720:. The music becomes both highly animated and mischievous in tone as Tchaikovsky allows "The Crane" to virtually monopolize the next two minutes, set against a succession of varying backdrops. Such a spacious development leaves almost no time for a transition to a calmer second theme; Tchaikovsky lets it arrive unannounced; the music just seems to stop with only a couple of brass notes to form the briefest of transitions. Even then, it is quickly replaced with more variations on "The Crane." The development is an unorthodox combination of these two themes accompanied by a series of widely striding bass notes, like some giant walking through the music's narrative. The second subject sometimes twists in mid-statement and even takes on the boisterous personality of "The Crane", building to a huge climax. In the 1872 version, the climax led to "The Crane" being recapitulated with an even more dizzying set of changing backgrounds, even going through remote key areas before returning to tonic for the second subject group. It is worth hearing the original version of this – the way he played it at the home of Rimsky-Korsakov – which caused a sensation.
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luggage missing—including his work on the symphony. Fearing the postmaster had opened the luggage and learned his identity, he sent someone to fetch it. The intermediary returned empty-handed. The postmaster would only release the luggage to the prince himself. Steeling himself, Tchaikovsky returned. His luggage had not been opened, much to his relief. He made small talk for some time with the postmaster and eventually asked the postmaster's name. "Tchaikovsky", the postmaster replied. Stunned, the composer thought this was perhaps a sharp-witted revenge. Eventually he learned "Tchaikovsky" was really the postmaster's name. After learning this fact, he delighted in recounting the story.
669:, but writing in this vein also had its pitfalls. Using similar intervals and phrases to the folk songs with repetitiveness typical of Russian folk music could easily create a static effect rather than one geared to movement and purpose. The melody tends, in fact, to become something near a set of variations on itself, to proceed by modulation rather than by development and contrast; and this clearly makes it recalcitrant to symphonic treatment. However, in 1872, Tchaikovsky did not see this lack of structural advancement as a problem since in all his most important symphonic movements to date his practice had been to close the first subject exactly where it had begun.
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body of the movement. In 1872 it had operated freely within the main movement, sometimes operating on equal terms with the other themes and at others even assuming a brief structural role in a manner both bold and unprecedented. After reappearing to complete the exposition, it had continued as a constant element of the entire development section before falling back to allow the first theme to reassume its role. Also, while
Tchaikovsky had not written a transition written into the exposition, he had provided one in the recapitulation by restarting the folk song in combination with part of the first subject.
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593:, "This movement has come out compressed, short, and is not difficult. If the epithet 'impossible' applies to anything, it is this first movement in its original form. My God! How difficult, noisy, disjointed and muddle-headed this is!" The premiere of the revised version was played at Saint Petersburg on February 12, 1881, under the direction of Karl Zike.
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In his revision, Tchaikovsky confines the introduction's folk tune to the first part of the development and the coda. The new second half of the development focused on the new first subject. The recapitulation was orthodox, the last three bars tonally modified for the second subject to be restated in
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The 1880 revised version is usually the one performed and recorded today, but its true effectiveness has been questioned. At only 35 minutes running time (somewhat shorter than many symphonies of the period), it is also approximately five minutes shorter than its predecessor. Tchaikovsky stood by his
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he used the idea of integrating the introduction, based on another
Ukrainian folk song, with the main body of the movement by using material from it in the allegro. The first subject itself is both spacious and filled with a restless momentum resulting from constant tensions between melody and bass.
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and his appraisal of both versions, Taneyev had not only developed into an outstanding teacher of composition but also earned a reputation as one of the finest craftsmen among all
Russian composers. He felt strongly enough about the matter to write the composer's brother Modest, "It seems to me that
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was its composer. In the same letter describing the 1873 premiere, Tchaikovsky wrote to Stasov, "To tell you the truth, I'm not completely satisfied with the first three movements, but 'The Crane' itself hasn't come out so badly." Despite this, Tchaikovsky persuaded the publisher Bessel to publish
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on
February 7, 1873. Tchaikovsky wrote Stasov the next day that it "enjoyed a great success, so great that Rubinstein wants to perform it again ... as by public demand." That publicly demanded performance, on April 9, was even more successful. A third Moscow performance, again by public demand, took
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Ideally, the themes in a
Western piece interact, contrast and change. This activity fuels the composition's growth as an organic creation. Tension continues building as this thematic dialogue becomes increasingly complex. This dialogue or interchange eventually propels the piece to a climactic point
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melody repeated for as long as the dancers can keep up with it. Glinka uses the principle from folk song of allowing the musical structure to unfold around a thematic constant—or actually two constants, since he uses two folk songs. He varies the background material surrounding these songs more than
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Tchaikovsky also changed the thematic material, eliminating the second subject and replacing it with the original first subject after rewriting it completely, since there was little contrast between these two themes. The other thematic change was the role of the introduction's folk song in the main
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has advocated at least the occasional performance of the 1872 version. Dr. David Brown has added, "To be fair to the second version, it is certainly attractive, and structurally as clear as anything that
Tchaikovsky could wish for. There is an undeniable heaviness in the original, but its imposing
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on the way back to Moscow. To persuade a recalcitrant postmaster to hitch the horses to the coach in which he and his brother Modest had been travelling, Tchaikovsky presented himself as "Prince
Volkonsky, gentleman of the Emperor's bedchamber." When they reached their evening stop, he noticed his
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with his sister
Aleksandra's family, the Davydovs. The Davydov estate had become the composer's favorite refuge. Alexandra had, in fact, encouraged the composer to make Kamenka his second home. His affection for the estate bore fruit in his using local songs in the symphony he was writing. He even
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Tchaikovsky focused the majority of his revision on the first movement. The result was a completely new composition. The only parts he did not change were the introduction, coda and 28 bars of the development section. His objective was to clarify structure and texture. He compressed the material,
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offered a viable example of the creative possibilities of folk songs in a symphonic structure, using a variety of harmonic and contrapuntal combinations. It also offered a blueprint on how such a structure could be made to work, barring the potential for inertia or over-repetition. Because of his
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In 1879, Tchaikovsky asked for the return of the manuscript score. Upon its arrival, he started revising it. On
January 2, 1880, he sent Bessel a progress report: "1. I have composed the first movement afresh, leaving only the introduction and coda in their previous form. 2. I have rescored the
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Despite its initial success, Tchaikovsky was not satisfied with the symphony. He revised the work extensively in 1879–80, substantially rewriting the opening movement and shortening the finale. This revision is the version of the symphony usually performed today, although there have also been
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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."
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excising more than 100 bars of music in the process. He introduced more abrupt contrasts in the material, which heightened the musical drama, allowed him to more sharply define structural divisions within the movement, and allowed the movement to follow a more orthodox sonata form.
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The 1872 version of the first movement is massive in scale, intricate in structure and complex texturally. Its weightiness contrasted well with the comparatively lightweight second movement and it balanced the finale well—a formal pattern the composer would repeat much later in the
139:, leads straight into the development, in which material from both themes is heard. A long pedal note leads back to the second subject. Tchaikovsky does not repeat the first subject theme in its entirety in this section, as is conventional, but instead uses it solely for the coda.
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two years later (although many recordings seem to rush through this imposing section, making the contrast between this and its impish second statement somewhat less stark). But the grandiosity is just a momentary mask. The mask drops with the first notes of the
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While Tchaikovsky left the inner movements alone, structurally speaking, he cut 150 bars out of the finale. Instead of the climax leading to further development of "The Crane", it is now followed by a quieter interlude led by the movement's second subject.
661:, as the group was also called) was not that Tchaikovsky used Ukrainian folk songs but, especially in the outer movements, how he allowed the unique characteristics of Russian folk song to dictate symphonic form. This was one of the goals toward which the
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development without distorting the character of the piece. The music repeats itself constantly, albeit with changing backgrounds. Because of this lack of thematic growth, the music remains static, not moving forward. Nor was this a unique problem with
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The finale is both the high point of the symphony and its composer's clearest demonstration of writing in line with the tradition of Glinka as embraced by the Five. He introduces the folk song "The Crane" in a grandiose introduction similar to how
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finale should have gone "to the real composer of the said work—Peter Gerasimovich." Gerasimovich, the elderly butler in the Davydov household, sang the folk-song "The Crane" to Tchaikovsky while the composer was working on the symphony.
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in some future concert you ought to let people hear the real Second Symphony, in its original form ... When I see you I will play both versions and you will probably agree with me about the superiority of the first."
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scale, and its richness of content and detail make it a far more impressive piece that ought to be restored to the place, which is still permanently usurped by its slighter and far less enterprising successor."
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second movement. 3. I've altered the third movement, shortening and rescoring it. 4. I've shortened the finale and rescored it." He claimed he had completed this work in three days. By January 16, he wrote
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on February 1, "Not in a long time have I come across a work with such a powerful thematic development of ideas and with contrasts that are so well motivated and artistically thought out."
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After a brief but expansive fanfare, Tchaikovsky quotes the folk song "The Crane", subjecting it to an increasingly intricate and colorful variations for orchestra. A more lyrical theme in
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was composed in 1872. One of Tchaikovsky's joyful compositions, it was successful right from its premiere and also won the favor of the group of nationalistic Russian composers known as "
476:. Russian music, especially Russian folk music, stubbornly refused to follow the Western principles Tchaikovsky had learned in St. Petersburg. This may have been one reason his teacher
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from the strings provides contrast. During the development both first and second themes are used. After the recapitulation, the symphony finishes with a colorful and lively coda.
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and humor ... one of the most important creations of the entire Russian school." Hermann Laroche, who had travelled from St. Petersburg especially for the concert, wrote in the
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the score. Bessel released a piano duet arrangement (prepared by Tchaikovsky after Rimskaya-Korsakova had to withdraw due to illness) but was late to produce a full score.
732:, Tchaikovsky's musical ideals changed considerably. He became attracted to the qualities of lightness and grace he found in 18th century classical music, as shown in his
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528:. 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
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These tensions are often highlighted by the accompanying figures, which are syncopated. The second subject, like the first, is tonally restless, often
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A solo horn playing a Ukrainian variant of "Down by Mother Volga" sets the atmosphere for this movement. Tchaikovsky reintroduces this song in the
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Fleet and scampering, this movement does not quote an actual folk song but sounds folk song-like in its overall character. It takes the form of a
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section for a reference to the only recording of the original version of the work, made by Geoffrey Simon and the London Symphony Orchestra.
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strived. Tchaikovsky, with his Conservatory grounding, could sustain such development longer and more cohesively than his colleagues in the
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is based on two melodies. The first is a bridal song, "Izza gor" (From beyond the mountains). The second, the title song of the piece, is a
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459:. This way, Glinka preserves the original character of the dance, complementing it with creative variations in the orchestral treatment.
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lay the core of the entire school of Russian symphonic music, "just as the whole oak is in the acorn", as he wrote in his diary in 1888.
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on January 7, 1873. To his brother Modest, he wrote, "he whole company almost tore me to pieces with rapture—and
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place on May 27. Critical reaction was just as enthusiastic. Stasov wrote of the finale "in terms of color,
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supporters of the original version. Among those advocates was the composer's friend and former student,
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arranged for piano duet. All but one he transcribed himself came from the collections of Villebois and
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more solidly and over a greater time scale than either Glinka or Mussorgsky could have done. Without
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Taneyev's opinion carried considerable weight. In the 19 years between the première of the original
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does not follow this pattern. Nor can it. The ostinato melody of the second song will not allow any
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Tchaikovsky had used folk songs in his early days in Saint Petersburg and in his student overture
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that the 1880 version was the only one to be performed. Eight years after Tchaikovsky's death,
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did not consider folk songs to be viable musical material for anything other than local color.
496:, however, Tchaikovsky knew he did not have had a foundation upon which to build that finale.
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The rather vigorous second subject utilises a melody which would also be used subsequently by
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One of Tchaikovsky's favorite anecdotes resulted from his nearly losing the sketches for the
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which draw upon traditional chant. His affinity for folk song led him in 1868–69 to publish
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This movement was originally a bridal march Tchaikovsky wrote for his unpublished opera
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was there and may have approved of the work himself. Also present was music critic
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begged me in tears to let her arrange it for piano duet". Neither Balakirev nor
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conducted the St. Petersburg premiere on March 7. Despite a negative review by
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330:" or "The Mighty Handful", but he retained a love for Russian folk song and
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172:. He quotes the folk song "Spin, O My Spinner" in the central section.
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compositional training, Tchaikovsky could build the finale of the
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his entire life. His liturgical music includes a setting of the
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Letter from Taneyev to Modest Tchaikovsky, December 27, 1898
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composer in the manner of the Russian composers known as "
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International Tchaikovsky Competition for Young Musicians
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compared the two versions and favored the 1872 original.
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1510:(Seattle: University of Washington Press, 1971, 1969) .
1044:(New York: Philosophical Library, 1947), 94, footnote 4
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1140:(New York, W.W. Norton & Company, Inc., 1978), 255
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The premiere of the complete symphony took place in
1446:(New York, W. W. Norton & Company, Inc., 1978).
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87:, who was himself a noted composer and pedagogue.
75:, "Kashkin suggested the moniker in his 1896 book
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1453:, (New York: W. W. Norton & Company, 1991).
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504:Tchaikovsky played the finale at a gathering at
1999:Festival Overture on the Danish National Anthem
1198:, February 1, 1873, as quoted in Poznansky, 156
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1040:Zhitomirsky, Daniel, ed. Shostakovich, Dmitry,
374:once wrote, in jest, that true credit for the
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1031:(New York: Charles Scribner's Sons, 1973), 69
135:. The end of the exposition, in the relative
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1519:Russian Symphony: Thoughts About Tchaikovsky
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1042:Russian Symphony: Thoughts About Tchaikovsky
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1399:
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1536:International Music Score Library Project
1503:(New York: Charles Scribner's Sons, 1973)
1378:
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709:would write "The Great Gate of Kiev" for
1521:(New York: Philosophical Library, 1947).
1494:Tchaikovsky: The Quest for the Inner Man
1292:
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1016:Tchaikovsky: The Quest for the Inner Man
600:
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1451:Tchaikovsky: The Final Years, 1885–1893
1444:Tchaikovsky: The Early Years, 1840–1874
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1138:Tchaikovsky: The Early Years, 1840-1874
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2380:Symphonies by Pyotr Ilyich Tchaikovsky
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884:Royal Liverpool Philharmonic Orchestra
365:Symphony during his summer holiday at
2297:International Tchaikovsky Competition
2282:Moscow State Tchaikovsky Conservatory
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1018:(New York, Schirmer Books, 1991), 155
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1508:Tchaikovsky Symphonies and Concertos
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67:was at that time frequently called "
16:Symphony by Pyotr Ilyich Tchaikovsky
941:(New York: Random House, 1995), 87.
783:Finale. Moderato assai—Allegro vivo
762:first movement became distasteful.
700:Finale. Moderato assai—Allegro vivo
13:
1466:Tchaikovsky: The Man and His Music
838:Academy of St Martin in the Fields
499:
427:helped Tchaikovsky in writing the
253:
14:
2401:
2027:Orchestral Suite No. 4 in G major
2022:Orchestral Suite No. 3 in G major
2017:Orchestral Suite No. 2 in C major
2012:Orchestral Suite No. 1 in D minor
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1496:(New York, Schirmer Books, 1991).
35:. Because Tchaikovsky used three
21:Symphony No. 2 in C minor, Op. 17
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1468:(New York: Pegasus Books, 2007).
953:"Symphony No. 2, Little Russian"
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410:. He believed fervently that in
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132:Russian Easter Festival Overture
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2109:String Quartet No. 2 in F major
2104:String Quartet No. 1 in D major
1847:Piano Concerto No. 2 in G major
1475:(New York: Random House, 1995).
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534:and later, with Balakirev, the
2287:Tchaikovsky Symphony Orchestra
2272:Tchaikovsky State House-Museum
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1008:
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902:Bournemouth Symphony Orchestra
820:Bournemouth Symphony Orchestra
766:Andante sostenuto—Allegro vivo
673:Andante sostenuto—Allegro vivo
580:One person not happy with the
442:, an instrumental dance to an
361:Tchaikovsky wrote much of the
356:
339:Liturgy of St. John Chrysostom
1:
2390:Compositions using folk songs
2277:Tchaikovsky Museum (Votkinsk)
2178:Grand Piano Sonata in G major
2054:Liturgy of St John Chrysostom
925:
920:London Philharmonic Orchestra
911:Gothenburg Symphony Orchestra
893:Pittsburgh Symphony Orchestra
202:scherzo and trio with a coda.
1897:Variations on a Rococo Theme
1326:Tchaikovsky: The Early Years
1313:Tchaikovsky: The Early Years
1300:Tchaikovsky: The Early Years
1287:Tchaikovsky: The Early Years
1265:Tchaikovsky: The Early Years
1209:Tchaikovsky: The Early Years
1125:Tchaikovsky: The Early Years
1112:Tchaikovsky: The Early Yaars
1087:Tchaikovsky: The Final Years
1071:Tchaikovsky: The Early Years
1058:Tchaikovsky: The Early Years
987:Tchaikovsky: The Early Years
875:Royal Philharmonic Orchestra
867:in the original 1872 version
735:Variations on a Rococo Theme
7:
728:In the years following the
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575:
317:
258:The symphony is scored for
10:
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2137:String Sextet in D minor (
1891:Violin Concerto in D major
829:Chicago Symphony Orchestra
310:(last movement only), and
154:marziale, quasi moderato (
71:". According to historian
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2232:Modest Ilyich Tchaikovsky
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2197:
2149:
2114:String Quartet No. 3 in E
2085:
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2006:Festival Coronation March
1918:
1852:Piano Concerto No. 3 in E
1836:Piano Concerto No. 1 in B
1828:
1743:
1711:
1623:
1583:
1513:Zhitomirsky, Daniel, ed.
865:London Symphony Orchestra
712:Pictures at an Exhibition
622:'s opinion was the same.
514:Madame Rimskaya-Korsakova
449:orchestral color (timbre)
322:Tchaikovsky may not be a
52:
1577:Pyotr Ilyich Tchaikovsky
1487:The Symphony, Volume One
1473:Tchaikovsky: A Biography
939:Tchaikovsky: A Biography
43:, it was nicknamed the "
39:to great effect in this
25:Pyotr Ilyich Tchaikovsky
2385:Compositions in C minor
2183:Piano Sonata No. 2 in C
2126:Souvenir d'un lieu cher
347:Fifty Russian Folksongs
213:Finale. Moderato assai—
127:Nikolai Rimsky-Korsakov
90:
77:Memories of Tchaikovsky
1492:Poznansky, Alexander,
1489:(Harmondsworth, 1966).
1014:Poznansky, Alexander,
856:Philadelphia Orchestra
847:Philharmonia Orchestra
811:Philharmonia Orchestra
606:
432:
2132:Piano Trio in A minor
2093:Quartet Movement in B
1878:Sérénade mélancolique
916:Mstislav Rostropovich
802:New York Philharmonic
610:revisions, informing
604:
447:the songs themselves—
422:
2292:Chaikovskij (crater)
2139:Souvenir de Florence
2037:Serenade for Strings
1588:List of compositions
1541:Tchaikovsky Research
1515:Shostakovich, Dmitri
1196:Moskovskie vedomosti
834:Sir Neville Marriner
37:Ukrainian folk songs
1955:Francesca da Rimini
1786:Symphony in B minor
1727:The Sleeping Beauty
1695:The Queen of Spades
1674:Mazepa (or Mazeppa)
1667:The Maid of Orleans
807:Carlo Maria Giulini
113:development section
2244:Antonina Miliukova
2165:Souvenir de Hapsal
2158:Scherzo à la russe
1871:Andante and Finale
1361:Virgin Classics CD
1352:Warner Classics CD
951:Robinson, Harlow.
792:Notable recordings
653:What endeared the
607:
550:Nikolai Rubinstein
433:
2375:1872 compositions
2340:
2339:
2250:Nadezhda von Meck
1948:Capriccio Italien
1904:Pezzo capriccioso
1821:
1471:Holden, Anthony,
937:Holden, Anthony,
798:Leonard Bernstein
483:For Tchaikovsky,
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2267:In popular media
2238:Vladimir Davydov
2214:The Music Lovers
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2098:
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1927:Romeo and Juliet
1919:Orchestral works
1864:Concert Fantasia
1857:
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1841:
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1819:
1816:
1815:
1801:No. 6 in B minor
1796:No. 5 in E minor
1781:No. 4 in F minor
1771:No. 3 in D major
1761:No. 2 in C minor
1755:Winter Daydreams
1751:No. 1 in G minor
1653:Vakula the Smith
1570:
1563:
1556:
1547:
1546:
1534:: Scores at the
1431:
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1340:Sony Classics CD
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760:Little Russian's
687:Romeo and Juliet
657:to The Five (or
612:Eduard Nápravník
566:Eduard Nápravník
510:Saint Petersburg
478:Anton Rubinstein
376:Little Russian's
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2359:Classical Music
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2061:All-Night Vigil
2041:
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1812:
1739:
1707:
1688:The Enchantress
1619:
1610:Belyayev circle
1579:
1574:
1528:
1506:Warrack, John,
1499:Warrack, John,
1483:Simpson, Robert
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1251:The Early Years
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918:conducting the
909:conducting the
900:conducting the
898:Kirill Karabits
891:conducting the
882:conducting the
880:Vasily Petrenko
873:conducting the
871:Yuri Temirkanov
863:conducting the
854:conducting the
845:conducting the
836:conducting the
827:conducting the
818:conducting the
809:conducting the
800:conducting the
794:
785:
768:
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675:
651:
633:More recently,
620:Nikolay Kashkin
599:
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559:Moscow Register
526:Vladimir Stasov
506:Rimsky-Korsakov
502:
500:Initial success
463:of resolution.
396:
359:
343:All-Night Vigil
320:
256:
254:Instrumentation
251:
227:
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158:
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93:
73:Harlow Robinson
61:Nikolay Kashkin
57:Malorossiyskaya
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2019:
2014:
2009:
2002:
1995:
1988:
1981:
1974:
1965:
1958:
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1937:
1930:
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1916:
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1910:Cello Concerto
1907:
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1765:Little Russian
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1734:The Nutcracker
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1532:Symphony No. 2
1527:
1526:External links
1524:
1523:
1522:
1511:
1504:
1497:
1490:
1476:
1469:
1464:Brown, David,
1462:
1449:Brown, David,
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1442:Brown, David,
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1149:Brown, 281-282
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861:Geoffrey Simon
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852:Eugene Ormandy
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825:Claudio Abbado
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730:Little Russian
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655:Little Russian
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627:Little Russian
616:Sergei Taneyev
605:Sergey Taneyev
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591:Sergei Taneyev
582:Little Russian
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429:Little Russian
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85:Sergei Taneyev
53:Малороссийская
45:Little Russian
33:Mily Balakirev
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2086:Chamber music
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2015:
2013:
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1985:1812 Overture
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1885:Valse-Scherzo
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1811:Symphony in E
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1660:Eugene Onegin
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1646:The Oprichnik
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1593:Musical style
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750:Georges Bizet
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724:1880 revision
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391:Influence of
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369:(Kamenka) in
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69:Little Russia
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42:
38:
34:
30:
26:
22:
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2124:
2075:Six Romances
2073:
2066:
2059:
2052:
2030:
2004:
1997:
1992:Marche slave
1990:
1983:
1978:The Voyevoda
1976:
1969:
1967:
1960:
1953:
1946:
1939:
1932:
1925:
1902:
1895:
1884:
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1869:
1863:
1820:(unfinished)
1804:
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1632:The Voyevoda
1630:
1518:
1507:
1500:
1493:
1486:
1479:Keller, Hans
1472:
1465:
1450:
1443:
1437:Bibliography
1426:
1417:
1408:
1387:
1370:Capriccio CD
1366:
1357:
1325:
1320:
1312:
1307:
1299:
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1259:
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1195:
1191:
1184:Tchaikovsky,
1183:
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1145:
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1132:
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1111:
1106:
1086:
1070:
1065:
1057:
1041:
1036:
1028:
1023:
1015:
1010:
1002:
986:
960:. Retrieved
956:
946:
938:
933:
889:Lorin Maazel
786:
777:
773:
769:
759:
753:
743:
733:
729:
727:
718:Allegro vivo
717:
710:
703:
685:
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676:
666:
662:
658:
654:
652:
642:
640:
632:
626:
624:
608:
587:
581:
579:
563:
558:
554:
543:
536:
529:
508:'s house in
503:
494:Kamarinskaya
493:
489:
485:Kamarinskaya
484:
482:
474:Kamarinskaya
473:
465:Kamarinskaya
464:
461:
457:counterpoint
439:
436:Kamarinskaya
435:
434:
428:
425:Kamarinskaya
424:
413:Kamarinskaya
411:
408:Kamarinskaya
407:
399:
397:
393:Kamarinskaya
392:
383:
381:
375:
362:
360:
346:
321:
257:
197:
167:
137:E-flat major
130:
81:
76:
56:
20:
18:
2217:(1971 film)
2209:(1970 film)
2206:Tchaikovsky
2172:The Seasons
2150:Piano music
2046:Vocal music
1934:The Tempest
1829:Concertante
1681:Cherevichki
1501:Tchaikovsky
1238:Brown, 264.
1073:, 265, 267.
1029:Tchaikovsky
957:www.bso.org
907:Neeme Järvi
779:the tonic.
740:Léo Delibes
635:Hans Keller
564:Meanwhile,
531:The Tempest
357:Composition
324:nationalist
2369:Categories
2198:Portrayals
2031:Mozartiana
1805:Pathétique
1744:Symphonies
1598:Symphonies
1391:Chandos CD
1315:, 263-264.
1267:, 260-261.
1173:Brown, 256
1161:Brown, 283
1089:, 423-424.
926:References
707:Mussorgsky
681:Pathétique
643:Discussion
518:Mussorgsky
100:sostenuto—
31:", led by
2234:(brother)
1962:The Storm
1720:Swan Lake
1412:Telarc CD
1182:Warrack,
1101:Maes, 28.
1001:Warrack,
989:, 259-260
693:chromatic
570:César Cui
423:Glinka's
400:The Storm
351:Balakirev
304:bass drum
288:trombones
272:clarinets
152:Andantino
2322:Category
2252:(patron)
2240:(nephew)
2186:♯
2117:♭
2096:♭
2078:(Op. 38)
1855:♭
1839:♭
1814:♭
1605:The Five
1003:TS&C
962:June 14,
597:Versions
576:Revision
539:Symphony
444:ostinato
440:naigrish
367:Kamianka
332:Orthodox
328:The Five
318:Overview
286:, three
284:trumpets
276:bassoons
228:♭
159:♭
41:symphony
29:The Five
2260:Related
1790:Manfred
1712:Ballets
1702:Iolanta
1403:Onyx CD
1324:Brown,
1311:Brown,
1298:Brown,
1285:Brown,
1263:Brown,
1247:Brown,
1207:Brown,
1123:Brown,
1110:Brown,
1085:Brown,
1069:Brown,
1056:Brown,
985:Brown,
684:. From
555:facture
537:Manfred
522:Borodin
469:motivic
371:Ukraine
341:and an
312:strings
300:cymbals
296:timpani
278:, four
260:piccolo
219:C major
215:Allegro
199:da capo
192:C minor
188:Allegro
184:Scherzo
129:in his
106:C minor
102:Allegro
98:Andante
65:Ukraine
49:Russian
2345:Portal
2246:(wife)
2225:People
2068:Moscow
1941:Hamlet
1775:Polish
1639:Undina
1624:Operas
1481:, ed.
1457:
1430:EMI CD
1421:BIS CD
1382:RCA CD
1328:, 264.
1302:, 262.
1289:, 259.
1253:, 265.
1127:, 267.
1114:, 269.
1060:, 254.
755:Carmen
745:Sylvia
667:kuchka
663:kuchka
659:kuchka
548:under
546:Moscow
404:Glinka
308:tamtam
282:, two
274:, two
270:, two
266:, two
264:flutes
262:, two
217:vivo (
169:Undine
104:vivo (
2332:Audio
2189:minor
2120:minor
2099:major
1970:Fatum
1858:major
1842:minor
1817:major
1615:Death
1211:, 256
1005:, 17.
335:chant
280:horns
268:oboes
231:major
162:major
59:) by
1455:ISBN
964:2024
748:and
641:See
292:tuba
91:Form
19:The
752:'s
406:'s
221:).
194:).
164:).
108:).
79:."
47:" (
23:by
2371::
1517:,
1485:,
1396:^
1375:^
1345:^
1333:^
1186:71
1166:^
1154:^
1094:^
1078:^
1049:^
994:^
972:^
955:.
742:'
541:.
455:,
451:,
353:.
314:.
306:,
302:,
298:,
294:,
290:,
186:.
55:,
51::
2347::
2141:)
2033:)
2029:(
1807:)
1803:(
1792:)
1788:(
1777:)
1773:(
1767:)
1763:(
1757:)
1753:(
1569:e
1562:t
1555:v
1461:.
966:.
431:.
225:A
156:E
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