Последние три симфонии Чайковского можно интерпретировать как триптих, соединенный красной нитью: идеей человеческого бессилия перед лицом судьбы. Симфония № 4, в частности, характеризуется темой фатум, которая создает музыкальную медитацию о смысле человеческой жизни (или даже об очевидном отсутствии этого смысла). Премьера состоялась 10 февраля 1878 года в Москве под управлением Николаï Рубинштейна, и симфония не имела ожидаемого успеха. Однако она была исполнена несколько месяцев спустя в Санкт-Петербурге, где публика даже потребовала повторного исполнения. С этого момента Симфония № 4 стала одной из самых популярных работ Чайковского и симфонического репертуара в целом.
Просмотреть записи Симфония № 4 фа минор, Op. 36
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“None of my compositions ever caused me so much pain, but I never felt that much love for any of my other compositions” wrote Tchaikovsky in one of his letters, regarding his Symphony No. 4. This dichotomy is intimately connected to the structure of the work itself. In fact, commenting on the first movement of his symphony, the composer defines fatum as “a force of destiny that prohibits us from enjoying happiness, that jealously guards over our joy and fulfillment, so that they are never pure, neat, without shades. It is a force that hangs over our heads like the Sword of Damocles [...]”. And yet, in a letter addressed to Nadežda Filaretovna von Meck—the dedicatee of the concert—he mitigates his sharp judgment by saying: “But after all, life is beautiful!” Like Tchaikovsky, forget about your concerns and revel in the beauty of Symphony No. 4. Listen to the best classical works on medici.tv, whenever you like, wherever you want!