The Voyevoda
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The Voyevoda
Jump up ↑ Entitled 'The Voevoda' in TH .
Jump up ↑ Letter 4228 to Vladimir Davydov , 5/17 October 1890.
Jump up ↑ Letter 4224 to Pyotr Jurgenson , 28 September/10 October 1890.
Jump up ↑ Letter 4231 to Modest Tchaikovsky , 10/22 October 1890.
Jump up ↑ See Letter 4394 to Mikhail Ippolitov-Ivanov , Letter 4397 to Pyotr Jurgenson , 3/15 June 1891, and also Letter 4429 to Sergey Taneyev , 27 June/9 July 1891.
Jump up ↑ Letter 4397 to Pyotr Jurgenson , 3/15 June 1891.
Jump up ↑ Letter 4459 to Pyotr Jurgenson , 22 August/3 September 1891.
Jump up ↑ Letter 4469 to Modest Tchaikovsky , 5/17 September 1891.
Jump up ↑ Letter 4478 to Anna Merkling , 22 September/4 October 1891.
Jump up ↑ Letter 4480 to Anatoly Tchaikovsky , 22 September/4 October 1891.
Jump up ↑ Letter 4545 to Vladimir Nápravník , 11/23 November 1891.
Jump up ↑ Жизнь Петра Ильича Чайковского, том 3 (1902), pp. 514–516.
Jump up ↑ See letter from Aleksandr Ziloti to the composer, 21 November/3 December 1891 — Klin House-Museum Archive.
Jump up ↑ See letter from Mitrofan Belyayev to Modest Tchaikovsky , 1/13 April 1896 — Klin House-Museum Archive.
Jump up ↑ See letters from Mitrofan Belyayev to Modest Tchaikovsky of 18/30 March, 1/13 April, 13/25 April 1896 and 31 December 1896/12 January 1897 — Klin House-Museum Archive.
Jump up ↑ Undated letter from Sergey Taneyev to Modest Tchaikovsky , 1901 — Klin House-Museum Archive. The words «Не искал он, не страдал он» = "He did not seek, he did not yearn".
The Voyevoda (Воевода) is a symphonic ballad in A minor ( TH 54 ; ČW 51) [1] , written by Tchaikovsky in September and October 1890, but not orchestrated until September 1891. After the first performance the composer destroyed the full score, but after his death it was reconstructed from the surviving orchestral parts and published as " Op. 78".
The Voyevoda is scored for a large orchestra comprising 3 flutes, 2 oboes, English horn, 2 clarinets (in A), bass clarinet (in B-flat), 2 bassoons + 4 horns (in F), 2 trumpets (in B-flat), 3 trombones, tuba + 3 timpani, military drum + celesta + harp, violins I, violins II, violas, cellos, and double basses.
There is one movement: Allegro vivacissimo—Moderato a tempo (A minor, 510 bars), lasting around 12 to 15 minutes in performance.
The Ballad is based on Aleksandr Pushkin 's Russian translation of the Polish poem Czaty: Ballada ukraińska (The Ambush: A Ukrainian Ballad) by Adam Mickiewicz , which was first published in the collection Poezye Adama Mickiewicza (1829). The work is unconnected to Tchaikovsky's first opera, also called The Voyevoda (1867-68), or the melodrama he wrote for the stage play of the same name in 1886.
There is very little surviving evidence concerning the origins of The Voyevoda . From Tchaikovsky's letters to Vladimir Davydov , it would appear that the two men had talked to each other about this subject. Tchaikovsky wrote: "I have composed that ballad for orchestra, on the subject of which you disapprove... I assure you that it was a good idea to write this work" [2] . It seems that the ballad was begun in Tiflis in late September/early October 1890. Tchaikovsky wrote to Pyotr Jurgenson on 28 September/10 October 1890: "I am composing a symphonic poem" [3] . From the aforementioned letter from the composer to Vladimir Davydov , it follows that by 4/16 October the ballad was prepared in rough, and in the same letter Tchaikovsky stated that he would spend the next few weeks on its instrumentation. But his intention was not then carried out. In a letter to Modest Tchaikovsky of 10/22 October 1890, the composer wrote: "The ballad is finished, but I'm slaving over the orchestration and getting nowhere. It's so awkward" [4] . Tchaikovsky's circumstances forced him to put off completing the ballad for almost a whole year. The productions of the opera The Queen of Spades in Saint Petersburg and Kiev , a commission from Lucien Guitry for music to Hamlet , composing the opera Iolanta and the ballet The Nutcracker for the next winter season, and a concert tour of America—all of these postponed the orchestration of the ballad.
In a number of letters to relatives and friends dating from June 1891, Tchaikovsky wrote of his intention to begin scoring the ballad [5] , and asked Pyotr Jurgenson to obtain a new orchestral instrument, the Celesta Mustel : "It is essential for The Voyevoda ..." [6] .
In a letter of 22 August/3 September to Pyotr Jurgenson , Tchaikovsky reported: "I shall now orchestrate the fantasia Voyevoda (on the subject of Pushkin 's ballad), and will play it for the first time in Saint Petersburg at a concert of the Musical Society. I have been invited to conduct one of their concerts there" [7] .
Tchaikovsky took up the orchestration of The Voyevoda as soon as he had finished the rough sketches of Iolanta : "Yesterday I completely finished the opera. Tomorrow I shall set to work on the instrumentation of The Voyevoda ", he wrote to Modest Tchaikovsky on 5/17 September 1891 [8] .
The scoring of the ballad was completed around 22 September/4 October 1891, as indicated by a letter to Anna Merkling of the latter date, in which the composer reported that he had finished his new symphonic work [9] . On the same day he wrote to Anatoly Tchaikovsky : "I've finished my symphonic ballad, The Voyevoda , and I'm very pleased with it" [10] .
Tchaikovsky transcribed the central section of the ballad as an independent piece for solo piano under the title Aveu passionné .
The symphonic ballad The Voyevoda was performed for the first time in Moscow on 6/18 November 1891, at a concert organised by Aleksandr Ziloti , conducted by the composer.
Other notable early performances included:
After hearing his new work played by the orchestra, Tchaikovsky became extremely dissatisfied, and the next day he destroyed it. He wrote of this to Vladimir Nápravník in a letter of 11/23 November 1891: "My ballad The Voyevoda turned out to be so wretched, that the other day after the concert I tore it to shreds. It exists no more" [11] . Modest Tchaikovsky recalled the same [12] . However, three autograph fragments from the full score have survived, and are now preserved in the Klin House-Museum Archive (a 1 , Nos. 64-66).
The orchestral parts were preserved by Aleksandr Ziloti , who, seeing the composer's agitated state after the concert, ordered that the parts should be collected, and took them to his apartment, and he refused Tchaikovsky's request that they should be destroyed, since he and Sergey Taneyev considered that the ballad The Voyevoda , although weaker than Romeo and Juliet and Francesca da Rimini , was "for all its sins, full of interesting things" [13] .
After Tchaikovsky's death the full score of the ballad was reconstructed from the orchestral parts and published by Mitrofan Belyayev in Leipzig in 1897 as " Op. 78". An arrangement of the ballad for piano duet by Nikolay Sokolov was issued at the same time [14] .
Several letters between Mitrofan Belyayev and Modest Tchaikovsky survive concerning the question of publishing the composer's works posthumously, a number of which relate to The Voyevoda [15] .
The Voyevoda was published in volume 26 of Tchaikovsky's Complete Collected Works (1961), edited by Irina Iordan.
After the composer's death, Sergey Taneyev , in one of his letters to Modest Tchaikovsky in 1901, recalled how he had given his views on The Voyevoda to Tchaikovsky soon after the first rehearsal:
My first impression of The Voyevoda ", he wrote, "was that the main part of the piece—the central love episode—sounded merely preparatory. Moreover, the musical worth of this central section could not bear comparison with similar episodes in earlier works by Pyotr Ilyich— Romeo , The Tempest and Francesca . It seemed to me that the reception this work received at that time was mistaken. The words of Pushkin 's ballad might be sung to this melody, thus:
What this suggests, is that this was not composed as a work for orchestra, but as a romance. Performed without words and on orchestral instruments it produces a somewhat insipid impression, and its impact is greatly diminished [16] .
It is possible that Taneyev 's views had an indirect influence on Tchaikovsky's decision to destroy The Voyevoda .
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Pyotr Ilyich Tchaikovsky
(Composer),
Vladimir Kozhukhar
(Conductor)
Format: Audio CD
4.4 out of 5 stars
11 ratings
Product Dimensions
:
5 x 5 x 0.5 inches; 3.87 Ounces Manufacturer
:
Melodiya Original Release Date
:
2012 Date First Available
:
April 25, 2012 Label
:
Melodiya ASIN
:
B006HC238C Number of discs
:
2
4.4 out of 5 stars
11 ratings
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Tchaikovsky's early opera THE VOYEVODA is certainly not on a par with YEVGENY ONEGIN or PIQUE DAME, but nevertheless it is worth hearing. Like some of his other operas--MAZEPPA, THE ENCHANTRESS, TCHERIVICHKI--THE VOYEVODA is much more "folkish" in style, and shows early influences of Glinka and other pioneering Russian composers. Yet, even here Tchaikovsky demonstrates his own "voice." This particular recording, dating from 1982 and in good sound, has just been re-issued by Melodiya, and features the great Russian bass V. Matorin and the orchestra of the old USSR Ministry of Culture, directed by Vladimir Kozhukhar. All in all a solid performance, enjoyable, and of interest to those who like Tchaikovsky. We are unlikely to get another performance of this work any time soon. No libretto, but plot notes. Recommended.
Early opera including the Slavic feel but has the signs of Tchaikovskys stamp. This performance is all Russian. It gives an authenticity which I like. Not streamlined like some performances or helter- skelter. Soloists are good. Sound good. Recorded in 1982. As far as i know this is the only complete recording. There are orchestral excerpts.in other recordings, But cant match the feel of Russian atmosphere in this recording. Check it out on You-tube. I think you will enjoy it Then buy it 2 cds at a modest cost
Its unbelievable to me that such amazing work gets overlooked, so rarely performed and so hard to find. I feel so fortunate to have found this and have this work added to my collection.
5.0 out of 5 stars
A Rare Delight.
I adore anything by Tchaikovsky but had not heard much of this opera before, only short passages contained in various compilations by the composer. On listening to this recording I was very impressed with the melodic score, and the voices of the choir sounding wonderfully "Russian" which of course they are. The overall impression is of the essential Tchaikovsky in his first opera, with parts of the score recognisable as being used later for Swan Lake. The story is complex with twists and turns, but the lovers triumph in the end. I don't understand the Russian language, but the music catches your ear and carries you away in the infectious melodies. It did not please the composer sadly, and he destroyed the score. Gladly the opera was revived from some surviving manuscripts, and the essentially Russian music lives to delight the listener.
4.0 out of 5 stars
Russian Opera
This is a never staged Opera ( as far as I know ) in the Western world. It is the first Opera written by Tchakovsky and interesting to hear. Unfortunately the recording is from the late fyftyies, so the sound in very dated, but also very Russian from that period with sharp trumpets etc. Also the singers have that specific Russian sound But still as there is no other later recording this one will do. Interesting to investigate.
4.0 out of 5 stars
LE VOIEVODE UN OPERA RARE MAIS QUI VAUT LE DETOUR
LIVRE LE 10 FEVRIER 2017. Mais pas encore écouter pour les mêmes raisons que LA DAME DE PIQUE ou IOLANTA du même TCHAIKOVSKI. Je vous en dirai plus quand je l'aurai écouté avec toute l'attention que cette oeuvre réclame car c'est la première fois que je vois cet opera sur le marché. Vous comprendrez donc que je ne peux pas porter un jugement clair que ce soit sur l'interpretation, l'orchestre, les chanteurs et les chanteuses au risque de me tromper.
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Jump up ↑ Entitled 'The Voevoda' in TH , and 'Music of the House-Spirit's Monologue to A.N. Ostrovskij's comedy "The Voyevoda"' in ČW .
Jump up ↑ Letter from Ippolit Shpazhinsky to Tchaikovsky, 6/18 January 1886 — Russian State Archive for Literature and the Arts; see also letter from Ippolit Shpazhinsky to Tchaikovsky, 7/19 January 1886 — Klin House-Museum Archive.
Jump up ↑ See Letter 2852 to Nadezhda von Meck , 13/25 January 1886, and letter from Ippolit Shpazhinsky to Tchaikovsky, 17/29 January 1886 — Klin House-Museum Archive.
Jump up ↑ A facsimile of the autograph had already appeared in Чайковский на московской сцене. Первые постановки в годы его жизни (1940), p. 489-500.
Tchaikovsky's melodrama for the Domovoy's monologue in Aleksandr Ostrovsky 's comedy The Voyevoda (Воевода) was written in January 1886 ( TH 22 ; ČW 20) [1] . It should not to be confused with Tchaikovsky's first opera, The Voyevoda (1867-68), which was based on the same story.
The piece is scored for a small theatre orchestra comprising 2 flutes, oboe, clarinet (in B-flat), bassoon + harp, violins I, violins II, violas, cellos, and double basses.
There is one movement: Andante non troppo (G minor, 45 bars), lasting around 5 minutes in performance.
The music was written to accompany the monologue of the Domovoy (or House Spirit) in Aleksandr Ostrovsky 's play The Voyevoda: Scenes from 17th-Century Peasant Life (Воевода: Сцены из народной жизни XVII века) (1886), which in its earlier incarnation as Dream on the Volga (Сон на Волге) (1865) served as the basis for Tchaikovsky's first opera The Voyevoda (1867–68); however, there is no musical connection between these works, or with the later symphonic ballad The Voyevoda after a poem by Mickiewicz .
In a letter of 6/18 January 1886, Ippolit Shpazhinsky passed on to Tchaikovsky a request from Aleksandr Ostrovsky , to write music for the Domovoy's monologue in the revised version of his play The Voyevoda (1885), "which has some delightful verses. These verses should of course be set to quiet music in the orchestra, which should depict the sounds of night " [2] . Tchaikovsky responded favourably and immediately began composition, noting down the themes noted down on Shpazhinsky 's letter, completing the instrumentation four days later on 17/29 January at Maydanovo [3] .
Aleksandr Ostrovsky commissioned the remaining musical numbers for the piece from his friend the composer Vladimir Kashperov .
The production was scheduled for 12/24 January, but was postponed until 19/31 January 1886, on the stage of the Maly Theatre in Moscow , as a benefit performance for the artist Konstantin Rybakov. This seems to have been the only occasion on which Tchaikovsky's melodrama was performed during his lifetime.
The score was published in volume 14 of Tchaikovsky's Complete Collected Works , edited by Irina Iordan (1962) [4] .
Tchaikovsky's manuscript score is now preserved in the Russian State Archive of Literature and Art in Moscow (ф. 905, No. 3).
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