Andrea Davis
Tchaikovsky composed his last symphony in February and March of 1893, finishing the orchestration in late August. Tchaikovsky declared it one of his “best” and “most sincere” works, and stated that he loved the 6th Symphony, “as I have never loved any of my other musical offspring.” It is generally accepted as one of Tchaikovsky’s best works. It also garners the most speculation, largely due to the enigmatic comments made by the composer himself about a secret program. The question becomes, then, how much of the “secret” can one claim to understand?
In a letter to his nephew, Vladimir (Bob) Davidov, Tchaikovsky wrote, “…I had the idea for another symphony, this time with a programme, but such a programme that will remain an enigma to everyone—let them guess…The programme itself will be suffused with subjectivity.” Tchaikovsky’s own words make it perfectly clear that he composed the 6th Symphony with specific ideas in mind. However, his words make it equally clear that the program itself was not going to be explicit or definitive. According to Dr. Timothy Jackson, witnesses have testified that Tchaikovsky described the symphony as having a “not-so-secret” program, and that it had “autobiographical” implications. While Tchaikovsky’s remarks certainly open the door for speculation, any analysis of the 6th Symphony is just that: speculation.
Dr. Jackson, Research Professor of Music Theory at the University of North Texas, and author of Tchaikovsky: Symphony No. 6 (Pathétique), believes that the “not-so-secret” program of Tchaikovsky’s symphony would have been intuitively and implicitly understood by 19th-century audiences. Tchaikovsky’s homosexuality was widely known, and any interpretation of the “autobiographical” references to his life would carry overtones of his sexuality. Tchaikovsky’s friends also knew of his relationship with Bob Davidov; the dedication of the Pathétique to his nephew undoubtedly pointed listeners toward a more personal interpretation. With this understanding, Jackson hypothesizes that the music of Symphony No. 6 depicts the love between Tchaikovsky and Bob Davidov, and constructs a narrative of homosexuality being an incurable disease that would lead to the lovers’ destruction and eternal damnation.
Jackson makes a thorough analysis of the 6th Symphony, and suggests that Tchaikovsky uses musical topoi that can be clearly understood in a homosexual context—especially when looking to other works that employ similar gestures. Jackson interprets the lighthearted motives, changing registers, military gestures, diminished seventh chords, and tritonality as mechanisms that combine to illustrate Tchaikovsky’s difficult view of his own homosexuality and the “forbidden” relationship he shared with Davidov. Jackson believes the final Adagio lamentoso signifies the destruction of the protagonists (Tchaikovsky and Davidov), and that death is the punishment for their homosexual “sins.”
While Jackson’s analysis is compelling, and his theoretical and historical background far exceed my own, I can not agree that there is anything so straightforward in the Pathétique to draw such definitive conclusions. Tchaikovsky’s sexuality seems to be an inescapable lens through which his works are viewed, and the dedication of the 6th Symphony to Davidov lends credibility to homosexual interpretations. However, I do not believe pinpointing specific elements in the music can or should communicate distinct messages about Tchaikovsky’s view of his homosexuality.
Tchaikovsky’s Symphony No. 6 is expressive and beautiful. It is innovative in its formal structure. It has characteristics ranging from happiness to heartbreak, and communicates a wide range of human emotion. Historical and autobiographical details surrounding both Tchiakovsky and his Pathétique might give listeners a better understanding of the composer and his symphony, but one cannot interpret every note and musical gesture as a statement on Tchaikovsky’s thoughts and feelings. Indeed, I believe Tchaikovsky meant it when he said, “let them guess.” Perhaps that is both the challenge and the attraction of Tchaikovsky’s pinnacle composition.
Bibliography
Jackson, Timothy L. Tchaikovsky: Symphony no. 6 (Pathétique). Cambridge: Cambridge University Press, 1999.
Tchaikovsky Research contributors. Symphony No. 6 [Internet]. Tchaikovsky Research, 2020 Jan 8, 19:04 UTC [cited 2020 Apr 30]. Available from: http://en.tchaikovsky-research.net/index.php?title=Symphony_No._6&oldid=74492.
Wiley, Roland John. “Tchaikovsky, Pyotr Il′yich.” Grove Music Online. 2001; Accessed 30 Apr. 2020. https://0-www-oxfordmusiconline-com.lib.utep.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051766.
Tchaikovsky Seminar 
I agree with your views on Jackson’s analysis. Though he may have much more historical and theoretical knowledge, I still feel as though his analytical comments pointing to a homosexual context seem either like they came out of left field or it contradicts what we already know about Tchaikovsky and his life. I still think the “requiem” interpretation is much more plausible, especially with the information I found from chapter 2 of his book. That being said, maybe you are right. Maybe we should not take every note and marking as a hidden meaning. If Tchaikovsky had no set meaning for the symphony, then all we can do is guess and enjoy the music for what it is.
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I like your views about how understand the musical elements in this symphony. I agree with you that there are not elements in Pathetique specifically related to Tchaikovsky’s view of homosexuality. Actually it is hard to express something specific in music. I am convinced by Jackson’s view about destruction of Tchaikovsky in the final movement, but not including interpreting it as the punishment for their homosexuality. So I can response your comments below my blog. The Tchaikovsky’s compromise itself is tragic, that the “hero” in Tchaikovsky’s heart didn’t triumph over the reality.
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I totally agree with your point of view. Tchaikovsky composed this work with many subjective points implicit in the music. The Symphony can be seen as a Requiem, autobiographical, a declaration of love, or simply a farewell. I think the music is very nostalgic, and Tchaikovsky makes us think about all that possible despair and anguish that he felt for being homosexual in the 19th century. He could not publicly show his homosexuality or his deep feelings, so the only way was through the music. Personally I consider this work as a declaration of love with flashes of farewell.
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