Pyotr Ilyich Tchaikovsky

Pyotr Ilyich Tchaikovsky (/tʃaɪˈkɒfski/ chy-KOF-skee; 7 May 1840 – 6 November 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music would make a lasting impression internationally. Tchaikovsky wrote some of the most popular concert and theatrical music in the current classical repertoire, including the ballets Swan Lake and The Nutcracker, the 1812 Overture, his First Piano Concerto, Violin Concerto, the Romeo and Juliet Overture-Fantasy, several symphonies, and the opera Eugene Onegin.

Although musically precocious, Tchaikovsky was educated for a career as a civil servant as there was little opportunity for a musical career in Russia at the time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching that Tchaikovsky received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five with whom his professional relationship was mixed.

Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From that reconciliation, he forged a personal but unmistakably Russian style. The principles that governed melody, harmony, and other fundamentals of Russian music ran completely counter to those that governed Western European music, which seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. That resulted in uncertainty among the intelligentsia about the country's national identity, an ambiguity mirrored in Tchaikovsky's career.

Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by his mother's early death, the death of his close friend and colleague Nikolai Rubinstein, his failed marriage with Antonina Miliukova, and the collapse of his 13-year association with the wealthy patroness Nadezhda von Meck. Tchaikovsky's homosexuality, which he kept private, has traditionally also been considered a major factor though some scholars have played down its importance. His dedication of his Sixth symphony to his nephew Vladimir "Bob" Davydov and his feelings expressed about Davydov in letters to others, especially following Davydov's suicide, have been cited as evidence for a romantic love between the two. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera, but there is an ongoing debate as to whether cholera was indeed the cause and whether the death was accidental or intentional.

While his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it was sufficiently representative of native musical values and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of the latter claim, some Europeans lauded Tchaikovsky for offering music more substantive than base exoticism, and said he transcended stereotypes of Russian classical music. Others dismissed Tchaikovsky's music as deficient because they did not stringently follow Western principles.

## Life

### Childhood

Pyotr Ilyich Tchaikovsky was born on 7 May 1840 in Votkinsk, a small town in Vyatka Governorate (present-day Udmurtia) near the banks of the Kama River, and not far from the Ural Mountains in the Russian Empire, into a family with a long history of military service. His father, Ilya Petrovich Tchaikovsky, had served as a lieutenant colonel and engineer in the Department of Mines, and would manage the Kamsko-Votkinsk Ironworks. His grandfather, Pyotr Fedorovich Tchaikovsky, was born in the village of Nikolaevka, Yekaterinoslav Governorate, Russian Empire (present-day Mykolaivka, Luhansk Oblast, Ukraine), and served first as a physician's assistant in the army and later as city governor of Glazov in Vyatka. His great-grandfather, a Zaporozhian Cossack named Fyodor Chaika, distinguished himself under Peter the Great at the Battle of Poltava in 1709.

Tchaikovsky's mother, Alexandra Andreyevna (née d'Assier), was the second of Ilya's three wives, 18 years her husband's junior and French and German on her father's side. Both Ilya and Alexandra were trained in the arts, including music—a necessity as a posting to a remote area of Russia also meant a need for entertainment, whether in private or at social gatherings. Of his six siblings, Tchaikovsky was close to his sister Alexandra and twin brothers Anatoly and Modest. Alexandra's marriage to Lev Davydov would produce seven children and lend Tchaikovsky the only real family life he would know as an adult, especially during his years of wandering. One of those children, Vladimir Davydov, who went by the nickname 'Bob', would become very close to him.

In 1844, the family hired Fanny Dürbach, a 22-year-old French governess. Four-and-a-half-year-old Tchaikovsky was initially thought too young to study alongside his older brother Nikolai and a niece of the family. His insistence convinced Dürbach otherwise. By the age of six, he had become fluent in French and German. Tchaikovsky also became attached to the young woman; her affection for him was reportedly a counter to his mother's coldness and emotional distance from him, though others assert that the mother doted on her son. Dürbach saved much of Tchaikovsky's work from this period, including his earliest known compositions, and became a source of several childhood anecdotes.

Tchaikovsky began piano lessons at age five. Precocious, within three years he had become as adept at reading sheet music as his teacher. Tchaikovsky's parents, initially supportive, hired a tutor, bought an orchestrion (a form of barrel organ that could imitate elaborate orchestral effects), and encouraged his piano study for both aesthetic and practical reasons. However, they decided in 1850 to send Tchaikovsky to the Imperial School of Jurisprudence in Saint Petersburg. They had both graduated from institutes in Saint Petersburg and the School of Jurisprudence, which mainly served the lesser nobility and thought that this education would prepare Tchaikovsky for a career as a civil servant. Regardless of talent, the only musical careers available in Russia at that time—except for the affluent aristocracy—were as a teacher in an academy or as an instrumentalist in one of the Imperial Theaters. Both were considered on the lowest rank of the social ladder, with individuals in them enjoying no more rights than peasants.

Tchaikovsky's father's income was also growing increasingly uncertain, so both parents may have wanted Tchaikovsky to become independent as soon as possible. As the minimum age for acceptance was 12 and Tchaikovsky was only 10 at the time, he was required to spend two years boarding at the Imperial School of Jurisprudence's preparatory school, 1,300 kilometres (800 mi) from his family. Once those two years had passed, Tchaikovsky transferred to the Imperial School of Jurisprudence to begin a seven-year course of studies.

Tchaikovsky's early separation from his mother caused an emotional trauma that lasted the rest of his life and was intensified by her death from cholera in 1854 when he was 14. The loss of his mother also prompted Tchaikovsky to make his first serious attempt at composition, a waltz in her memory. Tchaikovsky's father, who had also contracted cholera but recovered fully, sent him back to school immediately in the hope that classwork would occupy the boy's mind. Isolated, Tchaikovsky compensated with friendships with fellow students that became lifelong; these included Aleksey Apukhtin and Vladimir Gerard.

Music, while not an official priority at school, also bridged the gap between Tchaikovsky and his peers. They regularly attended the opera and Tchaikovsky would improvise at the school's harmonium on themes he and his friends had sung during choir practice. "We were amused," Vladimir Gerard later remembered, "but not imbued with any expectations of his future glory". Tchaikovsky also continued his piano studies through Franz Becker, an instrument manufacturer who made occasional visits to the school; however, the results, according to musicologist David Brown, were "negligible".

In 1855, Tchaikovsky's father funded private lessons with Rudolph Kündinger and questioned him about a musical career for his son. While impressed with the boy's talent, Kündinger said he saw nothing to suggest a future composer or performer. He later admitted that his assessment was also based on his own negative experiences as a musician in Russia and his unwillingness for Tchaikovsky to be treated likewise. Tchaikovsky was told to finish his course and then try for a post in the Ministry of Justice.

### Civil service; pursuing music

On 10 June 1859, the 19-year-old Tchaikovsky graduated as a titular counselor, a low rung on the civil service ladder. Appointed to the Ministry of Justice, he became a junior assistant within six months and a senior assistant two months after that. He remained a senior assistant for the rest of his three-year civil service career.

Meanwhile, the Russian Musical Society (RMS) was founded in 1859 by the Grand Duchess Elena Pavlovna (a German-born aunt of Tsar Alexander II) and her protégé, pianist and composer Anton Rubinstein. Previous tsars and the aristocracy had focused almost exclusively on importing European talent. The aim of the RMS was to fulfill Alexander II's wish to foster native talent. It hosted a regular season of public concerts (previously held only during the six weeks of Lent when the Imperial Theaters were closed) and provided basic professional training in music. In 1861, Tchaikovsky attended RMS classes in music theory taught by Nikolai Zaremba at the Mikhailovsky Palace (now the Russian Museum). These classes were a precursor to the Saint Petersburg Conservatory, which opened in 1862. Tchaikovsky enrolled at the Conservatory as part of its premiere class. He studied harmony and counterpoint with Zaremba and instrumentation and composition with Rubinstein. He was awarded a silver medal for his thesis, a cantata on Schiller's "Ode to Joy".

The Conservatory benefited Tchaikovsky in two ways. It transformed him into a musical professional, with tools to help him thrive as a composer, and the in-depth exposure to European principles and musical forms gave him a sense that his art was not exclusively Russian or Western. This mindset became important in Tchaikovsky's reconciliation of Russian and European influences in his compositional style. He believed and attempted to show that both these aspects were "intertwined and mutually dependent". His efforts became both an inspiration and a starting point for other Russian composers to build their own individual styles.

Rubinstein was impressed by Tchaikovsky's musical talent on the whole and cited him as "a composer of genius" in his autobiography. He was less pleased with the more progressive tendencies of some of Tchaikovsky's student work. Nor did he change his opinion as Tchaikovsky's reputation grew. He and Zaremba clashed with Tchaikovsky when he submitted his First Symphony for performance by the Russian Musical Society in Saint Petersburg. Rubinstein and Zaremba refused to consider the work unless substantial changes were made. Tchaikovsky complied but they still refused to perform the symphony. Tchaikovsky, distressed that he had been treated as though he were still their student, withdrew the symphony. It was given its first complete performance, minus the changes Rubinstein and Zaremba had requested, in Moscow in February 1868.

Once Tchaikovsky graduated in 1865, Rubinstein's brother Nikolai offered him the post of Professor of Music Theory at the soon-to-open Moscow Conservatory. While the salary for his professorship was only 50 rubles a month, the offer itself boosted Tchaikovsky's morale and he accepted the post eagerly. He was further heartened by news of the first public performance of one of his works, his Characteristic Dances, conducted by Johann Strauss II at a concert in Pavlovsk Park on 11 September 1865 (Tchaikovsky later included this work, re-titled Dances of the Hay Maidens, in his opera The Voyevoda).

From 1867 to 1878, Tchaikovsky combined his professorial duties with music criticism while continuing to compose. This activity exposed him to a range of contemporary music and afforded him the opportunity to travel abroad. In his reviews, he praised Beethoven, considered Brahms overrated and, despite his admiration, took Schumann to task for poor orchestration. He appreciated the staging of Wagner's Der Ring des Nibelungen at its inaugural performance in Bayreuth (Germany), but not the music, calling Das Rheingold "unlikely nonsense, through which, from time to time, sparkle unusually beautiful and astonishing details". A recurring theme he addressed was the poor state of Russian opera.

#### Relationship with The Five

In 1856, while Tchaikovsky was still at the School of Jurisprudence and Anton Rubinstein lobbied aristocrats to form the Russian Musical Society, critic Vladimir Stasov and an 18-year-old pianist, Mily Balakirev, met and agreed upon a nationalist agenda for Russian music, one that would take the operas of Mikhail Glinka as a model and incorporate elements from folk music, reject traditional Western practices and use non-Western harmonic devices such as the whole tone and octatonic scales. They saw Western-style conservatories as unnecessary and antipathetic to fostering native talent.

Eventually, Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin became known as the moguchaya kuchka, translated into English as the "Mighty Handful" or "The Five". Rubinstein criticized their emphasis on amateur efforts in musical composition; Balakirev and later Mussorgsky attacked Rubinstein for his musical conservatism and his belief in professional music training. Tchaikovsky and his fellow conservatory students were caught in the middle.

While ambivalent about much of The Five's music, Tchaikovsky remained on friendly terms with most of its members. In 1869, he and Balakirev worked together on what became Tchaikovsky's first recognized masterpiece, the fantasy-overture Romeo and Juliet, a work which The Five wholeheartedly embraced. The group also welcomed his Second Symphony, subtitled the Little Russian. Despite their support, Tchaikovsky made considerable efforts to ensure his musical independence from the group as well as from the conservative faction at the Saint Petersburg Conservatory.

#### Growing fame; budding opera composer

The infrequency of Tchaikovsky's musical successes, won with tremendous effort, exacerbated his lifelong sensitivity to criticism. Nikolai Rubinstein's private fits of rage critiquing his music, such as attacking the First Piano Concerto, did not help matters. His popularity grew, however, as several first-rate artists became willing to perform his compositions. Hans von Bülow premiered the First Piano Concerto and championed other Tchaikovsky works both as pianist and conductor. Other artists included Adele aus der Ohe, Max Erdmannsdörfer, Eduard Nápravník and Sergei Taneyev.

Another factor that helped Tchaikovsky's music become popular was a shift in attitude among Russian audiences. Whereas they had previously been satisfied with flashy virtuoso performances of technically demanding but musically lightweight works, they gradually began listening with increasing appreciation of the composition itself. Tchaikovsky's works were performed frequently, with few delays between their composition and first performances; the publication from 1867 onward of his songs and great piano music for the home market also helped boost the composer's popularity.

During the late 1860s, Tchaikovsky began to compose operas. His first, The Voyevoda, based on a play by Alexander Ostrovsky, premiered in 1869. The composer became dissatisfied with it, however, and, having re-used parts of it in later works, destroyed the manuscript. Undina followed in 1870. Only excerpts were performed and it, too, was destroyed. Between these projects, Tchaikovsky started to compose an opera called Mandragora, to a libretto by Sergei Rachinskii; the only music he completed was a short chorus of Flowers and Insects.

The first Tchaikovsky opera to survive intact, The Oprichnik, premiered in 1874. During its composition, he lost Ostrovsky's part-finished libretto. Tchaikovsky, too embarrassed to ask for another copy, decided to write the libretto himself, modeling his dramatic technique on that of Eugène Scribe. Cui wrote a "characteristically savage press attack" on the opera. Mussorgsky, writing to Vladimir Stasov, disapproved of the opera as pandering to the public. Nevertheless, The Oprichnik continues to be performed from time to time in Russia.

The last of the early operas, Vakula the Smith (Op. 14), was composed in the second half of 1874. The libretto, based on Gogol's Christmas Eve, was to have been set to music by Alexander Serov. With Serov's death, the libretto was opened to a competition with a guarantee that the winning entry would be premiered by the Imperial Mariinsky Theatre. Tchaikovsky was declared the winner, but at the 1876 premiere, the opera enjoyed only a lukewarm reception. After Tchaikovsky's death, Rimsky-Korsakov wrote the opera Christmas Eve, based on the same story.

Other works of this period include the Variations on a Rococo Theme for cello and orchestra, the Third and Fourth Symphonies, the ballet Swan Lake, and the opera Eugene Onegin.

### Personal life

Discussion of Tchaikovsky's personal life, especially his sexuality, has perhaps been the most extensive of any composer in the 19th century and certainly of any Russian composer of his time. It has also at times caused considerable confusion, from Soviet efforts to expunge all references to homosexuality and portray him as a heterosexual, to efforts at analysis by Western biographers.

Biographers have generally agreed that Tchaikovsky was homosexual. He sought the company of other men in his circle for extended periods, "associating openly and establishing professional connections with them." His first love was reportedly Sergey Kireyev, a younger fellow student at the Imperial School of Jurisprudence. According to Modest Tchaikovsky, this was Pyotr Ilyich's "strongest, longest and purest love". Tchaikovsky's dedication of his Sixth symphony to his nephew Vladimir "Bob" Davydov (21 at the time) and his feelings expressed about Davydov in letters to others, especially following Davydov's suicide, has been cited as evidence for romantic love between the two. The degree to which the composer might have felt comfortable with his sexual desires has, however, remained open to debate. It is still unknown whether Tchaikovsky, according to musicologist and biographer David Brown, "felt tainted within himself, defiled by something from which he finally realized he could never escape" or whether, according to Alexander Poznansky, he experienced "no unbearable guilt" over his sexual desires and "eventually came to see his sexual peculiarities as an insurmountable and even natural part of his personality ... without experiencing any serious psychological damage".

Relevant portions of his brother Modest's autobiography, where he tells of the composer's same-sex attraction, have been published, as have letters previously suppressed by Soviet censors in which Tchaikovsky openly writes of it. Such censorship has persisted in the Russian government, resulting in many officials, including the former culture minister Vladimir Medinsky, denying his homosexuality outright. Passages in Tchaikovsky's letters which reveal his homosexual desires have been censored in Russia. In one such passage he said of a homosexual acquaintance: "Petashenka used to drop by with the criminal intention of observing the Cadet Corps, which is right opposite our windows, but I've been trying to discourage these compromising visits—and with some success." In another one, he wrote: "After our walk, I offered him some money, which was refused. He does it for the love of art and adores men with beards."

Tchaikovsky lived as a bachelor for most of his life. In 1868, he met Belgian soprano Désirée Artôt with whom he considered marriage, but, owing to various circumstances, the relationship ended. Tchaikovsky later claimed she was the only woman he ever loved. In 1877, at the age of 37, he wed a former student, Antonina Miliukova. The marriage was a disaster. Mismatched psychologically and sexually, the couple lived together for only two and a half months before Tchaikovsky left, overwrought emotionally and suffering from acute writer's block. Tchaikovsky's family remained supportive of him during this crisis and throughout his life. Tchaikovsky's marital debacle may have forced him to face the full truth about his sexuality; he never blamed Antonina for the failure of their marriage.

Tchaikovsky was also aided by Nadezhda von Meck, the widow of a railway magnate, who had begun contact with him not long before the marriage. As well as an important friend and emotional support, she became his patroness for the next 13 years, which allowed him to focus exclusively on composition. Although Tchaikovsky called her his "best friend", they agreed never to meet under any circumstances.

### Years of wandering

Tchaikovsky remained abroad for a year after the disintegration of his marriage. During this time, he completed Eugene Onegin, orchestrated his Fourth Symphony, and composed the Violin Concerto. He returned briefly to the Moscow Conservatory in the autumn of 1879. For the next few years, assured of a regular income from von Meck, he traveled incessantly throughout Europe and rural Russia, mainly alone, and avoided social contact whenever possible.

During this time, Tchaikovsky's foreign reputation grew and a positive reassessment of his music also took place in Russia, thanks in part to Russian novelist Fyodor Dostoevsky's call for "universal unity" with the West at the unveiling of the Pushkin Monument in Moscow in 1880. Before Dostoevsky's speech, Tchaikovsky's music had been considered "overly dependent on the West". As Dostoevsky's message spread throughout Russia, this stigma toward Tchaikovsky's music evaporated. The unprecedented acclaim for him even drew a cult following among the young intelligentsia of Saint Petersburg, including Alexandre Benois, Léon Bakst and Sergei Diaghilev.

Two musical works from this period stand out. With the Cathedral of Christ the Saviour nearing completion in Moscow in 1880, the 25th anniversary of the coronation of Alexander II in 1881, and the 1882 Moscow Arts and Industry Exhibition in the planning stage, Nikolai Rubinstein suggested that Tchaikovsky compose a grand commemorative piece. Tchaikovsky agreed and finished it within six weeks. He wrote to Nadezhda von Meck that this piece, the 1812 Overture, would be "very loud and noisy, but I wrote it with no warm feeling of love, and therefore there will probably be no artistic merits in it". He also warned conductor Eduard Nápravník that "I shan't be at all surprised and offended if you find that it is in a style unsuitable for symphony concerts". Nevertheless, the overture became, for many, "the piece by Tchaikovsky they know best", particularly well-known for the use of cannon in the scores.

On 23 March 1881, Nikolai Rubinstein died in Paris. That December, Tchaikovsky started work on his Piano Trio in A minor, "dedicated to the memory of a great artist". First performed privately at the Moscow Conservatory on the first anniversary of Rubinstein's death, the piece became extremely popular during the composer's lifetime; in November 1893, it would become Tchaikovsky's own elegy at memorial concerts in Moscow and St. Petersburg.

### Return to Russia

In 1884, Tchaikovsky began to shed his unsociability and restlessness. That March, Emperor Alexander III conferred upon him the Order of Saint Vladimir (fourth class), which included a title of hereditary nobility and a personal audience with the Tsar. This was seen as a seal of official approval which advanced Tchaikovsky's social standing and might have been cemented in the composer's mind by the success of his Orchestral Suite No. 3 at its January 1885 premiere in Saint Petersburg.

In 1885, Alexander III requested a new production of Eugene Onegin at the Bolshoi Kamenny Theatre in Saint Petersburg. By having the opera staged there and not at the Mariinsky Theatre, he served notice that Tchaikovsky's music was replacing Italian opera as the official imperial art. In addition, at the instigation of Ivan Vsevolozhsky, Director of the Imperial Theaters and a patron of the composer, Tchaikovsky was awarded a lifetime annual pension of 3,000 rubles from the Tsar. This made him the premier court composer, in practice if not in the actual title.

Despite Tchaikovsky's disdain for public life, he now participated in it as part of his increasing celebrity and out of a duty he felt to promote Russian music. He helped support his former pupil Sergei Taneyev, who was now director of Moscow Conservatory, by attending student examinations and negotiating the sometimes sensitive relations among various members of the staff. He served as director of the Moscow branch of the Russian Musical Society during the 1889–1890 season. In this post, he invited many international celebrities to conduct, including Johannes Brahms, Antonín Dvořák and Jules Massenet.

During this period, Tchaikovsky also began promoting Russian music as a conductor, In January 1887, he substituted, on short notice, at the Bolshoi Theater in Moscow for performances of his opera Cherevichki. Within a year, he was in considerable demand throughout Europe and Russia. These appearances helped him overcome life-long stage fright and boosted his self-assurance. In 1888, Tchaikovsky led the premiere of his Fifth Symphony in Saint Petersburg, repeating the work a week later with the first performance of his tone poem Hamlet. Although critics proved hostile, with César Cui calling the symphony "routine" and "meretricious", both works were received with extreme enthusiasm by audiences and Tchaikovsky, undeterred, continued to conduct the symphony in Russia and Europe. Conducting brought him to the United States in 1891, where he led the New York Music Society's orchestra in his Festival Coronation March at the inaugural concert of Carnegie Hall.

### Belyayev circle and growing reputation

In November 1887, Tchaikovsky arrived at Saint Petersburg in time to hear several of the Russian Symphony Concerts, devoted exclusively to the music of Russian composers. One included the first complete performance of his revised First Symphony; another featured the final version of Third Symphony of Nikolai Rimsky-Korsakov, with whose circle Tchaikovsky was already in touch.

Rimsky-Korsakov, with Alexander Glazunov, Anatoly Lyadov and several other nationalistically-minded composers and musicians, had formed a group known as the Belyayev circle, named after a merchant and amateur musician who became an influential music patron and publisher. Tchaikovsky spent much time in this circle, becoming far more at ease with them than he had been with the 'Five' and increasingly confident in showcasing his music alongside theirs. This relationship lasted until Tchaikovsky's death.

In 1892, Tchaikovsky was voted a member of the Académie des Beaux-Arts in France, only the second Russian subject to be so honored (the first was sculptor Mark Antokolsky). The following year, the University of Cambridge in England awarded Tchaikovsky an honorary Doctor of Music degree.

### Death

On 16/28 October 1893, Tchaikovsky conducted the premiere of his Sixth Symphony, the Pathétique, in Saint Petersburg. Nine days later, on 6 November, Tchaikovsky died there, aged 53. He was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery, near the graves of fellow-composers Alexander Borodin, Mikhail Glinka, and Modest Mussorgsky; later, Nikolai Rimsky-Korsakov and Mily Balakirev were also buried nearby.

Tchaikovsky's death is attributed to cholera, caused by drinking unboiled water at a local restaurant. In the 1980s in Britain, however, there was academic speculation that he killed himself, either with poison or by contracting cholera intentionally; in the New Grove Dictionary of Music, Roland John Wiley wrote: "the polemics over Tchaikovsky's death have reached an impasse ... . As for illness, problems of evidence offer little hope of satisfactory resolution: the state of diagnosis; the confusion of witnesses; disregard of long-term effects of smoking and alcohol. We do not know how Tchaikovsky died. We may never find out."

## Music

### Antecedents and influences

Of Tchaikovsky's Western predecessors, Robert Schumann stands out as an influence in formal structure, harmonic practices, and piano writing, according to Brown and musicologist Roland John Wiley. Boris Asafyev comments that Schumann left his mark on Tchaikovsky not just as a formal influence but also as an example of musical dramaturgy and self-expression. Leon Botstein argues the music of Franz Liszt and Richard Wagner also left their imprints on Tchaikovsky's orchestral style. The late-Romantic trend for writing orchestral suites, begun by Franz Lachner, Jules Massenet, and Joachim Raff after the rediscovery of Bach's works in that genre, may have influenced Tchaikovsky to try his own hand at them.

Tchaikovsky's teacher Anton Rubinstein's opera The Demon became a model for the final tableau of Eugene Onegin. So did Léo Delibes' ballets Coppélia and Sylvia for The Sleeping Beauty and Georges Bizet's opera Carmen (a work Tchaikovsky admired tremendously) for The Queen of Spades. Otherwise, it was to composers of the past that Tchaikovsky turned—Beethoven, whose music he respected; Mozart, whose music he loved; Glinka, whose opera A Life for the Tsar made an indelible impression on him as a child and whose scoring he studied assiduously; and Adolphe Adam, whose ballet Giselle was a favorite of his from his student days and whose score he consulted while working on The Sleeping Beauty. Beethoven's string quartets may have influenced Tchaikovsky's attempts in that medium. Other composers whose work interested Tchaikovsky included Hector Berlioz, Felix Mendelssohn, Giacomo Meyerbeer, Gioachino Rossini, Giuseppe Verdi, Vincenzo Bellini, Carl Maria von Weber and Henry Litolff.

### Creative range

Tchaikovsky displayed a wide stylistic and emotional range, from light salon works to grand symphonies. Some of his works, such as the Variations on a Rococo Theme, employ a "Classical" form reminiscent of 18th-century composers such as Mozart (his favorite composer). Other compositions, such as his Little Russian symphony and his opera Vakula the Smith, flirt with musical practices more akin to those of the 'Five', especially in their use of folk song. Other works, such as Tchaikovsky's last three symphonies, employ a personal musical idiom that facilitated intense emotional expression.

### Compositional style

#### Melody

American music critic and journalist Harold C. Schonberg wrote of Tchaikovsky's "sweet, inexhaustible, supersensuous fund of melody", a feature that has ensured his music's continued success with audiences. Tchaikovsky's complete range of melodic styles was as wide as that of his compositions. Sometimes he used Western-style melodies, sometimes original melodies written in the style of Russian folk song; sometimes he used actual folk songs. According to The New Grove, Tchaikovsky's melodic gift could also become his worst enemy in two ways.

The first challenge arose from his ethnic heritage. Unlike Western themes, the melodies that Russian composers wrote tended to be self-contained: they functioned with a mindset of stasis and repetition rather than one of progress and ongoing development. On a technical level, it made modulating to a new key to introduce a contrasting second theme exceedingly difficult, as this was literally a foreign concept that did not exist in Russian music.

The second way melody worked against Tchaikovsky was a challenge that he shared with the majority of Romantic-age composers. They did not write in the regular, symmetrical melodic shapes that worked well with sonata form, such as those favored by Classical composers such as Haydn, Mozart or Beethoven; rather, the themes favored by Romantics were complete and independent in themselves. This completeness hindered their use as structural elements in combination with one another. This challenge was why the Romantics "were never natural symphonists". All a composer like Tchaikovsky could do with them was to essentially repeat them, even when he modified them to generate tension, maintain interest, and satisfy listeners.

#### Harmony

Harmony could be a potential trap for Tchaikovsky, according to Brown, since Russian creativity tended to focus on inertia and self-enclosed tableaux, while Western harmony worked against this to propel the music onward and, on a larger scale, shape it. Modulation, the shifting from one key to another, was a driving principle in both harmony and sonata form, the primary Western large-scale musical structure since the middle of the 18th century. Modulation maintained harmonic interest over an extended time scale, provided a clear contrast between musical themes, and showed how those themes were related to each other.

One point in Tchaikovsky's favor was "a flair for harmony" that "astonished" Rudolph Kündinger, Tchaikovsky's music tutor during his time at the School of Jurisprudence. Added to what he learned at the Saint Petersburg Conservatory studies, this talent allowed Tchaikovsky to employ a varied range of harmony in his music, from the Western harmonic and textural practices of his first two string quartets to the use of the whole-tone scale in the center of the finale of the Second Symphony, a practice more typically used by The Five.

#### Rhythm

Rhythmically, Tchaikovsky sometimes experimented with unusual meters. More often, he used a firm, regular meter, a practice that served him well in dance music. At times, his rhythms became pronounced enough to become the main expressive agent of the music. They also became a means, found typically in Russian folk music, of simulating movement or progression in large-scale symphonic movements—a "synthetic propulsion", as Brown phrases it, which substituted for the momentum that would be created in strict sonata form by the interaction of melodic or motivic elements. This interaction generally does not take place in Russian music. (For more on this, please see Repetition below.)

#### Structure

Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments.

According to Brown and musicologists Hans Keller and Daniel Zhitomirsky, Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline", as Zhitomirsky phrases it. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes, keys, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, Warrack charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which added up to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.

Partly owing to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of Dostoevsky. German musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience". Leon Botstein, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener's own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one's own 'truly lived and felt experience' or one's search for intensity in a deeply personal sense".

#### Repetition

As mentioned above, repetition was a natural part of Tchaikovsky's music, just as it is an integral part of Russian music. His use of sequences within melodies (repeating a tune at a higher or lower pitch in the same voice) could go on for extreme length. The problem with repetition is that, over a period of time, the melody being repeated remains static, even when there is a surface level of rhythmic activity added to it. Tchaikovsky kept the musical conversation flowing by treating melody, tonality, rhythm and sound color as one integrated unit, rather than as separate elements.

By making subtle but noticeable changes in the rhythm or phrasing of a tune, modulating to another key, changing the melody itself or varying the instruments playing it, Tchaikovsky could keep a listener's interest from flagging. By extending the number of repetitions, he could increase the musical and dramatic tension of a passage, building "into an emotional experience of almost unbearable intensity", as Brown phrases it, controlling when the peak and release of that tension would take place. Musicologist Martin Cooper calls this practice a subtle form of unifying a piece of music and adds that Tchaikovsky brought it to a high point of refinement. (For more on this practice, see the next section.)

#### Orchestration

Like other late Romantic composers, Tchaikovsky relied heavily on orchestration for musical effects. Tchaikovsky, however, became noted for the "sensual opulence" and "voluptuous timbrel virtuosity" of his orchestration. Like Glinka, Tchaikovsky tended toward bright primary colors and sharply delineated contrasts of texture. However, beginning with the Third Symphony, Tchaikovsky experimented with an increased range of timbres Tchaikovsky's scoring was noted and admired by some of his peers. Rimsky-Korsakov regularly referred his students at the Saint Petersburg Conservatory to it and called it "devoid of all striving after effect, [to] give a healthy, beautiful sonority". This sonority, musicologist Richard Taruskin pointed out, is essentially Germanic in effect. Tchaikovsky's expert use of having two or more instruments play a melody simultaneously (a practice called doubling) and his ear for uncanny combinations of instruments resulted in "a generalized orchestral sonority in which the individual timbres of the instruments, being thoroughly mixed, would vanish".

#### Pastiche (Passé-ism)

In works like the "Serenade for Strings" and the Variations on a Rococo Theme, Tchaikovsky showed he was highly gifted at writing in a style of 18th-century European pastiche. Tchaikovsky graduated from imitation to full-scale evocation in the ballet The Sleeping Beauty and the opera The Queen of Spades. This practice, which Alexandre Benois calls "passé-ism", lends an air of timelessness and immediacy, making the past seem as though it were the present. On a practical level, Tchaikovsky was drawn to past styles because he felt he might find the solution to certain structural problems within them. His Rococo pastiches also may have offered escape into a musical world purer than his own, into which he felt himself irresistibly drawn. (In this sense, Tchaikovsky operated in the opposite manner to Igor Stravinsky, who turned to Neoclassicism partly as a form of compositional self-discovery.) Tchaikovsky's attraction to ballet might have allowed a similar refuge into a fairy-tale world, where he could freely write dance music within a tradition of French elegance.

### Aesthetic impact

Maes maintains that, regardless of what he was writing, Tchaikovsky's main concern was how his music impacted his listeners on an aesthetic level, at specific moments in the piece, and on a cumulative level once the music had finished. What his listeners experienced on an emotional or visceral level became an end in itself. Tchaikovsky's focus on pleasing his audience might be considered closer to that of Mendelssohn or Mozart. Considering that he lived and worked in what was probably the last 19th-century feudal nation, the statement is not actually that surprising.

And yet, even when writing so-called 'programme' music, for example, his Romeo and Juliet fantasy overture, he cast it in sonata form. His use of stylized 18th-century melodies and patriotic themes was geared toward the values of Russian aristocracy. He was aided in this by Ivan Vsevolozhsky, who commissioned The Sleeping Beauty from Tchaikovsky and the libretto for The Queen of Spades from Modest with their use of 18th-century settings stipulated firmly. Tchaikovsky also used the polonaise frequently, the dance being a musical code for the Romanov dynasty and a symbol of Russian patriotism. Using it in the finale of a work could assure its success with Russian listeners.

## Reception

### Dedicatees and collaborators

Tchaikovsky's relationship with collaborators was mixed. Like Nikolai Rubinstein with the First Piano Concerto, virtuoso and pedagogue Leopold Auer rejected the Violin Concerto initially but changed his mind; he played it to great public success and taught it to his students, who included Jascha Heifetz and Nathan Milstein. Wilhelm Fitzenhagen "intervened considerably in shaping what he considered 'his' piece", the Variations on a Rococo Theme, according to music critic Michael Steinberg. Tchaikovsky was angered by Fitzenhagen's license but did nothing; the Rococo Variations were published with the cellist's amendments.

His collaboration on the three ballets went better and in Marius Petipa, who worked with him on the last two, he might have found an advocate. When The Sleeping Beauty was seen by its dancers as needlessly complicated, Petipa convinced them to put in the extra effort. Tchaikovsky compromised to make his music as practical as possible for the dancers and was accorded more creative freedom than ballet composers were usually accorded at the time. He responded with scores that minimized the rhythmic subtleties normally present in his work but were inventive and rich in melody, with more refined and imaginative orchestration than in the average ballet score.

### Critics

Critical reception to Tchaikovsky's music was varied but also improved over time. Even after 1880, some inside Russia held it suspect for not being nationalistic enough and thought Western European critics lauded it for exactly that reason. There might have been a grain of truth in the latter, according to musicologist and conductor Leon Botstein, as German critics especially wrote of the "indeterminacy of [Tchaikovsky's] artistic character ... being truly at home in the non-Russian". Of the foreign critics who did not care for his music, Eduard Hanslick lambasted the Violin Concerto as a musical composition "whose stink one can hear" and William Forster Abtrop wrote of the Fifth Symphony, "The furious peroration sounds like nothing so much as a horde of demons struggling in a torrent of brandy, the music growing drunker and drunker. Pandemonium, delirium tremens, raving, and above all, noise worse confounded!"

The division between Russian and Western critics remained through much of the 20th century but for a different reason. According to Brown and Wiley, the prevailing view of Western critics was that the same qualities in Tchaikovsky's music that appealed to audiences—its strong emotions, directness and eloquence and colorful orchestration—added up to compositional shallowness. The music's use in popular and film music, Brown says, lowered its esteem in their eyes still further. There was also the fact, pointed out earlier, that Tchaikovsky's music demanded active engagement from the listener and, as Botstein phrases it, "spoke to the listener's imaginative interior life, regardless of nationality". Conservative critics, he adds, may have felt threatened by the "violence and 'hysteria'" they detected and felt such emotive displays "attacked the boundaries of conventional aesthetic appreciation—the cultured reception of art as an act of formalist discernment—and the polite engagement of art as an act of amusement".

There has also been the fact that the composer did not follow sonata form strictly, relying instead on juxtaposing blocks of tonalities and thematic groups. Maes states this point has been seen at times as a weakness rather than a sign of originality. Even with what Schonberg termed "a professional reevaluation" of Tchaikovsky's work, the practice of faulting Tchaikovsky for not following in the steps of the Viennese masters has not gone away entirely, while his intention of writing music that would please his audiences is also sometimes taken to task. In a 1992 article, New York Times critic Allan Kozinn writes, "It is Tchaikovsky's flexibility, after all, that has given us a sense of his variability.... Tchaikovsky was capable of turning out music—entertaining and widely beloved though it is—that seems superficial, manipulative and trivial when regarded in the context of the whole literature. The First Piano Concerto is a case in point. It makes a joyful noise, it swims in pretty tunes and its dramatic rhetoric allows (or even requires) a soloist to make a grand, swashbuckling impression. But it is entirely hollow".

In the 21st century, however, critics are reacting more positively to Tchaikovsky's tunefulness, originality, and craftsmanship. "Tchaikovsky is being viewed again as a composer of the first rank, writing music of depth, innovation and influence," according to cultural historian and author Joseph Horowitz. Important in this reevaluation is a shift in attitude away from the disdain for overt emotionalism that marked half of the 20th century. "We have acquired a different view of Romantic 'excess,'" Horowitz says. "Tchaikovsky is today more admired than deplored for his emotional frankness; if his music seems harried and insecure, so are we all".

### Public

Horowitz maintains that, while the standing of Tchaikovsky's music has fluctuated among critics, for the public, "it never went out of style, and his most popular works have yielded iconic sound-bytes  [sic], such as the love theme from Romeo and Juliet". Along with those tunes, Botstein adds, "Tchaikovsky appealed to audiences outside of Russia with an immediacy and directness that were startling even for music, an art form often associated with emotion". Tchaikovsky's melodies, stated with eloquence and matched by his inventive use of harmony and orchestration, have always ensured audience appeal. His popularity is considered secure, with his following in many countries, including the United States and the United Kingdom, second only to that of Beethoven. His music has also been used frequently in popular music and film.

## Legacy

According to Wiley, Tchaikovsky was a pioneer in several ways. "Thanks in large part to Nadezhda von Meck", Wiley writes, "he became the first full-time professional Russian composer". This, Wiley adds, allowed him the time and freedom to consolidate the Western compositional practices he had learned at the Saint Petersburg Conservatory with Russian folk song and other native musical elements to fulfill his own expressive goals and forge an original, deeply personal style. He made an impact in not only complete works such as the symphony but also program music and, as Wiley phrases it, "transformed Liszt's and Berlioz's achievements ... into matters of Shakespearean elevation and psychological import". Wiley and Holden both note that Tchaikovsky did all this without a native school of composition upon which to fall back. They point out that only Glinka had preceded him in combining Russian and Western practices and his teachers in Saint Petersburg had been thoroughly Germanic in their musical outlook. He was, they write, for all intents and purposes alone in his artistic quest.

Maes and Taruskin write that Tchaikovsky believed that his professionalism in combining skill and high standards in his musical works separated him from his contemporaries in The Five. Maes adds that, like them, he wanted to produce music that reflected Russian national character but which did so to the highest European standards of quality. Tchaikovsky, according to Maes, came along at a time when the nation itself was deeply divided as to what that character truly was. Like his country, Maes writes, it took him time to discover how to express his Russianness in a way that was true to himself and what he had learned. Because of his professionalism, Maes says, he worked hard at this goal and succeeded. The composer's friend, music critic Herman Laroche, wrote of The Sleeping Beauty that the score contained "an element deeper and more general than color, in the internal structure of the music, above all in the foundation of the element of melody. This basic element is undoubtedly Russian".

Tchaikovsky was inspired to reach beyond Russia with his music, according to Maes and Taruskin. His exposure to Western music, they write, encouraged him to think it belonged to not just Russia but also the world at large. Volkov adds that this mindset made him think seriously about Russia's place in European musical culture—the first Russian composer to do so. It steeled him to become the first Russian composer to acquaint foreign audiences personally with his own works, Warrack writes, as well as those of other Russian composers. In his biography of Tchaikovsky, Anthony Holden recalls the dearth of Russian classical music before Tchaikovsky's birth, then places the composer's achievements into historical perspective: "Twenty years after Tchaikovsky's death, in 1913, Igor Stravinsky's The Rite of Spring erupted onto the musical scene, signaling Russia's arrival into 20th-century music. Between these two very different worlds, Tchaikovsky's music became the sole bridge".

## Voice recording

A recording was made in Moscow in January 1890, by Julius Block [ru] on behalf of Thomas Edison. A transcript of the recording follows (identification of the speakers is speculative):

According to musicologist Leonid Sabaneyev, Tchaikovsky was not comfortable with being recorded for posterity and tried to shy away from it. On an apparently separate visit from the one related above, Block asked the composer to play something on a piano or at least say something. Tchaikovsky refused. He told Block, "I am a bad pianist and my voice is raspy. Why should one eternalize it?"

Russian composer (1840–1893)

19th-century journalists from the Russian Empire

Honorary Members of the Royal Philharmonic Society

Recipients of the Order of St. Vladimir, 4th class


Kavad I

Kavad I (Middle Persian: 𐭪𐭥𐭠𐭲 Kawād; 473 – 13 September 531) was the Sasanian King of Kings of Iran from 488 to 531, with a two or three-year interruption. A son of Peroz I (r. 459–484), he was crowned by the nobles to replace his deposed and unpopular uncle Balash (r. 484–488).

Inheriting a declining empire where the authority and status of the Sasanian kings had largely ended, Kavad tried to reorganize his empire by introducing many reforms whose implementation was completed by his son and successor Khosrow I. They were made possible by Kavad's use of the Mazdakite preacher Mazdak leading to a social revolution that weakened the authority of the nobility and the clergy. Because of this, and the execution of the powerful king-maker Sukhra, Kavad was imprisoned in the Castle of Oblivion ending his reign. He was replaced by his brother Jamasp. However, with the aid of his sister and an officer named Siyawush, Kavad and some of his followers fled east to the territory of the Hephthalite king who provided him with an army. This enabled Kavad to restore himself to the throne in 498/9.

Bankrupted by this hiatus, Kavad applied for subsidies from the Byzantine emperor Anastasius I. The Byzantines had originally paid the Iranians voluntarily to maintain the defense of the Caucasus against attacks from the north. Anastasius refused the subsidies, which led Kavad to invade his domains, thus starting the Anastasian War. Kavad first seized Theodosiopolis and Martyropolis respectively, and then Amida after holding the city under siege for three months. The two empires made peace in 506, with the Byzantines agreeing to pay subsidies to Kavad for the maintenance of the fortifications on the Caucasus in return for Amida. Around this time, Kavad also fought a lengthy war against his former allies, the Hephthalites; by 513 he had re-taken the region of Khorasan from them.

In 528, war between the Sasanians and Byzantines erupted again, because of the Byzantines refusal to acknowledge Khosrow as Kavad's heir, and a dispute over Lazica. Although Kavad's forces suffered two notable losses at Dara and Satala, the war was largely indecisive, with both sides suffering heavy losses. In 531, while the Iranian army was besieging Martyropolis, Kavad died from an illness. He was succeeded by Khosrow I, who inherited a reinvigorated and mighty empire that equaled that of the Byzantines.

Because of the many challenges and issues Kavad successfully overcame, he is considered one of the most effective and successful kings to rule the Sasanian Empire. In the words of the Iranologist Nikolaus Schindel, he was "a genius in his own right, even if of a somewhat Machiavellian type."

## Name

Due to increased Sasanian interest in Kayanian history, Kavad was named after the mythological Kayanian king Kavi Kavata. The name is transliterated in Greek as Kabates, Chü-he-to in Chinese, and Qubādh in Arabic.

## Background and state of Sasanian Iran

The son of the Sasanian shah Peroz I (r. 459–484), Kavad was born in 473. The Sasanian family had been the monarchs of Iran since 224 after the triumph of the first Sasanian shah Ardashir I (r. 224–242) over the Parthian (Arsacid) Empire. Although Iranian society was greatly militarised and its elite designated themselves as a "warrior nobility" (arteshtaran), it still had a significantly smaller population, was more impoverished, and was a less centralized state compared to the Roman Empire. As a result, the Sasanian shahs had access to fewer full-time fighters, and depended on recruits from the nobility instead. Some exceptions were the royal cavalry bodyguard, garrison soldiers, and units recruited from places outside Iran.

The bulk of the high nobility included the powerful Parthian noble families (known as the wuzurgan) that were centered on the Iranian plateau. They served as the backbone of the Sasanian feudal army and were largely autonomous. The Sasanian shahs had noticeably little control over the wuzurgan; attempts to restrict their self-determination usually resulted in the murder of the shah. Ultimately, the Parthian nobility worked for the Sasanian shah for personal benefit, personal oath, and, conceivably, a common awareness of the "Aryan" (Iranian) kinship they shared with their Persian overlords.

Another vital component of the army was the Armenian cavalry, which was recruited from outside the ranks of the Parthian wuzurgan. However, the revolt of Armenia in 451 and the loss of its cavalry had weakened the Sasanian's attempts to keep the Hunnic tribes (i.e. the Hephthalites, Kidarites, Chionites and Alkhans) of the northeastern border in check. Indeed, Kavad's grandfather Yazdegerd II (r. 438–457) had managed to hold off the Kidarites during his wars against them, which had occupied him throughout most of his reign. Now, however, Sasanian authority in Central Asia began to decay.

In 474 and the late 470s/early 480s, Peroz was defeated and captured twice by the Hephthalites respectively. In his second defeat, he offered to pay thirty mule packs of silver drachms in ransom, but could only pay twenty. Unable to pay the other ten, he sent Kavad in 482 as a hostage to the Hephthalite court until he could pay the rest. He eventually managed to gain the ten mule packs of silver by imposing a poll-tax on his subjects, and thus secured the release of Kavad before he mounted his third campaign in 484. There, Peroz was defeated and killed by a Hephthalite army, possibly near Balkh. His army was completely destroyed, and his body was never found. Four of his sons and brothers had also died. The main Sasanian cities of the eastern region of Khorasan−Nishapur, Herat and Marw were now under Hephthalite rule.

Sukhra, a member of the Parthian House of Karen, one of the Seven Great Houses of Iran, quickly raised a new force and stopped the Hephthalites from achieving further success. Peroz' brother, Balash, was elected as shah by the Iranian magnates, most notably Sukhra and the Mihranid general Shapur Mihran. However, Balash proved unpopular among the nobility and clergy who had him blinded and deposed after just four years in 488. Sukhra, who had played a key role in Balash's deposition, appointed Kavad as the new shah of Iran. According to Miskawayh (d. 1030), Sukhra was Kavad's maternal uncle.

## First reign

### Accession and conditions of the empire

Kavad ascended the throne in 488 at the age of 15. His youth is emphasized on his coins, which show him with short whiskers. He inherited an empire that had reached its lowest ebb. The nobility and clergy exerted great influence and authority over the nation, and were able to act as king-makers, as seen by their choice to depose Balash. Economically, the empire was not doing well either, the result of drought, famine, and the crushing defeats delivered by the Hephthalites. They had not only seized large parts of its eastern provinces, but had also forced the Sasanians to pay vast amounts of tribute to them, which had depleted the royal treasury of the shah. Rebellions were occurring in the western provinces including Armenia and Iberia. Simultaneously, the country's peasant class was growing more and more uneasy and alienated from the elite.

### Conflict with Sukhra over the empire

The young and inexperienced Kavad was tutored by Sukhra during his first five years as shah. During this period, Kavad was a mere figurehead, whilst Sukhra was the de facto ruler of the empire. This is emphasized by al-Tabari, who states that Sukhra "was in charge of government of the kingdom and the management of affairs ... [T]he people came to Sukhra and undertook all their dealings with him, treating Kavad as a person of no importance and regarding his commands with contempt." Numerous regions and the representatives of the elite paid tribute to Sukhra not to Kavad. Sukhra controlled the royal treasury and the Iranian military. In 493, Kavad, having reached adulthood, wanted to put an end to Sukhra's dominance, and had him exiled to his native Shiraz in southwestern Iran. Even in exile, however, Sukhra was in control of everything except the kingly crown. He bragged about having put Kavad on the throne.

Alarmed by the thought that Sukhra might rebel, Kavad wanted to get rid of him completely. He lacked the manpower to do so, however, as the army was controlled by Sukhra and the Sasanians relied mainly on the military of the Seven Great Houses of Iran. He found his solution in Shapur of Ray, a powerful nobleman from the House of Mihran, and a resolute opponent of Sukhra. Shapur, at the head of an army of his own men and disgruntled nobles, marched to Shiraz, defeated Sukhra's forces, and imprisoned him in the Sasanian capital of Ctesiphon. Even in prison, Sukhra was considered too powerful and was executed. This caused displeasure among some prominent members of the nobility weakening Kavad's status as shah. It also marked the temporary loss of authority of the House of Karen, whose members were exiled in the regions of Tabaristan and Zabulistan, which was away from the Sasanian court in Ctesiphon.

### The Mazdakite movement and Kavad I's deposition

Not long after Sukhra's execution, a Zoroastrian priest named Mazdak caught Kavad's attention. Mazdak was the chief representative of a religious and philosophical movement called Mazdakism. Not only did it consist of theological teachings, it also advocated for political and social reforms, which would impact the nobility and clergy. The Mazdak movement was against violence and called for the sharing of wealth, women and property, an archaic form of communism. According to modern historians Touraj Daryaee and Matthew Canepa, sharing women was most likely an overstatement and defamation deriving from Mazdak's decree that loosened marriage rules to help the lower classes. Powerful families saw this as a tactic to weaken their lineage and advantages, which was most likely the case. Kavad used the movement as a political tool to curb the power of the nobility and clergy. Royal granaries were distributed, and land was shared among the lower-classes.

The historicity of the persona of Mazdak has been questioned. He may have been a fabrication to take blame away from Kavad. Contemporary historians, including Procopius and Joshua the Stylite make no mention of Mazdak naming Kavad as the figure behind the movement. Mention of Mazdak only emerges in later Middle Persian Zoroastrian documents, namely the Bundahishn, the Denkard, and the Zand-i Wahman yasn. Later Islamic-era sources, particularly al-Tabari's work, also mention Mazdak. These later writings were perhaps corrupted by Iranian oral folklore, given that blame put on Mazdak for the redistribution of aristocratic properties to the people, is a topic repeated in Iranian oral history. Other "villains" in Iranian history, namely Gaumata in the Behistun Inscription of the Achaemenid ruler Darius the Great (r. 522 – 486 BC), and Wahnam in the Paikuli inscription of the Sasanian shah Narseh (r. 293–302), are frequently accused of similar misdeeds. Regardless of the main figure behind this movement, the nobility deposed Kavad in 496. They installed his more impressionable brother Jamasp on the throne. One of the other reasons behind Kavad's deposal was his execution of Sukhra. Meanwhile, chaos was occurring in the country, notably in Mesopotamia.

## Imprisonment, flight and return

A council soon took place among the nobility to discuss what to do with Kavad. Gushnaspdad, a member of a prominent family of landowners (the Kanarangiyan) proposed that Kavad be executed. His suggestion was overruled, however, and Kavad was imprisoned instead in the Prison of Oblivion in Khuzestan. According to Procopius' account, Kavad's wife approached the commander of the prison. They came to an understanding that she would be allowed to see Kavad in exchange for sleeping with him. Kavad's friend, Siyawush, who was regularly in the same area as the prison, planned his friend's escape by preparing horses near the prison. Kavad changed clothes with his wife to disguise himself as a female, and escaped from the prison and fled with Siyawush.

Al-Tabari's account is different. He says that Kavad's sister helped him to escape by rolling him in a carpet, which she made the guard believe was soaked with her menstrual blood. The guard did not object or investigate the carpet, "fearing lest he become polluted by it". One of the authors of the Prosopography of the Later Roman Empire, John Robert Martindale, proposes she may have in fact been Sambice, Kavad's sister-wife, who was the mother of his eldest son, Kawus. Regardless, Kavad managed to escape imprisonment, and fled to the court of the Hephthalite king, where he took refuge. According to the narratives included in the history of al-Tabari, during his flight Kavad met a peasant girl from Nishapur, named Niwandukht, who became pregnant with his child, who would later be Khosrow I. However, the story has been dismissed as "fable" by the Iranologist Ehsan Yarshater. Khosrow's mother was in reality a noblewoman from the Ispahbudhan clan, one of the Seven Great Houses of Iran. At the Hephthalite court, Kavad gained the support of the Hephthalite king, and also married his daughter (who was Kavad's niece).

During his stay at the Hephthalite court, Kavad might have witnessed the rise of the Hephthalites to a better position than that of their former suzerains, the Kidarites. The present-day district of Qobadian (the Arabicized form of Kavadian) near Balkh, which was then under Hephthalite rule, was perhaps founded by Kavad, and possibly served as his source of revenue. In 498 (or 499), Kavad returned to Iran with a Hephthalite army. When he crossed the domains of the Kanarangiyan family in Khorasan, he was met by Adergoudounbades, a member of the family, who agreed to help him. Another noble who supported Kavad was Zarmihr Karen, a son of Sukhra.

Jamasp and the nobility and clergy did not resist as they wanted to prevent another civil war. They came to an agreement with Kavad that he would be shah again with the understanding that he would not hurt Jamasp or the elite. Jamasp was spared, albeit probably blinded, while Gushnaspdad and other nobles who had plotted against Kavad were executed. Generally, however, Kavad secured his position by lenience. Adergoudounbades was appointed the new head of the Kanarangiyan, while Siyawush was appointed the head of the Sasanian army (arteshtaran-salar). Another of Sukhra's sons, Bozorgmehr, was made Kavad's minister (wuzurg framadār). Kavad's reclamation of his throne displays the troubled circumstances of the empire, where in a time of anarchy a small force was able to overwhelm the nobility-clergy alliance.

## Second reign

### Reforms

Kavad's reign is noteworthy for his reforms, which he had been able to make with the nobility and clergy weakened by the Mazdakites. They would not be completed under his reign but were continued by his son, Khosrow I. The serious blows the Sasanians had suffered at the hands of the Hephthalites in the last quarter of the 5th-century was a key reason behind the reforms the two made. Tax reform was implemented, a poll tax was created, and a review of taxable land was undertaken to ensure taxation was fair. The empire was divided into four frontier regions (kust in Middle Persian), with a military commander (spahbed) in charge of each district; a chancery was also added to keep the soldiers equipped. Before Kavad and Khosrow's reforms, the Iranians' general (Eran-spahbed) managed the empire's army. Many of these military commanders were notably from the Parthian wuzurgan, indicating the continuation of their authority, despite the efforts by Kavad and Khosrow. A new priestly office was also created known as the "advocate and judge of the poor" (driyōšān jādag-gōw ud dādwar), which assisted the clergy to help the poor and underprivileged (an obligation they had possibly ignored previously).

The power of the dehqan, a class of small land-owning magnates, increased substantially (and possibly even led to their establishment in the first place). A group of these dehqans was enlisted into a group of cavalry men, who were managed directly by the shah and earned steady wages. This was done to decrease the reliance on the Parthian cavalry. Soldiers were also enlisted from Sasanian allies, such as the Hephthalites, Arabs, and Daylamites. As a result, the newly rejuvenated Sasanian army proved successful in its efforts in subsequent decades. It sacked the Byzantine city of Antioch in 540, conquered Yemen in the 570s, and under the Parthian military commander Bahram Chobin defeated both the Hephthalites and Western Turkic Khaganate in the late 580s.

Although the reforms were beneficial for the Sasanian Empire, they may also have resulted in the decline of the traditional links between the aristocracy and the crown under Hormizd IV (r. 579–590) and Khosrow II (r. 590–628), to the degree that many belonging to the wuzurgan class—notably Bahram Chobin of the Mihran family, and later Shahrbaraz of the same family—were bold enough to dispute the legitimacy of the Sasanian family and lay claims to the throne.

### Persecution of Mazdak and his followers

With his reforms under way by the 520s, Kavad no longer had any use for Mazdak, and he officially stopped supporting the Mazdakites. A debate was arranged where not only the Zoroastrian priesthood, but also Christian and Jewish leaders slandered Mazdak and his followers. According to the Shahnameh (The Book of Kings), written several centuries later by the medieval Persian poet Ferdowsi, Kavad had Mazdak and his supporters sent to Khosrow. His supporters were killed in a walled orchard buried head first with only their feet visible. Khosrow then summoned Mazdak to look at his garden, saying: "You will find trees there that no-one has ever seen and no-one ever heard of even from the mouth of the ancient sages." Mazdak, seeing his followers' corpses, screamed and passed out. He was executed afterwards by Khosrow, who had his feet fastened on a gallows, and had his men shoot arrows at Mazdak. (The validity of the story is uncertain; Ferdowsi used much earlier reports of events to write the Shahnameh, and thus the story may report some form of contemporary memory.)

### Building projects

Many places were founded or re-built under Kavad. He is said to have founded the city Eran-asan-kerd-Kawad in Media; Fahraj in Spahan; and Weh-Kawad, Eran-win(n)ard-Kawad, Kawad-khwarrah, and Arrajan in Pars. He rebuilt Kirmanshah in Media, which he also used as one of his residences. He is also said to have founded a township in Meybod, which was named Haft-adhar ("seven fires"), because of a Zoroastrian fire temple being established there. Its original fire was created by fire brought from seven other temples in Pars, Balkh, Adurbadagan, Nisa, Spahan, Ghazni, and Ctesiphon.

In the Caucasus, Kavad had new fortifications built at Derbent, and ordered the construction of the Apzut Kawat wall (Middle Persian: \*Abzūd Kawād, "Kavad increased [in glory]" or "has prospered"). The prominent Caucasian Albanian capital of P'artaw, which had been rebuilt during the reign of Peroz I and named Perozabad ("the city of Peroz"), was fortified by Kavad and called Perozkavad ("victorious Kavad"). The Albanian former capital of Kabala, a large urban area that included the headquarters of one of the Albanian bishops, was also fortified by Kavad. He founded the city of Baylakan, which by most researchers is identified with the ruins of Oren-kala. Ultimately, these extensive buildings and fortifications transformed Caucasian Albania into a bastion of Iranian presence in the Caucasus.

### The India trade

The Sasanians exerted considerable influence on trade in the region under Kavad. By using the strategic location of the Persian Gulf, the Sasanians interfered to prevent Byzantine traders from taking take part in the India trade. They accomplished this either by bargaining with trade associates in the Indian subcontinent—ranging from the Gupta Empire in the north to the Anuradhapura monarchs of Sri Lanka in the south—or by attacking the Byzantine boats. Iranian traders were also able to seize Indian vessels well before they could make contact with Byzantine traders. These advantages resulted in the Iranian traders establishing something resembling a monopoly over the India trade.

### Anastasian war

The Sasanians and Byzantines had kept peace since the brief Byzantine–Sasanian War of 440. The last major war between the two empires had been during the reign of Shapur II (r. 309–379). However, war finally erupted in 502. Bankrupted by his hiatus in 496–498/9, Kavad applied for subsidies to the Byzantine Empire, who originally had paid the Iranians voluntarily to maintain the defense of the Caucasus against attacks from the north. The Iranians seemingly saw the money as a debt due to them. But now Emperor Anastasius I (r. 491–518) refused subsidies forcing Kavad to attempt to obtain the money by force. In 502, Kavad invaded Byzantine Armenia with a force that included Hephthalite soldiers. He captured Theodosiopolis, perhaps with local support; in any case, the city was undefended by troops and weakly fortified.

He then marched through southwestern Armenia, reportedly without facing any resistance, and entrusted local governor with the administration of the area. He proceeded to cross the Armenian Taurus, and reached Martyropolis, where its governor Theodore, surrendered without any resistance and gave Kavad two years worth of taxes collected from the province of Sophene. Because of this, Kavad let Theodore keep his position as governor of the city. Kavad then besieged the fortress-city of Amida through the autumn and winter (502–503). The siege proved to be a far more difficult enterprise than Kavad had expected; the defenders, although unsupported by troops, repelled the Iranian assaults for three months before they were finally defeated.

He had its inhabitants deported to a city in southern Iran, which he named "Kavad's Better Amida" (Weh-az-Amid-Kawad). He left a garrison in Amida which included his general Glon, two marzbans (margraves) and 3,000 soldiers. The Byzantines failed in their attempt to recapture the city. Kavad then tried unsuccessfully to capture Edessa in Osroene. In 505 an invasion of Armenia by the Huns from the Caucasus led to an armistice; the Byzantines paid subsidies to the Iranians for the maintenance of the fortifications on the Caucasus, in return for Amida. The peace treaty was signed by the Ispahbudhan aristocrat Bawi, Kavad's brother-in-law. Although Kavad's first war with the Byzantines did not end with a decisive winner, the conquest of Amida was the greatest accomplishment achieved by a Sasanian force since 359, when the same city had been captured by Shapur II.

### Relations with Christianity

Kavad's relationship with his Christian subjects is unclear. In Christian Iberia, where the Sasanians had earlier tried to spread Zoroastrianism, Kavad represented himself as an advocate of orthodox Zoroastrianism. In Armenia, however, he settled disputes with the Christians and appears to have continued Balash's peaceful approach. The Christians of Mesopotamia and Iran proper practised their religion without any persecution, despite the punishment of Christians in Iran proper being briefly mentioned in c. 512/3. Like Jamasp, Kavad also supported the patriarch of the Church of the East, Babai, and Christians served in high offices at the Sasanian court. According to Eberhard Sauer, Sasanian monarchs only persecuted other religions when it was in their urgent political interests to do so.

According to the Chronicle of Seert and the historian Mari ibn Sulayman, Kavad ordered all the religious communities in the empire to submit written descriptions of their beliefs. This took place sometime before 496. In response to this command, the Patriarch Aqaq commissioned Elishaʿ bar Quzbaye, interpreter of the school of Nisibis, to write for the Church of the East. His work was then translated from Syriac to Persian and presented to Kavad. This work has since been lost.

Kavad's reign marked a new turn in Sasanian–Christian relations; before his reign, Jesus had been seen solely as the defender of the Byzantines. This changed under Kavad. According to an apocryphal account in the Chronicle of Pseudo–Zachariah of Mytilene, written by a West Syrian monk at Amida in 569, Kavad saw a vision of Jesus whilst besieging Amida, which encouraged him to remain resolute in his effort. Jesus guaranteed to give him Amida within three days, which happened. Kavad's forces then sacked the city, taking much booty. The city's church was spared, however, due to the relationship between Kavad and Jesus. Kavad was even thought to have venerated a figure of Jesus. According to modern historian Richard Payne, the Sasanians could now be viewed as adherents of Jesus and his saints, if not Christianity itself.

### Wars in the east

Not much is known about Kavad's wars in the east. According to Procopius, Kavad was forced to leave for the eastern frontier in 503 to deal with an attack by "hostile Huns", one of the many clashes in a reportedly lengthy war. After the Sasanian disaster in 484, all of Khorasan was seized by the Hephthalites; no Sasanian coins minted in the area (Nishapur, Herat, Marw) have been found from his first reign. The increase in the number of coins minted at Gorgan (which was now the northernmost Sasanian point) during his first reign may indicate a yearly tribute he paid to the Hephthalites. During his second reign, his fortunes changed. A Sasanian campaign in 508 led to the conquest of the Zundaber (Zumdaber) Castellum, associated with the temple of az-Zunin in the area of ad-Dawar, situated between Bust and Kandahar. A Sasanian coin dating to 512/3 has been found in Marw. This indicates the Sasanians under Kavad had managed to re-conquer Khorasan after successfully dealing with the Hephthalites.

### Negotiations with the Byzantines over the adoption of Khosrow

Around 520 to secure the succession of his youngest son Khosrow, whose position was threatened by rival brothers and the Mazdakite sect, and to improve his relationship with the Byzantine emperor Justin I, Kavad proposed that he adopt Khosrow. This proposal was greeted initially with enthusiasm by the Byzantine emperor and his nephew, Justinian. However, Justinian's quaestor, Proclus, opposed the move concerned over the possibility that Khosrow might attempt to take over the Byzantine throne. The Byzantines made a counter-proposal to adopt Khosrow not as a Roman but as a barbarian. In the end the negotiations did not reach a consensus. Khosrow reportedly felt insulted by the Byzantines, and his attitude towards them deteriorated.

Mahbod, who with Siyawush, had acted as the diplomats in the negotiations accused him of purposely sabotaging them. Further accusations were made against Siyawush, which included his reverence for new deities, and having his dead wife buried, a violation of Iranian law. Siyawush was thus most likely a Mazdakite, the religious sect that Kavad had originally, but now no longer, supported. Although Siyawush was a close friend of Kavad and had helped him escape imprisonment, Kavad did not try to prevent his execution. Seemingly his purpose was to restrict Siyawush's immense authority as the head of the Sasanian army, a post which was disliked by the other nobles. Siyawush was executed, and his office was abolished. Despite the breakdown of the negotiations, it was not until 530 that full-scale warfare on the main western frontier broke out. In the intervening years, the two sides preferred waging war by proxy, through Arab allies in the south and Huns in the north.

### Iberian war

Hostility between the two powers erupted into conflict once again in 528, just a year after the new Byzantine emperor Justinian I (r. 527–565) had been crowned. This was supposedly the result of the Byzantines not acknowledging Khosrow as Kavad's heir. According to the Greek chronicler John Malalas, military clashes first took place in Lazica, which had been disputed between the two empires since 522. Not long after this the battles also spread down to Mesopotamia, where the Byzantines suffered a heavy defeat near the border. In 530, one of the famous open-field battles took place between the Byzantine and Sasanian troops at Dara.

The Sasanian army led by Perozes, Pityaxes and Baresmanas suffered a severe defeat. The battle did not, however, bring an end to the conflict. The following year Kavad raised an army, which he sent under Azarethes to invade the Byzantine province of Commagene. When the Byzantine army under Belisarius approached, Azarethes and his men withdrew east, halting at Callinicum. In the ensuing battle the Byzantines suffered a heavy defeat, but Iranian losses were so great Kavad was displeased with Azarethes, and relieved him of his command. In 531, the Iranians besieged Martyropolis. During the siege, however, Kavad became ill and died on 13 September. As a result, the siege was lifted and peace was made between Kavad's successor Khosrow I and Justinian.

## Coins

The provinces of Gorgan, Khuzestan, and Asoristan provided the most Sasanian coinage for Kavad during his reign. His reign marks the introduction of distinctive traits on the obverse sides of the coin which includes astral symbols, particularly, a crescent on both of his shoulders, and a star in the left corner. The reverse side shows the traditional fire altar flanked by two attendants facing it in veneration. Kavad used the title of kay (Kayanian) on his coins, a title that had been used since the reign of his grandfather Yazdegerd II (r. 438–457). Kavad was, however, the last Sasanian shah to have kay inscribed on his coins—the last one issued in 513. The regular obverse inscription on his coins simply has his name; in 504, however, the slogan abzōn ("may he prosper/increase") was added.

## Succession

According to Procopius and other historians, Kavad had written a succession plan that favoured Khosrow just before his death. Historian John Malalas stated that Kavad crowned Khosrow himself. However, at the beginning of Khosrow's reign in 531, Bawi, and other members of the Iranian aristocracy, became involved in a conspiracy to overthrow Khosrow and make Kavad, the son of Kavad's second eldest son Jamasp, the shah of Iran. Upon learning of the plot, Khosrow executed all of his brothers and their offspring, as well as Bawi and the other nobles who were involved.

Khosrow also ordered the execution of Kavad, who was still a child, and was away from the court, being raised by Adergoudounbades. He sent orders to kill Kavad, but Adergoudounbades disobeyed and secretly raised him until he was betrayed to the shah in 541 by his own son, Bahram. Khosrow had him executed, but Kavad, or someone claiming to be him, managed to flee to the Byzantine Empire.

## Legacy

Kavad's reign is considered a turning point in Sasanian history. As a result of the many challenges and issues Kavad successfully handled, he is considered one of the most effective and successful kings to rule the Sasanian Empire. In the words of Iranologist Nikolaus Schindel he was "a genius in his own right, even if of a somewhat Machiavellian type." He was successful in his efforts to reinvigorate his declining empire paving the way for a smooth transition to his son Khosrow I, who inherited a powerful empire. He improved it further during his reign, becoming one of the most popular shahs of Iran earning the epithet Anushirvan ("the immortal soul").

The Ziyarid dynasty, which mainly ruled over Tabaristan and Gorgan between 931–1090, claimed that the founder of the dynasty, Mardavij (r. 930–935), was descended from Kavad.

## Family tree

King of kings of the Sasanian Empire from 488 to 531