Reprising this charming anecdote about his commitment to music, as reported by cellist Yulian Poplavsky, who knew Tchaikovsky at the time:
I love the image of Tchaikovsky’s playing castanets, and his being able to inspire a whole orchestra to great effort by doing so.
(One quibble with Poplavsky’s telling of the tale, as he ends it by saying of Tchaikovsky’s action, “Only a great artist can sacrifice his personality to art in such a manner.” I suppose Poplavsky means something like this: playing the castanets at the back of the orchestra should be seen as beneath the dignity of a great composer like Tchaikovsky, so his dignity was sacrificed to make the performance work. I think, by contrast, the castanets were not beneath anyone’s dignity but importantly critical to this performance, and that Tchaikovsky’s willingness to play them was not a sacrifice of his personality but an expression of his personality’s commitment to musical excellence.)
Source: Excerpts from Poplavsky’s memoir in Alexander Poznansky’s Tchaikovsky Through Others’ Eyes (Indiana University Press, 1999), pp. 236-7.
Related: Could Tchaikovsky play Tchaikovsky?
1 thought on “Tchaikovsky’s musical magnanimity”
Stephen Dahl
One cannot make music, nor write it down (it is, in fact, the performer who “makes” the music), without loving music. To make the sacrifice above would be like a husband, who wanting to read a good book, must “sacrifice” his leisure time to drive his wife to the hair salon. The “Muse of Music” (Calliope?) is the only muse who always has an orgasm when she is loved, unlike most females. Many other examples abound of composers and famous musicians who “sacrificed” themselves for such events. The reverse is displayed (amusingly) by the famous violinist Fritz Kreisler, who attended a social gathering after playing the Mendelssohn concerto. He was tired, but his officious hostess kept insisting, “Oh, Herr Kreisler, won’t you play something for us?!” He did so, and in the morning she received a bill for $1000.
One cannot make music, nor write it down (it is, in fact, the performer who “makes” the music), without loving music. To make the sacrifice above would be like a husband, who wanting to read a good book, must “sacrifice” his leisure time to drive his wife to the hair salon. The “Muse of Music” (Calliope?) is the only muse who always has an orgasm when she is loved, unlike most females. Many other examples abound of composers and famous musicians who “sacrificed” themselves for such events. The reverse is displayed (amusingly) by the famous violinist Fritz Kreisler, who attended a social gathering after playing the Mendelssohn concerto. He was tired, but his officious hostess kept insisting, “Oh, Herr Kreisler, won’t you play something for us?!” He did so, and in the morning she received a bill for $1000.