versatile musicians in the world, and is the winner of four Academy Awards for his film work and ten Grammy Awards for his recordings. -Early Life:Previn was born in...
, Bernard Haitink
Bernard Haitink
Bernard Johan Herman Haitink, CH, KBE is a Dutch conductor and violinist.- Early life :Haitink was born in Amsterdam, the son of Willem Haitink and Anna Haitink. He studied music at the conservatoire in Amsterdam...
, Eugene Ormandy
Eugene Ormandy
Eugene Ormandy was a Hungarian-born conductor and violinist.-Early life:Born Jenő Blau in Budapest, Hungary, Ormandy began studying violin at the Royal National Hungarian Academy of Music at the age of five...
, Yuri Temirkanov
Yuri Temirkanov
Yuri Khatuevich Temirkanov is a Russian conductor of Circassian origin.Yuri Temirkanov has been the Music Director and Chief Conductor of the Saint Petersburg Philharmonic since 1988.-Early life:...
, Yevgeny Svetlanov, Riccardo Muti
Riccardo Muti
Riccardo Muti, Cavaliere di Gran Croce OMRI is an Italian conductor and music director of the Chicago Symphony Orchestra.-Childhood and education:...
, Igor Markevitch
Igor Markevitch
Igor Markevitch was a Ukrainian, Italian, and French composer and conductor.- Origin :Igor Markevich was born in Kiev, to an old family of Ukrainian Cossack starshyna ennobled in the 18th century...
, Andrew Litton
Andrew Litton
Andrew Litton is an American orchestral conductor. Litton is a graduate of The Fieldston School, and holds both undergraduate and Masters degrees in music from Juilliard....
, Mikhail Pletnev
Mikhail Pletnev
Mikhail Vasilievich Pletnev is a Russian pianist, conductor, and composer.-Life and career:Pletnev was born into a very musical family in Arkhangelsk, then part of the Soviet Union; his father played and taught the bayan, and his mother the piano...
, Vladimir Fedoseyev
Vladimir Fedoseyev
Vladimir Ivanovich Fedoseyev is a Russian conductor.Fedoseyev graduated from the Gnessin State Musical College 1957, and Moscow Conservatory 1972. From 1974 artistic director and chief conductor of the Tchaikovsky Symphony Orchestra of Moscow Radio 1974-1999. He has also served as principal...
, Riccardo Chailly
Riccardo Chailly
Riccardo Chailly, Cavaliere di Gran Croce OMRI is an Italian conductor. He started his career as an opera conductor and gradually extended his repertoire to encompass symphonic music.-Biography:...
, Mariss Jansons
Mariss Jansons
Mariss Ivars Georgs Jansons is a Latvian conductor, the son of conductor Arvīds Jansons. His mother, the singer Iraida Jansons, who was Jewish, gave birth to him in hiding in Riga, Latvia, after her father and brother were killed in the Riga Ghetto...
, Vasily Petrenko
Vasily Petrenko
Vasily Petrenko is a Russian conductor. He attended the Capella Boys Music School and the St Petersburg Conservatoire. He studied conducting with Ilya Musin, and later under the tutelage of Mariss Jansons, Yuri Temirkanov and Esa-Pekka Salonen. He was resident conductor at the St. Petersburg...
, Zubin Mehta
Zubin Mehta
Zubin Mehta is an Indian conductor of western classical music. He is the Music Director for Life of the Israel Philharmonic Orchestra.-Biography:...
, Vladimir Jurowski
Vladimir Jurowski
Vladimir Mikhailovich Jurowski is a Russian conductor. He is the son of conductor Mikhail Jurowski.Jurowski began his musical studies at the Moscow Conservatory...
and others.
Manfred is less frequently performed in concert. This is due to its length, unfamiliarity, and its requirement for a large orchestra, including obbligato organ. It is also considered to be a virtuoso work and difficult to play well.