The Infinite Grace of Jesus
Massenet's 'Marie-Magdeleine' and Tchaikovsky's Blessed Tears
Bibliographic Data
| ID | 10654288 |
|---|---|
| Authors | Esti Sheinberg (Bar-Ilan University), Marina Ritzarev (0000-0001-9508-0872, Bar-Ilan University) |
| Year | 2010 |
| Volume | 91 |
| Issue | 2 |
| Pages | 171-197 |
| Publication date | 2010-05-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Music and Letters (JOURNAL) |
| Journal identifiers | ISSN: 0027-4224 • E-ISSN: 1477-4631 |
| Publisher | Oxford University Press (PUBLISHER • GB) |
| DOI | 10.1093/ml/gcp103 |
| OpenAlex | W2146708053 |
| Language | EN |
| References cited | 3 |
In July 1880 Tchaikovsky wrote three letters in which he described the great impression that Massenet’s oratorio Marie-Magdeleine had made on him. Deeply moved by the duet between Jesus and Mary Magdalene, he composed a Romance to words by Alexey Tolstoy. This Romance became the second number of his Seven Romances, Op. 47. What did Tchaikovsky mean when he stated that he composed it ‘under the influence’ of Massenet’s Marie-Magdeleine, and how is this influence manifested in his work? A close examination of several of these Romances and their comparison with parts of Massenet’s oratorio leads to a new reading of Tchaikovsky’s Op. 47, revealing its connections with the dramatic content of Marie-Magdeleine. We suggest that the composer’s emotional and spiritual world view affected his perception of Massenet’s oratorio. The Seven Romances is interpreted not as a series of separate solo pieces, but rather as a coherent song cycle with a unique structure and semantic content.
Art · Linguistics · Literature · Musical · Oratorio · Reading (process) · Romance · Diverse Musicological Studies · Historical and Literary Studies · Musicology and Musical Analysis · Philosophy
| Highly cited | No |
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