Pyotr Ilyich Tchaikovsky

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at the Saint Petersburg Conservatory with Russian folk song and other native musical elements to fulfill his own expressive goals and forge an original, deeply personal style. He made an impact in not only complete works such as the symphony but also program music and, as Wiley phrases it, "transformed Liszt's and Berlioz's achievements ... into matters of Shakespearean elevation and psychological import". Wiley and Holden both note that Tchaikovsky did all this without a native school of composition upon which to fall back. They point out that only Glinka had preceded him in combining Russian and Western practices and his teachers in Saint Petersburg had been thoroughly Germanic in their musical outlook. He was, they write, for all intents and purposes alone in his artistic quest.

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eloquence and colorful orchestration—added up to compositional shallowness. The music's use in popular and film music, Brown says, lowered its esteem in their eyes still further. There was also the fact, pointed out earlier, that Tchaikovsky's music demanded active engagement from the listener and, as Botstein phrases it, "spoke to the listener's imaginative interior life, regardless of nationality". Conservative critics, he adds, may have felt threatened by the "violence and 'hysteria'" they detected and felt such emotive displays "attacked the boundaries of conventional aesthetic appreciation—the cultured reception of art as an act of formalist discernment—and the polite engagement of art as an act of amusement".

692: 1865: 1050: 60: 1796:. More often, he used a firm, regular meter, a practice that served him well in dance music. At times, his rhythms became pronounced enough to become the main expressive agent of the music. They also became a means, found typically in Russian folk music, of simulating movement or progression in large-scale symphonic movements—a "synthetic propulsion", as Brown phrases it, which substituted for the momentum that would be created in strict sonata form by the interaction of melodic or motivic elements. This interaction generally does not take place in Russian music. (For more on this, please see 135: 2179:". Along with those tunes, Botstein adds, "Tchaikovsky appealed to audiences outside of Russia with an immediacy and directness that were startling even for music, an art form often associated with emotion". Tchaikovsky's melodies, stated with eloquence and matched by his inventive use of harmony and orchestration, have always ensured audience appeal. His popularity is considered secure, with his following in many countries, including the United States and the United Kingdom, second only to that of Beethoven. His music has also been used frequently in popular music and film. 2628: 2043: 1305:, denying his homosexuality outright. Passages in Tchaikovsky's letters which reveal his homosexual desires have been censored in Russia. In one such passage he said of a homosexual acquaintance: "Petashenka used to drop by with the criminal intention of observing the Cadet Corps, which is right opposite our windows, but I've been trying to discourage these compromising visits—and with some success." In another one, he wrote: "After our walk, I offered him some money, which was refused. He does it for the love of art and adores men with beards." 1850:, in elaborating on this comment, suggests that listening to Tchaikovsky's music "became a psychological mirror connected to everyday experience, one that reflected on the dynamic nature of the listener's own emotional self". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one's own 'truly lived and felt experience' or one's search for intensity in a deeply personal sense". 2203: 1859: 1751:, such as those favored by Classical composers such as Haydn, Mozart or Beethoven; rather, the themes favored by Romantics were complete and independent in themselves. This completeness hindered their use as structural elements in combination with one another. This challenge was why the Romantics "were never natural symphonists". All a composer like Tchaikovsky could do with them was to essentially repeat them, even when he modified them to generate tension, maintain interest, and satisfy listeners. 1991:. This practice, which Alexandre Benois calls "passé-ism", lends an air of timelessness and immediacy, making the past seem as though it were the present. On a practical level, Tchaikovsky was drawn to past styles because he felt he might find the solution to certain structural problems within them. His Rococo pastiches also may have offered escape into a musical world purer than his own, into which he felt himself irresistibly drawn. (In this sense, Tchaikovsky operated in the opposite manner to 797: 149: 8381: 7378: 1449: 8391: 8465: 2218:

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, 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

1820:, 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" between 992:'s call for "universal unity" with the West at the unveiling of the Pushkin Monument in Moscow in 1880. Before Dostoevsky's speech, Tchaikovsky's music had been considered "overly dependent on the West". As Dostoevsky's message spread throughout Russia, this stigma toward Tchaikovsky's music evaporated. The unprecedented acclaim for him even drew a cult following among the young intelligentsia of Saint Petersburg, including 7388: 8453: 290:

of Russian music diverged from those that governed Western European music, which seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of

8429: 8417: 1289:(21 at the time) and his feelings expressed about Davydov in letters to others, especially following Davydov's suicide, has been cited as evidence for romantic love between the two. The degree to which the composer might have felt comfortable with his sexual desires has, however, remained open to debate. It is still unknown whether Tchaikovsky, according to musicologist and biographer 2101: 449:

French and German. Tchaikovsky also became attached to the young woman; her affection for him was reportedly a counter to his mother's coldness and emotional distance from him, though others assert that the mother doted on her son. Dürbach saved much of Tchaikovsky's work from this period, including his earliest known compositions, and became a source of several childhood anecdotes.

1346: 1252: 8477: 8441: 507: 1328:, the widow of a railway magnate, who had begun contact with him not long before the marriage. As well as an important friend and emotional support, she became his patroness for the next 13 years, which allowed him to focus exclusively on composition. Although Tchaikovsky called her his "best friend", they agreed never to meet under any circumstances. 2497:, 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. He told Block, "I am a bad pianist and my voice is raspy. Why should one eternalize it?" 2151:. 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 than deplored for his emotional frankness; if his music seems harried and insecure, so are we all". 1959:, Tchaikovsky experimented with an increased range of timbres Tchaikovsky's scoring was noted and admired by some of his peers. Rimsky-Korsakov regularly referred his students at the Saint Petersburg Conservatory to it and called it "devoid of all striving after effect, give a healthy, beautiful sonority". This sonority, musicologist 1210:, 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. 581:

important in Tchaikovsky's reconciliation of Russian and European influences in his compositional style. He believed and attempted to show that both these aspects were "intertwined and mutually dependent". His efforts became both an inspiration and a starting point for other Russian composers to build their own individual styles.

1274:, has perhaps been among the most extensive of any composer in the 19th century and certainly of any Russian composer of his time. It has also at times caused considerable confusion, from Soviet efforts to expunge all references to homosexuality and portray him as a heterosexual, to efforts at analysis by Western biographers. 1731:", a feature that has ensured his music's continued success with audiences. Tchaikovsky's complete range of melodic styles was as wide as that of his compositions. Sometimes he used Western-style melodies, sometimes original melodies written in the style of Russian folk song; sometimes he used actual folk songs. According to 1656: 1041:, "dedicated to the memory of a great artist". First performed privately at the Moscow Conservatory on the first anniversary of Rubinstein's death, the piece became extremely popular during the composer's lifetime; in November 1893, it would become Tchaikovsky's own elegy at memorial concerts in Moscow and St. Petersburg. 2818:, 189–190). However, his meddling in the Tchaikovsky–von Meck relationship might have contributed to the composer's actual departure. Rubinstein's actions, which soured his relations with both Tchaikovsky and von Meck, included imploring von Meck in person to end Tchaikovsky's subsidy for the composer's own good (Brown, 2763:, which he declared "Tchaikovsky's best piece" when he heard it in rehearsal. "At last this St. Petersburg pundit, who had growled with such consistent disapproval at Tchaikovsky's successive compositions, had found a work by his former pupil which he could endorse", according to Tchaikovsky biographer 2213:

According to Wiley, Tchaikovsky was a pioneer in several ways. "Thanks in large part to Nadezhda von Meck", Wiley writes, "he became the first full-time professional Russian composer". This, Wiley adds, allowed him the time and freedom to consolidate the Western compositional practices he had learned

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The division between Russian and Western critics remained through much of the 20th century but for a different reason. According to Brown and Wiley, the prevailing view of Western critics was that the same qualities in Tchaikovsky's music that appealed to audiences—its strong emotions, directness and

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in the same voice) could go on for extreme length. The problem with repetition is that, over a period of time, the melody being repeated remains static, even when there is a surface level of rhythmic activity added to it. Tchaikovsky kept the musical conversation flowing by treating melody, tonality,

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The Conservatory benefited Tchaikovsky in two ways. It transformed him into a musical professional, with tools to help him thrive as a composer, and the in-depth exposure to European principles and musical forms gave him a sense that his art was not exclusively Russian or Western. This mindset became

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in Saint Petersburg. They had both graduated from institutes in Saint Petersburg and the School of Jurisprudence, which mainly served the lesser nobility and thought that this education would prepare Tchaikovsky for a career as a civil servant. Regardless of talent, the only musical careers available

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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

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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

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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 possibility that

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One point in Tchaikovsky's favor was "a flair for harmony" that "astonished" Rudolph Kündinger, Tchaikovsky's music tutor during his time at the School of Jurisprudence. Added to what he learned at the Saint Petersburg Conservatory studies, this talent allowed Tchaikovsky to employ a varied range of

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wrote: "the polemics over Tchaikovsky's death have reached an impasse … . As for illness, problems of evidence offer little hope of satisfactory resolution: the state of diagnosis; the confusion of witnesses; disregard of long-term effects of smoking and alcohol. We do not know how Tchaikovsky died.

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On 10 June 1859, the 19-year-old Tchaikovsky graduated as a titular counselor, a low rung on the civil service ladder. Appointed to the Ministry of Justice, he became a junior assistant within six months and a senior assistant two months after that. He remained a senior assistant for the rest of his

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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

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In 1844, the family hired Fanny Dürbach, a 22-year-old French governess. Four-and-a-half-year-old Tchaikovsky was initially thought too young to study alongside his older brother Nikolai and a niece of the family. His insistence convinced Dürbach otherwise. By the age of six, he had become fluent in

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While his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it was sufficiently representative of native musical values and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of the

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Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From that reconciliation, he forged a personal but unmistakably Russian style. The principles that governed melody, harmony, and other fundamentals

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There has also been the fact that the composer did not follow sonata form strictly, relying instead on juxtaposing blocks of tonalities and thematic groups. Maes states this point has been seen at times as a weakness rather than a sign of originality. Even with what Schonberg termed "a professional

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By making subtle but noticeable changes in the rhythm or phrasing of a tune, modulating to another key, changing the melody itself or varying the instruments playing it, Tchaikovsky could keep a listener's interest from flagging. By extending the number of repetitions, he could increase the musical

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Relevant portions of his brother Modest's autobiography, where he tells of the composer's same-sex attraction, have been published, as have letters previously suppressed by Soviet censors in which Tchaikovsky openly writes of it. Such censorship has persisted in the Russian government, resulting in

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Tchaikovsky's father's income was also growing increasingly uncertain, so both parents may have wanted Tchaikovsky to become independent as soon as possible. As the minimum age for acceptance was 12 and Tchaikovsky was only 10 at the time, he was required to spend two years boarding at the Imperial

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writes, "It is Tchaikovsky's flexibility, after all, that has given us a sense of his variability.... Tchaikovsky was capable of turning out music—entertaining and widely beloved though it is—that seems superficial, manipulative and trivial when regarded in the context of the whole literature. The

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Rubinstein was impressed by Tchaikovsky's musical talent on the whole and cited him as "a composer of genius" in his autobiography. He was less pleased with the more progressive tendencies of some of Tchaikovsky's student work. Nor did he change his opinion as Tchaikovsky's reputation grew. He and

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In 1855, Tchaikovsky's father funded private lessons with Rudolph Kündinger and questioned him about a musical career for his son. While impressed with the boy's talent, Kündinger said he saw nothing to suggest a future composer or performer. He later admitted that his assessment was also based on

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lambasted the Violin Concerto as a musical composition "whose stink one can hear" and William Forster Abtrop wrote of the Fifth Symphony, "The furious peroration sounds like nothing so much as a horde of demons struggling in a torrent of brandy, the music growing drunker and drunker. Pandemonium,

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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 at the time. He responded with

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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

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in Saint Petersburg. Rubinstein and Zaremba refused to consider the work unless substantial changes were made. Tchaikovsky complied but they still refused to perform the symphony. Tchaikovsky, distressed that he had been treated as though he were still their student, withdrew the symphony. It was

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Partly owing to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive. This intensity was entirely new to Russian music and prompted some Russians to place Tchaikovsky's name alongside that of

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Critical reception to Tchaikovsky's music was varied but also improved over time. Even after 1880, some inside Russia held it suspect for not being nationalistic enough and thought Western European critics lauded it for exactly that reason. There might have been a grain of truth in the latter,

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Another factor that helped Tchaikovsky's music become popular was a shift in attitude among Russian audiences. Whereas they had previously been satisfied with flashy virtuoso performances of technically demanding but musically lightweight works, they gradually began listening with increasing

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in her memory. Tchaikovsky's father, who had also contracted cholera but recovered fully, sent him back to school immediately in the hope that classwork would occupy the boy's mind. Isolated, Tchaikovsky compensated with friendships with fellow students that became lifelong; these included

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appreciation of the composition itself. Tchaikovsky's works were performed frequently, with few delays between their composition and first performances; the publication from 1867 onward of his songs and great piano music for the home market also helped boost the composer's popularity.

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The first challenge arose from his ethnic heritage. Unlike Western themes, the melodies that Russian composers wrote tended to be self-contained: they functioned with a mindset of stasis and repetition rather than one of progress and ongoing development. On a technical level, it made

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reevaluation" of Tchaikovsky's work, the practice of faulting Tchaikovsky for not following in the steps of the Viennese masters has not gone away entirely, while his intention of writing music that would please his audiences is also sometimes taken to task. In a 1992 article,

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Although musically precocious, Tchaikovsky was educated for a career as a civil servant as there was little opportunity for a musical career in Russia at the time and no system of public music education. When an opportunity for such an education arose, he entered the nascent

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in Russia at that time—except for the affluent aristocracy—were as a teacher in an academy or as an instrumentalist in one of the Imperial Theaters. Both were considered on the lowest rank of the social ladder, with individuals in them enjoying no more rights than peasants.

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Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by his mother's early death, the death of his close friend and colleague

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became an end in itself. Tchaikovsky's focus on pleasing his audience might be considered 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.

1281:. He sought the company of other men in his circle for extended periods, "associating openly and establishing professional connections with them." His first love was reportedly Sergey Kireyev, a younger fellow student at the Imperial School of Jurisprudence. According to 541:. Previous tsars and the aristocracy had focused almost exclusively on importing European talent. The aim of the RMS was to fulfill Alexander II's wish to foster native talent. It hosted a regular season of public concerts (previously held only during the six weeks of 1160:

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

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that "I shan't be at all surprised and offended if you find that it is in a style unsuitable for symphony concerts". Nevertheless, the overture became, for many, "the piece by Tchaikovsky they know best", particularly well-known for the use of cannon in the scores.

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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

985:. He returned briefly to the Moscow Conservatory in the autumn of 1879. For the next few years, assured of a regular income from von Meck, he traveled incessantly throughout Europe and rural Russia, mainly alone, and avoided social contact whenever possible. 1759:

Harmony could be a potential trap for Tchaikovsky, according to Brown, since Russian creativity tended to focus on inertia and self-enclosed tableaux, while Western harmony worked against this to propel the music onward and, on a larger scale, shape it.

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charges, is still "an ingenious episodic treatment of two tunes rather than a symphonic development of them" in the Germanic sense, Brown counters that it took the listener of the period "through a succession of often highly charged sections which

1321:. Tchaikovsky's family remained supportive of him during this crisis and throughout his life. Tchaikovsky's marital debacle may have forced him to face the full truth about his sexuality; he never blamed Antonina for the failure of their marriage. 2235:

adds that this mindset made him think seriously about Russia's place in European musical culture—the first Russian composer to do so. It steeled him to become the first Russian composer to acquaint foreign audiences personally with his own works,

1297:, he experienced "no unbearable guilt" over his sexual desires and "eventually came to see his sexual peculiarities as an insurmountable and even natural part of his personality ... without experiencing any serious psychological damage". 1635:, flirt with musical practices more akin to those of the 'Five', especially in their use of folk song. Other works, such as Tchaikovsky's last three symphonies, employ a personal musical idiom that facilitated intense emotional expression. 1866: 1654: 771:

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 masterpiece, the fantasy-overture

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School of Jurisprudence's preparatory school, 1,300 kilometres (800 mi) from his family. Once those two years had passed, Tchaikovsky transferred to the Imperial School of Jurisprudence to begin a seven-year course of studies.

2731:, 47; Holde, 23; Warrack, 29). More than 25 years after his loss, Tchaikovsky wrote to his patroness, Nadezhda von Meck, "Every moment of that appalling day is as vivid to me as though it were yesterday" (As quoted in Holden, 23.) 2629: 1682: 1655: 1106:, Director of the Imperial Theaters and a patron of the composer, Tchaikovsky was awarded a lifetime annual pension of 3,000 rubles from the Tsar. This made him the premier court composer, in practice if not in the actual title. 818: 1845:

credits Tchaikovsky in his later symphonies with offering "full images of life, developed freely, sometimes even dramatically, around psychological contrasts ... This music has the mark of the truly lived and felt experience".

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partly as a form of compositional self-discovery.) Tchaikovsky's attraction to ballet might have allowed a similar refuge into a fairy-tale world, where he could freely write dance music within a tradition of French elegance.

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First Piano Concerto is a case in point. It makes a joyful noise, it swims in pretty tunes and its dramatic rhetoric allows (or even requires) a soloist to make a grand, swashbuckling impression. But it is entirely hollow".

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Tchaikovsky was inspired to reach beyond Russia with his music, according to Maes and Taruskin. His exposure to Western music, they write, encouraged him to think it belonged to not just Russia but also the world at large.

2295: 1918: 1113:, who was now director of Moscow Conservatory, by attending student examinations and negotiating the sometimes sensitive relations among various members of the staff. He served as director of the Moscow branch of the 839:

The infrequency of Tchaikovsky's musical successes, won with tremendous effort, exacerbated his lifelong sensitivity to criticism. Nikolai Rubinstein's private fits of rage critiquing his music, such as attacking the

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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

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since the middle of the 18th century. Modulation maintained harmonic interest over an extended time scale, provided a clear contrast between musical themes, and showed how those themes were related to each other.

314:. Tchaikovsky's homosexuality, which he kept private, has traditionally also been considered a major factor though some scholars have played down its importance. His dedication of his Sixth symphony to his nephew 1683: 2226:

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".

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with whom he considered marriage, but, owing to various circumstances, the relationship ended. Tchaikovsky later claimed she was the only woman he ever loved. In 1877, at the age of 37, he wed a former student,

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The second way melody worked against Tchaikovsky was a challenge that he shared with the majority of Romantic-age composers. They did not write in the regular, symmetrical melodic shapes that worked well with

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his own negative experiences as a musician in Russia and his unwillingness for Tchaikovsky to be treated likewise. Tchaikovsky was told to finish his course and then try for a post in the Ministry of Justice.

1703: 1919: 441:. Alexandra's marriage to Lev Davydov would produce seven children and lend Tchaikovsky the only real family life he would know as an adult, especially during his years of wandering. One of those children, 428:

Tchaikovsky's mother, Alexandra Andreyevna (née d'Assier), was the second of Ilya's three wives; his first wife died several years before Pyotr's birth. She was 18 years younger than her husband and was of

2296: 456:, a form of barrel organ that could imitate elaborate orchestral effects, and encouraged his piano study for both aesthetic and practical reasons. However, they decided in 1850 to send Tchaikovsky to the 1317:. The marriage was a disaster. Mismatched psychologically and sexually, the couple lived together for only two and a half months before Tchaikovsky left, overwrought emotionally and suffering from acute 1076:

and a personal audience with the Tsar. This was seen as a seal of official approval which advanced Tchaikovsky's social standing and might have been cemented in the composer's mind by the success of his

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Tchaikovsky's early separation from his mother, despite the aforementioned alleged distant relationship, caused an emotional trauma that lasted the rest of his life and was intensified by her death from

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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.

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ethnicity through her paternal side. Both Ilya and Alexandra were trained in the arts, including music. Of his six siblings, Tchaikovsky was close to his sister Alexandra and twin brothers Anatoly and

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scores that minimized the rhythmic subtleties normally present in his work but were inventive and rich in melody, with more refined and imaginative orchestration than in the average ballet score.

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Despite Tchaikovsky's disdain for public life, he now participated in it as part of his increasing celebrity and out of a duty he felt to promote Russian music. He helped support his former pupil

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Tchaikovsky began piano lessons at age five. Within three years he had become as adept at reading sheet music as his teacher. Tchaikovsky's parents, initially supportive, hired a tutor, bought an

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for musical effects. Tchaikovsky, however, became noted for the "sensual opulence" and "voluptuous timbrel virtuosity" of his orchestration. Like Glinka, Tchaikovsky tended toward bright primary

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recalls the dearth of Russian classical music before Tchaikovsky's birth, then places the composer's achievements into historical perspective: "Twenty years after Tchaikovsky's death, in 1913,

1967:) and his ear for uncanny combinations of instruments resulted in "a generalized orchestral sonority in which the individual timbres of the instruments, being thoroughly mixed, would vanish". 788:. Despite their support, Tchaikovsky made considerable efforts to ensure his musical independence from the group as well as from the conservative faction at the Saint Petersburg Conservatory. 1704: 1675: 2165:

Horowitz maintains that, while the standing of Tchaikovsky's music has fluctuated among critics, for the public, "it never went out of style, and his most popular works have yielded iconic

811: 1191:, devoted exclusively to the music of Russian composers. One included the first complete performance of his revised First Symphony; another featured the final version of Third Symphony of 485:

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

368: 2113:, as German critics especially wrote of the "indeterminacy of artistic character ... being truly at home in the non-Russian". Of the foreign critics who did not care for his music, 1899:

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.)

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and his feelings expressed about Davydov in letters to others, especially following Davydov's suicide, have been cited as evidence for a romantic love between the two. Tchaikovsky's

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Tchaikovsky ascribed Rubinstein's coolness to a difference in musical temperaments. Rubinstein could have been jealous professionally of Tchaikovsky's greater impact as a composer.

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would make a lasting impression internationally. Tchaikovsky wrote some of the most popular concert and theatrical music in the current classical repertoire, including the ballets

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a month, the offer itself boosted Tchaikovsky's morale and he accepted the post eagerly. He was further heartened by news of the first public performance of one of his works, his

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Tchaikovsky had four brothers (Nikolai, Ippolit, Anatoly, and Modest), a sister (Alexandra) and a half-sister (Zinaida) from his father's first marriage (Holden, 6, 13; Warrack,

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to a radically new kind of symphonic experience" (italics Brown), one that functioned not on the basis of summation, as Austro-German symphonies did, but on one of accumulation.

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Of Tchaikovsky's Western predecessors, Robert Schumann stands out as an influence in formal structure, harmonic practices, and piano writing, according to Brown and musicologist

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Rubinstein had actually been operating under the assumption that Tchaikovsky might leave from the onset of the composer's marital crisis and was prepared for it (Wiley,

939:. Tchaikovsky was declared the winner, but at the 1876 premiere, the opera enjoyed only a lukewarm reception. After Tchaikovsky's death, Rimsky-Korsakov wrote the opera 8532: 1029:, would be "very loud and noisy, but I wrote it with no warm feeling of love, and therefore there will probably be no artistic merits in it". He also warned conductor 638:

while continuing to compose. This activity exposed him to a range of contemporary music and afforded him the opportunity to travel abroad. In his reviews, he praised

8522: 7361: 8647: 2697:

in the 19th century, rendering his lifespan as 25 April 1840 – 25 October 1893. Some sources in the article report dates as Old Style rather than New Style.

2506: 669:"unlikely nonsense, through which, from time to time, sparkle unusually beautiful and astonishing details". A recurring theme he addressed was the poor state of 988:

During this time, Tchaikovsky's foreign reputation grew and a positive reassessment of his music also took place in Russia, thanks in part to Russian novelist

1408:. In the 1980s in Britain, however, there was academic speculation that he killed himself, either with poison or by contracting cholera intentionally; in the 1548:. Otherwise, it was to composers of the past that Tchaikovsky turned—Beethoven, whose music he respected; Mozart, whose music he loved; Glinka, whose opera 1963:

pointed out, is essentially Germanic in effect. Tchaikovsky's expert use of having two or more instruments play a melody simultaneously (a practice called

374:

The Tchaikovsky family in 1848. Left to right: Pyotr, Alexandra Andreyevna (mother), Alexandra (sister), Zinaida, Nikolai, Ippolit, Ilya Petrovich (father)

4540: 3015: 1743:

to a new key to introduce a contrasting second theme exceedingly difficult, as this was literally a foreign concept that did not exist in Russian music.

274:, from which he graduated in 1865. The formal Western-oriented teaching that Tchaikovsky received there set him apart from composers of the contemporary 8672: 6627: 2601:

in German, spellings also displayed on several of his scores' title pages in their first printed editions alongside or in place of his native name. In

1696: 1471:

comments that Schumann left his mark on Tchaikovsky not just as a formal influence but also as an example of musical dramaturgy and self-expression.

1568:. Beethoven's string quartets may have influenced Tchaikovsky's attempts in that medium. Other composers whose work interested Tchaikovsky included 8657: 8567: 8283: 6669: 6647: 1434: 1182: 120: 887:

followed in 1870. Only excerpts were performed and it, too, was destroyed. Between these projects, Tchaikovsky started to compose an opera called

881:, premiered in 1869. The composer became dissatisfied with it, however, and, having re-used parts of it in later works, destroyed the manuscript. 7086: 7058: 5894: 3000: 2890:

As proof of Wagner's influence, Botstein cites a letter from Tchaikovsky to Taneyev, in which the composer "readily admits the influence of the

8652: 8602: 7152: 2060:

rejected the Violin Concerto initially but changed his mind; he played it to great public success and taught it to his students, who included

401:. His father, Ilya Petrovich Tchaikovsky, served as a lieutenant colonel and engineer in the Department of Mines and managed the Ironworks in 8677: 2838:, 180, 188–189). Rubinstein had been scheduled to conduct four concerts there; the first featured Tchaikovsky's First Piano Concerto (Wiley, 1132:

During this period, Tchaikovsky also began promoting Russian music as a conductor, In January 1887, he substituted, on short notice, at the

8572: 8542: 7113: 2952:

was evidently also successful, since it left him with no qualms about working with Petipa, but very little is written about it (Maes, 146).

733:

as a model and incorporate elements from folk music, reject traditional Western practices and use non-Western harmonic devices such as the

4594: 7242: 573:

with Zaremba and instrumentation and composition with Rubinstein. He was awarded a silver medal for his thesis, a cantata on Schiller's "

6050: 2080:. Tchaikovsky was angered by Fitzenhagen's license but did nothing; the Rococo Variations were published with the cellist's amendments. 545:

when the Imperial Theaters were closed) and provided basic professional training in music. In 1861, Tchaikovsky attended RMS classes in

347: 8687: 8587: 2056:

Tchaikovsky's relationship with collaborators was mixed. Like Nikolai Rubinstein with the First Piano Concerto, virtuoso and pedagogue

17: 1878:

As mentioned above, repetition was a natural part of Tchaikovsky's music, just as it is an integral part of Russian music. His use of

8512: 6564: 1293:, "felt tainted within himself, defiled by something from which he finally realized he could never escape" or whether, according to 8592: 8552: 8517: 7424: 1019:

suggested that Tchaikovsky compose a grand commemorative piece. Tchaikovsky agreed and finished it within six weeks. He wrote to

935:. With Serov's death, the libretto was opened to a competition with a guarantee that the winning entry would be premiered by the 326:, but there is an ongoing debate as to whether cholera was indeed the cause and whether the death was accidental or intentional. 848:

premiered the First Piano Concerto and championed other Tchaikovsky works both as pianist and conductor. Other artists included

844:, did not help matters. His popularity grew, however, as several first-rate artists became willing to perform his compositions. 6969: 6657: 6620: 1438: 257: 2930:

Vsevolozhsky originally intended the libretto for a now-unknown composer named Nikolai Klenovsky, not Tchaikovsky (Maes, 152).

8612: 8597: 8288: 7356: 7237: 6664: 6520: 6492: 6459: 6444: 6426: 6391: 6371: 6356: 6315: 6280: 6265: 6250: 6232: 6193: 6175: 6157: 6136: 6114: 6029: 6010: 5979: 5960: 5941: 5922: 5903: 5875: 5853: 5790: 3287: 1405: 1285:, this was Pyotr Ilyich's "strongest, longest and purest love". Tchaikovsky's dedication of his Sixth symphony to his nephew 1142:. Within a year, he was in considerable demand throughout Europe and Russia. These appearances helped him overcome life-long 1054: 682: 473:

in 1854 when he was 14. The loss of his mother also prompted Tchaikovsky to make his first serious attempt at composition, a

283: 2826:, 188–189). Rubinstein's actions, in turn, had been spurred by Tchaikovsky's withdrawal from the Russian delegation for the 2272: 1483:

also left their imprints on Tchaikovsky's orchestral style. The late-Romantic trend for writing orchestral suites, begun by

8607: 8537: 8527: 7081: 7076: 7071: 1078: 1777:

harmony in his music, from the Western harmonic and textural practices of his first two string quartets to the use of the

594:

given its first complete performance, minus the changes Rubinstein and Zaremba had requested, in Moscow in February 1868.

527: 8667: 8637: 7134: 2864:

The piece also fulfilled a long-standing request by von Meck for such a work, to be performed by her then-house pianist,

713:

In 1856, while Tchaikovsky was still at the School of Jurisprudence and Anton Rubinstein lobbied aristocrats to form the

7217: 1828:, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, 8622: 8582: 8577: 7173: 7168: 7163: 7096: 6911: 6906: 6895: 2759: 841: 830: 243: 5004: 2939:

The composer's original has since been published but most cellists still perform Fitzenhagen's version (Campbell, 77).

2029:

and a symbol of Russian patriotism. Using it in the finale of a work could assure its success with Russian listeners.

8682: 8632: 8497: 8364: 7381: 7326: 7014: 6674: 6652: 6613: 6343: 4950: 4514: 3256: 3201: 3076: 2160: 1428: 1337: 319: 221: 207: 8662: 8642: 6870: 6321: 2675: 2077: 457: 7037: 2665: 1008: 4968: 977:

Tchaikovsky remained abroad for a year after the disintegration of his marriage. During this time, he completed

7346: 7331: 6986: 6922: 5576: 3277: 1058: 774: 252: 7843: 6044: 2780:

His critique led Tchaikovsky to consider rescoring Schumann's symphonies, a project he never realized (Wiley,

8617: 7336: 7120: 6950: 2852: 2827: 2694: 2679: 2530: 1410: 982: 891:, to a libretto by Sergei Rachinskii; the only music he completed was a short chorus of Flowers and Insects. 562: 358: 271: 247: 8267: 6937: 6560: 8557: 8547: 8123: 7417: 6956: 6860: 6855: 6840: 6830: 6820: 6810: 6786: 1956: 1896: 1623: 1614: 1530: 1369:, in Saint Petersburg. Nine days later, on 6 November, Tchaikovsky died there, aged 53. He was interred in 1362: 1341: 1147: 1117:

during the 1889–1890 season. In this post, he invited many international celebrities to conduct, including

959: 955: 950: 779: 586: 565:, which opened in 1862. Tchaikovsky enrolled at the Conservatory as part of its premiere class. He studied 31: 7513: 8326: 6943: 6754: 6726: 1162: 511: 2971: 8407: 8371: 7613: 7568: 7442: 7185: 5885: 2764: 1647: 1374: 1290: 936: 491: 410: 406: 1214: 8190: 7508: 7291: 7231: 7065: 6993: 1282: 1188: 438: 2727:

Her death affected him so much that he could not inform Fanny Dürbach until two years later (Brown,

1206:

and several other nationalistically-minded composers and musicians, had formed a group known as the

741:. They saw Western-style conservatories as unnecessary and antipathetic to fostering native talent. 7923: 7191: 1874:

with four continuously higher segments that continue by the same distance (seconds: C–D, D–E, etc.)

1038: 1037:

On 23 March 1881, Nikolai Rubinstein died in Paris. That December, Tchaikovsky started work on his

8384: 7993: 7410: 7021: 6747: 6163: 6086: 2892: 2635: 2021:

from Modest with their use of 18th-century settings stipulated firmly. Tchaikovsky also used the

1619: 1390: 1222: 1192: 1150:

in Saint Petersburg, repeating the work a week later with the first performance of his tone poem

1114: 1091: 1069: 1065: 753: 714: 655: 590: 523: 413:, Ukraine, and served first as a physician's assistant in the army and later as city governor of 7703: 3193: 1781:

in the center of the finale of the Second Symphony, a practice more typically used by The Five.

8421: 8394: 8336: 8311: 8143: 7718: 7463: 5998: 5990: 4598: 3367: 3238: 2348: 1012: 534: 8174: 8013: 7888: 7878: 7643: 4205: 1122: 7933: 7813: 7768: 7748: 7663: 6719: 3046:(PhD dissertation). Royal Holloway, University of London. pp. 222–223, 229, 324, 333–337 1996: 1554:

made an indelible impression on him as a child and whose scoring he studied assiduously; and

1496: 1086: 1030: 970: 941: 927: 857: 262: 7708: 4986: 1309: 904:. Cui wrote a "characteristically savage press attack" on the opera. Mussorgsky, writing to 853: 8507: 8502: 8348: 8294: 8133: 7588: 7498: 7351: 7196: 7127: 7000: 6698: 6691: 6304: 1593: 1242: 1152: 1064:

In 1884, Tchaikovsky began to shed his unsociability and restlessness. That March, Emperor

883: 873: 765: 700: 686: 639: 627: 418: 279: 8093: 4718: 2669: 1964: 1564:

was a favorite of his from his student days and whose score he consulted while working on

134: 8: 8343: 8261: 7963: 7798: 7341: 7028: 6238: 4778: 3985: 2554: 2281:. A transcript of the recording follows (identification of the speakers is speculative): 2069: 1979:, Tchaikovsky showed he was highly gifted at writing in a style of 18th-century European 1842: 1724: 1550: 1294: 1187:

In November 1887, Tchaikovsky arrived at Saint Petersburg in time to hear several of the

878: 726: 602: 554: 330:

latter claim, some Europeans lauded Tchaikovsky for offering music more substantive than

7938: 7738: 7728: 7573: 6081: 2258:. Between these two very different worlds, Tchaikovsky's music became the sole bridge". 2042: 405:. His grandfather, Pyotr Fedorovich Tchaikovsky, was born in the village of Nikolaevka, 8256: 8103: 8038: 7943: 7873: 7858: 7838: 7693: 7543: 7303: 7265: 7224: 6930: 6465: 6216: 6208: 4786: 3127: 2255: 2250: 1883: 1817: 1761: 1740: 1314: 1199: 1016: 691: 598: 386: 307: 303: 8048: 2913:

While it is sometimes thought these two ballets also influenced Tchaikovsky's work on

2240:

writes, as well as those of other Russian composers. In his biography of Tchaikovsky,

1308:

Tchaikovsky lived as a bachelor for most of his life. In 1868, he met Belgian soprano

298:

about the country's national identity, an ambiguity mirrored in Tchaikovsky's career.

59: 8390: 8273: 8153: 8138: 8078: 8058: 8018: 8003: 7983: 7918: 7908: 7903: 7898: 7883: 7868: 7863: 7638: 7633: 7538: 7309: 7007: 6963: 6591: 6542: 6526: 6516: 6488: 6473: 6455: 6440: 6432: 6422: 6405: 6387: 6384: 6367: 6352: 6311: 6294: 6276: 6261: 6246: 6228: 6189: 6171: 6153: 6132: 6110: 6068: 6025: 6006: 5975: 5956: 5937: 5918: 5899: 5871: 5849: 5832: 3283: 3197: 3119: 3072: 1581: 1577: 1573: 1504: 1499:'s works in that genre, may have influenced Tchaikovsky to try his own hand at them. 1464: 1415: 1386: 1378: 1325: 1318: 1302: 1103: 1095: 1020: 989: 849: 800: 757: 749: 614: 422: 311: 7608: 3186:

Listening to the Sirens: Musical Technologies of Queer Identity from Homer to Hedwig

1764:, the shifting from one key to another, was a driving principle in both harmony and 1217:

in France, only the second Russian subject to be so honored (the first was sculptor

845: 8445: 8278: 8230: 8118: 8073: 8068: 8008: 7823: 7778: 7623: 7593: 7563: 7503: 7297: 7273: 6845: 6712: 6600: 6338: 6286: 6227:

Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002).

6181: 3189: 2622: 2602: 2511: 2494: 2310: 2144: 2119: 2026: 1960: 1879: 1778: 1631: 1589: 1370: 1355: 1351: 1286: 1073: 1049: 1001: 993: 917: 734: 635: 538: 479: 442: 315: 172: 108: 7953: 7658: 6417: 5866:(1998). "Music as the Language of Psychological Realm". In Kearney, Leslie (ed.). 2202: 1858: 901: 8331: 8225: 8220: 8200: 8195: 8169: 8083: 8033: 7958: 7928: 7893: 7853: 7583: 7578: 7548: 7488: 6733: 6188:(Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 2001). 6145: 5994: 5568: 3066: 2798: 2794: 2245: 2148: 2114: 2065: 1992: 1952: 1891:

rhythm and sound color as one integrated unit, rather than as separate elements.

1524: 1457: 1453: 1226: 1218: 1207: 1133: 1118: 1015:

in 1881, and the 1882 Moscow Arts and Industry Exhibition in the planning stage,

932: 905: 738: 718: 647: 643: 550: 291: 155: 7793: 7678: 6587: 6043: 3041: 1011:

nearing completion in Moscow in 1880, the 25th anniversary of the coronation of

8321: 8235: 8128: 8113: 8088: 8028: 8023: 7988: 7848: 7828: 7818: 7773: 7753: 7733: 7713: 7698: 7688: 7673: 7653: 7558: 7518: 7483: 7473: 7433: 6793: 6508: 6376: 6124: 6060: 3261: 2995: 2865: 2830:, a position for which Rubinstein had lobbied on the composer's behalf (Brown, 2367: 2241: 2232: 2219: 2061: 1928: 1585: 1569: 1488: 1480: 1394: 1382: 1203: 1126: 1110: 861: 730: 722: 696: 651: 558: 390: 295: 232: 217: 7618: 6293:(New York: Little, Brown & Co., 1890). Library of Congress Control Number 3156: 1513: 8491: 8457: 8108: 8043: 7978: 7833: 7788: 7533: 7528: 7523: 7468: 7044: 6705: 6530: 6397: 6348: 6102: 6054:. Vol. 27 (11th ed.). Cambridge University Press. pp. 348–349. 6039: 5889: 5863: 5824: 3123: 2645: 2278: 2110: 2087:, who worked with him on the last two, he might have found an advocate. When 2084: 1983:. Tchaikovsky graduated from imitation to full-scale evocation in the ballet 1944: 1887: 1847: 1821: 1793: 1667: 1597: 1535: 1484: 1472: 1468: 1278: 1170: 1146:

and boosted his self-assurance. In 1888, Tchaikovsky led the premiere of his

1099: 1025: 922: 896: 784: 778:, a work which The Five wholeheartedly embraced. The group also welcomed his 670: 665: 618: 606: 474: 430: 238: 1735:, Tchaikovsky's melodic gift could also become his worst enemy in two ways. 997: 8481: 8469: 8433: 8053: 7973: 7968: 7948: 7913: 7763: 7758: 7743: 7723: 7683: 7668: 7648: 7478: 7458: 7051: 6605: 6199: 4545: 2445: 2237: 2135: 2057: 1829: 1769: 1555: 1492: 1143: 570: 546: 141: 7598: 6072: 5888:(1980). "'Glinka, Mikhail Ivanovich' and 'Tchaikovsky, Pyotr Ilyich'". In 5836: 3108:""No Trace of Presence": Tchaikovsky and the Sixth in Forster's "Maurice"" 1618:, employ a "Classical" form reminiscent of 18th-century composers such as 1157: 921:(Op. 14), was composed in the second half of 1874. The libretto, based on 745: 8316: 8063: 7998: 7803: 7783: 7628: 7603: 6740: 6580: 3043:

Rewriting Composers' Lives: Critical Historiography and Musical Biography

2659: 2072:"intervened considerably in shaping what he considered 'his' piece", the 1825: 1813: 1765: 1748: 1609: 1476: 1261: 1138: 453: 310:, and the collapse of his 13-year association with the wealthy patroness 275: 3184:

Peraino, Judith A. (30 October 2005). "A Music of One's Owndiscipline".

3131: 3107: 2710:, 18). Anatoly later had a legal career, and Modest became a dramatist, 1518: 148: 8205: 7808: 6477: 6204:"Critic's Notebook; Defending Tchaikovsky, With Gravity and With Froth" 2741: 2711: 2534: 2192: 2166: 1608:

Tchaikovsky displayed a wide stylistic and emotional range, from light

1448: 871:

During the late 1860s, Tchaikovsky began to compose operas. His first,

574: 486: 398: 6570: 4782: 621:

on 11 September 1865 (Tchaikovsky later included this work, re-titled

601:

offered him the post of Professor of Music Theory at the soon-to-open

8148: 7553: 7493: 6779: 2881:

Its only other production had been by students from the Conservatory.

2022: 1271: 1260:(Left to right) Tchaikovsky and Antonina on their honeymoon in 1877; 1094:

in Saint Petersburg. By having the opera staged there and not at the

964: 908:, disapproved of the opera as pandering to the public. Nevertheless, 634:

From 1867 to 1878, Tchaikovsky combined his professorial duties with

331: 226: 6546: 6409: 6298: 3161:

Duquesne University Undergraduate Research and Scholarship Symposium

2917:, he had already composed that work before learning of them (Brown, 1727:

wrote of Tchaikovsky's "sweet, inexhaustible, supersensuous fund of

8240: 1980: 660: 402: 394: 382: 354: 89: 5786: 5784: 1943:

Like other late Romantic composers, Tchaikovsky relied heavily on

445:, who went by the nickname 'Bob', would become very close to him. 216:; 7 May 1840 – 6 November 1893) was a Russian composer during the 8215: 7402: 6761: 6366:(Berkeley and Los Angeles: University of California Press, 1996) 2542: 1933: 1560: 1401: 1361:

On 16/28 October 1893, Tchaikovsky conducted the premiere of his

1102:

as the official imperial art. In addition, at the instigation of

566: 470: 434: 323: 6576: 2254:

erupted onto the musical scene, signaling Russia's arrival into

6437:

The New Grove Dictionary of Music and Musicians, Second Edition

6150:

The New Grove Dictionary of Music and Musicians, Second Edition

5781: 4499:, 8, 24, 77, 82, 103–105, 165–168. Also see P. I. Chaikovskii. 3157:"Reevaluating Perceptions of Tchaikovsky's Pathétique Symphony" 2196: 1948: 1789: 1728: 1540: 414: 7387: 1251: 650:

to task for poor orchestration. He appreciated the staging of

506: 2655: 1932:

makes extensive use of the then newly invented and very rare

175: 8428: 4541:"Tchaikovsky and the secret gay loves censors tried to hide" 3068:

The queer encyclopedia of music, dance & musical theater

3016:"Tchaikovsky and the secret gay loves censors tried to hide" 729:

agenda for Russian music, one that would take the operas of

8210: 6381:

Romanov Riches: Russian Writers and Artists Under the Tsars

6148:, "Instrumentation and orchestration, 4: 19th century". In 3071:(First ed.). San Francisco: Cleis Press. p. 255. 2100: 796: 542: 531: 421:

named Fyodor Chaika, served in the Russian military at the

199: 178: 5579:(Baltimore: Penguin Books, 1963). As quoted in Steinberg, 2361:

Prativnyy *** da kak vy smyeyetye nazyvat' menya kovarnoy?

2083:

His collaboration on the three ballets went better and in

1270:

Discussion of Tchaikovsky's personal life, especially his

1098:, he served notice that Tchaikovsky's music was replacing 803:, Tchaikovsky's patroness and confidante from 1877 to 1890 187: 7362:

International Tchaikovsky Competition for Young Musicians

6439:(London: Macmillan, 2001), 29 vols., ed. Sadie, Stanley. 6275:(London: MacMillan, 1980), 20 vols., ed. Sadie, Stanley. 6170:(London: MacMillan, 1980), 20 vols., ed. Sadie, Stanley. 6152:(London: Macmillan, 2001), 29 vols., ed. Sadie, Stanley. 2171: 1622:(his favorite composer). Other compositions, such as his 1176: 827:

Allegro non-troppo e molto maestoso – Allegro con spirito

597:

Once Tchaikovsky graduated in 1865, Rubinstein's brother

4515:"Tchaikovsky was not gay, says Russian culture minister" 490:

school; however, the results, according to musicologist

6082:"Festival to explore Tchaikovsky's changing reputation" 2507:

Theory of attempted suicide by Pyotr Ilyich Tchaikovsky

1277:

Biographers have generally agreed that Tchaikovsky was

1007:

Two musical works from this period stand out. With the

912:

continues to be performed from time to time in Russia.

585:

Zaremba clashed with Tchaikovsky when he submitted his

6454:(Oxford and New York: Oxford University Press, 2009). 2851:

Celebration of this anniversary did not take place as

2597:

in French (as in his afore-reproduced signature), and

2357:Противный *** да как вы смеете называть меня коварной? 1301:

many officials, including the former culture minister

1195:, with whose circle Tchaikovsky was already in touch. 812:

Piano Concerto No.1 in B-flat minor Op.23 – I. Allegro

8405: 6335:(New York and Oxford: Oxford University Press, 1998). 6328:(New York and Oxford: Oxford University Press, 1995). 5870:. Princeton, New Jersey: Princeton University Press. 2649: 1084:

In 1885, Alexander III requested a new production of

981:, orchestrated his Fourth Symphony, and composed the 764:, translated into English as the "Mighty Handful" or 605:. While the salary for his professorship was only 50 208: 196: 193: 190: 184: 6347:(London and New York: Macmillan, 1992), 4 vols, ed. 3058: 1612:

to grand symphonies. Some of his works, such as the

4889: 4887: 3257:"Pyotr Tchaikovsky, a Ukrainian by creative spirit" 3188:. University of California Press. pp. 68–109. 2801:who first "suggested the moniker in his 1896 book 2266:A recording was made in Moscow in January 1890, by 2025:frequently, the dance being a musical code for the 181: 8628:Recipients of the Order of St. Vladimir, 4th class 8563:Honorary members of the Royal Philharmonic Society 6487:(Ann Arbor and London: UMI Research Press, 1987). 5211: 5209: 5077: 5075: 4242: 4240: 3726: 3724: 3007: 2467:Who's speaking now? It seems like Safonov's voice. 2122:, raving, and above all, noise worse confounded!" 1792:, Tchaikovsky sometimes experimented with unusual 1081:at its January 1885 premiere in Saint Petersburg. 30:"Tchaikovsky" redirects here. For other uses, see 8533:19th-century LGBTQ people from the Russian Empire 6404:(Seattle: University of Washington Press, 1969). 6364:Stravinsky and the Russian Traditions, Volume One 5280: 5278: 5039: 5037: 5035: 5033: 5031: 4799: 4797: 4795: 2413:Blok is a good fellow, but Edison is even better. 1975:In works like the "Serenade for Strings" and the 8523:19th-century journalists from the Russian Empire 8489: 5624: 5622: 4884: 3340: 3338: 2474:Kto syeychas govorit? Kazhyetsya golos Safonova. 1435:List of compositions by Pyotr Ilyich Tchaikovsky 1183:Pyotr Ilyich Tchaikovsky and the Belyayev circle 7059:Festival Overture on the Danish National Anthem 6273:The New Grove Dictionary of Music and Musicians 6168:The New Grove Dictionary of Music and Musicians 5895:The New Grove Dictionary of Music and Musicians 5206: 5184: 5072: 4237: 4067: 4065: 3721: 3150: 3148: 2757:An exception to Rubinstein's antipathy was the 2420:Blok molodyets, no u Edisona yechshyo luchshye! 2354:You're disgusting. How dare you call me crafty? 2037: 1502:Tchaikovsky's teacher Anton Rubinstein's opera 1213:In 1892, Tchaikovsky was voted a member of the 894:The first Tchaikovsky opera to survive intact, 8648:19th-century composers from the Russian Empire 5953:Tchaikovsky: The Years of Wandering, 1878–1885 5275: 5028: 4792: 4153: 4151: 3179: 3177: 1544:(a work Tchaikovsky admired tremendously) for 278:movement embodied by the Russian composers of 7418: 6621: 6383:(New York: Alfred A. Knopf House, 2011), tr. 6107:Natasha's Dance: A Cultural History of Russia 5989:Brown, David (1993). "Pyotr Tchaikovsky". In 5619: 5063: 4021: 4019: 4017: 4015: 3335: 3112:Mosaic: An Interdisciplinary Critical Journal 3101: 3099: 3097: 3095: 2639: 2612: 2606: 1443: 676: 6635: 6470:Russian Symphony: Thoughts About Tchaikovsky 6291:Autobiography of Anton Rubinstein: 1829–1889 6260:. (Bloomington: Indiana Univ. Press, 1999). 6059:Cooper, Martin (1946). "The Symphonies". In 5829:Russian Symphony: Thoughts About Tchaikovsky 5647: 5645: 5643: 5254:vol. 18, p. 628; Keller, 346–347; Maes, 161. 4260: 4258: 4256: 4062: 3983: 3145: 3001:Random House Webster's Unabridged Dictionary 2948:Tchaikovsky's work with Julius Reisinger on 646:overrated and, despite his admiration, took 6421:(New York: Charles Scribner's Sons, 1973). 6212:, 18 July 1992. Retrieved 27 February 2012. 6079: 5848:(Seventh ed.). New York: McGraw-Hill. 5791:"Endorsement of Thomas Edison's 'Phonograph 5595:, 23 October 1892. As quoted in Steinberg, 5544: 5335: 5333: 4148: 3383: 3381: 3174: 2972:"Russian – BGN/PCGN transliteration system" 2744:might have been another factor (Poznansky, 2470:Кто сейчас говорит? Кажется голос Сафонова. 1711:Performed by the Skidmore College Orchestra 1690:Performed by the Skidmore College Orchestra 1225:in England awarded Tchaikovsky an honorary 337: 7425: 7411: 6628: 6614: 6597:Works by or about Pyotr Ilyich Tchaikovsky 4174: 4172: 4012: 3092: 2326:Kakaya prekrasnaya vechsh' ....khorosho... 1072:(fourth class), which included a title of 58: 8673:Untitled nobility from the Russian Empire 6565:International Music Score Library Project 6472:(New York: Philosophical Library, 1947). 5640: 4655: 4634: 4613: 4253: 3215: 3213: 3194:10.1525/california/9780520215870.003.0003 3154: 3033: 561:). These classes were a precursor to the 294:. That resulted in uncertainty among the 6537:Hanson, Lawrence and Hanson, Elisabeth, 6310:(New York: W. W. Norton, 3rd ed. 1997). 6243:Tchaikovsky: The Quest for the Inner Man 6038: 5934:Tchaikovsky: The Crisis Years, 1874–1878 5843: 5482: 5352:vol. 18, p. 628. Also see Bostrick, 105. 5330: 4271: 3538: 3378: 2589:. He used to sign his name/was known as 2201: 2186: 2109:according to musicologist and conductor 2099: 2041: 1857: 1666:, Op. 40, No. 9, a digital recording by 1508:became a model for the final tableau of 1447: 1345: 1156:. Although critics proved hostile, with 1136:in Moscow for performances of his opera 1048: 795: 690: 537:) and her protégé, pianist and composer 505: 8658:Music educators from the Russian Empire 8568:Imperial School of Jurisprudence alumni 6561:Free scores by Pyotr Ilyich Tchaikovsky 6166:, "Orchestration, 4: 19th century". In 6080:Druckenbrod, Andrew (30 January 2011). 5972:Tchaikovsky: The Final Years, 1885–1893 5915:Tchaikovsky: The Early Years, 1840–1874 4783:Tchaikovsky's Suicide: Myth and Reality 4759: 4538: 4380: 4185: 4169: 4135: 3275: 3222: 3183: 3105: 3064: 3013: 2557:. His names are also transliterated as 1970: 1404:, caused by drinking unboiled water at 948:Other works of this period include the 14: 8490: 6541:(New York: Dodd, Mead & Company). 6123: 6058: 5844:Benward, Bruce; Saker, Marilyn (200). 5827:(1947). "The Great Russian Composer". 4698: 4689: 4512: 3210: 2617:in Russian pre-revolutionary script), 2017:from Tchaikovsky and the libretto for 1638: 1439:Symphonies by Pyotr Ilyich Tchaikovsky 1377:, near the graves of fellow-composers 1264:(left) and Tchaikovsky (right) in 1877 1177:Belyayev circle and growing reputation 663:(Germany), but not the music, calling 381:Tchaikovsky was born on 7 May 1840 in 8653:Music critics from the Russian Empire 8603:Academic staff of Moscow Conservatory 7406: 7357:International Tchaikovsky Competition 7342:Moscow State Tchaikovsky Conservatory 6609: 6539:Tchaikovsky: The Man Behind the Music 6271:Roberts, David, "Modulation (i)". In 6101: 6019: 5988: 5969: 5950: 5931: 5912: 5884: 5846:Music: In Theory and Practice, Vol. 1 3039: 2623:[ˈpʲɵtrɨˈlʲjitɕtɕɪjˈkofskʲɪj] 2621: 2416:Блок молодец, но у Эдисона ещё лучше! 1926:"Dance of the Sugar Plum Fairy" from 1812:According to Brown and musicologists 1723:American music critic and journalist 1400:Tchaikovsky's death is attributed to 683:Pyotr Ilyich Tchaikovsky and The Five 8678:Saint Petersburg Conservatory alumni 6402:Tchaikovsky Symphonies and Concertos 5862: 4597:. Schubertiade music. Archived from 4486:Poznansky, as quoted in Holden, 394. 2319:Какая прекрасная вещь ....хорошо... 1951:and sharply delineated contrasts of 417:in Vyatka. His great-grandfather, a 353:Tchaikovsky's birthplace in 1840 in 220:. He was the first Russian composer 8573:Infectious disease deaths in Russia 8543:Classical composers of church music 8284:Tchaikovsky and the Belyayev circle 5831:. New York: Philosophical Library. 5823: 4513:Walker, Shaun (18 September 2013). 2900:". This letter is quoted in Brown, 2638:produce the following results for ' 2392:Eta trel' mogla by byt' i luchshye. 2175:], such as the love theme from 2003: 1044: 931:, was to have been set to music by 284:professional relationship was mixed 24: 7432: 6500: 6435:, "Tchaikovsky, Pyotr Ilyich". In 6245:(New York: Schirmer Books, 1991). 6186:Russia and the Russians: A History 6022:Tchaikovsky: The Man and His Music 2261: 1768:, the primary Western large-scale 25: 8699: 8688:Composers from the Russian Empire 8588:LGBTQ Eastern Orthodox Christians 7087:Orchestral Suite No. 4 in G major 7082:Orchestral Suite No. 3 in G major 7077:Orchestral Suite No. 2 in C major 7072:Orchestral Suite No. 1 in D minor 6588:Works by Pyotr Ilyich Tchaikovsky 6554: 6452:The Master Musicians: Tchaikovsky 6344:The New Grove Dictionary of Opera 6221:A History of Russian Music: From 6045:"Tschaïkovsky, Peter Ilich" 5898:(20 volumes). London: MacMillan. 4752:, 430–432; Holden, 371; Warrack, 3155:Leonowitz, Jacob (6 April 2016). 2161:Pyotr Ilyich Tchaikovsky in media 1603: 1429:Music of Pyotr Ilyich Tchaikovsky 1338:Death of Pyotr Ilyich Tchaikovsky 791: 526:(RMS) was founded in 1859 by the 519:three-year civil service career. 8513:19th-century classical composers 8475: 8463: 8451: 8439: 8427: 8415: 8389: 8380: 8379: 7386: 7377: 7376: 6515:. London, U.K.: Reaktion Books. 6341:, "Tchaikovsky, Pyotr Il'yich", 6258:Tchaikovsky Through Others' Eyes 6109:. New York: Metropolitan Books. 5800: 5772: 5759: 5746: 5737: 5728: 5715: 5702: 5689: 5676: 5663: 5654: 5631: 5602: 5586: 5562: 5553: 5535: 5522: 5509: 5500: 5491: 5473: 5464: 5451: 5442: 5429: 5416: 5407: 5390: 5377: 5364: 5355: 5342: 5313: 5304: 5287: 5266: 5257: 5244: 5231: 5222: 5193: 5175: 5158: 5145: 5132: 5119: 5106: 5097: 5088: 5050: 5015: 4997: 4979: 4961: 4943: 4930: 4913: 4900: 4871: 4858: 4845: 4836: 4827: 4810: 4772: 4742: 4729: 4711: 4676: 4587: 4570: 4553: 4532: 4506: 4489: 4480: 4467: 4454: 4441: 4428: 4415: 4402: 4393: 4367: 4358: 4345: 4332: 4323: 4310: 4297: 4284: 3986:"Symphony No. 2, Little Russian" 3040:Wiley, Christopher Mark (2008). 2942: 2933: 2924: 2907: 2884: 2875: 2388:Эта трель могла бы быть и лучше. 2293: 1916: 1902: 1841:Dostoevsky. German musicologist 1701: 1680: 1652: 1250: 1241: 1232: 816: 659:at its inaugural performance in 510:Tchaikovsky as a student at the 458:Imperial School of Jurisprudence 409:, Russian Empire in present-day 367: 346: 171: 147: 133: 8593:Russian male classical pianists 8553:Composers from Saint Petersburg 8518:19th-century classical pianists 7169:String Quartet No. 2 in F major 7164:String Quartet No. 1 in D major 6907:Piano Concerto No. 2 in G major 4224: 4211: 4198: 4160: 4122: 4109: 4100: 4087: 4074: 4049: 4032: 4003: 3977: 3964: 3951: 3942: 3933: 3924: 3911: 3898: 3889: 3876: 3863: 3850: 3837: 3824: 3811: 3798: 3785: 3768: 3755: 3746: 3737: 3704: 3691: 3678: 3669: 3660: 3651: 3638: 3625: 3612: 3599: 3586: 3577: 3564: 3547: 3525: 3516: 3503: 3490: 3481: 3464: 3447: 3434: 3421: 3412: 3399: 3390: 3360: 3351: 3322: 3309: 3296: 3269: 3249: 3231: 2858: 2845: 2808: 2787: 2774: 2751: 2734: 2721: 2700: 1797: 1009:Cathedral of Christ the Saviour 7347:Tchaikovsky Symphony Orchestra 7332:Tchaikovsky State House-Museum 4855:(2001), 24:681–662; Maes, 155. 4820:vol. 18, pp. 613, 620; Wiley, 4539:Alberge, Dalya (2 June 2018). 4208:, thoughtco.com, 25 March 2017 3743:Figes, xxxii; Volkov, 111–112. 3714:, 20; Holden, 38–39; Warrack, 3553:Holden, 23–24, 26; Poznansky, 3282:. Princeton University Press. 3014:Alberge, Dalya (2 June 2018). 2989: 2964: 2687: 2523: 1955:. However, beginning with the 1324:Tchaikovsky was also aided by 1059:Tchaikovsky State House-Museum 915:The last of the early operas, 13: 1: 7337:Tchaikovsky Museum (Votkinsk) 7238:Grand Piano Sonata in G major 7114:Liturgy of St John Chrysostom 5506:Figes, 274; Maes, 78–79, 137. 5310:Benward & Saker, 111–112. 4250:vol. 18, p. 621; Holden, 233. 4206:"Tchaikovsky's 1812 Overture" 2958: 2853:Alexander II was assassinated 2714:, and translator (Poznansky, 2531:Eastern Slavic naming customs 2047: 1912:Dance of the Sugar Plum Fairy 1853: 1411:New Grove Dictionary of Music 954:for cello and orchestra, the 704: 563:Saint Petersburg Conservatory 320:sudden death at the age of 53 272:Saint Petersburg Conservatory 65: 8613:People from Sarapulsky Uyezd 8598:Russian male opera composers 6957:Variations on a Rococo Theme 6308:Lives of the Great Composers 4595:"Artôt, Désirée (1835–1907)" 2076:, according to music critic 2074:Variations on a Rococo Theme 2038:Dedicatees and collaborators 2032: 1977:Variations on a Rococo Theme 1886:a tune at a higher or lower 1803: 1615:Variations on a Rococo Theme 1342:Symphony No. 6 (Tchaikovsky) 1169:at the inaugural concert of 1053:Tchaikovsky's last home, in 951:Variations on a Rococo Theme 721:and an 18-year-old pianist, 528:Grand Duchess Elena Pavlovna 32:Tchaikovsky (disambiguation) 27:Russian composer (1840–1893) 7: 8608:People from Cherkasy Oblast 8538:Burials at Tikhvin Cemetery 8528:19th-century male musicians 8327:Gothic Revival architecture 6485:Tchaikovsky's Musical Style 5559:As quoted in Botstein, 100. 5272:As quoted in Botstein, 101. 4881:, 189; Maes, 131, 138, 152. 4769:, 431–435; Holden, 373–400. 4627:, 207–208, 219–220; Wiley, 3372:en.tchaikovsky-research.net 2680: 2670: 2660: 2650: 2636:transliterations of Russian 2553:; also standardized by the 2500: 2479: 2463: 2451:Peter Jurgenson in Moskau. 2441: 2425: 2409: 2397: 2385:This trill could be better. 2381: 2366: 2347: 2331: 2309: 1862:Sequence ascending by step 1221:). The following year, the 945:, based on the same story. 512:St. Petersburg Conservatory 306:, his failed marriage with 10: 8704: 8668:Russian Romantic composers 8638:Russian classical pianists 8268:Neue Zeitschrift für Musik 7443:List of Romantic composers 7197:String Sextet in D minor ( 6951:Violin Concerto in D major 6131:. New York: Random House. 6067:. New York: W. W. Norton. 5974:. New York: W. W. Norton. 5955:. New York: W. W. Norton. 5936:. New York: W. W. Norton. 5917:. New York: W. W. Norton. 5816: 5797:, tchaikovsky-research.net 5673:vol. 18, pp. 606–607, 628. 5573:Music Criticisms 1850–1900 5479:Figes, 274; Maes, 139–141. 5400:vol. 18, p. 628; Hopkins, 2529:In this name that follows 2493:According to musicologist 2458:Peter Jurgenson in Moskau. 2158: 2095: 1754: 1444:Antecedents and influences 1432: 1426: 1375:Alexander Nevsky Monastery 1335: 1180: 1039:Piano Trio in A minor 937:Imperial Mariinsky Theatre 680: 677:Relationship with The Five 407:Yekaterinoslav Governorate 256:Overture-Fantasy, several 29: 18:Peter Ilyitch Tschaikovsky 8623:Pupils of Nikolai Zaremba 8583:LGBTQ classical musicians 8578:LGBTQ classical composers 8359: 8304: 8249: 8183: 8162: 7449: 7440: 7372: 7319: 7292:Modest Ilyich Tchaikovsky 7284: 7257: 7209: 7174:String Quartet No. 3 in E 7145: 7105: 7066:Festival Coronation March 6978: 6912:Piano Concerto No. 3 in E 6896:Piano Concerto No. 1 in B 6888: 6803: 6771: 6683: 6643: 6577:"Discovering Tchaikovsky" 5868:Tchaikovsky and His World 5593:Boston Evening Transcript 3765:, 47–48; Rubinstein, 110. 3279:Tchaikovsky and His World 3106:KEELING, BRET L. (2003). 2640: 2613: 2607: 2605:, his name is written as 2191:Statue of Tchaikovsky in 2182: 2154: 1784: 1718: 1676:Romeo and Juliet Overture 1495:after the rediscovery of 1397:were also buried nearby. 1189:Russian Symphony Concerts 1167:Festival Coronation March 623:Dances of the Hay Maidens 501: 322:is generally ascribed to 131: 126: 116: 97: 75: 57: 48: 41: 8683:String quartet composers 8633:Russian ballet composers 8498:Pyotr Ilyich Tchaikovsky 8289:Tchaikovsky and The Five 6637:Pyotr Ilyich Tchaikovsky 6129:Tchaikovsky: A Biography 5806:As quoted in Poznansky, 5612:vol. 18, p. 628; Wiley, 5151:As quoted in Polyansky, 5009:tchaikovsky-research.net 4991:tchaikovsky-research.net 4973:tchaikovsky-research.net 4955:tchaikovsky-research.net 4723:tchaikovsky-research.net 4080:Holden, 75–76; Warrack, 3605:Holden, 24–25; Warrack, 3583:As quoted in Holden, 25. 3276:Kearney, Leslie (2014). 3243:tchaikovsky-research.net 3065:Summers, Claude (2004). 2517: 2209:, a 1993 stamp of Russia 1422: 1419:We may never find out." 1331: 1163:New York Music Society's 725:, met and agreed upon a 338:Early life and education 167:Pyotr Ilyich Tchaikovsky 49: 43:Pyotr Ilyich Tchaikovsky 8663:Russian opera composers 8643:Russian LGBTQ composers 7243:Piano Sonata No. 2 in C 7186:Souvenir d'un lieu cher 6087:Pittsburgh Post-Gazette 6051:Encyclopædia Britannica 5743:As quoted in Maes, 166. 5422:As quoted in Taruskin, 4623:, 137–147; Polayansky, 3570:Holden, 24; Poznansky, 3531:Holden, 15; Poznansky, 2828:1878 Paris World's Fair 2803:Memories of Tchaikovsky 2793:According to historian 2693:Russia was still using 2681:Pëtr Il'ich Chaykovskiy 2671:Pëtr Ilʹich Chaĭkovskiĭ 2651:Pyotr Ilyich Chaykovsky 2614:Петръ Ильичъ Чайковскій 2551:Peter Ilich Tchaikovsky 2549:. Often anglicized as 2316:What a wonderful thing. 1664:Twelve Pieces for piano 1391:Nikolai Rimsky-Korsakov 1350:Tchaikovsky's grave in 1223:University of Cambridge 1215:Académie des Beaux-Arts 1193:Nikolai Rimsky-Korsakov 1115:Russian Musical Society 1092:Bolshoi Kamenny Theatre 1070:Order of Saint Vladimir 1068:conferred upon him the 754:Nikolai Rimsky-Korsakov 715:Russian Musical Society 656:Der Ring des Nibelungen 591:Russian Musical Society 589:for performance by the 530:(a German-born aunt of 524:Russian Musical Society 8312:Common practice period 6256:Poznansky, Alexander, 6003:The Viking Opera Guide 5461:vol. 18, pp. 613, 615. 5005:"Carl Maria von Weber" 4644:, 146–148; Poznansky, 4580:, 156–158; Poznansky, 4447:Maes, 133–134; Wiley, 4316:Holden, 266; Warrack, 4303:Holden, 261; Warrack, 4232:The Years of Wandering 4219:The Years of Wandering 4180:The Years of Wandering 2769:The Years of Wandering 2349:Yelizaveta Lavrovskaya 2210: 2199: 2105: 2053: 1875: 1648:Valse in F-sharp minor 1460: 1452:An 1839 lithograph of 1358: 1287:Vladimir "Bob" Davydov 1198:Rimsky-Korsakov, with 1079:Orchestral Suite No. 3 1061: 804: 782:, later nicknamed the 710: 515: 397:near the banks of the 316:Vladimir "Bob" Davydov 7192:Piano Trio in A minor 7153:Quartet Movement in B 6938:Sérénade mélancolique 6483:Zajaczkowski, Henry, 6024:. New York: Pegasus. 6020:Brown, David (2007). 5913:Brown, David (1978). 5297:, 9. Also see Brown, 4695:Holden, 159, 231–232. 4399:Rimsky-Korsakov, 308. 4290:Maes, 140; Taruskin, 3830:Holden, 83; Warrack, 3631:Holden, 25; Warrack, 3509:Holden, 14; Warrack, 3368:"Aleksandra Davydova" 3239:"Tchaikovsky: A Life" 2661:Pëtr Ilʹič Čajkovskij 2641:Пётр Ильич Чайковский 2608:Пётр Ильич Чайковский 2205: 2190: 2103: 2045: 1861: 1451: 1349: 1052: 1023:that this piece, the 877:, based on a play by 799: 694: 681:Further information: 611:Characteristic Dances 509: 494:, were "negligible". 482:and Vladimir Gerard. 51:Пётр Ильич Чайковский 8618:People from Votkinsk 8349:Romantic nationalism 8295:War of the Romantics 7352:Chaikovskij (crater) 7199:Souvenir de Florence 7097:Serenade for Strings 6648:List of compositions 6571:Tchaikovsky Research 6509:Bullock, Philip Ross 6450:Wiley, Roland John, 6331:Steinberg, Michael, 6305:Schonberg, Harold C. 6289:, tr. Aline Delano, 6239:Poznansky, Alexander 6219:and Erica Pomerans, 6065:Music of Tchaikovsky 5752:Maes, 73; Taruskin, 5721:Maes, 73; Taruskin, 5708:Holden, xxi; Wiley, 5383:Maes, 73; Taruskin, 5323:, 423–424; Warrack, 4563:, 156–157; Warrack, 4217:As quoted in Brown, 4178:As quoted in Brown, 3869:As quoted in Wiley, 2760:Serenade for Strings 1971:Pastiche (Passé-ism) 1594:Carl Maria von Weber 1475:argues the music of 842:First Piano Concerto 831:First Piano Concerto 760:became known as the 687:The Five (composers) 244:First Piano Concerto 121:List of compositions 8558:Deaths from cholera 8548:Composers for piano 8344:Musical nationalism 8262:Musical nationalism 7015:Francesca da Rimini 6846:Symphony in B minor 6787:The Sleeping Beauty 6755:The Queen of Spades 6734:Mazepa (or Mazeppa) 6727:The Maid of Orleans 6468:, "Symphonies". In 6466:Zhitomirsky, Daniel 6362:Taruskin, Richard, 6215:Maes, Francis, tr. 5203:, 426; Keller, 347. 4951:"Gioachino Rossini" 4779:Alexander Poznansky 4501:Al'manakh, vypusk 1 4059:(2001), 25:153–154. 3684:Maes, 35; Warrack, 2976:transliteration.com 2898:Francesca da Rimini 2595:Pierre Tschaïkowsky 2555:Library of Congress 2289:Tchaikovsky's voice 2224:The Sleeping Beauty 2089:The Sleeping Beauty 2070:Wilhelm Fitzenhagen 2019:The Queen of Spades 2015:The Sleeping Beauty 1989:The Queen of Spades 1985:The Sleeping Beauty 1843:Hermann Kretzschmar 1725:Harold C. Schonberg 1639:Compositional style 1566:The Sleeping Beauty 1551:A Life for the Tsar 1546:The Queen of Spades 1531:The Sleeping Beauty 1295:Alexander Poznansky 1074:hereditary nobility 879:Alexander Ostrovsky 829:from Tchaikovsky's 603:Moscow Conservatory 555:Mikhailovsky Palace 419:Zaporozhian Cossack 8257:Indianist movement 8175:Romantic orchestra 7304:Antonina Miliukova 7225:Souvenir de Hapsal 7218:Scherzo à la russe 6931:Andante and Finale 6433:Wiley, Roland John 6385:Bouis, Antonina W. 6322:Steinberg, Michael 6217:Arnold J. Pomerans 6209:The New York Times 6005:. London: Viking. 4987:"Vincenzo Bellini" 4787:19th Century Music 4665:, 157; Poznansky, 4095:Viking Opera Guide 4042:, 474–476; Wiley, 3984:Robinson, Harlow. 3904:Maes, 8–9; Wiley, 3557:, 32–37; Warrack, 3431:, 27; Holden, 6–8. 2834:, 249–250; Wiley, 2599:Peter Tschaikowsky 2382:Pyotr Tchaikovsky: 2256:20th-century music 2251:The Rite of Spring 2211: 2200: 2145:cultural historian 2106: 2054: 1876: 1818:Daniel Zhitomirsky 1461: 1406:a local restaurant 1359: 1315:Antonina Miliukova 1283:Modest Tchaikovsky 1200:Alexander Glazunov 1062: 1017:Nikolai Rubinstein 854:Max Erdmannsdörfer 805: 711: 516: 387:Vyatka Governorate 385:, a small town in 308:Antonina Miliukova 304:Nikolai Rubinstein 8403: 8402: 8274:New German School 7869:Felix Mendelssohn 7864:Fanny Mendelssohn 7400: 7399: 7310:Nadezhda von Meck 7008:Capriccio Italien 6964:Pezzo capriccioso 6881: 6592:Project Gutenberg 6522:978-1-78023-654-4 6513:Pyotr Tchaikovsky 6493:978-0-8357-1806-6 6460:978-0-19-536892-5 6445:978-1-56159-239-5 6427:978-0-684-13558-8 6392:978-0-307-27063-4 6372:978-0-520-29348-9 6357:978-0-333-48552-1 6339:Taruskin, Richard 6316:978-0-393-03857-6 6287:Rubinstein, Anton 6281:978-0-333-23111-1 6266:978-0-253-33545-6 6251:978-0-02-871885-9 6233:978-0-520-21815-4 6194:978-0-674-00473-3 6182:Hosking, Geoffrey 6176:978-0-333-23111-1 6158:978-1-56159-239-5 6138:978-0-679-42006-4 6116:978-0-8050-5783-6 6031:978-0-571-23194-2 6012:978-0-670-81292-9 5981:978-0-393-03099-0 5962:978-0-393-02311-4 5943:978-0-393-01707-6 5924:978-0-393-07535-9 5905:978-0-333-23111-1 5877:978-0-691-00429-7 5855:978-0-07-294262-0 5575:, ed. and trans. 5190:Zhitomirsky, 102. 5168:vol. 18, p. 628; 4923:, 39, 52; Brown, 4503:, (Moscow, 1995). 3289:978-1-4008-6488-1 2872:vol. 18, p. 620). 2491: 2490: 2429:(sings) A-o, a-o. 2298: 2078:Michael Steinberg 1921: 1882:within melodies ( 1770:musical structure 1706: 1685: 1657: 1582:Gioachino Rossini 1578:Giacomo Meyerbeer 1574:Felix Mendelssohn 1465:Roland John Wiley 1416:Roland John Wiley 1387:Modest Mussorgsky 1379:Alexander Borodin 1326:Nadezhda von Meck 1303:Vladimir Medinsky 1165:orchestra in his 1104:Ivan Vsevolozhsky 1096:Mariinsky Theatre 1021:Nadezhda von Meck 990:Fyodor Dostoevsky 960:Fourth Symphonies 850:Adele aus der Ohe 821: 801:Nadezhda von Meck 758:Alexander Borodin 750:Modest Mussorgsky 615:Johann Strauss II 423:Battle of Poltava 312:Nadezhda von Meck 164: 163: 159: 145: 16:(Redirected from 8695: 8480: 8479: 8478: 8468: 8467: 8466: 8456: 8455: 8454: 8444: 8443: 8442: 8432: 8431: 8420: 8419: 8418: 8411: 8393: 8383: 8382: 8279:Post-romanticism 8144:Vaughan Williams 7427: 7420: 7413: 7404: 7403: 7390: 7380: 7379: 7327:In popular media 7298:Vladimir Davydov 7274:The Music Lovers 7248: 7247: 7179: 7178: 7158: 7157: 6987:Romeo and Juliet 6979:Orchestral works 6924:Concert Fantasia 6917: 6916: 6901: 6900: 6879: 6876: 6875: 6861:No. 6 in B minor 6856:No. 5 in E minor 6841:No. 4 in F minor 6831:No. 3 in D major 6821:No. 2 in C minor 6815:Winter Daydreams 6811:No. 1 in G minor 6713:Vakula the Smith 6630: 6623: 6616: 6607: 6606: 6601:Internet Archive 6584: 6534: 6146:Holoman, D. Kern 6142: 6120: 6098: 6096: 6094: 6076: 6055: 6047: 6035: 6016: 5985: 5970:— (1991). 5966: 5951:— (1986). 5947: 5932:— (1983). 5928: 5909: 5881: 5859: 5840: 5811: 5804: 5798: 5794: 5788: 5779: 5776: 5770: 5763: 5757: 5750: 5744: 5741: 5735: 5732: 5726: 5719: 5713: 5706: 5700: 5693: 5687: 5680: 5674: 5667: 5661: 5658: 5652: 5649: 5638: 5635: 5629: 5626: 5617: 5606: 5600: 5590: 5584: 5569:Hanslick, Eduard 5566: 5560: 5557: 5551: 5548: 5542: 5539: 5533: 5530:The Crisis Years 5526: 5520: 5513: 5507: 5504: 5498: 5495: 5489: 5486: 5480: 5477: 5471: 5468: 5462: 5455: 5449: 5446: 5440: 5433: 5427: 5420: 5414: 5411: 5405: 5402:New Grove (1980) 5394: 5388: 5381: 5375: 5368: 5362: 5359: 5353: 5346: 5340: 5337: 5328: 5317: 5311: 5308: 5302: 5291: 5285: 5282: 5273: 5270: 5264: 5261: 5255: 5248: 5242: 5235: 5229: 5226: 5220: 5213: 5204: 5197: 5191: 5188: 5182: 5181:Zajaczkowski, 25 5179: 5173: 5162: 5156: 5149: 5143: 5140:New Grove (1980) 5136: 5130: 5123: 5117: 5110: 5104: 5101: 5095: 5092: 5086: 5079: 5070: 5067: 5061: 5060:vol. 18, p. 606. 5054: 5048: 5047:vol. 18, p. 628. 5041: 5026: 5019: 5013: 5012: 5001: 4995: 4994: 4983: 4977: 4976: 4969:"Giuseppe Verdi" 4965: 4959: 4958: 4947: 4941: 4934: 4928: 4917: 4911: 4904: 4898: 4891: 4882: 4875: 4869: 4862: 4856: 4849: 4843: 4840: 4834: 4831: 4825: 4814: 4808: 4801: 4790: 4776: 4770: 4763: 4757: 4746: 4740: 4733: 4727: 4726: 4719:"Symphony No. 6" 4715: 4709: 4702: 4696: 4693: 4687: 4680: 4674: 4663:The Crisis Years 4659: 4653: 4642:The Crisis Years 4638: 4632: 4621:The Crisis Years 4617: 4611: 4610: 4608: 4606: 4591: 4585: 4574: 4568: 4557: 4551: 4550: 4536: 4530: 4529: 4527: 4525: 4510: 4504: 4493: 4487: 4484: 4478: 4471: 4465: 4458: 4452: 4445: 4439: 4432: 4426: 4419: 4413: 4406: 4400: 4397: 4391: 4384: 4378: 4371: 4365: 4362: 4356: 4349: 4343: 4336: 4330: 4329:Holden, 272–273. 4327: 4321: 4314: 4308: 4301: 4295: 4288: 4282: 4275: 4269: 4262: 4251: 4244: 4235: 4228: 4222: 4215: 4209: 4202: 4196: 4189: 4183: 4176: 4167: 4166:Volkov, 122–123. 4164: 4158: 4155: 4146: 4139: 4133: 4130:The Crisis Years 4126: 4120: 4119:, 159, 170, 193. 4113: 4107: 4104: 4098: 4091: 4085: 4078: 4072: 4069: 4060: 4053: 4047: 4036: 4030: 4023: 4010: 4007: 4001: 4000: 3998: 3996: 3981: 3975: 3968: 3962: 3955: 3949: 3946: 3940: 3937: 3931: 3928: 3922: 3915: 3909: 3902: 3896: 3893: 3887: 3880: 3874: 3867: 3861: 3854: 3848: 3841: 3835: 3828: 3822: 3815: 3809: 3808:vol. 18, p. 608. 3802: 3796: 3789: 3783: 3772: 3766: 3759: 3753: 3750: 3744: 3741: 3735: 3728: 3719: 3708: 3702: 3695: 3689: 3682: 3676: 3673: 3667: 3664: 3658: 3655: 3649: 3642: 3636: 3629: 3623: 3616: 3610: 3603: 3597: 3590: 3584: 3581: 3575: 3568: 3562: 3551: 3545: 3542: 3536: 3529: 3523: 3520: 3514: 3507: 3501: 3494: 3488: 3485: 3479: 3468: 3462: 3457:, 25–26; Wiley, 3451: 3445: 3438: 3432: 3425: 3419: 3416: 3410: 3409:, 22; Holden, 7. 3403: 3397: 3394: 3388: 3385: 3376: 3375: 3364: 3358: 3355: 3349: 3342: 3333: 3326: 3320: 3313: 3307: 3300: 3294: 3293: 3273: 3267: 3266: 3253: 3247: 3246: 3235: 3229: 3226: 3220: 3217: 3208: 3207: 3181: 3172: 3171: 3169: 3167: 3152: 3143: 3142: 3140: 3138: 3103: 3090: 3089: 3087: 3085: 3062: 3056: 3055: 3053: 3051: 3037: 3031: 3030: 3028: 3026: 3011: 3005: 2993: 2987: 2986: 2984: 2982: 2968: 2953: 2946: 2940: 2937: 2931: 2928: 2922: 2919:The Crisis Years 2911: 2905: 2902:The Crisis Years 2888: 2882: 2879: 2873: 2862: 2856: 2849: 2843: 2832:The Crisis Years 2820:The Crisis Years 2812: 2806: 2791: 2785: 2778: 2772: 2755: 2749: 2738: 2732: 2725: 2719: 2704: 2698: 2691: 2685: 2683: 2673: 2663: 2653: 2643: 2642: 2633: 2632: 2631: 2625: 2620: 2616: 2615: 2610: 2609: 2527: 2512:Tatiana Davydova 2495:Leonid Sabaneyev 2454: 2322: 2311:Anton Rubinstein 2307: 2306: 2300: 2299: 2276: 2177:Romeo and Juliet 2120:delirium tremens 2052: 2051: 1890–1895 2049: 2004:Aesthetic impact 1995:, who turned to 1961:Richard Taruskin 1923: 1922: 1873: 1872: 1871: 1869: 1779:whole-tone scale 1708: 1707: 1687: 1686: 1659: 1658: 1632:Vakula the Smith 1590:Vincenzo Bellini 1371:Tikhvin Cemetery 1356:Saint Petersburg 1352:Tikhvin Cemetery 1254: 1245: 1045:Return to Russia 1031:Eduard Nápravník 1002:Sergei Diaghilev 994:Alexandre Benois 968:, and the opera 918:Vakula the Smith 858:Eduard Nápravník 823: 822: 775:Romeo and Juliet 762:moguchaya kuchka 739:octatonic scales 709: 706: 617:at a concert in 539:Anton Rubinstein 480:Aleksey Apukhtin 443:Vladimir Davydov 371: 350: 260:, and the opera 253:Romeo and Juliet 212: 206: 205: 202: 201: 198: 195: 192: 189: 186: 183: 180: 177: 153: 151: 139: 137: 111:, Russian Empire 109:Saint Petersburg 104: 92:, Russian Empire 85: 83: 70: 67: 62: 52: 39: 38: 21: 8703: 8702: 8698: 8697: 8696: 8694: 8693: 8692: 8488: 8487: 8486: 8476: 8474: 8464: 8462: 8452: 8450: 8440: 8438: 8426: 8422:Classical music 8416: 8414: 8406: 8404: 8399: 8376: 8372:Modernist music 8368: 8365:Classical music 8355: 8300: 8245: 8226:Romantic ballet 8221:Orchestral song 8201:Chorale prelude 8196:Character piece 8179: 8170:Romantic guitar 8163:Instrumentation 8158: 7994:Rimsky-Korsakov 7614:Ferdinand David 7451: 7445: 7436: 7431: 7401: 7396: 7368: 7315: 7280: 7253: 7245: 7244: 7205: 7176: 7175: 7155: 7154: 7141: 7121:All-Night Vigil 7101: 6974: 6914: 6913: 6898: 6897: 6884: 6873: 6872: 6799: 6767: 6748:The Enchantress 6679: 6670:Belyayev circle 6639: 6634: 6575: 6557: 6552: 6523: 6507: 6503: 6501:Further reading 6498: 6415:Warrack, John, 6377:Volkov, Solomon 6139: 6125:Holden, Anthony 6117: 6092: 6090: 6032: 6013: 5995:Nicholas Kenyon 5982: 5963: 5944: 5925: 5906: 5878: 5856: 5819: 5814: 5805: 5801: 5792: 5789: 5782: 5777: 5773: 5764: 5760: 5751: 5747: 5742: 5738: 5733: 5729: 5720: 5716: 5712:(2001), 25:144. 5707: 5703: 5699:(2001), 25:144. 5694: 5690: 5681: 5677: 5668: 5664: 5659: 5655: 5650: 5641: 5636: 5632: 5628:Schonberg, 367. 5627: 5620: 5616:(2001), 25:169. 5607: 5603: 5591: 5587: 5577:Henry Pleasants 5567: 5563: 5558: 5554: 5549: 5545: 5540: 5536: 5527: 5523: 5514: 5510: 5505: 5501: 5497:Maes, 146, 152. 5496: 5492: 5487: 5483: 5478: 5474: 5469: 5465: 5456: 5452: 5447: 5443: 5434: 5430: 5421: 5417: 5412: 5408: 5395: 5391: 5382: 5378: 5374:(2001), 12:413. 5369: 5365: 5360: 5356: 5347: 5343: 5338: 5331: 5321:The Final Years 5318: 5314: 5309: 5305: 5299:The Final Years 5292: 5288: 5283: 5276: 5271: 5267: 5262: 5258: 5249: 5245: 5236: 5232: 5228:Keller, 346–47. 5227: 5223: 5217:The Final Years 5214: 5207: 5201:The Final Years 5198: 5194: 5189: 5185: 5180: 5176: 5163: 5159: 5150: 5146: 5137: 5133: 5129:, 422, 432–434. 5127:The Final Years 5124: 5120: 5111: 5107: 5102: 5098: 5093: 5089: 5083:The Final Years 5080: 5073: 5069:Schonberg, 366. 5068: 5064: 5055: 5051: 5042: 5029: 5023:The Early Years 5020: 5016: 5003: 5002: 4998: 4985: 4984: 4980: 4967: 4966: 4962: 4949: 4948: 4944: 4940:(2001), 25:149. 4935: 4931: 4925:The Final Years 4921:The Early Years 4918: 4914: 4908:The Early Years 4905: 4901: 4892: 4885: 4879:The Final Years 4876: 4872: 4863: 4859: 4850: 4846: 4841: 4837: 4833:Asafyev, 13–14. 4832: 4828: 4815: 4811: 4807:(2001), 25:169. 4802: 4793: 4777: 4773: 4764: 4760: 4747: 4743: 4737:The Final Years 4734: 4730: 4717: 4716: 4712: 4703: 4699: 4694: 4690: 4681: 4677: 4660: 4656: 4639: 4635: 4618: 4614: 4604: 4602: 4601:on 24 June 2009 4593: 4592: 4588: 4578:The Early Years 4575: 4571: 4561:The Early Years 4558: 4554: 4537: 4533: 4523: 4521: 4511: 4507: 4494: 4490: 4485: 4481: 4475:The Early Years 4472: 4468: 4464:, 32 et passim. 4459: 4455: 4446: 4442: 4433: 4429: 4420: 4416: 4407: 4403: 4398: 4394: 4385: 4381: 4375:The Final Years 4372: 4368: 4363: 4359: 4353:The Final Years 4350: 4346: 4340:The Final Years 4337: 4333: 4328: 4324: 4315: 4311: 4302: 4298: 4289: 4285: 4276: 4272: 4268:(2001), 25:162. 4263: 4254: 4245: 4238: 4229: 4225: 4216: 4212: 4203: 4199: 4190: 4186: 4177: 4170: 4165: 4161: 4156: 4149: 4140: 4136: 4127: 4123: 4114: 4110: 4105: 4101: 4092: 4088: 4079: 4075: 4070: 4063: 4054: 4050: 4046:(2001), 25:161. 4037: 4033: 4029:(2001), 25:147. 4024: 4013: 4008: 4004: 3994: 3992: 3982: 3978: 3972:The Early Years 3969: 3965: 3956: 3952: 3947: 3943: 3938: 3934: 3929: 3925: 3916: 3912: 3903: 3899: 3894: 3890: 3881: 3877: 3868: 3864: 3855: 3851: 3842: 3838: 3829: 3825: 3819:The Early Years 3816: 3812: 3803: 3799: 3793:The Early Years 3790: 3786: 3776:The Early Years 3773: 3769: 3760: 3756: 3751: 3747: 3742: 3738: 3729: 3722: 3709: 3705: 3699:The Early Years 3696: 3692: 3683: 3679: 3674: 3670: 3665: 3661: 3656: 3652: 3643: 3639: 3630: 3626: 3617: 3613: 3604: 3600: 3594:The Early Years 3591: 3587: 3582: 3578: 3569: 3565: 3552: 3548: 3543: 3539: 3530: 3526: 3521: 3517: 3508: 3504: 3495: 3491: 3486: 3482: 3472:The Early Years 3469: 3465: 3455:The Early Years 3452: 3448: 3439: 3435: 3429:The Early Years 3426: 3422: 3417: 3413: 3407:The Early Years 3404: 3400: 3395: 3391: 3386: 3379: 3366: 3365: 3361: 3356: 3352: 3343: 3336: 3332:, 1; Holden, 5. 3327: 3323: 3314: 3310: 3304:The Early Years 3301: 3297: 3290: 3274: 3270: 3255: 3254: 3250: 3237: 3236: 3232: 3227: 3223: 3218: 3211: 3204: 3182: 3175: 3165: 3163: 3153: 3146: 3136: 3134: 3104: 3093: 3083: 3081: 3079: 3063: 3059: 3049: 3047: 3038: 3034: 3024: 3022: 3012: 3008: 2994: 2990: 2980: 2978: 2970: 2969: 2965: 2961: 2956: 2947: 2943: 2938: 2934: 2929: 2925: 2912: 2908: 2889: 2885: 2880: 2876: 2863: 2859: 2850: 2846: 2813: 2809: 2799:Nikolay Kashkin 2795:Harlow Robinson 2792: 2788: 2779: 2775: 2756: 2752: 2739: 2735: 2729:The Early Years 2726: 2722: 2705: 2701: 2695:Old Style dates 2692: 2688: 2627: 2626: 2618: 2603:Cyrillic script 2591:P. Tschaïkowsky 2528: 2524: 2520: 2503: 2452: 2446:Peter Jurgenson 2320: 2305: 2304: 2303: 2302: 2301: 2294: 2291: 2270: 2264: 2262:Voice recording 2246:Igor Stravinsky 2185: 2163: 2157: 2149:Joseph Horowitz 2115:Eduard Hanslick 2104:Eduard Hanslick 2098: 2066:Nathan Milstein 2050: 2040: 2035: 2027:Romanov dynasty 2006: 1993:Igor Stravinsky 1973: 1941: 1940: 1939: 1938: 1937: 1924: 1917: 1914: 1905: 1867: 1864: 1863: 1856: 1806: 1787: 1757: 1721: 1716: 1715: 1714: 1713: 1712: 1709: 1702: 1699: 1693: 1692: 1691: 1688: 1681: 1678: 1672: 1671: 1670: 1660: 1653: 1650: 1641: 1606: 1558:, whose ballet 1458:Josef Kriehuber 1454:Robert Schumann 1446: 1441: 1431: 1425: 1344: 1334: 1268: 1267: 1266: 1265: 1257: 1256: 1255: 1247: 1246: 1235: 1227:Doctor of Music 1219:Mark Antokolsky 1208:Belyayev circle 1185: 1179: 1134:Bolshoi Theater 1119:Johannes Brahms 1047: 983:Violin Concerto 933:Alexander Serov 906:Vladimir Stasov 837: 836: 835: 834: 833: 824: 817: 814: 794: 780:Second Symphony 719:Vladimir Stasov 707: 689: 679: 636:music criticism 625:, in his opera 613:, conducted by 551:Nikolai Zaremba 522:Meanwhile, the 504: 403:Kamsko-Votkinsk 393:in present-day 379: 378: 377: 376: 375: 372: 363: 362: 361: 351: 340: 292:Peter the Great 248:Violin Concerto 218:Romantic period 210: 174: 170: 160: 156:Cyrillic script 152: 146: 138: 112: 106: 102: 101:6 November 1893 93: 87: 81: 79: 71: 68: 53: 50: 44: 35: 28: 23: 22: 15: 12: 11: 5: 8701: 8691: 8690: 8685: 8680: 8675: 8670: 8665: 8660: 8655: 8650: 8645: 8640: 8635: 8630: 8625: 8620: 8615: 8610: 8605: 8600: 8595: 8590: 8585: 8580: 8575: 8570: 8565: 8560: 8555: 8550: 8545: 8540: 8535: 8530: 8525: 8520: 8515: 8510: 8505: 8500: 8485: 8484: 8472: 8460: 8448: 8436: 8424: 8401: 8400: 8398: 8397: 8387: 8369: 8361: 8360: 8357: 8356: 8354: 8353: 8352: 8351: 8341: 8340: 8339: 8334: 8329: 8324: 8314: 8308: 8306: 8302: 8301: 8299: 8298: 8291: 8286: 8281: 8276: 8271: 8264: 8259: 8253: 8251: 8247: 8246: 8244: 8243: 8238: 8236:Symphonic poem 8233: 8231:Romantic opera 8228: 8223: 8218: 8213: 8208: 8203: 8198: 8193: 8187: 8185: 8181: 8180: 8178: 8177: 8172: 8166: 8164: 8160: 8159: 8157: 8156: 8151: 8146: 8141: 8136: 8131: 8126: 8121: 8116: 8111: 8106: 8101: 8096: 8091: 8086: 8081: 8076: 8071: 8066: 8061: 8056: 8051: 8046: 8041: 8036: 8031: 8026: 8021: 8016: 8011: 8006: 8001: 7996: 7991: 7986: 7981: 7976: 7971: 7966: 7961: 7956: 7951: 7946: 7941: 7936: 7931: 7926: 7921: 7916: 7911: 7906: 7901: 7896: 7891: 7886: 7881: 7876: 7871: 7866: 7861: 7856: 7851: 7846: 7841: 7836: 7831: 7826: 7821: 7816: 7811: 7806: 7801: 7796: 7791: 7786: 7781: 7776: 7771: 7766: 7761: 7756: 7751: 7746: 7741: 7736: 7731: 7726: 7721: 7716: 7711: 7706: 7701: 7696: 7691: 7686: 7681: 7676: 7671: 7666: 7661: 7656: 7651: 7646: 7641: 7636: 7631: 7626: 7621: 7616: 7611: 7609:Félicien David 7606: 7601: 7596: 7591: 7586: 7581: 7576: 7571: 7566: 7561: 7556: 7551: 7546: 7541: 7536: 7531: 7526: 7521: 7516: 7511: 7506: 7501: 7496: 7491: 7486: 7481: 7476: 7471: 7466: 7461: 7455: 7453: 7447: 7446: 7441: 7438: 7437: 7434:Romantic music 7430: 7429: 7422: 7415: 7407: 7398: 7397: 7395: 7394: 7384: 7373: 7370: 7369: 7367: 7366: 7365: 7364: 7354: 7349: 7344: 7339: 7334: 7329: 7323: 7321: 7317: 7316: 7314: 7313: 7307: 7301: 7295: 7288: 7286: 7282: 7281: 7279: 7278: 7270: 7261: 7259: 7255: 7254: 7252: 7251: 7240: 7235: 7228: 7221: 7213: 7211: 7207: 7206: 7204: 7203: 7194: 7189: 7182: 7171: 7166: 7161: 7149: 7147: 7143: 7142: 7140: 7139: 7131: 7124: 7117: 7109: 7107: 7103: 7102: 7100: 7099: 7094: 7084: 7079: 7074: 7069: 7062: 7055: 7048: 7041: 7034: 7025: 7018: 7011: 7004: 6997: 6990: 6982: 6980: 6976: 6975: 6973: 6972: 6970:Cello Concerto 6967: 6960: 6953: 6948: 6941: 6934: 6927: 6920: 6909: 6904: 6892: 6890: 6886: 6885: 6883: 6882: 6868: 6858: 6853: 6843: 6838: 6828: 6825:Little Russian 6818: 6807: 6805: 6801: 6800: 6798: 6797: 6794:The Nutcracker 6790: 6783: 6775: 6773: 6769: 6768: 6766: 6765: 6758: 6751: 6744: 6737: 6730: 6723: 6716: 6709: 6702: 6695: 6687: 6685: 6681: 6680: 6678: 6677: 6672: 6667: 6662: 6661: 6660: 6650: 6644: 6641: 6640: 6633: 6632: 6625: 6618: 6610: 6604: 6603: 6594: 6585: 6573: 6568: 6556: 6555:External links 6553: 6551: 6550: 6535: 6521: 6504: 6502: 6499: 6497: 6496: 6481: 6463: 6448: 6430: 6413: 6395: 6374: 6360: 6349:Sadie, Stanley 6336: 6329: 6319: 6302: 6284: 6269: 6254: 6236: 6213: 6197: 6179: 6164:Hopkins, G. W. 6161: 6143: 6137: 6121: 6115: 6103:Figes, Orlando 6099: 6077: 6061:Gerald Abraham 6056: 6042:, ed. (1911). 6040:Chisholm, Hugh 6036: 6030: 6017: 6011: 5986: 5980: 5967: 5961: 5948: 5942: 5929: 5923: 5910: 5904: 5882: 5876: 5864:Botstein, Leon 5860: 5854: 5841: 5825:Asafyev, Boris 5820: 5818: 5815: 5813: 5812: 5799: 5780: 5771: 5758: 5745: 5736: 5727: 5714: 5701: 5688: 5675: 5662: 5660:Botstein, 100. 5653: 5639: 5630: 5618: 5601: 5585: 5561: 5552: 5543: 5541:Maes, 145–148. 5534: 5521: 5508: 5499: 5490: 5481: 5472: 5463: 5450: 5441: 5428: 5415: 5406: 5389: 5376: 5363: 5354: 5341: 5329: 5312: 5303: 5286: 5284:Botstein, 101. 5274: 5265: 5256: 5243: 5230: 5221: 5205: 5192: 5183: 5174: 5157: 5144: 5131: 5118: 5105: 5096: 5087: 5071: 5062: 5049: 5027: 5014: 4996: 4978: 4960: 4942: 4929: 4912: 4899: 4883: 4870: 4857: 4844: 4835: 4826: 4809: 4791: 4771: 4758: 4741: 4728: 4710: 4697: 4688: 4675: 4669:, 234; Wiley, 4654: 4648:, 234; Wiley, 4633: 4612: 4586: 4569: 4552: 4531: 4505: 4488: 4479: 4466: 4453: 4440: 4427: 4414: 4401: 4392: 4379: 4366: 4357: 4344: 4331: 4322: 4309: 4296: 4283: 4270: 4252: 4236: 4223: 4210: 4197: 4184: 4168: 4159: 4147: 4134: 4121: 4108: 4099: 4086: 4073: 4071:Taruskin, 665. 4061: 4048: 4031: 4011: 4009:Holden, 51–52. 4002: 3976: 3963: 3950: 3941: 3932: 3923: 3921:(2001), 8:913. 3910: 3897: 3895:Figes, 178–181 3888: 3875: 3862: 3849: 3836: 3823: 3810: 3797: 3784: 3767: 3754: 3745: 3736: 3720: 3703: 3690: 3677: 3668: 3659: 3650: 3637: 3624: 3611: 3598: 3585: 3576: 3563: 3546: 3537: 3524: 3515: 3502: 3489: 3480: 3463: 3446: 3433: 3420: 3411: 3398: 3389: 3377: 3359: 3350: 3334: 3321: 3308: 3295: 3288: 3268: 3248: 3230: 3221: 3209: 3202: 3173: 3144: 3091: 3077: 3057: 3032: 3006: 2988: 2962: 2960: 2957: 2955: 2954: 2941: 2932: 2923: 2906: 2883: 2874: 2866:Claude Debussy 2857: 2855:in March 1881. 2844: 2822:, 250; Wiley, 2807: 2786: 2773: 2750: 2733: 2720: 2699: 2686: 2521: 2519: 2516: 2515: 2514: 2509: 2502: 2499: 2489: 2488: 2486: 2484: 2481: 2477: 2476: 2471: 2468: 2465: 2461: 2460: 2455: 2449: 2443: 2439: 2438: 2433: 2430: 2427: 2423: 2422: 2417: 2414: 2411: 2407: 2406: 2404: 2402: 2399: 2395: 2394: 2389: 2386: 2383: 2379: 2378: 2376: 2374: 2371: 2368:Vasily Safonov 2364: 2363: 2358: 2355: 2352: 2345: 2344: 2339: 2336: 2333: 2329: 2328: 2323: 2317: 2314: 2292: 2287: 2286: 2285: 2284: 2283: 2263: 2260: 2242:Anthony Holden 2220:Herman Laroche 2184: 2181: 2156: 2153: 2132:New York Times 2097: 2094: 2062:Jascha Heifetz 2046:Marius Petipa 2039: 2036: 2034: 2031: 2005: 2002: 1987:and the opera 1972: 1969: 1957:Third Symphony 1929:The Nutcracker 1925: 1915: 1910: 1909: 1908: 1907: 1906: 1904: 1901: 1855: 1852: 1822:musical themes 1805: 1802: 1786: 1783: 1756: 1753: 1720: 1717: 1710: 1700: 1695: 1694: 1689: 1679: 1674: 1673: 1661: 1651: 1646: 1645: 1644: 1643: 1642: 1640: 1637: 1629:and his opera 1625:Little Russian 1605: 1604:Creative range 1602: 1586:Giuseppe Verdi 1570:Hector Berlioz 1489:Jules Massenet 1481:Richard Wagner 1445: 1442: 1427:Main article: 1424: 1421: 1395:Mily Balakirev 1383:Mikhail Glinka 1363:Sixth Symphony 1333: 1330: 1319:writer's block 1259: 1258: 1249: 1248: 1240: 1239: 1238: 1237: 1236: 1234: 1231: 1204:Anatoly Lyadov 1178: 1175: 1148:Fifth Symphony 1127:Jules Massenet 1123:Antonín Dvořák 1111:Sergei Taneyev 1046: 1043: 862:Sergei Taneyev 846:Hans von Bülow 825: 815: 810: 809: 808: 807: 806: 793: 792:Opera composer 790: 785:Little Russian 731:Mikhail Glinka 723:Mily Balakirev 697:Mily Balakirev 678: 675: 587:First Symphony 559:Russian Museum 503: 500: 391:Russian Empire 373: 366: 365: 364: 357:, Russia, now 352: 345: 344: 343: 342: 341: 339: 336: 296:intelligentsia 282:with whom his 233:The Nutcracker 162: 161: 132: 129: 128: 124: 123: 118: 114: 113: 107: 105:(aged 53) 99: 95: 94: 88: 77: 73: 72: 63: 55: 54: 46: 45: 42: 26: 9: 6: 4: 3: 2: 8700: 8689: 8686: 8684: 8681: 8679: 8676: 8674: 8671: 8669: 8666: 8664: 8661: 8659: 8656: 8654: 8651: 8649: 8646: 8644: 8641: 8639: 8636: 8634: 8631: 8629: 8626: 8624: 8621: 8619: 8616: 8614: 8611: 8609: 8606: 8604: 8601: 8599: 8596: 8594: 8591: 8589: 8586: 8584: 8581: 8579: 8576: 8574: 8571: 8569: 8566: 8564: 8561: 8559: 8556: 8554: 8551: 8549: 8546: 8544: 8541: 8539: 8536: 8534: 8531: 8529: 8526: 8524: 8521: 8519: 8516: 8514: 8511: 8509: 8506: 8504: 8501: 8499: 8496: 8495: 8493: 8483: 8473: 8471: 8461: 8459: 8449: 8447: 8437: 8435: 8430: 8425: 8423: 8413: 8412: 8409: 8396: 8392: 8388: 8386: 8378: 8377: 8374: 8373: 8367: 8366: 8358: 8350: 8347: 8346: 8345: 8342: 8338: 8335: 8333: 8330: 8328: 8325: 8323: 8320: 8319: 8318: 8315: 8313: 8310: 8309: 8307: 8303: 8296: 8292: 8290: 8287: 8285: 8282: 8280: 8277: 8275: 8272: 8270: 8269: 8265: 8263: 8260: 8258: 8255: 8254: 8252: 8248: 8242: 8239: 8237: 8234: 8232: 8229: 8227: 8224: 8222: 8219: 8217: 8214: 8212: 8209: 8207: 8204: 8202: 8199: 8197: 8194: 8192: 8189: 8188: 8186: 8182: 8176: 8173: 8171: 8168: 8167: 8165: 8161: 8155: 8152: 8150: 8147: 8145: 8142: 8140: 8137: 8135: 8132: 8130: 8127: 8125: 8122: 8120: 8117: 8115: 8112: 8110: 8107: 8105: 8102: 8100: 8097: 8095: 8092: 8090: 8087: 8085: 8082: 8080: 8079:J. Strauss II 8077: 8075: 8072: 8070: 8067: 8065: 8062: 8060: 8057: 8055: 8052: 8050: 8047: 8045: 8042: 8040: 8037: 8035: 8032: 8030: 8027: 8025: 8022: 8020: 8017: 8015: 8012: 8010: 8007: 8005: 8002: 8000: 7997: 7995: 7992: 7990: 7987: 7985: 7982: 7980: 7977: 7975: 7972: 7970: 7967: 7965: 7962: 7960: 7957: 7955: 7952: 7950: 7947: 7945: 7942: 7940: 7937: 7935: 7932: 7930: 7927: 7925: 7922: 7920: 7917: 7915: 7912: 7910: 7907: 7905: 7902: 7900: 7897: 7895: 7892: 7890: 7887: 7885: 7882: 7880: 7877: 7875: 7872: 7870: 7867: 7865: 7862: 7860: 7857: 7855: 7852: 7850: 7847: 7845: 7842: 7840: 7837: 7835: 7832: 7830: 7827: 7825: 7822: 7820: 7817: 7815: 7812: 7810: 7807: 7805: 7802: 7800: 7797: 7795: 7792: 7790: 7787: 7785: 7782: 7780: 7777: 7775: 7772: 7770: 7767: 7765: 7762: 7760: 7757: 7755: 7752: 7750: 7747: 7745: 7742: 7740: 7737: 7735: 7732: 7730: 7727: 7725: 7722: 7720: 7717: 7715: 7712: 7710: 7707: 7705: 7702: 7700: 7697: 7695: 7692: 7690: 7687: 7685: 7682: 7680: 7677: 7675: 7672: 7670: 7667: 7665: 7662: 7660: 7657: 7655: 7652: 7650: 7647: 7645: 7642: 7640: 7637: 7635: 7632: 7630: 7627: 7625: 7622: 7620: 7617: 7615: 7612: 7610: 7607: 7605: 7602: 7600: 7597: 7595: 7592: 7590: 7587: 7585: 7582: 7580: 7577: 7575: 7572: 7570: 7567: 7565: 7562: 7560: 7557: 7555: 7552: 7550: 7547: 7545: 7542: 7540: 7537: 7535: 7532: 7530: 7527: 7525: 7522: 7520: 7517: 7515: 7512: 7510: 7507: 7505: 7502: 7500: 7497: 7495: 7492: 7490: 7487: 7485: 7482: 7480: 7477: 7475: 7472: 7470: 7467: 7465: 7462: 7460: 7457: 7456: 7454: 7450:Composers and 7448: 7444: 7439: 7435: 7428: 7423: 7421: 7416: 7414: 7409: 7408: 7405: 7393: 7389: 7385: 7383: 7375: 7374: 7371: 7363: 7360: 7359: 7358: 7355: 7353: 7350: 7348: 7345: 7343: 7340: 7338: 7335: 7333: 7330: 7328: 7325: 7324: 7322: 7318: 7311: 7308: 7305: 7302: 7299: 7296: 7293: 7290: 7289: 7287: 7283: 7276: 7275: 7271: 7268: 7267: 7263: 7262: 7260: 7256: 7250: 7241: 7239: 7236: 7234: 7233: 7229: 7227: 7226: 7222: 7220: 7219: 7215: 7214: 7212: 7208: 7202: 7200: 7195: 7193: 7190: 7188: 7187: 7183: 7181: 7172: 7170: 7167: 7165: 7162: 7160: 7151: 7150: 7148: 7146:Chamber music 7144: 7137: 7136: 7132: 7130: 7129: 7125: 7123: 7122: 7118: 7116: 7115: 7111: 7110: 7108: 7104: 7098: 7095: 7092: 7088: 7085: 7083: 7080: 7078: 7075: 7073: 7070: 7068: 7067: 7063: 7061: 7060: 7056: 7054: 7053: 7049: 7047: 7046: 7045:1812 Overture 7042: 7040: 7039: 7035: 7033: 7032: 7031: 7026: 7024: 7023: 7019: 7017: 7016: 7012: 7010: 7009: 7005: 7003: 7002: 6998: 6996: 6995: 6991: 6989: 6988: 6984: 6983: 6981: 6977: 6971: 6968: 6966: 6965: 6961: 6959: 6958: 6954: 6952: 6949: 6947: 6946: 6945:Valse-Scherzo 6942: 6940: 6939: 6935: 6933: 6932: 6928: 6926: 6925: 6921: 6919: 6910: 6908: 6905: 6903: 6894: 6893: 6891: 6887: 6878: 6871:Symphony in E 6869: 6866: 6862: 6859: 6857: 6854: 6851: 6847: 6844: 6842: 6839: 6836: 6832: 6829: 6826: 6822: 6819: 6816: 6812: 6809: 6808: 6806: 6802: 6796: 6795: 6791: 6789: 6788: 6784: 6782: 6781: 6777: 6776: 6774: 6770: 6764: 6763: 6759: 6757: 6756: 6752: 6750: 6749: 6745: 6743: 6742: 6738: 6736: 6735: 6731: 6729: 6728: 6724: 6722: 6721: 6720:Eugene Onegin 6717: 6715: 6714: 6710: 6708: 6707: 6706:The Oprichnik 6703: 6701: 6700: 6696: 6694: 6693: 6689: 6688: 6686: 6682: 6676: 6673: 6671: 6668: 6666: 6663: 6659: 6656: 6655: 6654: 6653:Musical style 6651: 6649: 6646: 6645: 6642: 6638: 6631: 6626: 6624: 6619: 6617: 6612: 6611: 6608: 6602: 6598: 6595: 6593: 6589: 6586: 6582: 6578: 6574: 6572: 6569: 6566: 6562: 6559: 6558: 6548: 6544: 6540: 6536: 6532: 6528: 6524: 6518: 6514: 6510: 6506: 6505: 6494: 6490: 6486: 6482: 6479: 6475: 6471: 6467: 6464: 6461: 6457: 6453: 6449: 6446: 6442: 6438: 6434: 6431: 6428: 6424: 6420: 6419: 6414: 6411: 6407: 6403: 6399: 6398:Warrack, John 6396: 6393: 6389: 6386: 6382: 6378: 6375: 6373: 6369: 6365: 6361: 6358: 6354: 6350: 6346: 6345: 6340: 6337: 6334: 6330: 6327: 6323: 6320: 6317: 6313: 6309: 6306: 6303: 6300: 6296: 6292: 6288: 6285: 6282: 6278: 6274: 6270: 6267: 6263: 6259: 6255: 6252: 6248: 6244: 6240: 6237: 6234: 6230: 6226: 6223:Kamarinskaya 6222: 6218: 6214: 6211: 6210: 6205: 6201: 6200:Kozinn, Allan 6198: 6195: 6191: 6187: 6183: 6180: 6177: 6173: 6169: 6165: 6162: 6159: 6155: 6151: 6147: 6144: 6140: 6134: 6130: 6126: 6122: 6118: 6112: 6108: 6104: 6100: 6089: 6088: 6083: 6078: 6074: 6070: 6066: 6062: 6057: 6053: 6052: 6046: 6041: 6037: 6033: 6027: 6023: 6018: 6014: 6008: 6004: 6000: 5999:Stephen Walsh 5996: 5992: 5991:Amanda Holden 5987: 5983: 5977: 5973: 5968: 5964: 5958: 5954: 5949: 5945: 5939: 5935: 5930: 5926: 5920: 5916: 5911: 5907: 5901: 5897: 5896: 5891: 5890:Stanley Sadie 5887: 5883: 5879: 5873: 5869: 5865: 5861: 5857: 5851: 5847: 5842: 5838: 5834: 5830: 5826: 5822: 5821: 5809: 5803: 5796: 5787: 5785: 5775: 5768: 5762: 5755: 5749: 5740: 5731: 5724: 5718: 5711: 5705: 5698: 5692: 5685: 5679: 5672: 5666: 5657: 5648: 5646: 5644: 5634: 5625: 5623: 5615: 5611: 5605: 5598: 5594: 5589: 5582: 5578: 5574: 5570: 5565: 5556: 5550:Botstein, 99. 5547: 5538: 5531: 5525: 5518: 5512: 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Strauss 8009:Rubinstein 7934:Paderewski 7904:Mussorgsky 7899:Moszkowski 7874:Mercadante 7258:Portrayals 7091:Mozartiana 6865:Pathétique 6804:Symphonies 6658:Symphonies 5488:Maes, 137. 5470:Maes, 138. 5437:Stravinsky 5435:Taruskin, 5424:Stravinsky 5339:Maes, 161. 5325:Symphonies 5301:, 422–423. 5295:Symphonies 5239:Symphonies 5114:Symphonies 4897:, 293–294. 4864:Taruskin, 4756:, 269–270. 4708:, 171–172. 4631:, 147–150. 4412:, 548–549. 4342:, 319–320. 4234:, 151–152. 4106:Maes, 171. 3795:, 100–101. 3730:Taruskin, 3418:Holden, 7. 3228:Holden, 4. 2981:2 December 2959:References 2893:Nibelungen 2742:Homophobia 2712:librettist 2587:Chaikovsky 2535:patronymic 2483:(whistles) 2448:in Moscow. 2193:Simferopol 2169: [ 2159:See also: 1854:Repetition 1798:Repetition 1762:Modulation 1741:modulating 1516:' ballets 1433:See also: 1367:Pathétique 1336:See also: 1279:homosexual 1181:See also: 1057:, now the 998:Léon Bakst 889:Mandragora 766:"The Five" 735:whole tone 575:Ode to Joy 549:taught by 411:Mykolaivka 399:Kama River 258:symphonies 86:7 May 1840 82:1840-05-07 8446:Biography 7919:Offenbach 7894:Moscheles 7889:Moniuszko 7884:Meyerbeer 7839:Marschner 7824:MacDowell 7639:Donizetti 7584:Cherubini 7574:Chaminade 7499:Beethoven 7484:Balakirev 7474:Atterberg 7452:musicians 7294:(brother) 7022:The Storm 6780:Swan Lake 6531:932385370 6410:78-105437 5765:Warrack, 5734:Maes, 73. 5710:New Grove 5697:New Grove 5671:New Grove 5614:New Grove 5610:New Grove 5459:New Grove 5413:Maes, 78. 5404:, 13:698. 5398:New Grove 5372:New Grove 5370:Holoman, 5350:New Grove 5293:Warrack, 5252:New Grove 5237:Warrack, 5166:New Grove 5142:, 12:454. 5138:Roberts, 5112:Warrack, 5058:New Grove 5045:New Grove 4938:New Grove 4910:, 34, 97. 4853:New Grove 4818:New Grove 4805:New Grove 4682:Warrack, 4421:Warrack, 4364:Maes, 173 4266:New Grove 4248:New Grove 4057:New Grove 4044:New Grove 4027:New Grove 3948:Maes, 49. 3939:Maes, 42. 3930:Maes, 39. 3919:New Grove 3806:New Grove 3666:Maes, 35. 3657:Maes, 31. 3487:Maes, 33. 3124:0027-1276 3084:5 January 3050:5 January 3025:5 January 2950:Swan Lake 2915:Swan Lake 2870:New Grove 2797:, it was 2436:A-o, a-o. 2432:А-о, а-о. 2207:Swan Lake 2033:Reception 2023:polonaise 1884:repeating 1880:sequences 1804:Structure 1538:'s opera 1512:. So did 1505:The Demon 1389:; later, 1272:sexuality 1158:César Cui 965:Swan Lake 746:César Cui 717:, critic 699:, one of 640:Beethoven 557:(now the 487:harmonium 425:in 1709. 332:exoticism 227:Swan Lake 127:Signature 8385:Category 8362: ← 8241:Symphony 8104:Thalberg 8069:Spontini 8044:Sibelius 8039:Scriabin 8024:Schubert 8019:Sarasate 7984:Respighi 7979:Reinecke 7939:Paganini 7849:Massenet 7844:Masarnau 7829:Madetoja 7774:Kreisler 7764:Kalivoda 7709:J. Gomis 7694:Glazunov 7689:Giuliani 7579:Chausson 7569:Chadwick 7559:Bruckner 7382:Category 7312:(patron) 7300:(nephew) 7246:♯ 7177:♭ 7156:♭ 7138:(Op. 38) 6915:♭ 6899:♭ 6874:♭ 6665:The Five 6547:66-13606 6511:(2016). 6127:(1995). 6105:(2002). 6001:(eds.). 5725:, 4:663. 5597:Symphony 5581:Concerto 5517:Concerto 5387:, 4:669. 4868:, 4:664. 4851:Fuller, 4524:21 April 4355:, 90–91. 4294:, 4:664. 4084:, 58–59. 4040:Concerto 3917:Garden, 3821:, 82–83. 3718:, 36–38. 3535:, 11–12. 3132:44030280 2868:(Brown, 2767:(Brown, 2676:BGN/PCGN 2501:See also 2480:Safonov: 2442:Safonov: 2335:At last. 1981:pastiche 1965:doubling 1835:added up 1800:below.) 1627:symphony 1519:Coppélia 1229:degree. 701:The Five 695:A young 661:Bayreuth 652:Wagner's 648:Schumann 395:Udmurtia 383:Votkinsk 359:a museum 355:Votkinsk 280:The Five 90:Votkinsk 8408:Portals 8375:→ 8337:Science 8216:Mazurka 8191:Ballade 8124:Voříšek 8094:Tárrega 8089:Taneyev 8049:Smetana 8004:Rossini 7959:Puccini 7954:Prudent 7914:Nielsen 7879:Méreaux 7854:Medtner 7819:Lysenko 7789:Lachner 7754:Joachim 7734:Herbert 7654:Farrenc 7619:Delibes 7594:Crusell 7539:Borodin 7529:Berwald 7519:Berlioz 7509:Bennett 7504:Bellini 7489:Bazzini 7469:Arensky 7320:Related 6850:Manfred 6772:Ballets 6762:Iolanta 6599:at the 6567:(IMSLP) 6563:at the 6299:06-4844 6063:(ed.). 5892:(ed.). 5817:Sources 5695:Wiley, 5669:Brown, 5608:Brown, 5528:Brown, 5457:Brown, 5396:Brown, 5348:Brown, 5319:Brown, 5250:Brown, 5215:Brown, 5199:Brown, 5164:Brown, 5125:Brown, 5081:Brown, 5056:Brown, 5043:Brown, 5021:Brown, 4936:Wiley, 4919:Brown, 4906:Brown, 4893:Wiley, 4877:Brown, 4816:Brown, 4803:Wiley, 4765:Brown, 4748:Brown, 4735:Brown, 4704:Brown, 4661:Brown, 4640:Brown, 4619:Brown, 4576:Brown, 4559:Brown, 4473:Brown, 4451:, xvii. 4434:Wiley, 4373:Brown, 4351:Brown, 4338:Brown, 4277:Brown, 4264:Wiley, 4246:Brown, 4230:Brown, 4191:Brown, 4141:Brown, 4128:Brown, 4115:Wiley, 4097:, 1086. 4093:Brown, 4055:Wiley, 4025:Wiley, 3995:14 June 3970:Brown, 3957:Brown, 3882:Wiley, 3856:Wiley, 3843:Wiley, 3817:Brown, 3804:Brown, 3791:Brown, 3774:Brown, 3710:Brown, 3697:Brown, 3644:Brown, 3592:Brown, 3496:Wiley, 3470:Brown, 3453:Brown, 3427:Brown, 3405:Brown, 3344:Wiley, 3302:Brown, 3265:. Kyiv. 3262:The Day 2842:, 190). 2771:, 121). 2567:Ilitsch 2401:(sings) 2373:(sings) 2238:Warrack 2134:critic 2096:Critics 1953:texture 1934:celesta 1830:Warrack 1755:Harmony 1561:Giselle 1402:cholera 1373:at the 1090:at the 599:Nikolai 567:harmony 553:at the 514:in 1863 471:cholera 324:cholera 8458:Russia 8395:Portal 8332:Poetry 8184:Genres 8129:Wagner 8109:Tobias 7974:Reicha 7949:Popper 7929:Pacini 7924:Onslow 7834:Mahler 7814:Lumbye 7779:Kuhlau 7759:Joplin 7749:Hummel 7739:Hérold 7729:Halévy 7714:Gounod 7699:Glinka 7679:Franck 7674:Foster 7644:Dvořák 7634:d'Indy 7624:Delius 7604:Czerny 7589:Chopin 7564:Busoni 7549:Brahms 7524:Bertin 7514:Bériot 7306:(wife) 7285:People 7128:Moscow 7001:Hamlet 6835:Polish 6699:Undina 6684:Operas 6545: 6529: 6519: 6491: 6478:385806 6476: 6458: 6443: 6425: 6408: 6390: 6370: 6355: 6314: 6297: 6279: 6264: 6249: 6231: 6192: 6174: 6156: 6135: 6113: 6073:385829 6071: 6028: 6009: 5978: 5959: 5940: 5921: 5902: 5874: 5852: 5837:385806 5835: 5810:, 216. 5769:, 209. 5756:, 664. 5686:, 611. 5637:Kozinn 5583:, 487. 5532:, 122. 5426:, 206. 5219:, 426. 5172:, 424. 5116:, 8–9. 5085:, 424. 4927:, 187. 4739:, 487. 4686:, 120. 4673:, 155. 4652:, 152. 4438:, xvi. 4425:, 264. 4390:, 564. 4320:, 232. 4307:, 197. 4281:, 275. 4221:, 151. 4195:, 224. 4182:, 119. 4145:, 219. 4132:, 297. 3974:, 255. 3286: 3200: 3130: 3122: 3075: 2921:, 77). 2904:, 108. 2784:, 79). 2748:, 29). 2666:ALA-LC 2646:WP:RUS 2573:; and 2571:Il'ich 2539:Ilyich 2533:, the 2233:Volkov 2197:Crimea 2183:Legacy 2155:Public 1949:colors 1794:meters 1785:Rhythm 1729:melody 1719:Melody 1620:Mozart 1541:Carmen 1525:Sylvia 1491:, and 1385:, and 1365:, the 1153:Hamlet 884:Undina 644:Brahms 607:rubles 502:Career 439:Modest 435:German 431:French 415:Glazov 250:, the 242:, his 236:, the 8482:Music 8470:LGBTQ 8434:Opera 8322:Chess 8154:Ysaÿe 8134:Weber 8114:Verdi 8064:Spohr 8059:Sousa 7944:Paine 7859:Méhul 7809:Loewe 7804:Liszt 7784:Kuula 7744:Holst 7724:Grieg 7704:Gomes 7684:Franz 7669:Foote 7664:Field 7659:Fauré 7649:Elgar 7629:Denza 7554:Bruch 7534:Bizet 7494:Beach 7479:Auber 7464:Alkan 7392:Audio 7249:minor 7180:minor 7159:major 7030:Fatum 6918:major 6902:minor 6877:major 6675:Death 6206:. In 5599:, 631 5519:, 486 5439:, 206 5241:, 11. 5155:, 18. 5025:, 72. 4824:, 58. 4667:Quest 4646:Quest 4625:Quest 4584:, 88. 4567:, 53. 4477:, 50. 4462:Quest 4410:Quest 4388:Quest 4377:, 92. 3961:, 49. 3908:, 27. 3886:, 77. 3873:, 95. 3860:, 79. 3847:, 87. 3834:, 61. 3782:, 35. 3701:, 60. 3688:, 36. 3648:, 14. 3635:, 31. 3622:, 17. 3609:, 31. 3596:, 43. 3572:Quest 3561:, 30. 3555:Quest 3533:Quest 3513:, 26. 3442:Quest 3128:JSTOR 2718:, 2). 2656:ISO 9 2585:, or 2559:Piotr 2518:Notes 2275:] 1888:pitch 1662:From 1423:Music 1332:Death 956:Third 923:Gogol 475:waltz 213:-skee 117:Works 8211:Lied 8149:Wolf 7999:Rode 7989:Ries 7969:Raff 7794:Lalo 7459:Adam 6543:LCCN 6527:OCLC 6517:ISBN 6489:ISBN 6474:OCLC 6456:ISBN 6441:ISBN 6423:ISBN 6406:LCCN 6388:ISBN 6368:ISBN 6353:ISBN 6312:ISBN 6295:LCCN 6277:ISBN 6262:ISBN 6247:ISBN 6229:ISBN 6190:ISBN 6172:ISBN 6154:ISBN 6133:ISBN 6111:ISBN 6095:2012 6069:OCLC 6026:ISBN 6007:ISBN 5976:ISBN 5957:ISBN 5938:ISBN 5919:ISBN 5900:ISBN 5872:ISBN 5850:ISBN 5833:OCLC 5808:Eyes 5327:, 9. 5153:Eyes 4607:2009 4582:Eyes 4526:2018 4497:Eyes 3997:2024 3763:Eyes 3620:Eyes 3574:, 26 3500:, 8. 3478:, 8. 3461:, 7. 3444:, 5. 3348:, 6. 3330:Eyes 3317:Eyes 3306:, 19 3284:ISBN 3198:ISBN 3168:2023 3139:2023 3120:ISSN 3086:2023 3073:ISBN 3052:2023 3027:2023 2983:2020 2746:Eyes 2716:Eyes 2644:' — 2619:IPA: 2563:Petr 2064:and 1868:Play 1826:keys 1816:and 1596:and 1534:and 1528:for 1522:and 1497:Bach 1479:and 1437:and 1393:and 1340:and 1125:and 1055:Klin 1000:and 958:and 860:and 756:and 737:and 685:and 569:and 543:Lent 532:Tsar 433:and 230:and 209:chy- 154:(in 140:(in 98:Died 76:Born 8054:Sor 7599:Cui 6590:at 3319:, 1 3190:doi 2896:on 2569:or 2561:or 2545:is 2537:is 2248:'s 2195:in 2172:sic 1456:by 1354:in 925:'s 631:). 577:". 211:KOF 8494:: 6579:. 6525:. 6400:, 6379:, 6351:. 6324:, 6241:, 6225:to 6202:, 6184:, 6084:. 6048:. 5997:; 5993:; 5783:^ 5642:^ 5621:^ 5571:, 5332:^ 5277:^ 5208:^ 5074:^ 5030:^ 5007:. 4989:. 4971:. 4953:. 4886:^ 4794:^ 4785:" 4721:. 4543:. 4517:. 4255:^ 4239:^ 4171:^ 4150:^ 4064:^ 4014:^ 3988:. 3723:^ 3380:^ 3370:. 3337:^ 3259:. 3241:. 3212:^ 3196:. 3176:^ 3159:. 3147:^ 3126:. 3116:36 3114:. 3110:. 3094:^ 3018:. 2998:. 2974:. 2805:." 2678:: 2674:, 2668:: 2664:, 2658:: 2654:, 2648:: 2581:, 2577:, 2565:; 2273:ru 2068:. 2048:c. 1824:, 1600:. 1592:, 1588:, 1584:, 1580:, 1576:, 1572:, 1487:, 1467:. 1414:, 1381:, 1202:, 1173:. 1129:. 1121:, 1004:. 996:, 974:. 864:. 856:, 852:, 752:, 748:, 705:c. 703:, 673:. 286:. 266:. 246:, 179:aɪ 176:tʃ 66:c. 8410:: 8297:" 8293:" 7426:e 7419:t 7412:v 7201:) 7093:) 7089:( 6867:) 6863:( 6852:) 6848:( 6837:) 6833:( 6827:) 6823:( 6817:) 6813:( 6629:e 6622:t 6615:v 6583:. 6549:. 6533:. 6495:. 6480:. 6462:. 6447:. 6429:. 6412:. 6394:. 6359:. 6318:. 6301:. 6283:. 6268:. 6253:. 6235:. 6196:. 6178:. 6160:. 6141:. 6119:. 6097:. 6075:. 6034:. 6015:. 5984:. 5965:. 5946:. 5927:. 5908:. 5880:. 5858:. 5839:. 5795:" 5793:' 5011:. 4993:. 4975:. 4957:. 4781:" 4725:. 4609:. 4549:. 4528:. 3999:. 3374:. 3292:. 3245:. 3206:. 3192:: 3170:. 3141:. 3088:. 3054:. 3029:. 3004:. 2985:. 2684:. 2611:( 2593:/ 2370:: 2351:: 2313:: 1936:. 203:/ 200:i 197:k 194:s 191:f 188:ɒ 185:k 182:ˈ 173:/ 169:( 158:) 144:) 84:) 80:( 34:. 20:)

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Pyotr Ilyich Tchaikovsky

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