The usual fit of depression assailed Tschaikowsky while composing
the music for his _Nutcracker_ ballet, based on E. T. A. Hoffmann’s
story _Nussknacker und Mausekönig_ (“Nutcracker and Mouse King”).
Commissioned by the St. Petersburg Opera early in 1891, the work was
slow in taking shape. At length, on June 25, Tschaikowsky completed
the sketches for the projected ballet. What had taken him weeks should
have been finished in five days, he lamented. “No, the old man is
breaking up,” he wrote. “Not only does his hair drop out, or turn as
white as snow; not only does he lose his teeth, which refuse their
service; not only do his eyes weaken and tire easily; not only do his
feet walk badly, or drag themselves along, but, bit by bit, he loses
the capacity to do anything at all. The ballet is infinitely worse than
‘The Sleeping Beauty’—so much is certain.”
Apparently the first night audience agreed with him, for at the
première in the Imperial Opera House, the response was chilling. Yet an
earlier concert performance of the music had drawn plaudits from both
public and press. The ballet’s failure, however, was easy to explain.
The producer, Marius Petipa, fell ill, and the work of staging the
new ballet was entrusted to a man of inadequate skill and experience.
Then, the audience found it hard to thrill to the spectacle of children
dashing coyly about in the first act. And balletomanes, accustomed to
beauty and glamor in their favorite ballerinas, found the girl dancing
the part of the Sugarplum Fairy anything but appetizing to look at.
Act I of the ballet is concerned with a Christmas Tree party. The scene
is overrun with children and mechanical dolls. Little Marie is drawn
to a German Nutcracker, which is made to resemble an old man with huge
jaws. During a game, some boys accidentally break the Nutcracker. Marie
is saddened by the tragedy. That night she lies awake in bed, sleepless
with grief over the broken utensil. Finally, she jumps out of bed and
goes to take one more look at the beloved Nutcracker. Suddenly strange
sounds reach her ears. Mice! The Tree now seems to come to life and
grow massive. Toys begin to stir into action, followed by cakes and
candies. Even the Nutcracker creaks into life. Presently a battle
arises between the mice and the toys. The Nutcracker challenges the
Mouse King to a duel. Just as the Nutcracker is about to be felled,
Marie hurls a shoe and kills the royal rodent. And of course, the
Nutcracker promptly is transformed into a handsome prince. Arm in arm,
they leave for his magic kingdom.
The scene now changes to a mountain of jam for the second act. This is
the land ruled by the Sugarplum Fairy, who is awaiting the arrival of
Marie and her princely escort. The court cheers jubilantly when the
happy pair appears on the scene. What follows is the series of dances
usually heard in the concert hall. The sequence runs as follows:
_Miniature Overture_ (_Allegro giusto_, B-flat, 4-4), featuring
two sharply differentiated themes, scored largely for the higher
instruments.
_March_ (_Tempo di marcia vivo_, G major, 4-4), in which the main theme
is chanted by clarinets, horns and trumpets, as the children make their
measured entrance.
_Dance of the Sugarplum Fairy_ (_Andante con moto_, E minor, 2-4). Here
the celesta gives out the entrancing melody, with pizzicato strings
accompanying.
_Russian Dance: Trepak_ (_Tempo di trepak, molto vivace_, G major,
2-4), which grows out of a brisk rhythmic figure heard at the beginning.
_Arabian Dance_ (_Allegretto_, G minor, 3-8). Intended to convey
the idea of “Coffee.” A melody in Oriental mood is announced by the
clarinet, later picked up by the violins.
_Chinese Dance_ (_Allegretto moderato_, B-flat major, 4-4). Intended to
convey the idea of “Tea.” The melody is given to the flute against a
pizzicato figure sustained by bassoons and double basses.
_Dance of the Mirlitons_ (_Moderato assai_, D major, 2-4). For the main
theme three flutes join forces. Then comes a different melody given out
by the trumpets in F-sharp minor before the chief subject is back.
_Waltz of the Flowers_ (_Tempo di valse_, D major, 3-4). Woodwinds and
horns, aided by a harp-cadenza, offer some introductory phrases. Then
the horns give out the fetching main melody. Soon the clarinets take it
up. Flute, oboe, and strings bring in other themes, and the waltz comes
to a brilliant close.