With each piece of media, especially music, there is always room for interpretation. Each interpretation will be different from the others. Upon seeing one’s interpretation, some people will agree with it, while others may not see it that way. In this case, there have been quite a number of interpretations regarding Tchaikovsky’s Sixth Symphony, also known as the Pathetique. In his book, Jackson brings up the “self-indictment and requiem” interpretation and the “homosexual” interpretation. Though there was not much information on the “self-indictment” interpretation in the book, I found that one to be much more convincing than the “homosexual” interpretation.
When this symphony first premiered, the audience reception was ambivalent. Some people, including the performers, did not care for the music while some liked it and believed others would as well with time. After Tchaikovsky’s death, this piece was then seen as a masterpiece. It was seen as a masterpiece only after Tchaikovsky had been labeled as an unhappy homosexual and this symphony was seen as a self-indictment. This formed the “Self-indictment and Requiem” interpretation. This interpretation has persisted through time and has a basis in the music. The requiem part is supported by the quotation of the Russian Orthodox Requiem in the first movement. George Balanchine addresses this, explaining that “Repose the Soul” is a burial hymn and is sung only when someone has died. He explains that in the finale, there is a chorale in which the melody goes down and dies out as if a man is going into the grave. Robert Craft reported that as Stravinsky lay dying while listening to a recording of Pathetique, Madame Stravinsky begged to turn it off upon hearing the first movement since it predicted death. The idea of death is present in the music, and it is also present in the program. The “Life” program, which was originally going to be used in the abandoned Eb symphony, starts off with life and ends with death.
Some people believe that the Pathetique Symphony was dedicated to Tchaikovsky’s nephew, Bob. To support this interpretation. Jackson brings up how the Pathetique has musical gestures, which symbolize different things. One of the musical gestures is found in the scherzo, and this gesture paints prepubescent kids as pure and angelic. Also in the scherzo is another musical gesture that paints this image that Bob was seductive. I feel like that is a contradiction. If Bob was indeed one of the pure prepubescent kids, he would, in no way, try to manipulate someone like that, especially his uncle. It seems like Tchaikovsky was just looking for any made-up excuse for this relationship to become a real thing and for society to see it as pure, acceptable love. Another gesture in the music is about Christianity’s views on homosexuality as a sin and how this has negatively impacted Tchaikovsky. Based on how this is portrayed, this gesture is also a contradiction. Throughout this semester, we learn that Tchaikovsky has talked to other men with sexual and romantic interests and has even been with some men. If he truly viewed homosexuality as a sin that is punishable by eternal damnnation, wouldn’t he have tried not to act upon it?
In his book, Jackson brings up these two different interpretations regarding Tchaikovsky’s Pathetique symphony, and he supports the “homosexuality” interpretation. Even though he brings up quite a bit of info on why this interpretation should be accepted, I could not find it plausible. Those musical gestures, as well as knowing about Tchaikovsky’s life, contradict what the interpretation is about. Meanwhile, Jackson also brings up the “self-indictment and requiem” interpretation. Everything, from the music, the program, and other’s thoughts and feelings of the music supports this interpretation more, and I found it to be much more convincing than the other interpretation.
Omar A. Cordova
Bibliography
Jackson, Timothy L. Tchaikovsky: Symphony no. 6 (Pathétique). Cambridge: Cambridge University Press, 1999.
Tchaikovsky Seminar 
The feeling of falling in love is not dependent of a romantic or sexual feeling, it can be fueled by many other and it can stay this way for many more reasons. Perhaps Tchaikovsky’s version of the truth was different, maybe he was living his very ‘own’ truth and simply used that for wonderful compositions. I think that Tchaikovsky knew that Society would never approve 100% and that’s why he acted upon it many times, feeling worse each time he failed crisis after crisis and at the same time he was entitled to live like any human being… other wise why do they put him on this earth?
I’m sure that in the twenty-first century we’ll find some other ways to tag composers and add importance to that…
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I agree with you that the “self-indictment and requiem” is plausible, and the fact that the music shows clear evidence by quoting the Russian Orthodox Requiem is notable. Your reasons for disagreeing with the homosexual forbidden love interpretation fall a little short though. One key item you did not account for is that Tchaikovsky did publicly dedicate the symphony to Bob. It was not just that some people had this idea. In this regard, I believe that both views are fairly equal in strength when it comes to evidence.
Furthermore, Bob Davidov may have been seen as pure and angelic in some sense, but in a way, this innocence itself could be seen as seductive. Society has long thought that virgins were more attractive simply because of their innocence. However, if you look at a photograph of Tchaikovsky and Bob from 1892, it is clear that Bob has grown up, and he only retains a little of that childlike innocence in his physical appearance, in my opinion. The symphony may be a chronological story of his life so that in one instance Bob is the child he once was in Tchaikovsky’s eyes, but in another, he is a young adult with desires just like any other young man.
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