query: what type of music is tchaikovsky?

title: Music of Pyotr Ilyich Tchaikovsky

text: Music of Pyotr Ilyich Tchaikovsky While the contributions of the Russian nationalistic group The Five were important in their own right in developing an independent Russian voice and consciousness in classical music, the compositions of Pyotr Ilyich Tchaikovsky became dominant in 19th century Russia, with Tchaikovsky becoming known both in and outside Russia as its greatest musical talent. His formal conservatory training allowed him to write works with Western-oriented attitudes and techniques, showcasing a wide range and breadth of technique from a poised "Classical" form simulating 18th century Rococo elegance to a style more characteristic of Russian nationalists or a

title: Music of Pyotr Ilyich Tchaikovsky

text: Tchaikovsky would not become a mere imitator of Western technique. Tchaikovsky's natural gift for melody, based mainly on themes of tremendous eloquence and emotive power and supported by matching resources in harmony and orchestration, has always made his music appealing to the public. However, his hard-won professional technique and an ability to harness it to express his emotional life gave Tchaikovsky the ability to realize his potential more fully than any other Russian composer of his time. "Tchaikovsky was made for ballet," writes musicologist David Brown Before him, musicologist Francis Maes writes, ballet music was written by specialists, such as

title: Music of Pyotr Ilyich Tchaikovsky

text: the paramount architectural concept in Western classical music, not with it. The First, while conventional in form, shows Tchaikovsky's individuality strongly; it is rich in melodic invention and exudes Mendelssohnian charm and grace. The Second Symphony is among the more accessible of Tchaikovsky's works and exists in two versions. While the latter version is the one generally performed today, Tchaikovsky's friend and former student Sergei Taneyev considered the earlier one to be finer compositionally speaking. The Third, the only symphony Tchaikovsky completed in a major key, is written in five movements, similar to Robert Schumann's "Rhenish" Symphony, shows Tchaikovsky alternating

title: Concert Fantasia (Tchaikovsky)

text: March 1884, determined to spend the spring months with his sister at Kamenka. This trip was delayed by urgent modifications to his opera "Mazeppa". Tchaikovsky wrote to Nadezhda von Meck from St. Petersburg on 13 March 1884, "I am feeling a surge of energy, and an impatience to set about something new " But Tchaikovsky did not manage to start any new work in Saint Petersburg. Only after arriving at Kamenka on 12 April did Tchaikovsky set to work. Tchaikovsky was uncertain initially what type of composition he would write. Captivated by the playing of the famed Liszt pupil Eugen

title: Music of Pyotr Ilyich Tchaikovsky

text: one divertissement to the next ... almost visionary." However, while the composer showed considerable aptitude in writing music that focused on the drama of the story, the demand for set pieces undercut his potential for complete success. The lengthy divertissements he supplied for two of the ballet's four acts display a "commendable variety of character" but divert action (and audience attention) away from the main plot. Moreover, Brown adds, the formal dance music is uneven, some of it "quite ordinary, a little even trite." Despite these handicaps, "Swan Lake" gives Tchaikovsky many opportunities to showcase his talent for melodic writing

title: Music of Pyotr Ilyich Tchaikovsky

text: musical idiom expressly to channel his own overwrought emotions. Even with this compositional diversity, the outlook in Tchaikovsky's music remains essentially Russian, both in its use of native folk song and its composer's deep absorption in Russian life and ways of thought. Writing about Tchaikovsky's ballet "The Sleeping Beauty" in an open letter to impresario Sergei Diaghilev that was printed in the "Times" of London, composer Igor Stravinsky contended that Tchaikovsky's music was as Russian as Pushkin's verse or Glinka's song, since Tchaikovsky "drew unconsciously from the true, popular sources" of the Russian race. This Russianness of mindset ensured that

title: Music of Pyotr Ilyich Tchaikovsky

text: sometimes very moving, it was generally not as arresting dramatically as anything those three provided. Third, and perhaps most sadly, Tchaikovsky's enthusiasm for opera writing did not match his theatrical sense. Apparently either unaware of this deficiency or unable to curb his excitement long enough to take a cold, hard look at the true stage-worthiness of a libretto, he seemed destined to repeat his failures. Tchaikovsky broke this pattern twice. "Eugene Onegin" and "The Queen of Spades" were both strong stories, worthy of setting to music. Their author, Alexander Pushkin was a master storyteller. He was also a keen observer

title: Tchaikovsky Symphony Orchestra

text: Tchaikovsky Symphony Orchestra The Tchaikovsky Symphony Orchestra is a Russian classical music orchestra established in 1930. It was founded as the Moscow Radio Symphony Orchestra, and served as the official symphony for the Soviet All-Union Radio network. Following the dissolution of the Soviet Union in 1991, the orchestra was renamed in 1993 by the Russian Ministry of Culture in recognition of the central role the music of Tchaikovsky plays in its repertoire. The current music director is Vladimir Fedoseyev, who has been in that position since 1974. During Soviet times, the orchestra was sometimes known as the USSR State Radio

title: Tchaikovsky Symphony Orchestra

text: and Television Symphony Orchestra, the USSR State Radio Symphony Orchestra, or the USSR All-Union National Radio and Central Television Symphony Orchestra. https://www.facebook.com/TchaikovskySymphonyOrchestra Tchaikovsky Symphony Orchestra The Tchaikovsky Symphony Orchestra is a Russian classical music orchestra established in 1930. It was founded as the Moscow Radio Symphony Orchestra, and served as the official symphony for the Soviet All-Union Radio network. Following the dissolution of the Soviet Union in 1991, the orchestra was renamed in 1993 by the Russian Ministry of Culture in recognition of the central role the music of Tchaikovsky plays in its repertoire. The current music director is Vladimir

title: Pyotr Ilyich Tchaikovsky and The Five

text: and an opera, he next composed a symphonic poem entitled "Fatum". Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in Saint Petersburg. "Fatum" received only a lukewarm reception there. Balakirev wrote a detailed letter to Tchaikovsky in which he explained what he felt were defects in "Fatum" but also gave some encouragement. He added that he considered the dedication of the music to him as "precious to me as a sign of your sympathy towards me—and I feel a great weakness for you". Tchaikovsky

title: Music of Pyotr Ilyich Tchaikovsky

text: which means "charming" or "pleasing". In addition to the above suites, Tchaikovsky made a short sketch for a Suite in 1889 or 1890, which was not subsequently developed. Tchaikovsky himself arranged the suite from the ballet "The Nutcracker." He also considered making suites from his two other ballets, "Swan Lake" and "The Sleeping Beauty". He ended up not doing so, but after his death, others compiled and published suites from these ballets. Like "Capriccio Italien", the Serenade for Strings was inspired by Tchaikovsky's time in Italy and shares that work's relaxed buoyancy and melodic richness. The first movement, "Pezzo in

title: Modest Ilyich Tchaikovsky

text: homosexuality. Modest chose to dedicate his entire life to literature and music. He wrote plays, translated sonnets by Shakespeare into Russian and wrote librettos for operas by his brother Pyotr, as well as for other composers such as Eduard Nápravník, Arseny Koreshchenko, Anton Arensky and Sergei Rachmaninoff. Being the nearest friend of his brother, he became his first biographer, and also the founder of the Tchaikovsky Museum in Klin. Tchaikovsky, Modest: "The Life And Letters of Peter Ilich Tchaikovsky", University Press of the Pacific (2004) Modest Ilyich Tchaikovsky Modest Ilyich Tchaikovsky (; –) was a Russian dramatist, opera librettist and

title: Pyotr Ilyich Tchaikovsky

text: boy's mind. Isolated, Tchaikovsky compensated with friendships with fellow students that became lifelong; these included Aleksey Apukhtin and Vladimir Gerard. Music, while not an official priority at school, also bridged the gap between Tchaikovsky and his peers. They regularly attended the opera and Tchaikovsky would improvise at the school's harmonium on themes he and his friends had sung during choir practice. "We were amused," Vladimir Gerard later remembered, "but not imbued with any expectations of his future glory." Tchaikovsky also continued his piano studies through Franz Becker, an instrument manufacturer who made occasional visits to the school; however, the results,

title: Music of Norway

text: and the pictorial arts, and also receiving international culture. Moreover, other important festivals include International Chamber Music Festival, the Oslo Chamber Music Festival, the Risor Chamber Music Festival and the Kristiansund Opera Festival. In addition, we have to note that Oslo Philharmonic Orchestra has greatly contributed to Norwegian musical life. Especially, Mariss Jansons' impact on Norwegian music in the 1980s, Jansons was able to completely change people's idea of what part symphonic music in the Norwegian culture has played. Jansons was able to revive symphonic music and make the orchestra world-famous. They recorded an acclaimed set of Tchaikovsky symphonies and

title: The Seasons (Tchaikovsky)

text: harmonium, guitar and even mandolin). "The Seasons" was commenced shortly after the premiere of Tchaikovsky's First Piano Concerto, and continued while he was completing his first ballet, "Swan Lake". In 1875, Nikolay Matveyevich Bernard, the editor of the St. Petersburg music magazine "Nouvellist", commissioned Tchaikovsky to write 12 short piano pieces, one for each month of the year. Bernard suggested a subtitle for each month's piece. Tchaikovsky accepted the commission and all of Bernard's subtitles, and in the December 1875 edition of the magazine, readers were promised a new Tchaikovsky piece each month throughout 1876. The January and February pieces

title: Music of Pyotr Ilyich Tchaikovsky

text: and, as Brown points out, has proved "indestructible" in popular appeal. The oboe solo associated with Odette and her swans, which first appears at the end of Act 1, is one of the composer's best–known themes. Tchaikovsky considered his next ballet, "The Sleeping Beauty", one of his finest works, according to Brown. The structure of the scenario proved more successful than that of "Swan Lake". While the prologue and first two acts contain a certain number of set dances, they are not designed for gratuitous choreographic decoration but have at least some marginal relevance to the main plot. These dances

title: Pyotr Ilyich Tchaikovsky and The Five

text: a seven-year course of studies. Music was not a priority at the School, but Tchaikovsky regularly attended the theater and the opera with other students. He was fond of works by Rossini, Bellini, Verdi and Mozart. Piano manufacturer Franz Becker made occasional visits to the School as a token music teacher. This was the only formal music instruction Tchaikovsky received there. From 1855 the composer's father, Ilya Tchaikovsky, funded private lessons with Rudolph Kündinger, a well-known piano teacher from Nuremberg, and questioned Kündinger about a musical career for his son. Kündinger replied that nothing suggested a potential composer or even

title: Pyotr Ilyich Tchaikovsky

text: Rubinstein's opera "The Demon" became a model for the final tableau of "Eugene Onegin". So did Léo Delibes' ballets "Coppélia" and "Sylvia" for "The Sleeping Beauty" and Georges Bizet's opera "Carmen" (a work Tchaikovsky admired tremendously) for "The Queen of Spades". Otherwise, it was to composers of the past that Tchaikovsky turned—Beethoven, whose music he respected; Mozart, whose music he loved; Glinka, whose opera "A Life for the Tsar" made an indelible impression on him as a child and whose scoring he studied assiduously; and Adolphe Adam, whose ballet "Giselle" was a favorite of his from his student days and

title: Pyotr Ilyich Tchaikovsky

text: great piano music for the home market also helped boost the composer's popularity. During the late 1860s, Tchaikovsky began to compose operas. His first, "The Voyevoda", based on a play by Alexander Ostrovsky, premiered in 1869. The composer became dissatisfied with it, however, and, having re-used parts of it in later works, destroyed the manuscript. "Undina" followed in 1870. Only excerpts were performed and it, too, was destroyed. Between these projects, Tchaikovsky started to compose an opera called "Mandragora", to a libretto by Sergei Rachinskii; the only music he completed was a short chorus of Flowers and Insects. The first

title: Pyotr Ilyich Tchaikovsky

text: on a Rococo Theme", according to music critic Michael Steinberg. Tchaikovsky was angered by Fitzenhagen's license but did nothing; the Rococo Variations were published with the cellist's amendments. His collaboration on the three ballets went better and in Marius Petipa, who worked with him on the last two, he might have found an advocate. When "The Sleeping Beauty" was seen by its dancers as needlessly complicated, Petipa convinced them to put in the extra effort. 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

title: Petro Tchaikovsky National Music Academy of Ukraine

text: Pyotr Ilyich Tchaikovsky. In 1995, the President of Ukraine elevated the conservatory's status, and renamed it the Petro Tchaikovsky National Music Academy of Ukraine. The conservatory occupies a building built in the 1890s as the Hotel Continental (architects Eduard Bradtman and Georg Schleifer). The building was destroyed during World War II, but was rebuilt in 1955, at which point a concert hall was added (architects L. Katok and Ya. Krasny). It is located on Horodetsky street 1/3. Petro Tchaikovsky National Music Academy of Ukraine Petro Tchaikovsky National Music Academy of Ukraine () or Kiev Conservatory is a Ukrainian state institution

title: Tchaikovsky Music School, Yerevan

text: Tchaikovsky Music School, Yerevan The Tchaikovsky Secondary Music School (), is a secondary school in Yerevan, Armenia which opened in 1939. The school is a specialized secondary school where a total of 600 students are enrolled in a 12-year education, while at the same time receiving 2 certificates of general and vocational education. Over 70 percent of the school's alumni attend the Komitas State Conservatory of Yerevan. The school was founded on April 19, 1939, and two years later it was named after Pyotr Ilyich Tchaikovsky. Until 1975, 665 graduates have been awarded. In 1982, A sculpture of Tchaikovsky (made

title: Music of Pyotr Ilyich Tchaikovsky

text: of music he supplied for "Onegin". With "The Queen of Spades", Modest's transposition of the story's timeline in the libretto to the 18th century was a boon for Tchaikovsky, whose favorite composer (and the one he most liked to emulate) was Mozart. The change allowed him to compose, in addition to impassioned love music, a number of 18th century pastiches depicting various social milieus. Also, as the supernatural gradually takes possession of the characters, Tchaikovsky matches it with equally ghostly music. He had already experimented in this vein in the transformation scene of "The Sleeping Beauty" showing an adeptness for

text: Petro Tchaikovsky National Music Academy of Ukraine Petro Tchaikovsky National Music Academy of Ukraine () or Kiev Conservatory is a Ukrainian state institution of higher music education. Its courses include postgraduate education. The Kiev Conservatory was founded on 3 November 1913 at the Kiev campus of the Music College of the Russian Musical Society. The organization of the conservatory was spearheaded by Sergei Rachmaninoff and Alexander Glazunov. The first directors were V. Pukhalsky (1913) and Reinhold Glière (1914–1920). In 1925, the junior classes were separated from the conservatory to form a Music College, while the senior classes were merged into

title: Tchaikovsky Music School, Yerevan

text: created for musicians and spectators. Special rooms were built for the school's symphonic, jazz, and brass band, the violin ensemble, and the choir. Tchaikovsky Music School, Yerevan The Tchaikovsky Secondary Music School (), is a secondary school in Yerevan, Armenia which opened in 1939. The school is a specialized secondary school where a total of 600 students are enrolled in a 12-year education, while at the same time receiving 2 certificates of general and vocational education. Over 70 percent of the school's alumni attend the Komitas State Conservatory of Yerevan. The school was founded on April 19, 1939, and two

title: Hamlet (Tchaikovsky)

text: Elsinore, but there is an obvious love theme, and a plaintive melody on the oboe can be seen to represent Ophelia. What makes "Hamlet" unique from other works of Tchaikovsky fantasy is the lack of a structural development. The standard form of this music has an exposition, a development, and concludes with a recapitulation. Tchaikovsky did not clearly emphasize a development section in "Hamlet." There is no section that fulfills the duties of a development, causing "Hamlet" to be a unique piece that is of linear, not symmetrical, structure. The "Hamlet" overture-fantasia was dedicated to Edvard Grieg, whom Tchaikovsky had

title: Piano Concerto No. 3 (Tchaikovsky)

text: a misnomer - "What survives is a reconstruction in concerto form of some music Tchaikovsky was planning, not a genuine Tchaikovsky piano concerto". Music author Eric Blom adds, "It is true that even Taneyev did not know for certain whether Tchaikovsky, if he actually meant to turn out a three-movement concerto, would not have preferred to scrap the "Andante and Finale" altogether and to replace them by two entirely new movements; so if we decide that the finale at any rate is a poor piece of work, we must blame Taneyev for preserving it rather than Tchaikovsky for having conceived

title: Music of Pyotr Ilyich Tchaikovsky

text: Ludwig Minkus and Cesare Pugni, "who wrote nothing else and knew all the tricks of the trade." Brown explains that Tchaikovsky's gift for melody and orchestration, his ability to write memorable dance music with great fluency and his responsiveness to a theatrical atmosphere made him uniquely qualified in writing for the genre. Above all, Brown writes, he had "an ability to create and sustain atmosphere: above all, a faculty for suggesting and supporting movement ... animated by an abundant inventiveness, above all rhythmic, within the individual phrase." In comparing Tchaikovsky to French composer Léo Delibes, whose ballets Tchaikovsky adored, Brown

title: Fatum (Tchaikovsky)

text: Tchaikovsky's idea, or that he was even familiar with those verses. While the audience were baffled by the discrepancy between the melancholy theme of the Batyushkov verses and the brighter tenor of the music - its majestic introduction, lyrical and dance-like "allegro", and cheerful finale - they nevertheless applauded the music warmly. On the evening of the debut, Tchaikovsky wrote to his brother Anatoly, "It seems to be the best thing I have written so far; at least, that is what people are saying (a considerable success)." Tchaikovsky then sent the score to Mily Balakirev, and asked him to accept

title: Music of Pyotr Ilyich Tchaikovsky

text: "Souvenir de Florence", is considered by some to be more interesting than the Piano Trio, better music intrinsically and better written. None of Tchaikovsky's other chamber works has a more positive opening, and the simplicity of the main section of the second movement is even more striking. After this very affecting music, the third movement progresses at least initially into a fresh, folksy world. Even more folksy is the opening of the finale, though Tchaikovsky takes this movement in a more academic direction with the incorporation of a fugue. This work has also been played in arrangements for string orchestra.

title: Music of Pyotr Ilyich Tchaikovsky

text: Symphonies. The first three are original music, while the fourth, subtitled "Mozartiana", consists of arrangements of music by Mozart. According to Dutch musicologist Francis Maes, Tchaikovsky valued the freedom the suites gave him to experiment and saw them as a genre for unrestricted musical fantasy. To this Russian musicologist and critic Daniel Zhitomirsky agrees and adds that through them, the composer solved a number of challenges in orchestral tonality, thematic development and form. Wiley comments that they contain music in a number of styles—scholarly counterpoint, salon style, folk music, bizarre scherzos, character pieces—in an overall vein that Russians call "prelest",

title: Music of Pyotr Ilyich Tchaikovsky

text: been criticized as the least substantial of the composer's three ballets, it should be remembered that Tchaikovsky was restricted by a rigorous scenario supplied by Marius Petipa. This scenario provided no opportunity for the expression of human feelings beyond the most trivial and confined Tchaikovsky mostly within a world of tinsel, sweets and fantasy. Yet, at its best, the melodies are charming and pretty, and by this time Tchaikovsky's virtuosity at orchestration and counterpoint ensured an endless fascination in the surface attractiveness of the score. Tchaikovsky completed ten operas, although one ("Undina") is mostly lost and another ("Vakula the Smith")

title: The Boys and Youth Choir of the P. Tchaikovsky National Music Academy of Ukraine

text: the team is a member of the European Federation of Boys and Youth Choirs. The Choir performs stock records on Ukrainian radio with Symphony Orchestra of the National Radio Company of Ukraine. The repertoire of the Choir - works of different styles and eras, works by contemporary European and Ukrainian composers. Artistic Director and chief conductor – Alla Sheiko (Head of Sector practice the P. Tchaikovsky National Music Academy of Ukraine, Dott.) The Boys and Youth Choir of the P. Tchaikovsky National Music Academy of Ukraine The Boys and Youth Choir of the P. Tchaikovsky National Music Academy of Ukraine

title: Music of Pyotr Ilyich Tchaikovsky

text: intent. The symphony was reconstituted in what is believed to be its original form by Russian composer Semyon Bogatyriev; it was published in 1961 after a 10-year period of reconstruction. Two of Tchaikovsky's concertos were rebuffed by their respective dedicatees but became among the composer's best-known works. The First Piano Concerto suffered an initial rejection by its intended dedicate, Nikolai Rubinstein, as notably recounted three years after the fact by the composer. The work went instead to pianist Hans von Bülow, whose playing had impressed Tchaikovsky when he appeared in Moscow in March 1874. Bulow premiered the work in Boston

title: International Tchaikovsky Competition

text: of the top three prizes awarded in the given year and category. International Tchaikovsky Competition The International Tchaikovsky Competition is a classical-music competition held every four years in Moscow, Russia, for pianists, violinists, and cellists between 16 and 32 years of age, and singers between 19 and 32 years of age. The competition is named after Russian composer Pyotr Ilyich Tchaikovsky and is an active member of the World Federation of International Music Competitions. The International Tchaikovsky Competition was the first international music competition held in the Soviet Union. For the XIV competition in 2011, Valery Gergiev was appointed the

title: International Tchaikovsky Competition

text: International Tchaikovsky Competition The International Tchaikovsky Competition is a classical-music competition held every four years in Moscow, Russia, for pianists, violinists, and cellists between 16 and 32 years of age, and singers between 19 and 32 years of age. The competition is named after Russian composer Pyotr Ilyich Tchaikovsky and is an active member of the World Federation of International Music Competitions. The International Tchaikovsky Competition was the first international music competition held in the Soviet Union. For the XIV competition in 2011, Valery Gergiev was appointed the competition's chairman, and Richard Rodzinski, former president of the Van Cliburn Foundation,

title: Pyotr Ilyich Tchaikovsky

text: to fostering native talent. Eventually, Balakirev, César Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov and Alexander Borodin became known as the "moguchaya kuchka", translated into English as the Mighty Handful or The Five. Rubinstein criticized their emphasis on amateur efforts in musical composition; Balakirev and later Mussorgsky attacked Rubinstein for his musical conservatism and his belief in professional music training. Tchaikovsky and his fellow conservatory students were caught in the middle. While ambivalent about much of The Five's music, Tchaikovsky remained on friendly terms with most of its members. In 1869, he and Balakirev worked together on what became Tchaikovsky's first recognized

title: Boris Tchaikovsky

text: orchestra) makes a guest appearance in Leningrad playing Vainberg's Tenth Symphony and Boris Tchaikovsky's Sinfonietta, you really have to hear them". Of his larger-scale works almost all have been recorded. Boris Tchaikovsky generally wrote in a tonal style, although he made brief forays into serialism. Boris Tchaikovsky Boris Alexandrovich Tchaikovsky (; 10 September 1925 – 7 February 1996), PAU, was a Soviet and Russian composer, born in Moscow, whose oeuvre includes orchestral works, chamber music and film music. He is considered as part of the second generation of Russian composers, following in the steps of Pyotr Tchaikovsky (to whom he

title: Symphonies by Pyotr Ilyich Tchaikovsky

text: Brown states, the composer would often show tremendous resourcefulness, even in this piece. "The opening stretch of the first movement," he writes, "is enough to scotch the hoary old legend that Tchaikovsky was devoid of any real symphonic aptitude." Here Tchaikovsky harnessed the harmonic, melodic and rhythmic quirks of Russian folk music to produce an opening movement massive in scale, intricate in structure and complex in texture—what Brown calls "one of the most solid structures Tchaikovsky ever fashioned"—and a finale that, with the folk song "The Crane" offered in an ever-dizzying series of backdrops, showcased how well he could mine

title: Cello Concerto (Tchaikovsky/Leonovich)

text: Symphony in E flat, written prior to the "Pathétique". Both Taneyev and Modest Tchaikovsky questioned at some length how the work should be presented—as an independent concert piece, as part of a two-movement concerto-type work, or in purely orchestral form. Also, once he and Modest decided how to proceed, Taneyev employed a solo cello in concert with the piano soloist, reminiscent of the "triple concerto" passages in the Second Piano Concerto. Therefore, using this music for solo cello and orchestra might not seem against the composer's intent. Though there is no idea whether Tchaikovsky would have used the Russian folk

text: The Boys and Youth Choir of the P. Tchaikovsky National Music Academy of Ukraine The Boys and Youth Choir of the P. Tchaikovsky National Music Academy of Ukraine was established in 2001 as an educational and artisticcollective sector practices of the P. Tchaikovsky National Music Academy of Ukraine. Over the years the team has participated in many festivals, concerts, national promotions and became the winner of international competitions and festivals in Ukraine (2001,2002,2003,2004,2006), Russia (2006), Slovakia (2006, 2009), Poland (2003, 2011, 2013) and Belgium (2008). Choir toured in Poland (2003, 2011), Luxembourg (2008), Germany (2008) and Spain (2010). Since 2008,

title: Tchaikovsky (song)

text: Tchaikovsky (song) "Tchaikovsky (and Other Russians)" is a patter song with lyrics by Ira Gershwin and music by Kurt Weill, first performed by American comedian Danny Kaye in the 1941 Broadway musical "Lady in the Dark". The original spelling is "Tschaikowsky (and Other Russians)" – in his lyrics Gershwin used the alternate spelling "Tschaikowsky", from the German transliteration (used by German music publishers of the period) in place of the more widely accepted modern transliteration Tchaikovsky. "Tschaikowsky (and Other Russians)" is not a song in the normal sense of the term: it is a rhyming list of fifty Russian composers'

title: Music of Pyotr Ilyich Tchaikovsky

text: pointers on how they should be played. Tchaikovsky wrote 103 songs. While he may not be remembered as a composer of "lieder", he produced a larger number of superior works than their comparative neglect would suggest, often concentrating into a few pages a musical image that would seem to ideally match the substance of the text. The songs are extremely varied and encompass a wide range of genres—pure lyric and stark drama; solemn hymns and short songs of everyday life; folk tunes and waltzes. Tchaikovsky is most successful when writing on the subject of love and its loss or frustration

title: Music of Pyotr Ilyich Tchaikovsky

text: is in two actual movements, the second a large set of variations including a fugue and a long summing-up variation serving as the equivalent of a third movement. Had Tchaikovsky written this work as a piano quartet or piano quintet, he would have availed himself of a string complement well able to play complete harmony and could therefore have been allotted autonomous sections to play. With only two stringed instruments, this option was not available. Instead, Tchaikovsky treats the violin and cello as melodic soloists, with the piano both conversing with them and providing harmonic support. The String Sextet, entitled

title: Music of Pyotr Ilyich Tchaikovsky

text: coda. Though Tchaikovsky did not value the piece highly, it has become perhaps his most widely known composition. "Marche Slave" (otherwise known as the "Slavonic March") is a patriotic piece commissioned for a Red Cross benefit concert to support Russian troops in the Balkans. Other commissioned works include a "Festival Overture on the Danish National Anthem", written to commemorate the wedding of Crown Prince Alexander (who would become Alexander III), and a "Festival Coronation March", ordered by the city of Moscow for the coronation of Alexander III. Tchaikovsky wrote four orchestral suites in the period between his Fourth and Fifth

title: Symphony No. 2 (Tchaikovsky)

text: that finale. Tchaikovsky played the finale at a gathering at Rimsky-Korsakov's house in Saint Petersburg on January 7, 1873. To his brother Modest, he wrote, "[T]he whole company almost tore me to pieces with rapture—and Madame Rimskaya-Korsakova begged me in tears to let her arrange it for piano duet". Neither Balakirev nor Mussorgsky was present. Borodin was there and may have approved of the work himself. Also present was music critic Vladimir Stasov. Impressed by what he heard, Stasov asked Tchaikovsky what he would consider writing next. Stasov would soon influence the composer in writing the symphonic poem "The Tempest"

title: Hamlet (Tchaikovsky)

text: Hamlet (Tchaikovsky) Shakespeare's Hamlet was the inspiration for two works by Pyotr Ilyich Tchaikovsky: the overture-fantasia "Hamlet", Op. 67, and incidental music for the play, Op. 67a. Tchaikovsky wrote the "Hamlet" overture-fantasia, Op. 67, between June and 19 October 1888, overlapping the scoring of his Fifth Symphony. The idea of a "Hamlet" overture had first occurred to Tchaikovsky in 1876, as outlined in his plans in a letter to his brother Modest. At that time, he conceived it in three parts: However, by 1888 he had altered these notions. The actor Lucien Guitry asked him to write some incidental music

title: Music of Pyotr Ilyich Tchaikovsky

text: Technically, the songs are marked by several features: artistic simplicity, artlessness of musical language, variety and originality of melody and richness of accompaniment. The songs helped cross-pollinate the composer's work in other genres, with many of his operatic arias closely related to them. While "None but the Lonely Heart" may be the one of his finest songs, as well as perhaps the best-known in the West, the Six Romances, Op. 65 and the Six Romances, Op. 73 are especially recommendable. Music of Pyotr Ilyich Tchaikovsky While the contributions of the Russian nationalistic group The Five were important in their own

title: Music of Pyotr Ilyich Tchaikovsky

text: between writing in a more orthodox symphonic manner and writing music as a vehicle to express his emotional life; with the introduction of dance rhythms into every movement except the slow one, the composer widens the field of symphonic contrasts both within and between movements. With the last three numbered symphonies and his program symphony "Manfred", Tchaikovsky became one of the few composers in the late 19th century who could impose his personality upon the symphony to give the form new life. Brown calls the Fourth Symphony a breakthrough work in terms of emotional depth and complexity, particularly in its

title: Symphonies by Pyotr Ilyich Tchaikovsky

text: occurred to him. However, it may have been equally likely that Tchaikovsky's compositional method never occurred to Mozart. While Tchaikovsky may have been incapable of writing absolute music, his real challenge was that while he was conscious of his formal shortcomings and continued striving for an unreached perfection, his actual ideal never really changed. Because the ideal never changed, the problems to which Tchaikovsky addressed himself never really changed, either. In this sense, it could be argued that he never really grew or matured. Nevertheless, Tchaikovsky discovered a method by which to circumvent what he perceived as formal shortcomings and

title: Boris Tchaikovsky

text: Boris Tchaikovsky Boris Alexandrovich Tchaikovsky (; 10 September 1925 – 7 February 1996), PAU, was a Soviet and Russian composer, born in Moscow, whose oeuvre includes orchestral works, chamber music and film music. He is considered as part of the second generation of Russian composers, following in the steps of Pyotr Tchaikovsky (to whom he was not related) and especially Mussorgsky. He was admired by Dmitri Shostakovich, with whom he studied, who (according to Per Skans in his notes for a recording) suggested in a letter of February 1, 1969 to Isaak Glikman, that "If Barshai's orchestra (the Moscow chamber

title: Pyotr Ilyich Tchaikovsky

text: 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. Maes adds that, like them, he wanted to produce music that reflected Russian national character but which did so to the highest European standards of quality. Tchaikovsky, according to Maes, came along at a time when the nation itself was deeply divided as to what that character truly was. Like his country, Maes writes,

title: Hamlet (Tchaikovsky)

text: He enjoyed the performance for the acting, but he never thought much of the music he had produced, and refused permission for it to be used in a later production in Warsaw. The complete incidental music has been released on compact disc and in MP3 form. Hamlet (Tchaikovsky) Shakespeare's Hamlet was the inspiration for two works by Pyotr Ilyich Tchaikovsky: the overture-fantasia "Hamlet", Op. 67, and incidental music for the play, Op. 67a. Tchaikovsky wrote the "Hamlet" overture-fantasia, Op. 67, between June and 19 October 1888, overlapping the scoring of his Fifth Symphony. The idea of a "Hamlet" overture had

title: The Tempest (Tchaikovsky)

text: The Tempest (Tchaikovsky) The Tempest (Russian: Буря "Burya"), Symphonic Fantasia after Shakespeare, Op. 18, is a symphonic poem in F minor by Pyotr Ilyich Tchaikovsky composed in 1873. It was premiered in December 1873, conducted by Nikolai Rubinstein. It is based on the play "The Tempest" by William Shakespeare. Similar in structure to Tchaikovsky's better-known "Romeo and Juliet" fantasy-overture, it contains themes depicting the stillness of the ship at sea, the grotesque nature of Caliban, and the love between Ferdinand and Miranda. The love music is particularly strong, being reminiscent of the love music from "Romeo and Juliet". Tchaikovsky was

title: Pyotr Ilyich Tchaikovsky and The Five

text: music education and began his own intensive studies privately, his fellow nationalists accused him of throwing away his Russian heritage to compose fugues and sonatas. Tchaikovsky continued to support him morally. He told Rimsky-Korsakov that he fully applauded what he was doing and admired both his artistic modesty and his strength of character. Before Rimsky-Korsakov went to the Conservatory, in March 1868, Tchaikovsky wrote a review of his "Fantasy on Serbian Themes". In discussing this work, Tchaikovsky compared it to the only other Rimsky-Korsakov piece he had heard so far, the First Symphony, mentioning "its charming orchestration ... its structural

title: Pyotr Ilyich Tchaikovsky

text: He told Block, "I am a bad pianist and my voice is raspy. Why should one eternalize it?" Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky ( ; , ; 7 May 1840 – 6 November 1893), was a Russian composer of the romantic period, whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. He was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension. Although musically precocious, Tchaikovsky

title: Piano Concerto No. 3 (Tchaikovsky)

text: it. For we cannot even be sure how far the conception may have been carried out". Warrack concludes, "The kindest response is to remember that Tchaikovsky himself abandoned it. Taneyev was being over-pious: much the best solution of the problem of what to do with the music is to perform the Third Concerto as Tchaikovsky left it, in one movement; it could with advantage be heard sometimes in concerts at which soloists wish to add something less than another full-scale concerto to the main work in their program". For the LP sleeve-note of the HMV/Melodiya recording of Tchaikovsky's so-called "7th

title: Pyotr Ilyich Tchaikovsky

text: 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.

title: Symphony No. 3 (Tchaikovsky)

text: a scherzo. The work also shares the "Rhenish's" overall tone of exuberant optimism. For these reasons, musicologist David Brown postulates that Tchaikovsky might have conceived the Third Symphony with the notion of what Schumann might have written had he been Russian. The "Rhenish", in fact, was one of two works that had most impressed Tchaikovsky during his student days at the Saint Petersburg Conservatory; the other was the "Ocean" Symphony by his teacher, Anton Rubinstein. The average performance of this symphony runs about 45 minutes. In his biography and analysis of Tchaikovsky's music, Roland John Wiley likens the five-movement format

title: Pyotr Ilyich Tchaikovsky and The Five

text: advice and guidance. Later, when Rimsky-Korsakov was under pressure from his fellow nationalists for his change in attitude on music education and his own intensive studies in music, Tchaikovsky continued to support him morally, told him that he fully applauded what he was doing and admired both his artistic modesty and his strength of character. In the 1880s, long after the members of The Five had gone their separate ways, another group called the Belyayev circle took up where they left off. Tchaikovsky enjoyed close relations with the leading members of this group—Alexander Glazunov, Anatoly Lyadov and, by then, Rimsky-Korsakov.

title: Pyotr Ilyich Tchaikovsky

text: whose score he consulted while working on "The Sleeping Beauty". Beethoven's string quartets may have influenced Tchaikovsky's attempts in that medium. Other composers whose work interested Tchaikovsky included Hector Berlioz, Felix Mendelssohn, Giacomo Meyerbeer, and Henry Litolff. 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. Tchaikovsky's focus on pleasing his audience might be considered

title: Circle of Tchaikovsky

text: Circle of Tchaikovsky The Circle of Tchaikovsky, also known as Tchaikovtsy, Chaikovtsy, or the Grand Propaganda Society ("Чайковцы", "Chaykovtsy"; "Большое общество пропаганды" "Bolshoye obshchestvo propagandy" in Russian) was a Russian literary society for self-education and a revolutionary organization of the Narodniks in the early 1870s. The intelligentsia of mid-nineteenth century Tsarist Russia were dissatisfied with what they saw as social stagnation of the nation and had begun to demand reform (their attitude was notably characterised by novelist Ivan Turgenev as nihilism). The peak of this social activism gave rise to a number of secret organisations, among them Land and Liberty,

title: Circle of Tchaikovsky

text: Tschaikovsky joined a religious-communist group and emigrated to the United States in 1874. Circle of Tchaikovsky The Circle of Tchaikovsky, also known as Tchaikovtsy, Chaikovtsy, or the Grand Propaganda Society ("Чайковцы", "Chaykovtsy"; "Большое общество пропаганды" "Bolshoye obshchestvo propagandy" in Russian) was a Russian literary society for self-education and a revolutionary organization of the Narodniks in the early 1870s. The intelligentsia of mid-nineteenth century Tsarist Russia were dissatisfied with what they saw as social stagnation of the nation and had begun to demand reform (their attitude was notably characterised by novelist Ivan Turgenev as nihilism). The peak of this social activism

title: Death of Pyotr Ilyich Tchaikovsky

text: poet and fervent admirer of the composer, ran into the green room weeping and exclaiming, "What have you done, it's a requiem, a requiem!" As for the première itself, Volkov writes: Tchaikovsky began conducting with the baton held tightly in his fist ... in his usual manner. But when the final sounds of the symphony had died away and Tchaikovsky slowly lowered the baton, there was dead silence in the audience. Instead of applause, stifled sobs came from various parts of the hall. The audience was stunned and Tchaikovsky stood there, motionless, his head bowed. This would seem to contradict

title: Liturgy of St. John Chrysostom (Tchaikovsky)

text: Liturgy of St. John Chrysostom (Tchaikovsky) The Liturgy of St. John Chrysostom (, ) is an choral composition by Pyotr Ilyich Tchaikovsky, his Op. 41, composed in 1878. It consists of settings of texts taken from the Divine Liturgy of St. John Chrysostom, the most celebrated of the eucharistic services of the Eastern Orthodox Church. Tchaikovsky's setting constitutes the first "unified musical cycle" of the liturgy. Tchaikovsky, known primarily for his symphonies, concertos and ballets, was deeply interested in the music and liturgy of the Russian Orthodox Church. In 1875, he compiled "A Concise Textbook of Harmony Intended to Facilitate

text: liturgy, including Arkhangelsky, Chesnokov, Gretchaninov, Ippolitov-Ivanov, and Rachmaninoff. While most of the work uses traditional Slavonic chants with simple homophonic settings, Tchaikovsky composed new music and free settings for six of the movements. These include movements 6, 8, 10, 11, 13 and 14. Movements 10 and 11 have some polyphony and imitation, providing a contrast from the block-chordal arrangement of the majority of the work. The work consists of 15 major divisions. Performances require approximately 48 minutes. Liturgy of St. John Chrysostom (Tchaikovsky) The Liturgy of St. John Chrysostom (, ) is an choral composition by Pyotr Ilyich Tchaikovsky, his

title: Pyotr Ilyich Tchaikovsky

text: Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky ( ; , ; 7 May 1840 – 6 November 1893), was a Russian composer of the romantic period, whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. He was honored in 1884 by Emperor Alexander III, and awarded a lifetime pension. Although musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a musical career in

title: Pyotr Ilyich Tchaikovsky

text: II's wish to foster native talent. It hosted a regular season of public concerts (previously held only during the six weeks of Lent when the Imperial Theaters were closed) and provided basic professional training in music. In 1861, Tchaikovsky attended RMS classes in music theory taught by Nikolai Zaremba at the Mikhailovsky Palace (now the Russian Museum). These classes were a precursor to the Saint Petersburg Conservatory, which opened in 1862. Tchaikovsky enrolled at the Conservatory as part of its premiere class. He studied harmony and counterpoint with Zaremba and instrumentation and composition with Rubinstein. The Conservatory benefited Tchaikovsky in

title: Pyotr Ilyich Tchaikovsky

text: Third Symphony of Nikolai Rimsky-Korsakov, with whose circle Tchaikovsky was already in touch. Rimsky-Korsakov, with Alexander Glazunov, Anatoly Lyadov and several other nationalistically minded composers and musicians, had formed a group known as the Belyayev circle, named after a merchant and amateur musician who became an influential music patron and publisher. Tchaikovsky spent much time in this circle, becoming far more at ease with them than he had been with the 'Five' and increasingly confident in showcasing his music alongside theirs. This relationship lasted until Tchaikovsky's death. In 1892, Tchaikovsky was voted a member of the Académie des Beaux-Arts in

title: Pyotr Ilyich Tchaikovsky

text: Others dismissed Tchaikovsky's music as "lacking in elevated thought," according to longtime "New York Times" music critic Harold C. Schonberg, and derided its formal workings as deficient because they did not stringently follow Western principles. Pyotr Ilyich Tchaikovsky was born in Votkinsk, a small town in Vyatka Governorate (present-day Udmurtia) in the Russian Empire, into a family with a long line of military service. His father, Ilya Petrovich Tchaikovsky, had served as a lieutenant colonel and engineer in the Department of Mines, and would manage the Kamsko-Votkinsk Ironworks. His grandfather, Pyotr Fedorovich Tchaikovsky (né Petro Fedorovych Chaika), served first as

title: Fatum (Tchaikovsky)

text: the dedication of the work. Balakirev accepted, and said he would arrange another performance, no matter what he thought of the music. "Fatum" was performed again in Saint Petersburg on 17/29 March at the ninth concert of the Russian Musical Society, conducted by Balakirev. However, the second performance was not the popular success the first performance had been. Balakirev wrote to Tchaikovsky: Your "Fatum" has been performed [in St. Petersburg] reasonably well ... There wasn't much applause, probably because of the appalling cacophony at the end of the piece, which I don't like at all. It is not properly gestated,

title: International Tchaikovsky Competition for Young Musicians

text: and commercial companies. The Moscow Conservatory, Russian State Academy of Music and the Central Music School of the Moscow Conservatory stand out among the common educational partners of the competition. In 2015, the special prize for the winners, porcelain statuette ”Muse” – a symbol of Tchaikovsky’s patroness Nadezhda von Meck – has been designed by collective authorship of artists of Sergei Andriaka’s Watercolor and Fine Arts Academy, partner for the IX International Tchaikovsky Competition for Young Musicians. International Tchaikovsky Competition for Young Musicians The International Tchaikovsky Competition for Young Musicians is the junior section of the prestigious International Tchaikovsky Competition,

title: Pyotr Ilyich Tchaikovsky

text: 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. Musicologist Martin Cooper calls this practice a subtle form of unifying a piece of music and adds that Tchaikovsky brought it to a high point of refinement. (For more on this practice, see the next section.) Like other late Romantic composers, Tchaikovsky relied heavily on orchestration for musical effects. Tchaikovsky, however, became noted for the "sensual opulence" and "voluptuous timbrel virtuosity" of his orchestration. Like Glinka, Tchaikovsky tended toward

title: Hamlet (Tchaikovsky)

text: for a production of Shakespeare's play, to which Tchaikovsky agreed. The planned performance was cancelled, but Tchaikovsky decided to finish what he had started, in the form of a concert overture. There is no musical enactment of the events of the play, or even a presentation of the key characters. The work adopts the same scheme he used in his other Shakespeare pieces, the fantasy-overture "Romeo and Juliet" (1869, revised 1870 and 1880) and the symphonic fantasy "The Tempest" (1873), in using certain characteristics or emotional situations within the play. The essence of the work is the brooding atmosphere depicting

title: Hamlet (Tchaikovsky)

text: choreographed by Boris Eifman. Lucien Guitry again asked Tchaikovsky to write incidental music for "Hamlet". This time, it was for a benefit production on 21 February 1891 at the Mikhaylovsky Theatre in Saint Petersburg, and it was to be Guitry's farewell performance. Tchaikovsky started work on the incidental music on 13 January, but found it difficult. He was exhausted from completing "The Queen of Spades", which had premiered to a triumph in December 1890. Also that month, his patroness Nadezhda von Meck had severed her connection with him. He was also suffering an affliction of the right hand. For these

title: Pyotr Ilyich Tchaikovsky

text: possibility that Tchaikovsky might have intended the development passages in his large-scale works to act as "enforced hiatuses" to build tension, rather than grow organically as smoothly progressive musical arguments. 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. Within this outline, the focus centered on periodic alternation and juxtaposition. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts"

title: Pyotr Ilyich Tchaikovsky

text: closer to that of Mendelssohn or Mozart. Considering that he lived and worked in what was probably the last 19th-century feudal nation, the statement is not actually that surprising. And yet, even when writing so-called 'programme music, for example his Romeo and Juliet fantasy overture, he cast it in sonata form. His use of stylized 18th-century melodies and patriotic themes was geared toward the values of Russian aristocracy. He was aided in this by Ivan Vsevolozhsky, who commissioned "The Sleeping Beauty" from Tchaikovsky and the libretto for "The Queen of Spades" from Modest with their use of 18th century settings

title: Tchaikovsky (song)

text: Nikolai Medtner, Mily Balakirev, Vasily Zolotaryov, Kvoschinsky, Nikolay Sokolov, Alexander Kopylov, Vernon Duke (born Dukelsky), Nikolay Klenovsky, Dmitri Shostakovich, Alexander Borodin, Reinhold Glière, David Nowakowsky, Anatoly Lyadov, Genari Karganoff, Igor Markevitch, Pantschenko, Alexander Dargomyzhsky, Vladimir Shcherbachov, Alexander Scriabin, Sergei Vasilenko, Igor Stravinsky, Nikolai Rimsky-Korsakov, Modest Mussorgsky, Alexander Gretchaninov, Alexander Glazunov, César Cui, Vasily Kalinnikov, Sergei Rachmaninoff, and Joseph Rumshinsky. Tchaikovsky (song) "Tchaikovsky (and Other Russians)" is a patter song with lyrics by Ira Gershwin and music by Kurt Weill, first performed by American comedian Danny Kaye in the 1941 Broadway musical "Lady in the Dark". The original spelling is "Tschaikowsky

title: Symphonies by Pyotr Ilyich Tchaikovsky

text: enlivened in reiteration" by what Warrack calls "ostinato figures, dramatic pedal–points, sequences that screw anticipation to a fever pitch with each new step, all expressed in frenzied rhythmic activity." The result of this enlivening, Zhitomirsky says, is "that the very contrast of the two blocks is consistently sharpened." An important part of this process, Keller states, is that "thematic and harmonic contrasts" are "not allowed to coincide." Mozart, he writes, evidently preceded Tchaikovsky in this tactic of modulatory delay and may have helped give Tchaikovsky the impetus in attempting it himself, although Tchaikovsky develops this form of contrast "on an

title: Pyotr Ilyich Tchaikovsky

text: talent allowed Tchaikovsky to employ a varied range of harmony in his music, from the Western harmonic and textural practices of his first two string quartets to the use of the whole tone scale in the center of the finale of the Second Symphony, a practice more typically used by The Five. 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

title: Pyotr Ilyich Tchaikovsky and The Five

text: the piano. He did this so many times that he learned to perform it from memory. Some critics, among them Tchaikovsky biographers Lawrence and Elisabeth Hanson, have wondered what would have happened if Tchaikovsky had joined Balakirev in 1862 instead of attending the Conservatory. They suggest that he might have developed much more quickly as an independent composer, and offer as proof the fact that Tchaikovsky did not write his first wholly distinct work until Balakirev goaded and inspired him to write "Romeo". How well Tchaikovsky might have developed in the long run is another matter. He owed much of

title: Cello Concerto (Tchaikovsky/Leonovich)

text: family to complement the opening motive. The second theme is in G major, assuming that Leonovich remembers F-sharps, which Leonovich considers an unlikely key relationship for Tchaikovsky to have used since Tchaikovsky wrote the first theme in B minor. Ignoring the apparent clues left by Tchaikovsky as to how he would have developed this movement, Leonovich also takes the development into his own hands, following a linear pattern similar to that in the Fourth Symphony and Second Piano Concerto. Exploring the mediant area Leonovich calls typical of Romantic composers, he allows the music to move to D major instead of

title: Death of Pyotr Ilyich Tchaikovsky

text: full blown cholera. His condition worsened, but he still refused to see a doctor. A doctor was finally sent for but he was not home so another one was called. The diagnosis of cholera was finally made by Dr. Lev Bertenson. In the meantime, Tchaikovsky would seem to improve but then would regress and get much worse. His kidneys began to fail. A priest was called from St. Isaac's Cathedral to administer last rites but the composer was too far gone to recognize what was going on around him. He died at 3 a.m. on 6 November 1893. Tchaikovsky biographer

title: Pyotr Ilyich Tchaikovsky

text: France, only the second Russian subject to be so honored (the first was sculptor Mark Antokolski). The following year, the University of Cambridge in England awarded Tchaikovsky an honorary Doctor of Music degree. On 16/28 October 1893, Tchaikovsky conducted the premiere of his Sixth Symphony, the "Pathétique" in Saint Petersburg. Nine days later, Tchaikovsky died there, aged 53. He was interred in Tikhvin Cemetery at the Alexander Nevsky Monastery, near the graves of fellow-composers Alexander Borodin, Mikhail Glinka, and Modest Mussorgsky; later, Rimsky-Korsakov and Balakirev were also buried nearby. While Tchaikovsky's death has traditionally been attributed to cholera from drinking

title: Symphony No. 2 (Tchaikovsky)

text: allegro. The first subject itself is both spacious and filled with a restless momentum resulting from constant tensions between melody and bass. These tensions are often highlighted by the accompanying figures, which are syncopated. The second subject, like the first, is tonally restless, often chromatic and containing an almost constant contrapuntal interplay. While the exposition of these themes was limited in expressiveness, it was also rich in inventive detail and skillfully composed—what Dr. David Brown called "as monolithic a slab of symphonic music as Tchaikovsky had yet composed." The finale is both the high point of the symphony and its

title: Piano Concerto No. 3 (Tchaikovsky)

text: whom Tchaikovsky relied for technical pianistic advice, found the solo part lacking in virtuosity. Tchaikovsky had told Siloti that if Taneyev shared his low opinion of the concerto, he would destroy it. The composer did not carry out this threat, however. Tchaikovsky's brother Modest assured Siloti that while Tchaikovsky in no way questioned Taneyev’s verdict, he also had promised the concerto to Diémer and wanted to show the score to him. In fact, on what would be his final visit to Moscow in October 1893, Tchaikovsky showed the concerto once again to Taneyev and still intended to show the work

title: Music of Pyotr Ilyich Tchaikovsky

text: Tchaikovsky wrote a hundred-odd piano works over the course of his creative life. His first opus comprised two piano pieces, while he completed his final set of piano works after he had finished sketching his last symphony. Except for a piano sonata written while he was a composition student and a second much later in his career, Tchaikovsky's solo piano works consist of character pieces. While his best known set of these works is "The Seasons", the compositions in his last set, the Eighteen Pieces, Op. 72, are extremely varied and at times surprising. Some of Tchaikovsky's piano works can

title: Music of Pyotr Ilyich Tchaikovsky

text: was more ambivalent about his program symphony "Manfred", inspired by Byron's poem of the same name and written to a program supplied by Balakirev. Written in four movements and for the largest orchestra Tchaikovsky employed, the piece remains a rarity in the concert hall but is being recorded with increasing frequency. "The Storm" and ""Fatum"" are early works; "The Voyevoda" dates from the same period as the "Pathetique" symphony. Commissioned works include the "1812 Overture", known for its traditional Russian themes (such as the old Tsarist National Anthem) and its 16 cannon shots and chorus of church bells in the

title: Music of Pyotr Ilyich Tchaikovsky

text: orchestra. The Third Piano Concerto, initially the opening movement of a symphony in E flat, was left on Tchaikovsky's death as a single-movement composition. Tchaikovsky also promised a concerto for cello to Anatoliy Brandukov and one for flute to Paul Taffanel but died before he could work on either project in earnest. Of the concertante works, the "Variations on a Rococo Theme" for cello and orchestra was inspired by Mozart and shows Tchaikovsky's affinity for Classical style in its tastefulness and refined poise. The "Concert Fantasia" for piano and orchestra is related in its light tone and unorthodox formal structure

title: Piano Concerto No. 3 (Tchaikovsky)

text: of the 3rd Piano Concerto in its complete form, and was able not only "to deduce a great deal of what Tchaikovsky seems originally to have intended for his symphony ... but was able to reconstruct a fair semblance of how he might have completed it." It seems certain that Tchaikovsky had intended his new symphony to be in the usual four movements and Modest Tchaikovsky believed that in discarding the symphony in favour of a piano concerto, the composer turned the Scherzo into the tenth of his Eighteen Pieces for Piano, Op. 72. This view is bolstered by the

title: Orchestral Suite No. 2 (Tchaikovsky)

text: Orchestral Suite No. 2 (Tchaikovsky) Pyotr Ilyich Tchaikovsky composed his Orchestral Suite No. 2 in C major, Op. 53, in 1883. It was premiered on February 16, 1884 at a Russian Musical Society concert in Moscow, conducted by Max Erdmannsdörfer. The piece was well enough received to be repeated a week later. It is dedicated to his brother Anatoly's wife, Praskovya Vladimirovna Tchaikovskaya. The suite is written in five movements. The music is scored for the following: Woodwinds Brass Percussion Miscellaneous Strings Tchaikovsky spent the late spring and early summer of 1883 with his brother Anatoly after spending some hectic

title: Pyotr Ilyich Tchaikovsky

text: 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. "Tchaikovsky is being viewed again as a composer of the first rank, writing music of depth, innovation and influence," according to cultural historian and author Joseph Horowitz. Important in this reevaluation is a shift in attitude away from the disdain for overt emotionalism that marked half of the 20th century. "We have acquired a different view of Romantic 'excess,'" Horowitz says. "Tchaikovsky is today more admired

title: Pyotr Ilyich Tchaikovsky

text: calling the symphony "routine" and "meretricious", both works were received with extreme enthusiasm by audiences and Tchaikovsky, undeterred, continued to conduct the symphony in Russia and Europe. Conducting brought him to the United States in 1891, where he led the New York Music Society's orchestra in his "Festival Coronation March" at the inaugural concert of Carnegie Hall. In November 1887, 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

title: Pyotr Ilyich Tchaikovsky

text: 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. (For more on this, please see Repetition below.) Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice. The traditional argument that Tchaikovsky seemed unable to develop themes in this manner fails to consider this point; it also discounts the

title: Pyotr Ilyich Tchaikovsky

text: after Tchaikovsky's death, in 1913, Igor Stravinsky's "The Rite of Spring" erupted onto the musical scene, signalling Russia's arrival into 20th-century music. Between these two very different worlds, Tchaikovsky's music became the sole bridge." The following recording was made in Moscow in January 1890, by Julius Block on behalf of Thomas Edison. 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. Tchaikovsky refused.

title: Symphony No. 4 (Tchaikovsky)

text: in its creation. It is also due to Madame von Meck that, at her request, Tchaikovsky wrote a program explaining the symphony. This action encouraged numerous writers to quote it instead of focusing on the symphony's purely musical qualities, including what Hans Keller termed "one of the most towering symphonic structures in our whole literature" in the opening movement. This program hindered acceptance of the symphony for many years, prejudicing Alfred Einstein and other musicologists against it. But this must be seen in the context of Einstein's general lack of sympathy for Tchaikovsky's music. But despite this negative impact on

title: Symphonies by Pyotr Ilyich Tchaikovsky

text: piece of music and adds that Tchaikovsky brought it to a high point of refinement. As did Keller, Maes uses the first movement of the Fourth Symphony as an example of how this union of elements provides dramatic impact. This movement is "dominated by a powerful and highly rhythmic motto in the brass" which Tchaikovsky uses to demarcate various points in the overall structure. Tchaikovsky makes the actual first theme, already rhythmically complex, seem even more unstable by the notes he writes to accompany it. When he recapitulates this theme, he adds further rhythmic movement in the form of chromatic

title: Here Is What Is

text: Here Is What Is Here Is What Is is the fifth studio album by Canadian songwriter and record producer Daniel Lanois. It was first released in December 2007 as a high-quality download, and later released on CD on March 18, 2008. The album is the result of the same project that led to the 2007 documentary "Here Is What Is" that premiered at the 2007 Toronto International Film Festival in September. The movie documents the aesthetics and creative process behind Lanois' approach to music making and recording. The album has been presented as a direct soundtrack to this film, and

title: Symphony No. 4 (Tchaikovsky)

text: Fourth Symphony is where Tchaikovsky's struggles with Western sonata form came to a head. In some ways he was not alone. The Romantics in general were never natural symphonists because music was to them primarily evocative and biographical. Western musical form, as developed primarily by Germanic composers, was analytical and architectural; it simply was not designed to handle the personal emotions the Romantics wished to express. The difference with Tchaikovsky was that while the other Romantics remained generally autobiographical in what they wanted to express, he became more specific and, consequently, more intense. In his first three symphonies he had

title: Orchestral Suite No. 2 (Tchaikovsky)

text: and seems to leap ahead to the next century. Even in the enchantment music of "The Sleeping Beauty", which would follow it, there would not be quite the same disquieting sense of the unknown as Tchaikovsky displays here. Orchestral Suite No. 2 (Tchaikovsky) Pyotr Ilyich Tchaikovsky composed his Orchestral Suite No. 2 in C major, Op. 53, in 1883. It was premiered on February 16, 1884 at a Russian Musical Society concert in Moscow, conducted by Max Erdmannsdörfer. The piece was well enough received to be repeated a week later. It is dedicated to his brother Anatoly's wife, Praskovya Vladimirovna