Smithsonian Associates: Two Holiday Masterworks: Handel’s Messiah and Tchaikovsky’s Nutcracker, Lecture 2 – The Nutcracker

As the winter draws near and preparations begin for seasonal festivals of wonder and sacred joy, no classical music more powerfully expresses the sense of glory and enchantment than two pillars of the holiday repertoire: Handel’s mighty oratorio Messiah and Tchaikovsky’s exquisite ballet The Nutcracker. Each year, when people experience these deeply loved cornerstones again, their sense of returning feels complete, but how well do they know these seemingly familiar classics?

Behind each composer’s triumphant achievement lies a history filled with complex personal struggles, bereavement, social and political change, and religious controversy. Popular speaker and concert pianist Rachel Franklin takes a deep dive into what factors shaped the creativity of both Handel and Tchaikovsky, and why Messiah and The Nutcracker continue to inspire.

British-born Franklin has been a featured speaker for organizations including the Library of Congress and NPR, exploring intersections among classical and jazz music, film scores, and the fine arts.

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Tchaikovsky’s ballet The Nutcracker is an exquisite vision of fairytale beauty, but beneath its lavish, shimmering veneer his sweeping music expresses a blend of bittersweet nostalgia for a faraway childhood, and tremendous personal grief for the sudden death of his beloved sister. Nowadays, Nutcracker is adored internationally but its initial run was poorly received and Tchaikovsky died decades before it achieved success. Franklin explores its narrative roots in the much stranger original tale by E.T.A. Hoffman, considers how the Russian Imperial Empire’s love of luxury is subtly reflected in Clara’s magical visit to the Kingdom of Sweets, and traces the ballet’s evolution through such inspired productions as George Balanchine’s for New York City Ballet.