Pyotr Ilyich Tchaikovsky
(1840-1893)

Manfred Symphony in B Minor, Op. 58
Composed 1885

Tchaikovsky’s Manfred Symphony is a monumental and deeply introspective work, a programmatic symphony that marries emotional depth with vivid storytelling. Composed in 1885, the symphony was inspired by Lord Byron’s dramatic poem Manfred, a tale of guilt, despair, and redemption. Although Tchaikovsky initially resisted the idea of composing a symphony on this subject, he eventually embraced the challenge, crafting a work of profound scale and complexity. His personal connection to the themes of the poem—especially the torment of forbidden desires and unattainable peace—imbues the symphony with unique emotional intensity.

The idea for the Manfred Symphony originated with Vladimir Stasov, a Russian critic, who proposed it to Hector Berlioz in the late 1860s. After Berlioz declined, Mily Balakirev, a composer and mentor to Tchaikovsky, took up the idea. Nearly two decades later, Balakirev passed the concept to Tchaikovsky, along with a detailed program outlining the narrative for a four-movement symphony. Initially, Tchaikovsky was hesitant, stating that the subject left him “absolutely cold” and expressing concern over comparisons to Schumann’s earlier Manfred music, which he greatly admired. However, after further persuasion and reading Byron’s poem, Tchaikovsky decided to proceed.

The symphony’s program mirrors Byron’s narrative. The first movement, Lento lugubre, depicts Manfred wandering the Alps, tormented by guilt and memories of his lost love, Astarte. Tchaikovsky introduces Manfred’s theme with low woodwinds and strings, a brooding motif that recurs throughout the symphony. The movement contrasts this anguish with Astarte’s ethereal theme, presented by muted strings, and ends in a wrenching climax of despair.

The second movement, Vivace con spirito, offers a fleeting moment of lightness. An Alpine fairy appears to Manfred in the spray of a waterfall, represented by shimmering textures and delicate orchestration. This scherzo balances playful and fantastical elements, yet Manfred’s theme briefly intrudes, maintaining the hero’s ever-present torment.

The third movement, Andante con moto, is a pastoral interlude, portraying the idyllic life of Alpine hunters. The serene melodies evoke peace and simplicity, yet Manfred’s presence interrupts this calm, underscoring his alienation from such harmony. Balakirev had warned Tchaikovsky to avoid clichés like hunting fanfares, and Tchaikovsky responded with subtle, understated writing that avoids banality.

The finale, Allegro con fuoco, plunges into the subterranean palace of Arimanes, where an infernal orgy takes place. Tchaikovsky vividly depicts the chaotic bacchanal with fiery orchestration and relentless rhythms. Amid the turmoil, Manfred summons the spirit of Astarte. Her music brings a moment of sublime calm as she pardons Manfred and foretells his release. The symphony concludes with his death, depicted first in a radiant blaze of C major and then in a serene, otherworldly coda. Tchaikovsky’s interpretation diverges from Byron’s more ambiguous ending, offering a vision of redemption and peace. 

Tchaikovsky worked tirelessly on the symphony, despite expressing doubts during its creation. He described the process as exhausting but rewarding, noting in letters to friends that the work was “vast, serious, difficult,” yet possibly “the best of my symphonic compositions.” He completed the orchestration in September 1885 and premiered the symphony in March 1886 at a concert of the Russian Musical Society.

Despite its extraordinary ambition, the Manfred Symphony has remained a rarity in the concert repertoire. Its length, intricate orchestration, and dark emotional tone have made it a challenging piece to program and perform. Tchaikovsky himself doubted its longevity, predicting it would be performed only once every ten years. Yet, the symphony has endured as a unique and powerful work within his catalog.

The Manfred Symphony is Tchaikovsky’s longest purely orchestral composition, lasting nearly an hour. Each movement carries its own vivid narrative, from the stormy introspection of the first movement to the fiery resolution of the finale. Though Tchaikovsky expressed mixed feelings about the symphony after its completion, it remains a testament to his ability to transform profound personal struggles into music of immense power and beauty. Today, the Manfred Symphony stands as one of Tchaikovsky’s most distinctive creations—a work of remarkable emotional depth and dramatic intensity that bridges the worlds of literature and music.

Instrumentation – three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, three bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, percussion, two harps, harmonium, and strings

Duration – 57 minutes

~ Kenneth Bean
Georg and Joyce Albers-Schonberg Assistant Conductor
Princeton Symphony Orchestra