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solo violin serves as the evening’s elected master

of ceremonies (

simposiarca

), guiding the festivi-

ties but also synopsizing the various viewpoints

on love.

Though the composer denied any “literal pro-

gram” in his orchestral score, the personali-

ty contrasts between, and sometimes within,

movements mirror the philosophical positions

taken by the diverse group of speakers. In the

opening movement, listeners encounter a dia-

logue between Phaedrus (ca. 444–393 BCE), an

aristocrat and former student of Socrates, and

Pausanias (fl. 420 BCE), the lover of the extraor-

dinarily handsome poet Agathon. Next follow

three monologues, one each by the comic play-

wright and poet Aristophanes (ca. 446–ca. 386

BCE); Phaedrus’s close friend, the physician

Eryximachus (ca. 448–late 5th/early 4th centu-

ry BCE); and the tragic poet Agathon (ca. 448–

ca. 400 BCE), whose triumph in the Lenaia—an

Athenian festival, including a dramatic compe-

tition, given annualy in honor of Dionysus—in

416 BCE occasioned this symposium. The final

movement contains a dialogue between the

philosopher Socrates (ca. 415–4th century BCE)

and his former student, the statesman, orator,

and general Alcibiades (ca. 450–404 BCE). In

Serenade (after Plato’s Symposium)

, arguably

Bernstein’s most consistent and well-conceived

instrumental work, the composer achieves mu-

sical cohesion by imposing “a system whereby

each movement evolves out of elements in the

preceding one.”

On August 8, 1954, the day after completing the

score, Bernstein outlined the “guideposts” in

Serenade

, which are summarized below:

Phaedrus: Pausanius

(Lento; Allegro).

Phaedrus opens the symposium with a

lyrical oration in praise of Eros, the god

of love (fugato, begun by the solo violin).

Pausanias continues by describing the du-

ality of lover and beloved. This is expressed

in a classical sonata-allegro, based on the

material of the opening fugato.

II.

Aristophanes

(Allegretto). Aristophanes

does not play the role of clown in this

dialogue, but instead that of the bedtime

storyteller, invoking the fairytale mytholo-

gy of love.

III.

Eryximachus

(Presto). The physician

speaks of bodily harmony as a scientific

model for the workings of love-patterns.

This is an extremely short fugato scherzo,

born of a blend of mystery and humor.

IV.

Agathon

(Adagio). Perhaps the most

moving speech of the dialogue, Agathon’s

panegyric embraces all aspects of love’s

powers, charms, and functions. This move-

ment is a simple three-part song.

Socrates

Alcibiades

(Molto tenuto;

Allegro molto vivace). Socrates describes

his visit to the seer Diotima, quoting her

speech on the demonology of love. This

is a slow introduction of greater weight

than any of the preceding movements, and

serves as a highly developed reprise of the

middle section of the Agathon movement,

thus suggesting a hidden sonata-form. The

famous interruption of Alcibiades and his

band of drunken revelers ushers in the

Alle-

gro

, which is an extended rondo ranging in

spirit from agitation through jig-like dance

music to joyful celebration. If there is a hint

of jazz in the celebration, I hope it will not

be taken as anachronistic Greek party mu-

sic, but rather the natural expression of a

contemporary American composer imbued

with the spirit of that timeless dinner party.

The Koussevitzky Foundation commissioned

the

Serenade (after Plato’s Symposium)

, which is

dedicated “To the beloved memory of Serge and

Natalie Koussevitzky.” Bernstein conducted the

premiere on September 12, 1954, at the Teatro La

Fenice in Venice, Italy, with the Israel Philhar-

monic Orchestra and violinist Isaac Stern.

PETER ILYICH TCHAIKOVSKY (1840–93)

Symphony No. 6 in B minor, op. 74

(“Pathétique”)

Scored for three flutes and piccolo, two oboes, two

clarinets, two bassoons, four horns, two trumpets,

three trombones, tuba, timpani, bass drum,

cymbals, tam-tam, and strings

“It will be quite conventional and no surprise if

this symphony is abused and unappreciated—

that has happened before. But I definitely find it

my very best and in particular the most sincere

of all my compositions. I love it as I have never

loved any of my musical children.” Decades-long

experience with Russian audiences conditioned

Tchaikovsky to a typical pattern of reception:

initial rejection, artistic depression, followed by

belated acclaim. True to pattern, the Symphony

No. 6 failed to inspire performers or audience at

the composer-led premiere on October 28, 1893.

Incidents over the next few days, however, al-

tered forever its significance. The morning af-

ter the first performance, Tchaikovsky awoke

to mull over a title for his new work. Quickly,

he rejected the generic “Symphony No. 6,” and

then also his working title “Program Sympho-

ny.” (The composer maintained ultimate secrecy

over its programmatic inspiration.) His brother

Modest next proposed “tragic,” which was re-

jected, then the Russian adjective “

patetichesky

,”

a term that denotes great pathos. “ ‘Excellent,

Modya, bravo,

patetichesky

!’ and before my eyes

he wrote on the score the title by which it has

since been known,” Modest later recounted.

Tchaikovsky ventured out to operatic and con-

cert performances over the next several nights.

On November 2, troubled with stomachaches,

he took morning breakfast and tea as usual.

Physical discomfort increased over lunch, when

he allegedly drank a glass of unboiled Saint Pe-

tersburg water, a risky act during the cholera

season. The next few days witnessed a steady de-

cline in his health. On November 6, Tchaikovsky

died. The attending doctor reported “thorough-

ly characteristic” symptoms of cholera. Howev-

er, rumors that Tchaikovsky committed suicide

through poisoning—rather than endure public

allegations of homosexuality—circulated even

during the fatal illness. Russian records officially

list the cause of death as “unclear.”

When performed a second time under Eduard

Nápravnik (November 18), the audience heard

the Symphony No. 6 in light of the recent,

devastating events. They realized too late its

underlying value, conveyed so deeply in rich,

penetrating orchestral sonorities. All felt the

momentous loss of a great Russian artist, and

this pathos-laden work reverberated as his own

eulogy.

Isaac Stern (1963)

Modest Tchaikovsky (1891)

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