Pathétique

Serbian-French violinist Nemanja Radulović is often hailed as the “rock star of classical music” for his electrifying stage presence. As an artist, Radulović strives to break down the boundaries between the classical repertoire and the virtuosity of Eastern European folk music. It is particularly in Tchaikovsky’s music that the violinist is able to reveal captivating facets of his artistic personality; after all, the highly Romantic Violin Concerto in D major offers a seemingly endless kaleidoscope of timbres. Today, it is hard to imagine that this radiant violin concerto, brimming with optimism, was the response to a severe personal crisis. In 1877, he married Antonina Miljukowa—not out of love, but to put an end to rumors about his homosexuality. The marriage ended after only eleven weeks, and Tchaikovsky subsequently suffered a mental breakdown. His salvation came in the form of Nadezhda von Meck, a wealthy widow who provided him with the financial support he needed to flee to Switzerland, where he composed the Violin Concerto.

It was the beginning of an extraordinary relationship: Over the course of 13 years, they exchanged more than 1,200 letters without ever meeting in person. In 1890, the friendship ended abruptly and without explanation on von Meck’s part—a mystery that tormented Tchaikovsky until the end of his life. The tragic undertone of his Symphony No. 6 (“Pathétique”) can be interpreted as an echo of this painful separation and as a musical testament to his ultimate isolation—a work on the brink, completed shortly before his death.