"German Song" from Tchaikovsky's "Children's Album" in the Austro-German Context
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Abstract
The article analyzes some aspects of Tchaikovsky’s dialogue with the Austrian and German musical tradition, touching upon the problem of those cultural stereotypes which exert their influence upon someone’s identification of ‘another’s’ and his/her self-identification as ‘his/ her own’. To determine their role in the intercultural communication, it singles out several levels of the biographical, creative, musical-theoretical and socio-cultural interaction between Peter I. Tchaikovsky and the Austrian and German tradition. Along with the analysis of The German Song’s Leipzig edition and with the digest of Tchaikovsky’s biographical and creative intersection with the Austrian and German culture, the task of the article is to fix a lack of coincidence of the cultural codes. The result of this lack is a number of consequences important for the European reception of Tchaikovsky’s music as well as for the composer’s contacts with his contemporary European musicians. The genre and intonational complex of The German Song, given together with the author’s appraisal of Bach, Händel, Glück, Haydn, Mozart, Beethoven, and Schubert, show that Tchaikovsky perceived Austrian and German music within the framework of one and the same cultural and geographical community. The “correction” of this cultural stereotype became an eventual reason because of which the German composer
F.J. Bräuer renamed The German Song into The Tyrolian Dance in accordion arrangement for the version edited in Leipzig in 1944.
The other side of the dialogue was the Austrian and German musicians’ attitude towards Tchaikovsky’s creative work, which had undergone a certain evolution from an arrogant negation (Edward Hanslik’s review of The Violin Concert) to an enthusiastic acceptance (Tchaikovsky’s concert projects of the 1890-es when he was invited by the Vienna City musicians). Tchaikovsky’s failure to take part in Vienna International 1892 Exhibition became the consequence of the lack of coincidence between the socio-cultural etiquette “stereotypes” because of which the composer was bereft of a life-time creative triumph in Vienna.
In conclusion the article considers the matter of subsequent influence of music by Tchaikovsky on Austrian or Austrian-German composers at the turn of the 19-20th centuries, as well as the role of cultural stereotypes in this process.
Keywords: Tchaikovsky, “The German Song”, the Austrian and German culture, cross-cultural interactions, Yodel, “Mozartianism”, Vienna, Eduard Hanslik, Eduard Strauss.
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