In Women in C19th Russia, by Rosslyn & Tosi, told of the lives of women across Russia, from wealthy St Petersburg noble women to Siberian peasants, and their contribution to the arts. It showed how women tried for greater autonomy and developed a presence in Russia's culture from 1800-1917. But the important role played by the cultural salons meant that if women did try serious music, it was in the form of songs and instrumental works suitable for homes.
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Family von Meck c1875
Consider Russian rulers’ influence on Enlightenment. Led by Alexandra Fedorovna (1798–1860), wife of Czar Nicholas I (1796–1855), the Imperial household loved music. Alexandra was an active patron of court musicals, where she and Nicholas played the piano, and she encouraged the nobility to get involved. Women’s education was now including literature, music, drawing, dancing and languages, designed to improve noble girls’ marriage prospects.
Only when St Petersburg Conservatoire and Moscow Conservatoire opened in 1862 and 1866 respectively could musicians aspire to high status in Russian society. Although much of this credit belonged to Anton Rubinstein (1829–94), nothing could have been done without the support of his Imperial patron, Grand Duchess Elena Pavlovna (1807–73). The greatest beneficiaries of conservatoire training were of course men. Young women students were dedicated, but they would have no public careers.
Married at 16, Nadeshda von Meck (1831-1894) helped her railway engineer husband in building his empire, while having 11 surviving children and developing her reputation as a good musician. She could not make music a career, because of Imperial Russia’s rigid societal-gender rules. But Madame von Meck was not satisfied just with giving private concerts for family and friends. She preferred to be directly involved in the music world and she certainly had the funds and passion to succeed.
When writing his will, engineer Karl von Meck knew his wife could manage her power well, though he couldn’t have foreseen that she’d become one of Russia’s best patrons of the arts. Von Meck’s husband’s sudden death from heart-failure in 1876 left her legally controlling great wealth. But owing to his early death, 45 year old Madame von Meck became a lonely recluse (with 11 children).
Now examine the relationship between the brilliant Russian composer Pyotr Ilyich Tchaikovsky (1840-93) and Madame von Meck. In 1876 the widow was already a strong upper-class matron with cultivated tastes. She took the family to Italy each summer, so the Paris Conservatoire of Music sent young students there, to instruct and play music with her.
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violinist Iosif Kotek with Pyotr Ilyich Tchaikovsky, 1877
Tchaikovsky and Von Meck got together because of young violinist Iosif Kotek, Tchaikovsky’s ex-pupil. Kotek suggested to Madame, then his own patron and employer, that she reach out to the composer. The friendship started with a fan letter from the widow, sent Dec 1876. She’d heard Tchaikovsky’s music at concerts, particularly The Tempest, and loved it. While she was grieving her husband, music sustained her.
After his disastrous marriage in 1877, gay Tchaikovsky had a breakdown and fled across Europe. So von Meck stepped in properly, paying off his large debts and providing a monthly cheque. They were equally lonely and depressed. The widow needed him to provide arrangements of his own works, for violin and piano, for her to perform.
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Nadezhda von Meck became a widow in 1876
Baroness holding he youngest daughter. Engineer Karl von Meck in centre, with dark hat.
Consider Russian rulers’ influence on Enlightenment. Led by Alexandra Fedorovna (1798–1860), wife of Czar Nicholas I (1796–1855), the Imperial household loved music. Alexandra was an active patron of court musicals, where she and Nicholas played the piano, and she encouraged the nobility to get involved. Women’s education was now including literature, music, drawing, dancing and languages, designed to improve noble girls’ marriage prospects.
Only when St Petersburg Conservatoire and Moscow Conservatoire opened in 1862 and 1866 respectively could musicians aspire to high status in Russian society. Although much of this credit belonged to Anton Rubinstein (1829–94), nothing could have been done without the support of his Imperial patron, Grand Duchess Elena Pavlovna (1807–73). The greatest beneficiaries of conservatoire training were of course men. Young women students were dedicated, but they would have no public careers.
Married at 16, Nadeshda von Meck (1831-1894) helped her railway engineer husband in building his empire, while having 11 surviving children and developing her reputation as a good musician. She could not make music a career, because of Imperial Russia’s rigid societal-gender rules. But Madame von Meck was not satisfied just with giving private concerts for family and friends. She preferred to be directly involved in the music world and she certainly had the funds and passion to succeed.
When writing his will, engineer Karl von Meck knew his wife could manage her power well, though he couldn’t have foreseen that she’d become one of Russia’s best patrons of the arts. Von Meck’s husband’s sudden death from heart-failure in 1876 left her legally controlling great wealth. But owing to his early death, 45 year old Madame von Meck became a lonely recluse (with 11 children).
Now examine the relationship between the brilliant Russian composer Pyotr Ilyich Tchaikovsky (1840-93) and Madame von Meck. In 1876 the widow was already a strong upper-class matron with cultivated tastes. She took the family to Italy each summer, so the Paris Conservatoire of Music sent young students there, to instruct and play music with her.
After his disastrous marriage in 1877, gay Tchaikovsky had a breakdown and fled across Europe. So von Meck stepped in properly, paying off his large debts and providing a monthly cheque. They were equally lonely and depressed. The widow needed him to provide arrangements of his own works, for violin and piano, for her to perform.
Wiki
A way of supporting the later C19th career aspirations of men was by providing substantial financial support. In Tchaikovsky’s case, Madame von Meck proved vital in dealing with his personal and professional difficulties. The composer was grateful and thrilled when she began to commission compositions from him, and paid him! Boldly he also began to ask Madame von Meck for more loans. In time she gave him 6,000 Russian rubles a year, a lavish salary. He was able to quit the Moscow Conservatory, where he taught music theory, and devote himself to composing full time.
In mid 1880, teenage Claude Debussy (1862–1918) was among the students sent to Villa Oppenheim in Florence. He too came under Madame von Meck’s patronage. She engaged Debussy to play duets with her and her children, travelling to her palatial residences across Europe in the Conservatory’s summer holidays.
By mutual planning, the two never met and their relationship was conducted through a series of long letters. Their correspondence lasted from 1877-90, and 1,200+ of the letters between them survived! Madame’s money was instrumental in allowing her mentee to establish himself as Russia’s first full-time professional composer. Throughout this era, Tchaikovsky enjoyed great financial security.
It was traditional for an artist to dedicate a masterpiece to the valued patron, and Tchaikovsky did! He dedicated his Symphony #4, performed in Moscow in Feb 1878, to Madame von Meck, thus also affirming her as an equal partner in its creation. The letters suggested that she was directly involved in planning the composition and the larger programme. She also patronised him while he was writing the opera Eugene Onegin, premiered in Moscow in 1879.
Tchaikovsky’s only obligations to von Meck were producing beautiful music AND replying to her impassioned letters. This was unusual back then; it was more common for patrons to show off their protégés and to keep them as companions in public events. In return, the musician added prestige and sophistication to the patron. But von Meck and Tchaikovsky remained solely correspondents.
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Pyotr Ilyich Tchaikovsky,
c1888 by Émile Reutlinger
In mid 1880, teenage Claude Debussy (1862–1918) was among the students sent to Villa Oppenheim in Florence. He too came under Madame von Meck’s patronage. She engaged Debussy to play duets with her and her children, travelling to her palatial residences across Europe in the Conservatory’s summer holidays.
By mutual planning, the two never met and their relationship was conducted through a series of long letters. Their correspondence lasted from 1877-90, and 1,200+ of the letters between them survived! Madame’s money was instrumental in allowing her mentee to establish himself as Russia’s first full-time professional composer. Throughout this era, Tchaikovsky enjoyed great financial security.
It was traditional for an artist to dedicate a masterpiece to the valued patron, and Tchaikovsky did! He dedicated his Symphony #4, performed in Moscow in Feb 1878, to Madame von Meck, thus also affirming her as an equal partner in its creation. The letters suggested that she was directly involved in planning the composition and the larger programme. She also patronised him while he was writing the opera Eugene Onegin, premiered in Moscow in 1879.
Tchaikovsky’s only obligations to von Meck were producing beautiful music AND replying to her impassioned letters. This was unusual back then; it was more common for patrons to show off their protégés and to keep them as companions in public events. In return, the musician added prestige and sophistication to the patron. But von Meck and Tchaikovsky remained solely correspondents.
c1888 by Émile Reutlinger
When she abruptly ended the relationship and cash-flow in 1890, it caused Tchaikovsky real pain. In fact the loss of Madame von Meck’s emotional and financial support made Tchaikovsky’s 3 final years of life miserable. In 1893 cholera killed him.