Get to Know Tchaikovsky. Song without Words

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The sponsors, the St. November 19, Symphony no. Among the audience is Pyotr Ilyich Tchaikovsky March 14, String Quartet no. March 30, String Quartet no. May 6, A cantata in celebration of the golden jubilee of Osip Petrov by Pyotr Ilyich Tchaikovsky to words of Nekrasov is performed for the first time, at St. July 13, On the advice of his doctors, Pyotr Ilyich Tchaikovsky 36 arrives in Vichy to take the waters. Friedrich Nietzsche is also there. The accumulation of the most complex and arcane harmonies, the colorlessness of the vocal lines, the endlessly long dialogues, the absence of anything of the slightest interest or poetic quality in the subject matter--all this stretches the nerves almost beyond endurance.

August 31, Pyotr Ilyich Tchaikovsky 34 writes an astonishing letter to his brother Modest from Verbovka informing him that he has decided to get married. October 2, Nikolay Rubinstein asks Pyotr Ilyich Tchaikovsky 36 for a new composition to be played at a concert to aid the Slavonic Charity Committee which is attempting to equip Russian volunteers and aid victims of the Balkan War. See 17 November November 17, At a concert to benefit wounded veterans from the war with Turkey, Slavonic March op. See 6 December Although there are loud cheers, hisses also abound.

December 29, Evening op. December 30, Nadezhda von Meck, the mercurial patron of Pyotr Ilyich Tchaikovsky 36 , writes her first letter to the composer, thanking him for setting some of his works for violin and piano for her. He will write his first letter to her, probably tomorrow. January 31, Pyotr Ilyich Tchaikovsky 36 writes to his brother Modest that he is deeply in love with one of his students, Iosif Iosifovich Kotek, and that his love has been returned.

The work is fairly well received. April 7, Antonina Milyukova begins writing letters to her former teacher, Pyotr Ilyich Tchaikovsky He thinks the idea is ridiculous. She is a former Moscow Conservatory student who has fallen in love with him. She agrees. July 15, Pyotr Ilyich Tchaikovsky 37 informs his patroness, Nedezhda von Meck, that he will marry in three days. George, Moscow. After the ceremony, the composer realizes that they can never have either a physical or emotional relationship and begins to panic.

Pyotr Ilyich Tchaikovsky - Song without words, Op. 2 No. 3

They leave in the evening for St. July 22, Pyotr Ilyich Tchaikovsky 37 takes his new wife to meet his parents in St. July 24, Pyotr Ilyich Tchaikovsky 37 goes through a severe emotional crisis over his marriage. It will be relieved tomorrow. July 26, Pyotr Ilyich Tchaikovsky 37 and his wife return to Moscow. Antonina believes that with constant pressure, she can win him into a physical relationship of which he wants no part.

September 24, After spending six weeks with his sister, Pyotr Ilyich Tchaikovsky 37 returns to his wife in Moscow in order to begin the new term at the Conservatory. October 5, Sometime within the last few days, a fully clothed Pyotr Ilyich Tchaikovsky 37 waded up to his waist in the Moscow River in an attempt to contract pneumonia. Today he wires to his brother Anatoly in St. Petersburg immediately. October 7, Pyotr Ilyich Tchaikovsky 37 arrives in St.

Petersburg in a state of near collapse. Anatoly Tchaikovsky takes his brother to a hotel where he suffers violent episodes, goes to bed and lapses into a coma for two days. A specialist orders that he never see his wife again. He is on his way to Geneva, escaping the emotional trauma of his marriage. November 30, Variations on a Rococo Theme for cello and orchestra by Pyotr Ilyich Tchaikovsky 37 is performed for the first time, in Moscow. He steals it.

February 22, Symphony no. It is generally successful. September 20, Valse-scherzo op. Petersburg, having resigned his post at the Moscow Conservatory. December 2, Pyotr Ilyich Tchaikovsky 38 arrives in Florence and takes up residence in an apartment provided for him by Nadezhda von Meck. She is living just two doors down.

See 29 March March 29, Yevgeny Onyegin , lyric scenes by Pyotr Ilyich Tchaikovsky 38 to words of Shilovsky and the composer after Pushkin, is performed probably for the first time, at the Malyi Theatre, Moscow by students of Moscow Conservatory. See 28 December and 23 January Petersburg where the composer is staying, protesting her undying love and devotion. Tchaikovsky gives her rubles and sends her back to Moscow saying that they can not live together.

This gets her out of the apartment, but not before she hands him a list of her boyfriends. She will not go to Moscow however, and will continue to dog him, even taking a room in the same building. November 2, Piano Sonata op. December 20, Suite no. His name is Claude Debussy December 3, The Liturgy of St. John Chrysostom for chorus by Pyotr Ilyich Tchaikovsky 40 is performed for the first time in a concert setting in Moscow. The music was performed in the University Church, Kiev in December 3, Serenade for Strings by Pyotr Ilyich Tchaikovsky 40 is performed for the first time, in a private setting, as a surprise for the composer by students at Moscow Conservatory.

December 18, The Italian Capriccio for orchestra op. January 23, Yevgeny Onyegin , lyric scenes by Pyotr Ilyich Tchaikovsky 38 to words of Shilovsky and the composer after Pushkin, is performed by professionals for the first time, at the Bolshoy Theatre, Moscow by students of Moscow Conservatory. February 12, The second version of Symphony no. See 7 February The work is well received by the audience but critics are scathing. Playing Dunois is a famous bass named Fyodor Stravinsky. February 26, Pyotr Ilyich Tchaikovsky 40 leaves Russia for the west. His sojourn will be cut short when he returns to attend the funeral of Nikolay Rubinstein.

He died recently of intestinal tuberculosis. April 6, Pyotr Ilyich Tchaikovsky 40 arrives back in St. Petersburg after his sojourn in Italy and France. John Chrysostom without approval of the Imperial Kapella. The monopoly of the Kapella is now broken. October 22, A gala concert celebrating the 70th birthday of Franz Liszt takes place in the German embassy in Rome, where Liszt is living.

Among the attenders is Pyotr Ilyich Tchaikovsky He feels affection for Liszt, but not his music. October 30, Serenade for strings by Pyotr Ilyich Tchaikovsky 41 is performed publicly for the first time, in St. See 3 December November 12, Concerto for piano and orchestra no. Tolstoy, is performed for the first time, in St. November 26, I Bless You Forests op. December 4, Concerto for violin and orchestra by Pyotr Ilyich Tchaikovsky 41 is performed for the first time, in Vienna. It is in honor of Nikolay Rubinstein to commemorate the first anniversary of his death.

See 30 October He takes Gounod 64 and Ambroise Thomas 71 off perfectly, he makes you die laughing. October 30, A Trio for piano and strings by Pyotr Ilyich Tchaikovsky 42 is performed publicly for the first time, in Moscow. See 23 March December 1, The third version of Symphony no. February 15, Mazepa , an opera by Pyotr Ilyich Tchaikovsky 43 to words of Burenin after Pushkin, revised by the composer, is performed for the first time, in the Bolshoy Theatre, Moscow. It is a great popular success. See 3 March February 16, Orchestral Suite no. Following the lengthy celebrations after the success of Mazepa yesterday, the composer has left for Europe and misses the premiere of his suite.

Vladimir 4th class in the Palace at Gatchina outside St. He also has a separate audience with the Tsarina, who desires to meet him. It is possible that the Tsar takes this occasion to commission the Cherubic Hymns. See 1 March April 3, Barcarolle op. January 24, Orchestral Suite no. February 26, Pyotr Ilyich Tchaikovsky 44 rents a house in Maydanovo, the first of several homes he will have around Klin, 90 km from Moscow.

March 6, Concert Fantasia op. April 18, Hymn in honor of SS Cyril and Methodius for unaccompanied chorus by Pyotr Ilyich Tchaikovsky 44 to his own words is performed for the first time, at Moscow Conservatory. June 1, A large fire destroys two-thirds of the town of Klin, Russia.

Among those fighting the blaze are Pyotr Ilyich Tchaikovsky 45 and his brother Modest. Petersburg to celebrate the 50th anniversary of the School of Jurisprudence. A would-be composer named Sergey Rakhmaninov 12 attends. May 1, The third version of Romeo and Juliet , a fantasy-overture by Pyotr Ilyich Tchaikovsky 45 , is performed for the first time, in Tiflis Tbilisi.

See 16 March and 17 February November 5, Symphony no. Pyotr Ilyich Tchaikovsky 44 is in the audience and is greatly impressed by the music of his young friend. January 31, The Slippers , a comic-fantastic opera by Pyotr Ilyich Tchaikovsky 46 to words of Polonsky after Gogol, is performed for the first time, at the Bolshoy Theatre, Moscow, conducted by the composer.

Despite Tchaikovsky's terror at his first conducting assignment, critics and the public are effusive in their praise. See 1 November Petersburg, conducted by the composer. March 25, At a party in Moscow celebrating the birthday of Nikolay Zverev, students of the honoree perform at the piano for the guests, including Pyotr Ilyich Tchaikovsky Tchaikovsky gives kisses to all the performers. It is mildly successful but will receive only 13 performances.

See 6 March and 17 March In the audience is Pyotr Ilyich Tchaikovsky November 26, The first all- Tchaikovsky 47 concert takes place in Moscow conducted by the composer. It is so successful that it will be repeated tomorrow. January 28, String Quartet in d minor by Ferruccio Busoni 21 is performed for the first time, in the Leipzig Gewandhaus. The reviews are not positive.

He thinks that he is ashamed of being Italian. At a soiree, Tchaikovsky makes the acquaintance of Busoni and local conductor Gustav Mahler Tchaikovsky finds Busoni "extraordinarily gifted. February 11, In Leipzig, Pyotr Ilyich Tchaikovsky 47 awakens to the sound of a band playing the Russian national anthem below his window. He dines this day with Mr.


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Edvard Grieg 44 and Ethyl Smyth. Tomorrow he leaves for Prague. February 19, Pyotr Ilyich Tchaikovsky 47 conducts a very successful concert of his own music in Prague which includes the Piano Concerto no. February 28, Three works by Pyotr Ilyich Tchaikovsky 47 are performed for the first time, in Paris: Pezzo capriccioso for bass, cello, and orchestra, Andante cantabile for cello and violins, and Humoreske op.

November 17, Symphony no. The audience is very enthusiastic but the critics are scornful. December 18, Capriccioso op. They exchange mutual admiration. March 31, Two works for chorus by Pyotr Ilyich Tchaikovsky 48 are performed for the first time, in St. Petersburg: Legend to words of Pleshcheyev, and The Nightingale to words of the composer. May 7, Dawn op. October 26, Anton Chekhov inscribes the dedication to his collection of short stories, Gloomy People.

It is in honor of Pyotr Ilyich Tchaikovsky January 1, Nocturne op. The audience is positive, but not wildly enthusiastic. January 28, In Berlin, Pyotr Ilyich Tchaikovsky 49 buys a train ticket for Florence, simply to end his lack of ability to decide where to go next. October 4, At Tiflis Tbilisi , Pyotr Ilyich Tchaikovsky 50 receives a letter from Mme von Meck announcing that she is bankrupt and will not be able to continue his allowance. See 10 December See 7 December December 17, Natha-Waltz op. December 19, The Queen of Spades , an opera by Pyotr Ilyich Tchaikovsky 50 to words of the composer and his brother Modest after Pushkin, is performed for the first time, in the Mariinsky Theatre, St.

It is a triumph. While ambivalent about much of The Five's music, Tchaikovsky remained on friendly terms with most of its members. The infrequency of Tchaikovsky's musical successes, won with tremendous effort, exacerbated his lifelong sensitivity to criticism. Nikolai Rubinstein's private fits of rage critiquing his music, most famously attacking the First Piano Concerto , did not help matters. Another factor that helped Tchaikovsky's music become popular was a shift in attitude among Russian audiences.

Whereas they had previously been satisfied with flashy virtuoso performances of technically demanding but musically lightweight compositions, they gradually began listening with increasing appreciation of the music itself. Tchaikovsky's works were performed frequently, with few delays between their composition and first performances; the publication from onward of his songs and great piano music for the home market also helped boost the composer's popularity. During the late s, Tchaikovsky began to compose operas. His first, The Voyevoda , based on a play by Alexander Ostrovsky , premiered in The composer became dissatisfied with it, however, and, having re-used parts of it in later works, destroyed the manuscript.

Undina followed in Only excerpts were performed and it, too, was destroyed. The first Tchaikovsky opera to survive intact, The Oprichnik , premiered in During its composition, he lost Ostrovsky's part-finished libretto.

Pyotr Ilyich Tchaikovsky

Cui wrote a "characteristically savage press attack" on the opera. Mussorgsky, writing to Vladimir Stasov , disapproved of the opera as pandering to the public. Nevertheless, The Oprichnik continues to be performed from time to time in Russia. The last of the early operas, Vakula the Smith Op. With Serov's death, the libretto was opened to a competition with a guarantee that the winning entry would be premiered by the Imperial Mariinsky Theatre.

Tchaikovsky was declared the winner, but at the premiere, the opera enjoyed only a lukewarm reception. Discussion of Tchaikovsky's personal life, especially his sexuality, has perhaps been the most extensive of any composer in the 19th century and certainly of any Russian composer of his time. According to Modest Tchaikovsky, this was Pyotr Ilyich's "strongest, longest and purest love". The degree to which the composer might have felt comfortable with his sexual nature has, however, remained open to debate. It is still unknown whether Tchaikovsky, according to musicologist and biographer David Brown , "felt tainted within himself, defiled by something from which he finally realized he could never escape" [72] or whether, according to Alexander Poznansky, he experienced "no unbearable guilt" over his sexual nature [62] and "eventually came to see his sexual peculiarities as an insurmountable and even natural part of his personality Tchaikovsky lived as a bachelor for most of his life.

Mismatched psychologically and sexually, [80] the couple lived together for only two and a half months before Tchaikovsky left, overwrought emotionally and suffering from an acute writer's block. As well as an important friend and emotional support, [83] she became his patroness for the next 13 years, which allowed him to focus exclusively on composition. Tchaikovsky remained abroad for a year after the disintegration of his marriage. Before Dostoyevsky's speech, Tchaikovsky's music had been considered "overly dependent on the West". As Dostoyevsky's message spread throughout Russia, this stigma toward Tchaikovsky's music evaporated.

Two musical works from this period stand out. With the Cathedral of Christ the Saviour nearing completion in Moscow in , the 25th anniversary of the coronation of Alexander II in , [a 10] and the Moscow Arts and Industry Exhibition in the planning stage, Nikolai Rubinstein suggested that Tchaikovsky compose a grand commemorative piece. Tchaikovsky agreed and finished it within six weeks. He wrote to Nadezhda von Meck that this piece, the Overture , would be "very loud and noisy, but I wrote it with no warm feeling of love, and therefore there will probably be no artistic merits in it".

On 23 March , Nikolai Rubinstein died in Paris. In , Tchaikovsky began to shed his unsociability and restlessness. Vladimir fourth class , which included a title of hereditary nobility [96] and a personal audience with the Tsar. In addition, by virtue of Ivan Vsevolozhsky , Director of the Imperial Theaters and a patron of the composer, Tchaikovsky was awarded a lifetime annual pension of 3, rubles from the Tsar. This made him the premier court composer, in practice if not in actual title. Despite Tchaikovsky's disdain for public life, he now participated in it as part of his increasing celebrity and out of a duty he felt to promote Russian music.

He helped support his former pupil Sergei Taneyev , who was now director of Moscow Conservatory, by attending student examinations and negotiating the sometimes sensitive relations among various members of the staff. He served as director of the Moscow branch of the Russian Musical Society during the — season. During this period, Tchaikovsky also began promoting Russian music as a conductor, [97] In January , he substituted, on short notice, at the Bolshoi Theater in Moscow for performances of his opera Cherevichki.

These appearances helped him overcome life-long stage fright and boosted his self-assurance. In November , Tchaikovsky arrived at Saint Petersburg in time to hear several of the Russian Symphony Concerts , devoted exclusively to the music of Russian composers. One included the first complete performance of his revised First Symphony; another featured the final version of Third Symphony of Nikolai Rimsky-Korsakov , with whose circle Tchaikovsky was already in touch.

Nine days later, Tchaikovsky died there, aged While Tchaikovsky's death has traditionally been attributed to cholera from drinking unboiled water at a local restaurant , [] as one story accounts, many writers have theorized that his death was a suicide. Rumors attached to the famous die hard As for illness, problems of evidence offer little hope of satisfactory resolution: the state of diagnosis; the confusion of witnesses; disregard of long-term effects of smoking and alcohol.

Pyotr Ilyich Tchaikovsky

We do not know how Tchaikovsky died. We may never find out These, along with his First Piano Concerto and his Violin Concerto , the last three of his six numbered symphonies and his operas The Queen of Spades and Eugene Onegin , are among his most familiar works.

Tchaikovsky displayed an unusually wide stylistic and emotional range, from salon works of innocuous charm to symphonies of tremendous depth, power, and grandeur. Some of his works, such as the Variations on a Rococo Theme , employ a poised "Classical" form reminiscent of 18th-century composers such as Mozart his favorite composer.

Other compositions, such as his Little Russian symphony and his opera Vakula the Smith , flirt with musical practices more akin to those of the Five, especially in their use of folk song. Tchaikovsky first visited Ukraine in , staying in Trostianets where he wrote his first orchestral work, The Storm overture. Over the next 28 years, he visited over 15 places in Ukraine, where he stayed a few months at the time. Among his most favorite places was Kamianka , Cherkasy Oblast , where his sister Alexandra lived with her family.

Tchaikovsky was one of the founders of the Kiev Music Conservatory , which was later renamed after him. He also performed in concerts as a conductor in Kiev , Odessa , and Kharkiv.

40 Songs (Tchaikovsky, Pyotr) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

American music critic and journalist Harold C. Schonberg wrote of Tchaikovsky's "sweet, inexhaustible, supersensuous fund of melody ," a feature that has ensured his music's continued success with audiences. Sometimes he used Western-style melodies, sometimes original melodies written in the style of Russian folk song; sometimes he used actual folk songs. The first challenge arose from his ethnic heritage. Unlike Western themes, the melodies that Russian composers wrote tended to be self-contained; they functioned with a mindset of stasis and repetition rather than one of progress and ongoing development.

On a technical level, it made modulating to a new key to introduce a contrasting second theme exceedingly difficult, as this was literally a foreign concept that did not exist in Russian music. They did not write in the regular, symmetrical melodic shapes that worked well with sonata form , such as those favored by Classical composers such as Haydn, Mozart or Beethoven, but were complete and independent in themselves. This challenge was why the Romantics "were never natural symphonists". Harmony could be a potential trap for Tchaikovsky, according to Brown, since Russian creativity tended to focus on inertia and self-enclosed tableaux, while Western harmony worked against this to propel the music onward and, on a larger scale, shape it.

Modulation maintained harmonic interest over an extended time-scale, provided a clear contrast between musical themes and showed how those themes were related to each other. Rhythmically , Tchaikovsky sometimes experimented with unusual meters. More often, he used a firm, regular meter, a practice that served him well in dance music. At times, his rhythms became pronounced enough to become the main expressive agent of the music. They also became a means, found typically in Russian folk music, of simulating movement or progression in large-scale symphonic movements—a "synthetic propulsion," as Brown phrases it, which substituted for the momentum that would be created in strict sonata form by the interaction of melodic or motivic elements.

This interaction generally does not take place in Russian music. Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. According to Brown and musicologists Hans Keller and Daniel Zhitomirsky , Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony. He essentially sidestepped thematic interaction and kept sonata form only as an "outline," as Zhitomirsky phrases it.

Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes , keys , and harmonies. Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive.

This music has the mark of the truly lived and felt experience". As mentioned above, repetition was a natural part of Tchaikovsky's music, just as it is an integral part of Russian music. By extending the number of repetitions, he could increase the musical and dramatic tension of a passage, building "into an emotional experience of almost unbearable intensity," as Brown phrases it, controlling when the peak and release of that tension would take place. Like other late Romantic composers, Tchaikovsky relied heavily on orchestration for musical effects.

Rimsky-Korsakov regularly referred his students at the Saint Petersburg Conservatory to it and called it "devoid of all striving after effect, [to] give a healthy, beautiful sonority". Tchaikovsky's expert use of having two or more instruments play a melody simultaneously a practice called doubling and his ear for uncanny combinations of instruments resulted in "a generalized orchestral sonority in which the individual timbres of the instruments, being thoroughly mixed, would vanish".

In works like the "Serenade for Strings" and the Variations on a Rococo Theme , Tchaikovsky showed he was highly gifted at writing in a style of 18th-century European pastiche. His Rococo pastiches also may have offered escape into a musical world purer than his own, into which he felt himself irresistibly drawn.

In this sense, Tchaikovsky operated in the opposite manner to Igor Stravinsky , who turned to Neoclassicism partly as a form of compositional self-discovery. Tchaikovsky's attraction to ballet might have allowed a similar refuge into a fairy-tale world, where he could freely write dance music within a tradition of French elegance. Of Tchaikovsky's Western contemporaries, Robert Schumann stands out as an influence in formal structure, harmonic practices and piano writing, according to Brown and musicologist Roland John Wiley.

Maes maintains that, regardless of what he was writing, Tchaikovsky's main concern was how his music impacted his listeners on an aesthetic level, at specific moments in the piece and on a cumulative level once the music had finished. What his listeners experienced on an emotional or visceral level became an end in itself.

Considering that he lived and worked in what was probably the last 19th-century feudal nation, the statement is not actually that surprising. His use of stylized 18th-century melodies and patriotic themes was geared toward the values of Russian aristocracy. Using it in the finale of a work could assure its success with Russian listeners. Tchaikovsky's relationship with collaborators was mixed. Like Nikolai Rubinstein with the First Piano Concerto, virtuoso and pedagogue Leopold Auer rejected the Violin Concerto initially but changed his mind; he played it to great public success and taught it to his students, who included Jascha Heifetz and Nathan Milstein.

Tchaikovsky was angered by Fitzenhagen's license but did nothing; the Rococo Variations were published with the cellist's amendments. Tchaikovsky compromised to make his music as practical as possible for the dancers and was accorded more creative freedom than ballet composers were usually accorded at the time. He responded with scores that minimized the rhythmic subtleties normally present in his work but were inventive and rich in melody, with more refined and imaginative orchestration than in the average ballet score.

Critical reception to Tchaikovsky's music was also varied but also improved over time.

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Even after , some inside Russia held it suspect for not being nationalistic enough and thought Western European critics lauded it for exactly that reason. Pandemonium, delerium tremens , raving, and above all, noise worse confounded! The division between Russian and Western critics remained through much of the 20th century but for a different reason. According to Brown and Wiley, the prevailing view of Western critics was that the same qualities in Tchaikovsky's music that appealed to audiences—its strong emotions, directness and eloquence and colorful orchestration—added up to compositional shallowness.

Conservative critics, he adds, may have felt threatened by the "violence and 'hysteria' " they detected and felt such emotive displays "attacked the boundaries of conventional aesthetic appreciation—the cultured reception of art as an act of formalist discernment—and the polite engagement of art as an act of amusement". There has also been the fact that the composer did not follow sonata form strictly, relying instead on juxtaposing blocks of tonalities and thematic groups.

Maes states this point has been seen at times as a weakness rather than a sign of originality.

In a article, New York Times critic Allan Kozinn writes, "It is Tchaikovsky's flexibility, after all, that has given us a sense of his variability Tchaikovsky was capable of turning out music—entertaining and widely beloved though it is—that seems superficial, manipulative and trivial when regarded in the context of the whole literature. The First Piano Concerto is a case in point. It makes a joyful noise, it swims in pretty tunes and its dramatic rhetoric allows or even requires a soloist to make a grand, swashbuckling impression.

But it is entirely hollow". In the 21st century, however, critics are reacting more positively to Tchaikovsky's tunefulness, originality, and craftsmanship. Horowitz maintains that, while the standing of Tchaikovsky's music has fluctuated among critics, for the public, "it never went out of style, and his most popular works have yielded iconic sound-bytes [ sic ], such as the love theme from Romeo and Juliet ". According to Wiley, Tchaikovsky was a pioneer in several ways.

This, Wiley adds, allowed him the time and freedom to consolidate the Western compositional practices he had learned at the Saint Petersburg Conservatory with Russian folk song and other native musical elements to fulfill his own expressive goals and forge an original, deeply personal style. He made an impact in not only absolute works such as the symphony but also program music and, as Wiley phrases it, "transformed Liszt's and Berlioz's achievements They point out that only Glinka had preceded him in combining Russian and Western practices and his teachers in Saint Petersburg had been thoroughly Germanic in their musical outlook.

He was, they write, for all intents and purposes alone in his artistic quest. Maes and Taruskin write that Tchaikovsky believed that his professionalism in combining skill and high standards in his musical works separated him from his contemporaries in The Five. Like his country, Maes writes, it took him time to discover how to express his Russianness in a way that was true to himself and what he had learned. Because of his professionalism, Maes says, he worked hard at this goal and succeeded. The composer's friend, music critic Hermann Laroche , wrote of The Sleeping Beauty that the score contained "an element deeper and more general than color, in the internal structure of the music, above all in the foundation of the element of melody.

This basic element is undoubtedly Russian". Tchaikovsky was inspired to reach beyond Russia with his music, according to Maes and Taruskin. Between these two very different worlds, Tchaikovsky's music became the sole bridge". According to musicologist Leonid Sabaneyev , Tchaikovsky was not comfortable with being recorded for posterity and tried to shy away from it. On an apparently separate visit from the one related above, Block asked the composer to play something on a piano or at least say something.

Pyotr Ilyich Tchaikovsky: Symphony No.4

Tchaikovsky refused. He told Block, "I am a bad pianist and my voice is raspy. Why should one eternalize it? List of compositions by Pyotr Ilyich Tchaikovsky. From Wikipedia, the free encyclopedia. Russian composer. For other uses, see Tchaikovsky disambiguation. This name uses Eastern Slavic naming customs ; the patronymic is Ilyich and the family name is Tchaikovsky.

Pyotr Tchaikovsky, c. Piano Concerto No. See also: Pyotr Ilyich Tchaikovsky and the Belyayev circle.