Moscow State Radio Symphony Orchestra, Alexei Kornienko, Music Director

Overview

From the time of its founding, the Moscow State Symphony Orchestra has established a high standard of excellence and continued the great concert traditions of the 18th, 19th and 20th centuries. Its world tours have gained the orchestra international acclaim and its powerful conductor Maestro Korniendo and violin virtuoso Nadezda Tokareva are names that conjure up musical magic.  Considered to be Russia's national treasure, this orchestra's performance will be a very special All Tchaikovsky Program.

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• Nadezda Tokareva, Violin

Program

"An All Tchaikovsky Program"

Hamlet Fantasy Overture afte Shakespeare in f-minor, Op. 67

Most celebrated for his symphonies and ballets (though he wrote more operas), Tchaikovsky also produced oodles of chamber, piano, vocal, choral and concertante music, plus a substantial body of other orchestral works. I'm not sure what distinguishes “Symphonic Fantasy” from “Fantasy Overture”, but Tchaikovsky assures us that, of his three Shakespeare-inspired orchestral works, The Tempest (1873) is of the former, while Romeo and Juliet (1869) and Hamlet are of the latter persuasion.  Hamlet (1888) was, for some reason, dedicated to Grieg, though the idea may have been prompted by Lucien Guitry, a French actor who wanted incidental music for his final benefit performance in St Petersburg, in 1891 - an improbable degree of forward planning. Tchaikovsky duly composed incidental music, drawing (not surprisingly) on the Overture.

Tchaikovsky had deliberately eschewed “narrative” in favour of more generalised reflection on the drama, at least partly, one would guess, to allow the piece to have a clear-cut musical form. Yet Hamlet seems thoroughly rhapsodic: the ear is confused by a form which is not musical, but theatrical! The brilliantly innovative composer moulds his music like a play, cumulatively introducing six main ideas as the “plot” develops. The introduction's chord sequence prepares the “coda”. 'Cellos and basses descend into an abysmal gloom of woodwind and brass over a pulsing drum: a transformation like that of the love theme in Romeo and Juliet seals the tragic fate.

Violin Concerto in D-Major, Op. 35

In the summer of 1877, Tchaikovsky undertook the disastrous marriage that lasted less than three weeks and resulted in his emotional collapse and attempted suicide. He fled from Moscow to his brother Modeste in St. Petersburg, where he recovered his wits and discovered he could find solace in his work. He spent the late fall and winter completing his Fourth Symphony and the opera Eugene Onégin. The brothers decided that travel outside of Russia would be an additional balm to the composer's spirit, and they duly installed themselves at Clarens on Lake Geneva in Switzerland soon after the first of the year.

In Clarens, Tchaikovsky had already begun work on a piano sonata when he was visited by Joseph Kotek, a talented young violinist who had been a student in one of his composition classes at the Moscow Conservatory, who brought with him a score for the recent Symphonie Espagnole for Violin and Orchestra by the French composer Edouard Lalo. They read through the piece, and Tchaikovsky was so excited by the possibilities of a work for solo violin and orchestra that he set aside the gestating piano sonata and immediately began a concerto of his own. He worked quickly, completing the present slow movement in a single day when he decided to discard an earlier attempt. (This abandoned piece ended up as the first of the three Meditations for Violin and Piano, Op. 42.) By the end of April, the work was finished. Tchaikovsky sent the manuscript to Leopold Auer, a friend who headed the violin department at the St. Petersburg Conservatory and who was also Court Violinist to the Czar, hoping to have him premiere the work. Much to the composer's regret, Auer returned the piece as "unplayable," and apparently spread that word with such authority to other violinists that it was more than three years before the Violin Concerto was heard in public.

It was Adolf Brodsky, a former colleague of Tchaikovsky at the Moscow Conservatory, who first accepted the challenge of this Concerto. After having "taken it up and put it down," in his words, for two years, he finally felt secure enough to give the work a try, and he convinced Hans Richter to include it on the concerts of the Vienna Philharmonic in 1881. Brodsky must have felt that he was on something of a crusade during the preparations for the performance. There was only a single full rehearsal allotted for the new work, and most of that was taken up with correcting the parts, which were awash with copyist's errors. Richter wanted to make cuts. The orchestra did not like the music, and at the performance played very quietly so as not to enter with a crashing miscue. Brodsky deserves the appreciation of the music world for standing pat in his belief in the Concerto amid all these adversities. When the performance was done, the audience felt that way as well, and applauded him. The piece itself, however, was roundly hissed. The critical barrage was led by that powerful doyen of Viennese conservatism, Eduard Hanslick, whose tasteless summation ("Music that stinks in the ear") irritated Tchaikovsky until the day he died.

Despite its initial reception, Brodsky remained devoted to the Concerto, and played it throughout Europe. The work soon began to gain in popularity, as did the music of Tchaikovsky generally, and it has become one of the most famous concertos in the literature. It is a revealing side-note that Leopold Auer, who had initially shunned the work, eventually came to include it in his repertory, and even taught it to his students, some of whom — Seidel, Zimbalist, Elman, Heifetz, Milstein — became the greatest exponents of the work in the 20th century.

The Concerto opens quietly with a tentative introductory tune. A foretaste of the main theme soon appears in the violins, around which a quick crescendo is mounted to usher in the soloist. After a few unaccompanied measures, the violin presents the movement's lovely main theme above a simple string background. After an elaborated repeat of this melody, a transition follows that eventually involves the entire orchestra and gives the soloist the first of many opportunities for pyrotechnical display. The second theme is the beginning of a long dynamic and rhythmic buildup leading into the development with a sweeping, balletic presentation of the main theme by the full orchestra. The soloist soon steals back the attention with breathtaking leaps and double stops. The grand balletic mood returns, giving way to a brilliant cadenza as a link to the recapitulation. The flute sings the main theme for four measures before the violin takes over, and all then follows the order of the exposition. An exhilarating coda asks for no fewer than four tempo increases, and the movement ends in a brilliant whirl of rhythmic energy.

The slow middle movement begins with a chorale for woodwinds that is heard again at the end of the movement to serve as a frame around the musical picture inside. On the canvas of this scene is displayed a soulful melody intoned by the violin with the plaintive suggestion of a Gypsy fiddler. The finale is joined to the slow movement without a break. With the propulsive spirit of a dashing Cossack Trepak, the finale flies by amid the soloist's dizzying show of agility and speed. Like the first movement, this one also races toward its final climax, almost daring listeners to try to sit still in their seats. After playing the Concerto's premiere, Adolf Brodsky wrote to Tchaikovsky that the work was "wonderfully beautiful." He was right.

 Symphony No. 6 in b-minor, Op. 29 Pathetique

During the year 1892, Tchaikovsky embarked on a European conducting tour that was cut short due to homesickness and a general feeling of depression. It was at this time that the composer devised a plan for a "Programme Symphony"; this however, was not realized and was temporarily abandoned in favor of a new Symphony in E-flat major - what is now referred to as "Symphony No. 7," a work which was never completed and which has been somewhat reconstructed from the material employed in the Piano Concerto No. 3. The following year, on February 15, 1893, the composer began what was to become his valedictory work, the Symphony No. 6 in B minor, Op. 74 ("Pathétique"). Tchaikovsky admitted that there was a program - not a specific story, but certainly an idea - behind the music of the Sixth Symphony; nonetheless, he refused to tell what it was, only saying, "Let him guess it who can."

There have been plenty of guessers as to the composer's programmatic intentions, most of them guided by the work's nickname, "Pathétique." And even though the appellation was attached, not by the composer but by his brother Modest after the work's first performance, it may indeed be surmised to be indicative of its hidden program. The answer may have finally arrived in the middle of our century when a sheet of music paper was discovered among some sketches by the composer. In Tchaikovsky's own handwriting, it read: "The ultimate essence of the plan of the symphony is LIFE. First movement - all impulsive passion, confidence, thirst for activity. Must be short. (Finale DEATH - result of collapse.) Second movement love; third disappointments; fourth ends dying away (also short)." Through research it has been established that the sheet comes from 1892, and it is in all likelihood, the aforementioned abandoned plan for a symphony. By 1893, the plan was much modified; among these modifications was Tchaikovsky's decision that the finale would be a long-drawn Adagio. Another modification seems to be the expression of "disappointment" in the second movement as opposed to the third. These disappointments may well have stemmed from two events in the composer's life: the failed and tormented marriage to Antonina Milyukova, a union into which he was goaded, despite self- awareness of his sexual orientation, by her repeated threats of suicide; the other in Nadezhda von Meck's inexplicable withdrawal as the composer's long-time patroness, correspondent and confidante.

Although it should not be assumed that Tchaikovsky's Pathétique Symphony was originally intended as a swan song, it indeed serves this function as it was the last work he wrote (works with opus numbers higher than 74, were actually composed at an earlier date and published posthumously). The Symphony received its premiere performance on October 28, 1893, with the composer conducting the Kirov Orchestra in St. Petersburg. Nine days later, the composer died, presumably by self-inflicted arsenic poisoning (not by drinking unboiled water and thereby contracting cholera, as has been popularly expounded); this, apparently, he did at the behest of a court of honor to avert a scandal involving the nephew of a Russian aristocrat, thus avoiding the tarnishing of his "school uniform."

The Pathétique Symphony is Tchaikovsky's most profoundly pessimistic work; it begins as if enshrouded in darkness and deepest despair and in this same tone it ends. The first movement is ushered in by a somber Adagio introduction. From the lowest depths of the orchestral palette, a solo bassoon intones a sad theme, the first four notes of which foreshadow the motif of the main theme of the first movement proper; this creates from the start the aura of melancholy that is so characteristic of the work as a whole. A contrasting, tender second theme is soon heard on the muted strings, eventually leading into the Allegro non troppo that constitutes the main body of the movement. The development is concerned for the most part with the main theme; as the tempo quickens the theme is tossed about from one instrumental choir to the other becoming successively more fragmented. In due time the emotional intensity reaches its peak, but the movement ends in the same grief-stricken mood with which it commenced, including a quotation from the music of the Russian Orthodox Requiem. The coda is notable for its masterful transformation of the stormy first theme into a lyrical one; a solemn cadence for the brass over falling pizzicato scales on the strings brings the movement to its resolution.

Just as one of the middle movements in the composer's preceding Symphony is made up of a waltz, so is the second movement of his Sixth; however, by casting this - essentially - Scherzo movement in the asymmetrical 5/4 meter, and thus impeding the flow of the normally jovial dance, this particular waltz acquires a curious limp which lends an air of idiosyncratically serene melancholy. The principal theme of the Allegro con grazia section is a song-like melody announced by the cellos. Marked con dolcezza e flebile ("sweetly and plaintively") the Trio section introduces a new theme in the violins; here the composer exploits some of the harmonic tension exhibited in the outer movements by pitting the theme against an incessantly beating pedal point in the timpani, bassoons and basses. After a return to the waltz section, a coda, combining the theme of the waltz with that of the Trio, concludes the movement.

Coming in the unusual form of a march, the third movement was unprecedented; Gustav Mahler was to follow this example in his own symphonies a decade later. Bearing the tempo marking of Allegro molto vivace, the movement begins softly as a busy triplet figure is heard alternating between strings and woodwinds. This leads to the march figure that grows stronger at each moment until the ever-whirling figuration that began the movement disappears and the triumphant theme is heard unimpeded in the entire orchestra. Angry beats from the percussion underline and strengthen its progress. In contrast to the preceding movement, here the composer seems to be recollecting past moments of joy and glory; however, towards the end of the movement these triumphs and joyful remembrances appear to be marred by the adversities of life as the persistent march, in its exultant brass sonorities, is heard against conflicting scale passages between woodwinds and strings. The intensity of this conflict increases to the very end.

The last movement, once again is not the traditional type of brilliant finale; the requiem-like manner of this concluding Adagio lamentoso seems to point to the finality of death. The strings announce the despairing first theme immediately. The nobility of the consoling second theme that is presented by violins and violas, over a syncopated horn figure, contrasts the painful chord progression of this theme. The themes seem to be of opposite natures yet they bear close musical relation, being originated from the same basic thought. These themes are worked up to an enormous climax which eventually recedes until a fateful clash of the gong brings back the second theme; this time, however, the once consoling theme is now cast in the sad minor mode, thus extinguishing the last ray of light and hope in the proceedings. For its final measures, the Symphony returns to the somber abyss of despair from which it initially emerged, reflecting that same mood of comfortless melancholy in which Tchaikovsky found himself at the end of his life - one rich in success but full of pain, trials and tribulations.

About the Artists

The Moscow State Radio Symphony Orchestra was founded in 1978 as an outgrowth of the need for the symphonic repertoire of the 18th, 19th and 20th, centuries to be broadcast throughout Russia for the benefit of its citizens. It was decided that the Orchestra should broadcast performances on a weekly basis.

The Orchestra expanded its activities into Russian television, including projects with Korean KBC and German ZDF. In 1980 the Orchestra created a major subscription series in Moscow’s Tchaikovsky Hall and Great Hall of the Moscow Conservatory. The Orchestra’s first music director was Alexander Mikhailov, who received his education with Evgheny Mravinsky and Ilia Musin. He headed the Orchestra until 1996 before Anatoli Nemudrov (a disciple of Danila Tulin) assumed the music directorship. 

Presently the Orchestra follows the European music tradition and does not have a permanent Chief Conductor. Music Director Anatoli Nemudrov invites maestros from Russia and abroad in order to facilitate the continuing development and mastery of the musicians. 

In addition to the Orchestra’s extensive work for television, radio and film soundtracks, the Orchestra has performed at the Kremlin Palace with the Moscow Classical Ballet in performance of The Nutcracker, Giselle, Don Quixote, Cinderella and Firebird. The Orchestra was featured in a concert on the Sobor Square in the Kremlin in 1998 with Monserrat Coballiet.   At the present the Moscow State Radio Symphony Orchestra is one of the best Moscow orchestras. The Orchestra gives subscription concerts “Young Stars of Russia” at Tchaikovsky Hall and at the Great Hall of Moscow Conservatory. These concerts are broadcast by radio stations.

The Orchestra has given performances in: Munich, Stuttgart, Rome, Naples, Milan, Florence, Madrid, Barcelona, Saragossa, Seoul, Pussan, Peking, Shanghai, Hong Kong, New York, Chicago, Fort Worth, Los Angeles and others. In 2004 Columbia Artist Management organized the Orchestra’s tour of the United States. The Orchestra gave 42 concerts in 22 states. Programs including Rachmaninoff, Tchaikovsky, and Rimsky-Korsakov were presented.

The Orchestra records the Golden collection of classic music (Russian and European together with the State Television and Radio Foundation. From 1995 until 2006 the Orchestra issued 32 CDs. 

Maestro Kornienko is a deeply committed musician whose musical drive is rooted in a strong sense of loyalty to the composer’s intentions within the score as well as in a modern responsibility to interpret and demonstrate his individuality in performance. The results of his work are always charged by his personal obsession for music. His strong personality and individual style in his performances have been cause for considerable praise on Europe’s greatest concert hall stages. Maestro Kornienko’s life has followed almost to the letter the pattern of a story-book career. Beginning music lessons at the age of vie, he went ton to study the piano and conducting at the Moscow Tchaikovsky Conservatory and was subsequently awarded first prize in the Rachmaninoff Piano Competition. In 1986, after acting as the Conductor of Concerts for the USSR, Maestro Kornienko was appointed professor of piano at the Moscow Tchaikovsky Conservatory. In 1990 after a relocation to Austria, Maestro Kornienko was appointed music director of the Collegium Musicum Carinthia chamber orchestra. In 1995 he was engaged as guest conductor of the Moscow Philharmonic Orchestra before founding the Classical Etcetera music series in 1997. In 2001 he was appointed artistic director of the Worthersee Classical Festival and in 2005 Maestro Kornienko was engaged as the music director of the Moscow State Radio Symphony Orchestra. In recent years, his activity as a highly sought-after conductor in Europe and around the world has increased exponentially. Not only is Maestro Kornienko known as a member of the elite “middle generation” of Russia’s great conductors, but his skill and ability in interpreting contemporary scores is praised throughout the world of classical music. Maestro Kornienko is regularly engaged for world premieres of highly complex contemporary scores. Maestro Kornienko has performed with orchestras throughout Europe including: The Moscow Philharmonic Orchestra, Slovakian Youth Symphony Orchestra, Munich Symphony Orchestra, Zagreb Symphony Orchestra, Ukrainian National Philharmonic Orchestra of Kiev, Royal Philharmonic Orchestra of London and the Moscow State Radio Symphony Orchestra. Maestro Kornienko is the president of the Orchestra of the Russian Federation.

Nadezda Tokareva was born in 1977 in Penza, Russia into a family of musicians. Her violin studies began in Penza at the age of 5 at the local children's music school, and continued at the Penza Music College where she studied under Professor L. S. Romadina and graduated with honors in 1996. She then moved to Moscow, where she entered the Moscow State Conservatory and studied with Professor E. D. Grach; she graduated in 2001, and then continued on with post-graduate work until 2003. She has subsequently participated in several Master Classes in Italy and Israel. Nadezda is currently an assistant Professor at the Moscow State Conservatory.

During her student years, Nadezda won awards at several prestigious international competitions such as Third Prize at the 7th International Violin Competition in Kloster-Schontal (Germany, 1997), the Grand Prix at the 1st International "Violin of the North" Competition (Yakutsk, Russia, 1997), First Prize at the International A. Yampolksy Violin Competition (Penza, 1999), and Second Prize at the I. Paganini Violin Competition (Moscow, 2003).

 Since 1999, Nadezda has been a soloist with the Moscow State Academic Philharmonic Society, with whom she has performed numerous concerts in the great halls of Russia, as well as concert venues throughout the former Soviet Republics, Europe, Israel, Turkey, China, Vietnam, and the United States. Most of these concerts fall under the auspices of the chamber group "Moskovia", directed by E. D. Grach, which is comprised of members from the Moscow State Radio Symphony Orchestra. Beyond her work with these ensembles, Nadezda has worked with a number of Russian and international symphonic and chamber orchestras - such as the Moscow State Radio Symphony Orchestra, the Moscow Symphony Orchestra "Russian Philharmonic Society", the Ukraine National Symphony, the "Concertino" Chamber Orchestra (Germany), and the Amadeus Chamber Orchestra of Poland. In addition, she has participated in several international music festivals, in Macedonia, France, Spain, and the United States.