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Francesca da Rimini (Tchaikovsky)
Francesca da Rimini: Symphonic Fantasy after Dante, Op. 32, is a symphonic poem by Pyotr Ilyich Tchaikovsky. It is a symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty immortalized in Dante's Divine Comedy.
On 27 July 1876, Tchaikovsky wrote:
Later that summer, he visited Bayreuth to attend Der Ring des Nibelungen. He composed Francesca in Moscow in October and November. It is dedicated to his friend and former pupil Sergei Taneyev. It was first performed early in 1877 in Moscow in a concert by the Russian Musical Society, conducted by Nikolai Rubinstein.
In this fantasia, Tchaikovsky presents a symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty who was immortalized in Dante's Divine Comedy. In the fifth canto of Inferno, Dante the narrator meets the shade of Francesca da Rimini, a noblewoman who fell in love with the brother of her cruel husband. After the husband discovered the lovers and killed them, the lovers were condemned to Hell for their adulterous passions. In their damnation, the lovers are trapped together in a violent storm, whirled through the air around the second circle of Hell, never to touch the ground again. They are tormented most of all by the ineradicable memory of the joys and pleasures of the embraces they shared in life.
Of fantasias in general, Tchaikovsky wrote:
The work was influenced by his exposure to Wagner. Tchaikovsky wrote "The comment that I wrote that under the influence of the Nibelungs is very true. I felt it myself when I was working on it," adding "Is it strange that I should be subject to the influence of a work of art which in general I find very antipathetic?"
Immediately before writing Francesca, Tchaikovsky heard and reviewed Liszt's Dante Symphony, which is inspired by the same story, praising many aspects but noting it had little invention. Critics have contrasted the relative inventiveness of Francesca.
Contemporary critic Herman Laroche called Francesca "extraordinarily brilliant", noting that the "blinding play of the orchestral colors, inexhaustibly rich and incessantly changing, holds the listener from beginning to end as if held sway by some hallucination."
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Francesca da Rimini (Tchaikovsky)
Francesca da Rimini: Symphonic Fantasy after Dante, Op. 32, is a symphonic poem by Pyotr Ilyich Tchaikovsky. It is a symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty immortalized in Dante's Divine Comedy.
On 27 July 1876, Tchaikovsky wrote:
Later that summer, he visited Bayreuth to attend Der Ring des Nibelungen. He composed Francesca in Moscow in October and November. It is dedicated to his friend and former pupil Sergei Taneyev. It was first performed early in 1877 in Moscow in a concert by the Russian Musical Society, conducted by Nikolai Rubinstein.
In this fantasia, Tchaikovsky presents a symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty who was immortalized in Dante's Divine Comedy. In the fifth canto of Inferno, Dante the narrator meets the shade of Francesca da Rimini, a noblewoman who fell in love with the brother of her cruel husband. After the husband discovered the lovers and killed them, the lovers were condemned to Hell for their adulterous passions. In their damnation, the lovers are trapped together in a violent storm, whirled through the air around the second circle of Hell, never to touch the ground again. They are tormented most of all by the ineradicable memory of the joys and pleasures of the embraces they shared in life.
Of fantasias in general, Tchaikovsky wrote:
The work was influenced by his exposure to Wagner. Tchaikovsky wrote "The comment that I wrote that under the influence of the Nibelungs is very true. I felt it myself when I was working on it," adding "Is it strange that I should be subject to the influence of a work of art which in general I find very antipathetic?"
Immediately before writing Francesca, Tchaikovsky heard and reviewed Liszt's Dante Symphony, which is inspired by the same story, praising many aspects but noting it had little invention. Critics have contrasted the relative inventiveness of Francesca.
Contemporary critic Herman Laroche called Francesca "extraordinarily brilliant", noting that the "blinding play of the orchestral colors, inexhaustibly rich and incessantly changing, holds the listener from beginning to end as if held sway by some hallucination."