Performance Saturday, October 15, 2011 | 1 PM

Discovery Day: Tchaikovsky in St. Petersburg

Weill Recital Hall
An afternoon of talks, panel discussions, and musical performance, featuring leading scholars from The Harriman Institute at Columbia University exploring the cultural world of St. Petersburg in the 1890s and beyond.


  • Richard Wortman, Keynote Speaker
  • Andrei Bondarenko, Baritone
  • Gary Matthewman, Piano
  • Tarik Amar, Speaker
  • Katerina Clark, Speaker
  • Laura Engelstein, Speaker
  • Timothy M. Frye, Speaker
  • Boris Gasparov, Speaker
  • Lynn Garafola, Speaker
  • Simon Morrison, Speaker
  • Elizabeth Kridl Valkenier, Speaker
  • John Malmstad, Moderator and Speaker
  • Catharine Nepomnyashchy, Moderator
  • Maya Pritsker, Moderator


    1:00-1:10 Welcome
    Timothy M. Frye, Speaker

    1:10-1:40 Keynote Address: St. Petersburg, the Imperial City, and Pyotr Ilyich Tchaikovsky
    Richard Wortman, Keynote Speaker

    1:45-2:15 Tchaikovsky, Music, and St. Petersburg: A Conversation

    Boris Gasparov, Speaker
    Simon Morrison, Speaker
    John Malmstad, Moderator

    2:15-2:30 Break

    2:30-3:30 Performance: Songs by Tchaikovsky and his Contemporaries
    Andrei Bondarenko, Baritone
    Gary Matthewman, Piano
  • TCHAIKOVSKY "In the Midst of the Ball," Op. 38, No. 3
  • TCHAIKOVSKY "At Bedtime," Op. 27, No. 1
  • TCHAIKOVSKY "Reconciliation," Op. 25, No. 1
  • TCHAIKOVSKY "Why?," Op. 6, No. 5
  • GLINKA "Say Not that Love Will Pass"
  • GLINKA "Bolero"
  • GLINKA "I Remember the Wonderful Moment"
  • GLINKA "Travelling Song"
  • RIMSKY-KORSAKOV "The Octave," Op. 45, No. 3
  • RIMSKY-KORSAKOV "The Messenger," Op. 4, No. 2
  • RIMSKY-KORSAKOV "On the Hills of Georgia," Op. 3, No. 4
  • RIMSKY-KORSAKOV "The Beauty," Op. 51, No. 4
  • TCHAIKOVSKY "My Genius, my Angel, my Friend"
  • TCHAIKOVSKY "Death," Op. 57, No. 5
  • TCHAIKOVSKY "I Should Like in a Single Word"
  • TCHAIKOVSKY "Again, As Before, I Am Alone," Op. 73, No. 6

  • Encore:
  • TCHAIKOVSKY "Don Juan's Serenade"

  • 3:35-4:30 Revolution in the Arts: 1905
    Elizabeth Kridl Valkenier, Speaker
    John Malmstad, Speaker
    Lynn Garafola, Speaker
    Maya Pritsker, Moderator

    4:30-4:45 Break

    4:45-5:05 Interlude: Petersburg Architecture in the Early Twentieth Century
    Katerina Clark, Speaker

    5:05-5:40 Revolution and Society: 1905
    Laura Engelstein, Speaker
    Tarik Amar, Speaker
    Catharine Nepomnyashschy, Moderator

    5:40-5:45 Concluding Remarks
    Timothy M. Frye, Speaker


  • Richard Wortman

    Richard Wortman, Bryce Professor Emeritus of European Legal History at Columbia University, is a specialist on the history of Imperial Russia. His most recent books are Scenarios of Power: Myth and Ceremony in Russian Monarchy, published in two volumes by Princeton University Press. The second volume was awarded the George L. Mosse Prize of the American Historical Association; the two volumes were awarded the 2006 Efim Etkind Prize of St. Petersburg University for the best work on Russian culture and literature. Princeton released an abridged edition of Scenarios in 2006.

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  • Andrei Bondarenko

    Andrei Bondarenko received the 2011 BBC Cardiff Singer of the World Song Prize, a diploma at the New Ukrainian Voices competition, and first prize at the Art in the 21st Century vocal competition in Vorzel, Ukraine. He was a prizewinner at the 2006 International Rimsky-Korsakov Vocal Competition in St. Petersburg and at the 2008 Nadezhda Obuhova Young Vocalists' Festival and Competition.

    This season, Mr. Bondarenko makes his North American debut, his Glyndebourne Festival Opera touring debut as Malatesta in Don Pasquale, and will return in summer 2012 to Glyndebourne to sing Marcello in La bohème.

    Mr. Bondarenko was born in 1987 in Kamenez-Podolsky, Ukraine. Since 2007, he has been a soloist of the Mariinsky Academy of Young Singers. In 2003, he entered the vocal department of the National Tchaikovsky Academy of Music in Kiev, Ukraine, and in 2004 was admitted to the vocal department of the Kiev Conservatory.

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  • Gary Matthewman

    Gary Matthewman is one of Britain's leading song pianists. He studied at the Royal College of Music in London, and subsequently in Berlin and Vienna. His awards include those for accompaniment at the Royal Over-Seas League Annual Music Competition, the Maggie Teyte Prize Competition, and the prize for pianists at the first Das Lied-International Song Competition in Berlin.

    Abroad, Mr. Matthewman has appeared as a song recitalist in Berlin, Madrid, Vienna, Baden-Baden, Amsterdam, Aix-en-Provence, Gstaad, Kiev, Zagreb, Toronto, São Paulo, and Washington, DC. His UK festival performances include Aldeburgh, Newbury, Hay-on-Wye, Buxton, Leeds Lieder, Oxford Lieder, North Norfolk, Bath, and Sheffield (Music in the Round). In London, he has appeared at Wigmore Hall; the Royal Opera House, Covent Garden; and in the Rosenblatt Recital Series at St. John's, Smith Square. In 2009, Mr. Matthewman conceived the Lied in London recitals, dedicated to the performance of song in a relaxed and intimate setting. He has made numerous live broadcasts and recordings for BBC Radio 3, and in 2011, he joins the BBC Cardiff Singer of the World competition as official accompanist.

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  • Tarik Amar

    Tarik Amar, assistant professor of history at Columbia University, specializes in the history of the Soviet Union, Russia, and east central Europe in the 20th century, with special attention to Ukraine and to urban history. His dissertation, "The Making of Soviet Lviv," focuses on the often violent 20th-century transformations of a borderland city also known as Lwów, Lvov, and Lemberg. Before joining the Columbia faculty in 2010, he was director of the Center for Urban History of East Central Europe in Lviv.

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  • Katerina Clark

    Katerina Clark, professor of comparative literature as well as Slavic languages and literatures at Yale University, is the author of the now classic study The Soviet Novel: History as Ritual (1981). She is a specialist on Russian culture of the 20th century (literature, theater, film, art and architecture, opera, linguistics, and scientific thought) with an emphasis on the 1920s, the 1930s, and the recent period. Other books include Mikhail Bakhtin (with Michael Holquist, 1984) and Petersburg, Crucible of Cultural Revolution (1995). Ms. Clark's new book, Moscow: The Fourth Rome, will be published by Harvard University Press later this year.

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  • Laura Engelstein

    Laura Engelstein is the Henry S. McNeil Professor of History at Yale University. Her research has focused on the role of law, medicine, and the arts in public life. She has also explored themes in the history of gender, sexuality, and religion. Her most recent books are Slavophile Empire: Imperial Russia's Illiberal Path (2009) and the essay collection, edited with Stephanie Sandler, Self and Story in Russian History (2000). Her groundbreaking The Keys to Happiness: Sex and the Search for Modernity in Fin-de-Siècle Russia (1992), won both the American Association for the Advancement of Slavic Studies's Wayne S. Vucinich Book Prize and the Association of Women in Slavic Studies's Heldt Prize

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  • Timothy M. Frye

    Timothy M. Frye is the Marshall D. Shulman Professor of Post-Soviet Foreign Policy and director of The Harriman Institute at Columbia University. His research and teaching interests are in comparative politics and political economy, with a focus on the former Soviet Union. Mr. Frye's latest book, Building States and Markets after Communism: The Perils of Polarized Democracy, was published last year by Cambridge University Press. He is also the director of the Center for the Study of Institutions and Development at National Research University's Higher School of Economics in Moscow.

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  • Boris Gasparov

    Boris Gasparov is the Boris Bakhmeteff Professor of Russian and East European Studies at Columbia University. His research interests include Slavic and general linguistics, Russian and European Romanticism, Russian literature and culture of the 20th century, and music. His book Five Operas and a Symphony: Word and Music in Russian Culture (2005; Russian edition 2009) received an ASCAP Deems Taylor Award and the AATSEEL Best Book of Slavic Literature / Culture Criticism Award. His newest book, Speech, Memory, and Meaning: Intertextuality in Everyday Language was published by De Gruyter Mouton in 2010.

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  • Lynn Garafola

    Lynn Garafola, professor of dance at Barnard College, is the author of Legacies of Twentieth-Century Dance and Diaghilev's Ballets Russes, the latter of which was also published in Russian translation as Russkii balet Diagileva, and the editor of several books, including The Ballets Russes and Its World and The Diaries of Marius Petipa, which she also translated. Ms. Garafola is the curator of recent exhibitions on Jerome Robbins and the Ballets Russes at the New York Public Library. She is a member of the American Academy of Arts and Sciences.

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  • Simon Morrison

    Simon Morrison, professor of music at Princeton University, specializes in 20th-century music-particularly Russian and Soviet music-with special interests in dance, cinema, and historically informed performance based on extensive archival research. He is a leading authority on Prokofiev. Mr. Morrison is author of The People's Artist: Prokofiev's Soviet Years (2009) and Russian Opera and the Symbolist Movement (2002), and editor of Sergey Prokofiev and His World (2008). Morrison is actively engaged in the performing arts, most notably ballet, and has translated his archival findings into new productions, including Prokofiev's Le pas d'acier and Romeo and Juliet.

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  • Elizabeth Kridl Valkenier

    Elizabeth Kridl Valkenier, resident scholar of The Harriman Institute at Columbia University, is the foremost Western specialist on Russian realist art. Her books include Russian Realist Art: The State and Society (1977), Ilya Repin and the Worldof Russian Art (1990), and Valentin Serov: Portraits of Russia's Silver Age (2001).

  • John Malmstad

    John Malmstad, the Samuel Hazzard Cross Professor of Slavic Languages and Literatures at Harvard University, is a specialist in Russian poetry of the 19th and 20th centuries, the culture of the Silver Age, and the Russian avant-garde. He is the author, with Nikolay Bogomolov, of Mikhail Kuzmin: A Life in Art (1998), as well as editor of Andrey Bely: Spirit of Symbolism (1987) and authoritative editions of the works of Bely, Kuzmin, and Khodasevich. He is perhaps most widely known for his acclaimed translation, with Robert Maguire, of Bely's novel Petersburg.

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  • Catharine Nepomnyashchy

    Catharine Nepomnyashchy is the Ann Whitney Olin Professor of Russian Literature and Culture at Barnard College. Her research and teaching interests include 20th- and 21st-century Russian literature and popular culture (including television and dance), intellectual history, politics, human rights and media studies, Russian women's studies, and the works of Pushkin, Sinyavsky, and Nabokov. She is co-editor of Mapping the Feminine: Russian Women and CulturalDifference (2008) and author of Abram Tertz and the Poetics of Crime (1995). She is co-author with Nadezhda Azhgikhina of The First Color Revolution, which will be published this fall in Moscow.

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  • Maya Pritsker

    Maya Pritsker-musicologist, teacher, lecturer, and music critic-is the host and producer of the Arts and Culture talk show at the Russian Television Network of America (RTN/WMNB). She writes a column for Russian Weekly and for She has written program and liner notes for American Symphony Orchestra, Lincoln Center's Great Performers series, Brooklyn Philharmonic Orchestra, and Delos International. Ms. Pritsker has lectured on Russian music and culture at Columbia, Harvard, Princeton, and Yale universities as well as at concert venues and arts festivals, including Bard Music Festival.

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About Tchaikovsky in St. Petersburg

During the last decades of the Russian Empire, an extraordinarily rich cultural life flourished in the imperial capital of St. Petersburg, even as the city was rocked by tumultuous political events that led to the downfall of the monarchy. In many ways, the life and works of Pyotr Ilyich Tchaikovsky (1840–1893) reflect the complex relations between a creative genius and a culture that was both European and Russian, in which music, visual arts, literature, and ballet entwined the dictates of art and the sense of belonging to a nation dominated by an autocracy. While Tchaikovsky died just as the Silver Age was dawning in Russia, it was in that time that his legacy came to fruition in the virtually unprecedented confluence and collaboration of innovation and excellence across the spectrum of the arts.

From its early stirrings in the 18th century and throughout the 19th century, secular Russian culture had been dominated by the autocracy, which created a Westernized elite to rule the empire and provide it with a culture of European stature, keeping a tight rein on any signs of artistic autonomy that might encourage political free thinking. At the same time, liberal critics found evidence of national genius—especially in literature—in the early decades of the 19th century.

Russian music, however, was a latecomer to the scene. The first Russian musical conservatory opened in St. Petersburg in 1862. Its director, Anton Rubinstein, wrote that at that time, “the profession of musical artist did not exist in Russia.” At the St. Petersburg Conservatory, Tchaikovsky discovered his love for music, and his teachers discovered his extraordinary abilities. In 1866, the Moscow Conservatory opened, and Tchaikovsky moved there as one of its outstanding teachers. From that point on, Russian music developed with amazing speed. The Mighty Five—Borodin, Mussorgsky, Rimsky-Korsakov, Cui, and Balakirev—undertook the task of creating a national Russian music, just as earlier writers (notably Pushkin and Gogol) had done in literature.

As the century drew to a close, the arts came together in ballet, lavishly subsidized by the imperial court. The Sleeping Beauty, The Nutcracker, and Swan Lake—all with music by Tchaikovsky—entered the Imperial Ballet repertoire in the 1890s. At the same time, St. Petersburg became the scene of industrialization, which exacerbated the rift between imperial ostentation and the squalor of the urban poor. Strikes grew in magnitude and number; the liberal movement became ever more restive, and the radical opposition increasingly resorted to violent terrorist attacks—all of which culminated in the revolutions of 1905 and 1917. The political disarray, however, seems to have promoted a cultural blooming. The monarchy’s loss of legitimacy unleashed the imagination of artists, writers, and composers who used their talent to evoke other worlds of inspiration and splendor.

Symbolist poet Alexander Blok incarnated the spirit of the age, celebrating the anarchic music of the coming popular revolution. Almost two decades earlier, Tchaikovsky provided the music for what might well be seen as the final, bittersweet fairy tale of the Empire belatedly saved from its own failings in the ballet The Sleeping Beauty. New ballets, echoing Symbolist ideas, would displace it, while the idyll itself would be brutally crushed by the ruthless march of the Red Guard through the streets of revolutionary Petrograd, given voice in Blok’s celebrated poem The Twelve—conceived in the aftermath of the Bolshevik takeover of the city—and in his fellow symbolist Andrei Bely’s novel Petersburg.

Today’s presentations examine the complex intersection of Tchaikovsky’s music, St. Petersburg as a real and imagined urban landscape, and revolutionary art and politics. We look forward to a stimulating discussion.
Program Notes
Tchaikovsky in St. Petersburg is sponsored by PwC
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Presented by Carnegie Hall in partnership with The Harriman Institute at Columbia University.

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