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TchaikovskyÊ¿s Sixth Symphony is known for the mystery surrounding its hidden programme and for TchaikovskyÊ¿s unexpected death nine days after its premiere. While the speculations about the composerÊ¿s possible planned suicide and the suggestion that the symphony was intended as his own requiem have long been discarded, the question of its programme remains. In this close analytical and historical study, Marina Ritzarev looks for the programme instead in the realm of European eighteenth- and nineteenth-century cultural values. Focusing on Tchaikovsky's personal reading and social circle, she offers a startling new interpretation.…mehr

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Produktbeschreibung
Tchaikovskyʿs Sixth Symphony is known for the mystery surrounding its hidden programme and for Tchaikovskyʿs unexpected death nine days after its premiere. While the speculations about the composerʿs possible planned suicide and the suggestion that the symphony was intended as his own requiem have long been discarded, the question of its programme remains. In this close analytical and historical study, Marina Ritzarev looks for the programme instead in the realm of European eighteenth- and nineteenth-century cultural values. Focusing on Tchaikovsky's personal reading and social circle, she offers a startling new interpretation.

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Autorenporträt
Marina Ritzarev is an Israeli musicologist of Russian background. She has contributed to research in eighteenth-century Russian music, including biographies of Dmitry Bortniansky and Maxim Berezovsky, and study of choral spiritual concerto. She is the author of Eighteenth-Century Russian Music (Ashgate 2006), a biography of Sergei Slonimsky, and articles developing the theory of vernacular in music. She is Professor of Bar-Ilan University and President of the Israeli Musicological Society.