Tag: Tchaikovsky

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Gay Music by Phillip Hoyle

I like my music gay! For more than one reason I am planning to spend several months hearing mainly gay music. The first reason for this insistence seems most immediate: my current health crisis that demands from me a sense of upbeat expectation of a recovery from my present difficulties and from the therapies the doctors devise. So I’ll play gay music to speed along the healing process. The second reason for this gay insistence relates to having just retired from fifteen years of giving therapeutic massages, mostly to tempos largo, lento, and adagio. Back then (it’s been over a month and a half) I wanted my massages to promote relaxation and so avoided country and western songs, rap, abstract jazz, metallica, and most rock ‘n roll. I played almost no Nashville, no Broadway. Now seems the time to quicken the pace and lighten the mood. So it’s gay music for me in the coming months.

I’m a habitual shelf reader from my many years of roaming library stacks. I’m a methodical one preferring to read from left to right, following the ascending numbers of the Dewey Decimal System. So I’m going to read the shelves of my small CD collection to select my first round of music playing for the weeks to come. Luckily I no longer have a catheter in place so I can comfortably sit on the floor to view my low-down shelves.

So it begins, shelf one. Mathias organ music. I’ll skip that. Oh Dupré. More organ music but too dour and over serious for this man in recovery. Skip, skip, skip, skip. Hmm. Tchaikovsky Violin Concerto? No, I have always found this particular recording just a bit too screechy. I don’t want to put myself on edge. Skip, skip, skip. “Songs of Atlantic Canada”? Surely this album is out of place among these classical works, but I recall how accessible the arrangements of regional folksongs are. Guess I’ll select this Cape Breton Chorale album and think of my Canadian friend Bill, who gave it to me and has for years been thoughtful and supportive. John Tavener’s “Ikons” presents glorious, creative music but … no, not now. Just not gay enough. “Lend Me Your Ear” by Double ‘O Six. That’s a possible listen with classically trained voices. Very choral though all soloists who do crazy things to Chattanooga Choo Choo, With a Little Help from My Friends, and other pop pieces. Here. “Pieces of Africa” by the Chronos Quartet. I might put that on right now and reread the get-well note from my African son Francis. Oh, an album of Charpentier’s Christmas music. Yes. Even though the composer accidently poisoned himself and his family by serving the wrong kind of mushrooms, his music evokes a delicate gaiety. Well, it’s French Baroque with a light touch. Hum. “Albinoni’s Adagios.” More Baroque, although Italian. I really like these but heard the album way too many times over the last twelve and a half years playing it for one of my long-time clients who listened only to classical music. As I mentioned, too many adagios in my recent past. Oh Dianne Bish’s “Great European Organs.” That sounds like a gay album. I clearly recall Bish’s pant suit—all gold sparkles—from when she concertized the Cassavant at East Heights United Methodist Church, Wichita. If she’d had a candelabrum she’d have seemed a twin to Liberace. How gay that would be?

Brahms. Lovely Brahms, but his “German Requiem”? They can play that for my memorial service that I hope is a long ways off. Hovhaness’ “And God Created Great Whales.” That one always picks me up, especially when the humpback whales make their first appearance. “The Choral and Vocal Arrangements of Moses Hogan.” Some of that album is somber but I’ll surely enjoy his stunning arrangement of Elijah Rock. Yes. And here, for a change of pace, Handel’s “Chandos Anthems.” I know at least a few of the anthems that can serve me for a special meditative gay moment, especially the soprano and tenor duet In the beauty of holiness with its long descending melismas spun out and interwoven by singers and orchestra. It thrills me. Brahms again; his ‘Complete Intermezzos” played by the Russian Luba Edlina. Yes. These always lift me with their lush harmonies and inventive melodies. I’ll float along with Brahms. While at it I guess I’ll hear Bach’s “Inventions and Sinfonias” played by Glenn Gould, for me always an exquisitely gay experience.

Okay, shelf two. Pop music. Hmm. Here we go. Imogene Heap’s “Speak for Yourself” will do good things for me with her always musical and creative command of synthesizers, her invention and variety. Yes. Of course Cyndy Lauper’s “The Body Acoustic” will be on my playlist. I probably will indulge in it daily, like She Bop and Girls Just Want to Have Fun. I like so many more of these pop CDs but played most of them too many times in massage. I’ll give them and me a rest! Now this one looks good, Keith Jarrett Trio’s “Up for It.” Yes. Jazz. I’m so pleased I’m doing this. And another jazz album but this one Jacques Loussier’s “Play Bach,” his jazz trio’s renditions of JS Bach pieces, an album from 1960 that I first heard in high school. I especially am ready to hear them improvise the Gigue from Partita No. 1 in B flat major, BWV 825. I’m feeling better already. Then another kind of gay music: “Whirl” from the Fred Hersch Trio. This album will surely move to gaity, both by the music and by the knowledge that all three men are gay! Oh and the three volumes of “Verve Remixed” with their most inventive remixing of jazz standards, many from my favorite singers, with hard-hitting dance beats. Certainly I’ll spin those albums for their tremendous energy. Now this should be fun, “The Original Cast Recording of Forever Plaid,” another CD from my Canadian connection of a musical we saw together, pure nostalgic fun. Sure. And how could I not select Dinah Washington’s “Finest Hour.” Any day she is okay for me. . Oh I’ll have to skip these Miles Davis pieces. Too blue for the occasion. Guess I’ll skip the whole blues section for now with probably one exception; here it is, Cyndy Lauper’s “Memphis Blues.” She thrills me with her tremendous range of feelings and styles. Jai Uttal’s “Monkey” gets in, also his “Mondo Rama” with its high school kids. I am lifted by his traditional Indian raga, jazz, and rock fusion.

I’m tired from all these decisions. So … that gives me a good playlist that ought to last for a while. I hope they’ll lift my mood, help make me clever and gay, of course. So … I’ll just skip all the R. Carlos Nakai and other Native American flute players. I heard them too many times with my client who for over ten years wanted to hear only these pieces during her massages. “No strings,” she’d say. “They make me tense up.” Besides, if I were going to play Native American pieces, I’d want war dances. That’s not very gay sounding of me although Stonewall showed that gays in pumps and frocks can go to war. I think right now I’m just angry at disease and failures in my own body. I’ll pass on the flutes and war drums.

I’ve got plenty of music to soothe me with gaiety. I’ll even listen to some of these albums with my gay partner. Suppose that will double their effect? I hope so.

© Denver, 2014 


About the Author 

Phillip Hoyle lives in Denver and spends his time writing, painting, and socializing. In general he keeps busy with groups of writers and artists. Following thirty-two years in church work and fifteen in a therapeutic massage practice, he now focuses on creating beauty. He volunteers at The Center leading the SAGE program “Telling Your Story.”

He also blogs at artandmorebyphilhoyle.blogspot.com

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Tchaikovsky: Gay Music from Despair by Will Stanton

The Romantic music of Tchaikovsky is some of the most deeply emotional music ever written. Like millions of listeners spanning more than a century since his death, I have held a deep appreciation for his musical genius. More so, and ever since I was a child, I have deeply sensed the true meaning lying within his final composition, his “Pathétique” symphony. Whether or not my musical sense or Tchaikovsky’s ability to communicate is responsible for my insight, that sense now has been proven to be accurate, which I’ll explain further along.

Tchaikovsky’s music ranges from apparent joy and love to the darkest abyss of despair. Now that additional information has come to light, we at last understand that the full extent of Tchaikovsky’s musical creativity most likely never would have found expression had it not been for the fact that he was homosexual, an orientation that, at that time and place, caused him life-long torment and depression.

Pytor Ilyich Tchaikovsky, composer

Pyotr Ilyich Tchaikovsky, born in Votkinsk, Russia, experienced a childhood of misery. Although his father was minor aristocracy and a civil servant, the family was poor and eventually became destitute. Already an extremely sensitive and introspective child, his mother’s unhappiness affected Tchaikovsky, especially after they moved to Moscow when he was eight. She died when he was only fourteen, a contributing factor to his depression.

He first enrolled in, what was called, the Imperial School of Jurisprudence, an all-boys school that prepared them for civil service, engineering, and the military. Here, he was exposed to much sexual experimentation among the boys, and he soon realized that this was his own preference. At that time in Russia, and especially in the capital of Moscow, clandestine homosexual acts did occur, but the terrible sin was being caught.

Tchaikovsky changed the direction of his career upon attending a performance of Mozart’s opera “Don Giovanni,” an experience that greatly impressed him and resulted in his enrolling in the Saint Petersburg Conservatory. Upon graduation, he returned to Moscow to join its conservatory. In such an environment, he found his career flourishing but, at the same time, having to live in a city that biographers have described as “violently homophobic.” Consequently, he suffered frequent bouts of self-doubt and depression, fearing exposure. He revealed to his younger brother Anatoly that his homosexual tendencies, caused “an unbridgeable gulf between the majority of people and myself. They impart to my character…a sense of alienation, fear of others, timidity, excessive shyness, mistrustfulness, which make me more and more unsociable.” Increasingly, these feelings found expression in his music.

Despite his fears of exposure, Tchaikovsky could not suppress his desires. He became deeply in love with fifteen-year-old Eduard Zak. Eduard, however, suffered his own despair and committed suicide at nineteen. Sometime later, Tchaikovsky wrote in his diary, “How amazingly clearly I remember him: the sound of his voice, his movements, but especially the extraordinarily wonderful expression on his face at times. I cannot conceive that he is no more. The death of this boy, the fact that he no longer exists, is beyond my understanding. It seems to me that I have never loved anyone so strongly as him.”

Stories of love, and doomed love, found expression in his music. Musicologists feel that Eduard was the inspiration for his composition “Romeo and Juliet,” based upon the tragedy by Shakespeare and written at the time Tchaikovsky was in love with Eduard.

Tchaikovsky himself had a doomed marriage, an attempt to appear and to feel “normal.” He wrote to his brother Modest that he would marry absolutely anyone, which he did at age thirty-seven. He attempted to propose to his new wife having simply a platonic relationship, which apparently she did not understand. This experiment failed and contributed further to his depression. They separated within a few months but never officially divorced because the legally required infidelity never had occurred.

One woman became his unseen patron, Nadezhda von Meck, widow of a wealthy railroad tycoon. Although they never met face to face, they frequently wrote to each other. This abruptly came to an end at age fifty when von Meck’s relatives, jealous of the money given to Tchaikovsky, blackmailed her with the threat of public exposure of Tchaikovsky’s homosexuality unless she ceased supporting him, which she did rather than risk that exposure. He was not told of this blackmail and became dismayed and embittered by the sudden severing of their relationship.

The most emotional and despondent music composed by Tchaikovsky was his final work, the Symphony No. 6 referred to as the “Pathétique.” The first movement begins with a solemn and even ominous introduction by bassoons. It then leads into one of the most beautiful yet heart-rending melodic themes, very much like a soulful remembrance of love.

The fourth and final movement is unusual in that it is the opposite of the expected exuberant ending. Instead, it begins with total resignation, climbs to a peak of angst and despair, and then, in a dramatically long and ever-descending passage, plummets into a deep, final abyss, much like a jumbo-jet falling from the sky, plunging into the sea, and sinking to the bottom. Recent research since the fall of the Soviet Union reveals why.

In Tchaikovsky’s fifty-third year, the final year of his life, he had an affair with Alexandre Vladimirovich Stenbok-Fermor, the eighteen-year-old son of Count Alexei Alexandrovich Stenbok-Fermor. The great sin of exposure came to pass. The count discovered the liaison and wrote an angry letter denouncing Tchaikovsky to Czar Alexander III, his close friend. The count’s lawyer, rather than delivering the letter immediately to the Czar, instead, contacted his powerful legal and political colleagues, all alumni from the Imperial School of Jurisprudence. They convened a “Court of Honor” and summoned Tchaikovsky to appear before them. He was told that they were prepared to deliver the damning letter to the Czar, thereby destroying his reputation and exposing him to censure and shame. They then informed him that the only way for him to avoid scandal and disgrace was to commit suicide.

Tchaikovsky was confronted with this shock and ultimatum while he was composing the “Pathétique.” It now appears that he completed the symphony as a farewell to life. His death by arsenic poisoning was slow and painful. To prevent the public from learning the facts behind Tchaikovsky’s death, the word went out that he died from cholera.

Anyone who truly cares for other people must be empathetic for Tchaikovsky and regret his having lead such a tortured life. His brother Modest speculated that composing music was “an attempt to drive out the somber demons that had so long plagued him.” We might wish that the man never have suffered so greatly. Yet, without a life of suffering, we might never have had given to us such extraordinary music. I’ll go further; it is safe to say that this “symphony of defeat,” and especially the suicidal fourth movement, never would have been written as it was. As for myself, who have appreciated the beauty and power of the “Pathétique” for so long, it is a sad consolation to have my sense, from the very first hearing, of what Tchaikovsky was saying confirmed. I heard his voice; I felt his despair.

Click on the link below to watch the final
movement of Tchaikovsky’s Symphony Number 6, the “Pathétique”: Mariinsky Theatre Orchestra, V. Gergiev, conductor, 13:20 minutes.  

The “Pathétique” 


January, 2014

About the Author

I have had a life-long fascination with people and their life stories. I also realize that, although my own life has not brought me particular fame or fortune, I too have had some noteworthy experiences and, at times, unusual ones. Since I joined this Story Time group, I have derived pleasure and satisfaction participating in the group. I do put some thought and effort into my stories, and I hope that you find them interesting.