A director of the Cardiff Philharmonic Orchestra says it has been taken aback by the backlash against its decision to remove the Russian composer Tchaikovsky from its forthcoming programme because of the conflict in Ukraine.
Members of the orchestra were also said to have been among those who had voiced reservations about playing Pyotr Ilyich Tchaikovsky’s 1812 Overture – which celebrates Russia’s defence against the invasion of Napoleon and is notable for featuring a volley of cannon fire – when the matter was discussed with them.
The 1812 Overture was due to be included in the orchestra’s Tchaikovsky concert at St David’s Hall on 18 March, but the entire programme has been abandoned because of events in Ukraine.
Japan’s Chubu Philharmonic Orchestra made a similar move this week, announcing it will replace a performance of the 1812 Overture with another piece.
Linda Robinson, a teacher who is one of the directors, said Cardiff’s decision was made in consultation with the venue, St David’s Hall, and rejected what she said had been a depiction by some critics of the decision as “anti-Russian”. In fact, three concerts this year will include work by Russian composers, including Sergei Prokofiev and Sergei Rachmaninoff.
“It was nothing to do with Tchaikovsky being Russian. It was much more to do with us deciding that it was inappropriate at the present time, given that some pieces are military themed and they come with the sound of a volley of cannon fire,” said Robinson, who added that the orchestra has been receiving harsh emails since the news of its decision and had been shocked by the way it was portrayed on social media.
Other factors included consideration for an orchestra member with a Ukrainian-born partner who has family members in Ukraine, which Russia has invaded, and that the orchestra was made aware that the title, “Little Russian” of Symphony No 2, could be deemed offensive to Ukrainians.
The move was discussed with musicians, she said, adding: “The people who said anything said: ‘This would be my preference but whatever you do I fully support you.’ There were a few people who had stronger feelings than others. Most people agreed with the decision.”
Robinson said the orchestra would play the Ukrainian national anthem at the beginning of the event on 18 March and take a collection for the Ukrainian crisis appeal. Instead of Tchaikovsky, the orchestra will present a programme centred on Antonín Dvořák’s symphony No 8. It will also include John Williams’s The Cowboys Overture and a performance of Edward Elgar’s Enigma Variations in the second half.
In Japan, the Chubu Philharmonic Orchestra board chair, Takahisa Kato, was quoted as saying: “While there are people who can appreciate it purely as music, there are others who might question why we would perform a Russian victory hymn.”
The move in Wales has made headlines around the world, while those seeking to ridicule the orchestra’s decision ranged from self-styled “anti-woke” critics to commentators working for Russian state media who sought to liken it to “book burning”. Many others accused the orchestra of overreacting, pointing out Tchaikovsky’s Ukrainian roots.
But those coming to the defence of the orchestra included Ben Schwartz, a US screenwriter, who tweeted that the decision was “not a freedom fries move” – in response to anyone likening it to a move by a US restaurant to express distaste for French opposition to the US invasion of Iraq – and said the orchestra was still playing Russian music later in the season.
Richard Bartholomew, a UK blogger and classical music fan, said: “I love Russian music and the 1812 Overture is great fun, but I don’t think that a celebration of Russian nationalism and martial valour hits the right note just now.
“In particular, cannons accompanying the old Tsarist national anthem is in bad taste while cities in Ukraine are under bombardment. It’s not unusual for a schedule or broadcast to be amended due to something happening in the wider world, and Cardiff Philharmonic’s decision is just an example of that.”
He was “disturbed and sorry” that a whole Tchaikovsky night had been scrapped, but the promise of Rachmaninov’s Symphony No 2 in June had made him think it was not a case of Russophobia.
