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".

681: 1854: 1039: 49: 1785:. 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 124: 2168:". 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. 2617: 2032: 1294:, 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." 1839:, 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". 2192: 1848: 1740:, 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. 1980:. 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 786: 138: 8370: 7367: 1438: 8380: 8454: 2207:

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

1809:, 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 981:'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 7377: 8442: 279:

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

8418: 8406: 1278:(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 2090: 438:

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.

1335: 1241: 8466: 8430: 496: 1317:, 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. 2486:, 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?" 2140:. 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". 1948:, 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 1199:, 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. 570:

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.

1263:, 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. 1720:", 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 1645: 1030:, "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. 2807:, 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, 2752:, 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 2202:

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.

1270:. 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 530:. 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 1149:

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

974:. 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. 1748:

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

1310:. 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. 2224:

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,

1286:, 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". 1624:, 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. 1855: 1643: 760:

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.

2720:, 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.) 2618: 1671: 1644: 1095:, 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. 807: 1834:

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.

889:, premiered in 1874. During its composition, he lost Ostrovsky's part-finished libretto. Tchaikovsky, too embarrassed to ask for another copy, decided to write the libretto himself, modeling his dramatic technique on that of 2128:

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.

2284: 1907: 1102:, 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 828:

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.

303:. 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 1672: 2215:

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.

1692: 1908: 430:. 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, 417:

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

2285: 445:, 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 1306:. 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 1065:

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,

1956:) 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". 777:. 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. 1693: 1664: 2154:

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

800: 1180:, 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 474:

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

357: 2102:, 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, 1888:

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,

928:. 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 1018:, 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 627:

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

8521: 8511: 7350: 8636: 2686:

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.

2495: 658:"unlikely nonsense, through which, from time to time, sparkle unusually beautiful and astonishing details". A recurring theme he addressed was the poor state of 977:

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

1397:. In the 1980s in Britain, however, there was academic speculation that he killed himself, either with poison or by contracting cholera intentionally; in the 1537:. Otherwise, it was to composers of the past that Tchaikovsky turned—Beethoven, whose music he respected; Mozart, whose music he loved; Glinka, whose opera 1952:

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

363:

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

4529: 3004: 1732:

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.

263:, from which he graduated in 1865. The formal Western-oriented teaching that Tchaikovsky received there set him apart from composers of the contemporary 8661: 6616: 2590:

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

1685: 1460:

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.

1557:. Beethoven's string quartets may have influenced Tchaikovsky's attempts in that medium. Other composers whose work interested Tchaikovsky included 8646: 8556: 8272: 6658: 6636: 1423: 1171: 109: 876:

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

870:, premiered in 1869. The composer became dissatisfied with it, however, and, having re-used parts of it in later works, destroyed the manuscript. 7075: 7047: 5883: 2989: 2879:

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

8641: 8591: 7141: 2049:

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

390:. His father, Ilya Petrovich Tchaikovsky, served as a lieutenant colonel and engineer in the Department of Mines and managed the Ironworks in 8666: 2827:, 180, 188–189). Rubinstein had been scheduled to conduct four concerts there; the first featured Tchaikovsky's First Piano Concerto (Wiley, 1121:

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

8561: 8531: 7102: 2941:

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

722:

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

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

6039: 2069:. Tchaikovsky was angered by Fitzenhagen's license but did nothing; the Rococo Variations were published with the cellist's amendments. 534:

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

336: 8676: 2045:

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

1867:

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

8576: 8501: 6553: 1282:, "felt tainted within himself, defiled by something from which he finally realized he could never escape" or whether, according to 8581: 8541: 8506: 7413: 1008:

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

924:. With Serov's death, the libretto was opened to a competition with a guarantee that the winning entry would be premiered by the 315:, but there is an ongoing debate as to whether cholera was indeed the cause and whether the death was accidental or intentional. 837:

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

833:, did not help matters. His popularity grew, however, as several first-rate artists became willing to perform his compositions. 6958: 6646: 6609: 1427: 246: 2919:

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

8601: 8586: 8277: 7345: 7226: 6653: 6509: 6481: 6448: 6433: 6415: 6380: 6360: 6345: 6304: 6269: 6254: 6239: 6221: 6182: 6164: 6146: 6125: 6103: 6018: 5999: 5968: 5949: 5930: 5911: 5892: 5864: 5842: 5779: 3276: 1394: 1274:, this was Pyotr Ilyich's "strongest, longest and purest love". Tchaikovsky's dedication of his Sixth symphony to his nephew 1131:. Within a year, he was in considerable demand throughout Europe and Russia. These appearances helped him overcome life-long 1043: 671: 462:

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

272: 2815:, 188–189). Rubinstein's actions, in turn, had been spurred by Tchaikovsky's withdrawal from the Russian delegation for the 2261: 1472:

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

8596: 8526: 8516: 7070: 7065: 7060: 1067: 1766:

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

583:

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

516: 8656: 8626: 7123: 2853:

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

702:

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

7206: 1817:, and harmonies. This process, according to Brown and Keller, builds momentum and adds intense drama. While the result, 8611: 8566: 7162: 7157: 7152: 7085: 6900: 6895: 6884: 2748: 830: 819: 232: 4993: 2928:

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

2018:

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

8671: 8621: 8571: 8486: 8353: 7370: 7315: 7003: 6663: 6641: 6602: 6332: 4939: 4503: 3245: 3190: 3065: 2149: 1417: 1326: 308: 210: 196: 8651: 6859: 6310: 2664: 2066: 446: 8631: 7026: 2654: 997: 4957: 966:

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

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

8606: 7325: 7109: 6939: 2841: 2816: 2683: 2668: 2519: 1399: 971: 880:, to a libretto by Sergei Rachinskii; the only music he completed was a short chorus of Flowers and Insects. 551: 347: 260: 236: 8256: 6926: 6549: 8546: 8536: 8112: 7406: 6945: 6849: 6844: 6829: 6819: 6809: 6799: 6775: 1945: 1885: 1612: 1603: 1519: 1358:, in Saint Petersburg. Nine days later, on 6 November, Tchaikovsky died there, aged 53. He was interred in 1351: 1330: 1136: 1106:

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

948: 944: 939: 768: 575: 554:, which opened in 1862. Tchaikovsky enrolled at the Conservatory as part of its premiere class. He studied 20: 7502: 8315: 6932: 6743: 6715: 1151: 500: 2960: 8396: 8360: 7602: 7557: 7431: 7174: 5874: 2753: 1636: 1363: 1279: 925: 480: 399: 395: 1203: 8179: 7497: 7280: 7220: 7054: 6982: 1271: 1177: 427: 2716:

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

1195:

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

730:. They saw Western-style conservatories as unnecessary and antipathetic to fostering native talent. 7912: 7180: 1863:

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

1027: 1026:

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

8373: 7982: 7399: 7010: 6736: 6152: 6075: 2881: 2624: 2010:

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

1608: 1379: 1211: 1181: 1139:

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

1103: 1080: 1058: 1054: 742: 703: 644: 579: 512: 402:, Ukraine, and served first as a physician's assistant in the army and later as city governor of 7692: 3182: 1770:

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

8410: 8383: 8325: 8300: 8132: 7707: 7452: 5987: 5979: 4587: 3356: 3227: 2337: 1001: 523: 8163: 8002: 7877: 7867: 7632: 4194: 1111: 7922: 7802: 7757: 7737: 7652: 6708: 3035:(PhD dissertation). Royal Holloway, University of London. pp. 222–223, 229, 324, 333–337 1985: 1543:

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

1485: 1075: 1019: 959: 930: 916: 846: 251: 7697: 4975: 1298: 893:. Cui wrote a "characteristically savage press attack" on the opera. Mussorgsky, writing to 842: 8496: 8491: 8337: 8283: 8122: 7577: 7487: 7340: 7185: 7116: 6989: 6687: 6680: 6293: 1582: 1231: 1141: 1053:

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

872: 862: 754: 689: 675: 628: 616: 407: 268: 8082: 4707: 2658: 1953: 1553:

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

123: 8: 8332: 8250: 7952: 7787: 7330: 7017: 6227: 4767: 3974: 2543: 2270:. A transcript of the recording follows (identification of the speakers is speculative): 2058: 1968:, Tchaikovsky showed he was highly gifted at writing in a style of 18th-century European 1831: 1713: 1539: 1283: 1176:

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

867: 715: 591: 543: 319:

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

7927: 7727: 7717: 7562: 6070: 2247:. Between these two very different worlds, Tchaikovsky's music became the sole bridge". 2031: 394:. His grandfather, Pyotr Fedorovich Tchaikovsky, was born in the village of Nikolaevka, 8245: 8092: 8027: 7932: 7862: 7847: 7827: 7682: 7532: 7292: 7254: 7213: 6919: 6454: 6205: 6197: 4775: 3116: 2244: 2239: 1872: 1806: 1750: 1729: 1303: 1188: 1005: 680: 587: 375: 296: 292: 8037: 2902:

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

2229:

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

1297:

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

287:

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

48: 8379: 8262: 8142: 8127: 8067: 8047: 8007: 7992: 7972: 7907: 7897: 7892: 7887: 7872: 7857: 7852: 7627: 7622: 7527: 7298: 6996: 6952: 6580: 6531: 6515: 6505: 6477: 6462: 6444: 6429: 6421: 6411: 6394: 6376: 6373: 6356: 6341: 6300: 6283: 6265: 6250: 6235: 6217: 6178: 6160: 6142: 6121: 6099: 6057: 6014: 5995: 5964: 5945: 5926: 5907: 5888: 5860: 5838: 5821: 3272: 3186: 3108: 3061: 1570: 1566: 1562: 1493: 1488:'s works in that genre, may have influenced Tchaikovsky to try his own hand at them. 1453: 1404: 1375: 1367: 1314: 1307: 1291: 1092: 1084: 1009: 978: 838: 789: 746: 738: 603: 411: 300: 7597: 3175:

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

1753:, the shifting from one key to another, was a driving principle in both harmony and 1206:

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

834: 8434: 8267: 8219: 8107: 8062: 8057: 7997: 7812: 7767: 7612: 7582: 7552: 7492: 7286: 7262: 6834: 6701: 6589: 6327: 6275: 6216:

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

6170: 3178: 2611: 2591: 2500: 2483: 2299: 2133: 2108: 2015: 1949: 1868: 1767: 1620: 1578: 1359: 1344: 1340: 1275: 1062: 1038: 990: 982: 906: 723: 624: 527: 468: 431: 304: 161: 97: 7942: 7647: 6406: 5855:(1998). "Music as the Language of Psychological Realm". In Kearney, Leslie (ed.). 2191: 1847: 890: 8320: 8214: 8209: 8189: 8184: 8158: 8072: 8022: 7947: 7917: 7882: 7842: 7572: 7567: 7537: 7477: 6722: 6177:(Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 2001). 6134: 5983: 5557: 3055: 2787: 2783: 2234: 2137: 2103: 2054: 1981: 1941: 1880:

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

1513: 1446: 1442: 1215: 1207: 1196: 1122: 1107: 1004:

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

921: 894: 727: 707: 636: 632: 539: 280: 144: 7782: 7667: 6576: 6032: 3030: 1000:

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

8310: 8224: 8117: 8102: 8077: 8017: 8012: 7977: 7837: 7817: 7807: 7762: 7742: 7722: 7702: 7687: 7677: 7662: 7642: 7547: 7507: 7472: 7462: 7422: 6782: 6497: 6365: 6113: 6049: 3250: 2984: 2854: 2819:, a position for which Rubinstein had lobbied on the composer's behalf (Brown, 2356: 2230: 2221: 2208: 2050: 1917: 1574: 1558: 1477: 1469: 1383: 1371: 1192: 1115: 1099: 850: 719: 711: 685: 640: 547: 379: 284: 221: 206: 7607: 6282:(New York: Little, Brown & Co., 1890). Library of Congress Control Number 3145: 1502: 8480: 8446: 8097: 8032: 7967: 7822: 7777: 7522: 7517: 7512: 7457: 7033: 6694: 6519: 6386: 6337: 6091: 6043:. Vol. 27 (11th ed.). Cambridge University Press. pp. 348–349. 6028: 5878: 5852: 5813: 3112: 2634: 2267: 2099: 2076:, who worked with him on the last two, he might have found an advocate. When 2073: 1972:. Tchaikovsky graduated from imitation to full-scale evocation in the ballet 1933: 1876: 1836: 1810: 1782: 1656: 1586: 1524: 1473: 1461: 1457: 1267: 1159: 1135:

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

1088: 1014: 911: 885: 773: 767:, a work which The Five wholeheartedly embraced. The group also welcomed his 659: 654: 607: 595: 463: 419: 227: 1724:, Tchaikovsky's melodic gift could also become his worst enemy in two ways. 986: 8470: 8458: 8422: 8042: 7962: 7957: 7937: 7902: 7752: 7747: 7732: 7712: 7672: 7657: 7637: 7467: 7447: 7040: 6594: 6188: 4534: 2434: 2226: 2124: 2046: 1818: 1758: 1544: 1481: 1132: 559: 535: 130: 7587: 6061: 5877:(1980). "'Glinka, Mikhail Ivanovich' and 'Tchaikovsky, Pyotr Ilyich'". In 5825: 3097:""No Trace of Presence": Tchaikovsky and the Sixth in Forster's "Maurice"" 1607:, employ a "Classical" form reminiscent of 18th-century composers such as 1146: 910:(Op. 14), was composed in the second half of 1874. The libretto, based on 734: 8305: 8052: 7987: 7792: 7772: 7617: 7592: 6729: 6569: 3032:

Rewriting Composers' Lives: Critical Historiography and Musical Biography

2648: 2061:"intervened considerably in shaping what he considered 'his' piece", the 1814: 1802: 1754: 1737: 1598: 1465: 1250: 1127: 442: 299:, and the collapse of his 13-year association with the wealthy patroness 264: 3173:

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

3120: 3096: 2699:, 18). Anatoly later had a legal career, and Modest became a dramatist, 1507: 137: 8194: 7797: 6466: 6193:"Critic's Notebook; Defending Tchaikovsky, With Gravity and With Froth" 2730: 2700: 2523: 2181: 2155: 1597:

Tchaikovsky displayed a wide stylistic and emotional range, from light

1437: 860:

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

563: 475: 387: 6559: 4771: 610:

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

590:

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

8137: 7542: 7482: 6768: 2870:

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

2011: 1260: 1249:(Left to right) Tchaikovsky and Antonina on their honeymoon in 1877; 1083:

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

953: 897:, disapproved of the opera as pandering to the public. Nevertheless, 623:

From 1867 to 1878, Tchaikovsky combined his professorial duties with

320: 215: 6535: 6398: 6287: 3150:

Duquesne University Undergraduate Research and Scholarship Symposium

2906:, he had already composed that work before learning of them (Brown, 1716:

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

8229: 1969: 649: 391: 383: 371: 343: 78: 5775: 5773: 1932:

Like other late Romantic composers, Tchaikovsky relied heavily on

434:, who went by the nickname 'Bob', would become very close to him. 205:; 7 May 1840 – 6 November 1893) was a Russian composer during the 8204: 7391: 6750: 6355:(Berkeley and Los Angeles: University of California Press, 1996) 2531: 1922: 1549: 1390: 1350:

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

1091:

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

555: 459: 423: 312: 6565: 2243:

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

6426:

The New Grove Dictionary of Music and Musicians, Second Edition

6139:

The New Grove Dictionary of Music and Musicians, Second Edition

5770: 4488:, 8, 24, 77, 82, 103–105, 165–168. Also see P. I. Chaikovskii. 3146:"Reevaluating Perceptions of Tchaikovsky's Pathétique Symphony" 2185: 1937: 1778: 1717: 1529: 403: 7376: 1240: 639:

to task for poor orchestration. He appreciated the staging of

495: 2644: 1921:

makes extensive use of the then newly invented and very rare

164: 8417: 4530:"Tchaikovsky and the secret gay loves censors tried to hide" 3057:

The queer encyclopedia of music, dance & musical theater

3005:"Tchaikovsky and the secret gay loves censors tried to hide" 718:

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

8199: 6370:

Romanov Riches: Russian Writers and Artists Under the Tsars

6137:, "Instrumentation and orchestration, 4: 19th century". In 3060:(First ed.). San Francisco: Cleis Press. p. 255. 2089: 785: 531: 520: 410:

named Fyodor Chaika, served in the Russian military at the

188: 167: 5568:(Baltimore: Penguin Books, 1963). As quoted in Steinberg, 2350:

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

2072:

His collaboration on the three ballets went better and in

1259:

Discussion of Tchaikovsky's personal life, especially his

1087:, he served notice that Tchaikovsky's music was replacing 792:, Tchaikovsky's patroness and confidante from 1877 to 1890 176: 7351:

International Tchaikovsky Competition for Young Musicians

6428:(London: Macmillan, 2001), 29 vols., ed. Sadie, Stanley. 6264:(London: MacMillan, 1980), 20 vols., ed. Sadie, Stanley. 6159:(London: MacMillan, 1980), 20 vols., ed. Sadie, Stanley. 6141:(London: Macmillan, 2001), 29 vols., ed. Sadie, Stanley. 2160: 1611:(his favorite composer). Other compositions, such as his 1165: 816:

Allegro non-troppo e molto maestoso – Allegro con spirito

586:

Once Tchaikovsky graduated in 1865, Rubinstein's brother

4504:"Tchaikovsky was not gay, says Russian culture minister" 479:

school; however, the results, according to musicologist

6071:"Festival to explore Tchaikovsky's changing reputation" 2496:

Theory of attempted suicide by Pyotr Ilyich Tchaikovsky

1266:

Biographers have generally agreed that Tchaikovsky was

996:

Two musical works from this period stand out. With the

901:

continues to be performed from time to time in Russia.

574:

Zaremba clashed with Tchaikovsky when he submitted his

6443:(Oxford and New York: Oxford University Press, 2009). 2840:

Celebration of this anniversary did not take place as

2586:

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

2346:Противный *** да как вы смеете называть меня коварной? 1290:

many officials, including the former culture minister

1184:, with whose circle Tchaikovsky was already in touch. 801:

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

8394: 6324:(New York and Oxford: Oxford University Press, 1998). 6317:(New York and Oxford: Oxford University Press, 1995). 5859:. Princeton, New Jersey: Princeton University Press. 2638: 1073:

In 1885, Alexander III requested a new production of

970:, orchestrated his Fourth Symphony, and composed the 753:, translated into English as the "Mighty Handful" or 594:. While the salary for his professorship was only 50 197: 185: 182: 179: 173: 6336:(London and New York: Macmillan, 1992), 4 vols, ed. 3047: 1601:

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

4878: 4876: 3246:"Pyotr Tchaikovsky, a Ukrainian by creative spirit" 3177:. University of California Press. pp. 68–109. 2790:who first "suggested the moniker in his 1896 book 2255:A recording was made in Moscow in January 1890, by 2014:frequently, the dance being a musical code for the 170: 8617:Recipients of the Order of St. Vladimir, 4th class 8552:Honorary members of the Royal Philharmonic Society 6476:(Ann Arbor and London: UMI Research Press, 1987). 5200: 5198: 5066: 5064: 4231: 4229: 3715: 3713: 2996: 2456:Who's speaking now? It seems like Safonov's voice. 2111:, raving, and above all, noise worse confounded!" 1781:, Tchaikovsky sometimes experimented with unusual 1070:at its January 1885 premiere in Saint Petersburg. 19:"Tchaikovsky" redirects here. For other uses, see 6393:(Seattle: University of Washington Press, 1969). 6353:Stravinsky and the Russian Traditions, Volume One 5269: 5267: 5028: 5026: 5024: 5022: 5020: 4788: 4786: 4784: 2402:Blok is a good fellow, but Edison is even better. 1964:In works like the "Serenade for Strings" and the 8522:19th-century LGBT people from the Russian Empire 8512:19th-century journalists from the Russian Empire 8478: 5613: 5611: 4873: 3329: 3327: 2463:Kto syeychas govorit? Kazhyetsya golos Safonova. 1424:List of compositions by Pyotr Ilyich Tchaikovsky 1172:Pyotr Ilyich Tchaikovsky and the Belyayev circle 7048:Festival Overture on the Danish National Anthem 6262:The New Grove Dictionary of Music and Musicians 6157:The New Grove Dictionary of Music and Musicians 5884:The New Grove Dictionary of Music and Musicians 5195: 5173: 5061: 4226: 4056: 4054: 3710: 3139: 3137: 2746:An exception to Rubinstein's antipathy was the 2409:Blok molodyets, no u Edisona yechshyo luchshye! 2343:You're disgusting. How dare you call me crafty? 2026: 1491:Tchaikovsky's teacher Anton Rubinstein's opera 1202:In 1892, Tchaikovsky was voted a member of the 883:The first Tchaikovsky opera to survive intact, 8637:19th-century composers from the Russian Empire 5942:Tchaikovsky: The Years of Wandering, 1878–1885 5264: 5017: 4781: 4142: 4140: 3168: 3166: 1533:(a work Tchaikovsky admired tremendously) for 267:movement embodied by the Russian composers of 7407: 6610: 6372:(New York: Alfred A. Knopf House, 2011), tr. 6096:Natasha's Dance: A Cultural History of Russia 5978:Brown, David (1993). "Pyotr Tchaikovsky". In 5608: 5052: 4010: 4008: 4006: 4004: 3324: 3101:Mosaic: An Interdisciplinary Critical Journal 3090: 3088: 3086: 3084: 2628: 2601: 2595: 1432: 665: 6624: 6459:Russian Symphony: Thoughts About Tchaikovsky 6280:Autobiography of Anton Rubinstein: 1829–1889 6249:. (Bloomington: Indiana Univ. Press, 1999). 6048:Cooper, Martin (1946). "The Symphonies". In 5818:Russian Symphony: Thoughts About Tchaikovsky 5636: 5634: 5632: 5243:vol. 18, p. 628; Keller, 346–347; Maes, 161. 4249: 4247: 4245: 4051: 3972: 3134: 2990:Random House Webster's Unabridged Dictionary 2937:Tchaikovsky's work with Julius Reisinger on 635:overrated and, despite his admiration, took 6410:(New York: Charles Scribner's Sons, 1973). 6201:, 18 July 1992. Retrieved 27 February 2012. 6068: 5837:(Seventh ed.). New York: McGraw-Hill. 5780:"Endorsement of Thomas Edison's 'Phonograph 5584:, 23 October 1892. As quoted in Steinberg, 5533: 5324: 5322: 4137: 3372: 3370: 3163: 2961:"Russian – BGN/PCGN transliteration system" 2733:might have been another factor (Poznansky, 2459:Кто сейчас говорит? Кажется голос Сафонова. 1700:Performed by the Skidmore College Orchestra 1679:Performed by the Skidmore College Orchestra 1214:in England awarded Tchaikovsky an honorary 326: 7414: 7400: 6617: 6603: 6586:Works by or about Pyotr Ilyich Tchaikovsky 4163: 4161: 4001: 3081: 2315:Kakaya prekrasnaya vechsh' ....khorosho... 1061:(fourth class), which included a title of 47: 8662:Untitled nobility from the Russian Empire 6554:International Music Score Library Project 6461:(New York: Philosophical Library, 1947). 5629: 4644: 4623: 4602: 4242: 3204: 3202: 3183:10.1525/california/9780520215870.003.0003 3143: 3022: 550:). These classes were a precursor to the 283:. That resulted in uncertainty among the 6526:Hanson, Lawrence and Hanson, Elisabeth, 6299:(New York: W. W. Norton, 3rd ed. 1997). 6232:Tchaikovsky: The Quest for the Inner Man 6027: 5923:Tchaikovsky: The Crisis Years, 1874–1878 5832: 5471: 5341:vol. 18, p. 628. Also see Bostrick, 105. 5319: 4260: 3527: 3367: 2578:. He used to sign his name/was known as 2190: 2175: 2098:according to musicologist and conductor 2088: 2030: 1846: 1655:, Op. 40, No. 9, a digital recording by 1497:became a model for the final tableau of 1436: 1334: 1145:. Although critics proved hostile, with 1125:in Moscow for performances of his opera 1037: 784: 679: 526:) and her protégé, pianist and composer 494: 8647:Music educators from the Russian Empire 8557:Imperial School of Jurisprudence alumni 6550:Free scores by Pyotr Ilyich Tchaikovsky 6155:, "Orchestration, 4: 19th century". In 6069:Druckenbrod, Andrew (30 January 2011). 5961:Tchaikovsky: The Final Years, 1885–1893 5904:Tchaikovsky: The Early Years, 1840–1874 4772:Tchaikovsky's Suicide: Myth and Reality 4748: 4527: 4369: 4174: 4158: 4124: 3264: 3211: 3172: 3094: 3053: 3002: 2546:. His names are also transliterated as 1959: 1393:, caused by drinking unboiled water at 937:Other works of this period include the 8479: 6530:(New York: Dodd, Mead & Company). 6112: 6047: 5833:Benward, Bruce; Saker, Marilyn (200). 5816:(1947). "The Great Russian Composer". 4687: 4678: 4501: 3199: 2606:in Russian pre-revolutionary script), 2006:from Tchaikovsky and the libretto for 1627: 1428:Symphonies by Pyotr Ilyich Tchaikovsky 1366:, near the graves of fellow-composers 1253:(left) and Tchaikovsky (right) in 1877 1166:Belyayev circle and growing reputation 652:(Germany), but not the music, calling 370:Tchaikovsky was born on 7 May 1840 in 8642:Music critics from the Russian Empire 8592:Academic staff of Moscow Conservatory 7395: 7346:International Tchaikovsky Competition 7331:Moscow State Tchaikovsky Conservatory 6598: 6528:Tchaikovsky: The Man Behind the Music 6260:Roberts, David, "Modulation (i)". In 6090: 6008: 5977: 5958: 5939: 5920: 5901: 5873: 5835:Music: In Theory and Practice, Vol. 1 3028: 2612:[ˈpʲɵtrɨˈlʲjitɕtɕɪjˈkofskʲɪj] 2610: 2405:Блок молодец, но у Эдисона ещё лучше! 1915:"Dance of the Sugar Plum Fairy" from 1801:According to Brown and musicologists 1712:American music critic and journalist 1389:Tchaikovsky's death is attributed to 672:Pyotr Ilyich Tchaikovsky and The Five 8667:Saint Petersburg Conservatory alumni 6391:Tchaikovsky Symphonies and Concertos 5851: 4586:. Schubertiade music. Archived from 4475:Poznansky, as quoted in Holden, 394. 2308:Какая прекрасная вещь ....хорошо... 1940:and sharply delineated contrasts of 406:in Vyatka. His great-grandfather, a 342:Tchaikovsky's birthplace in 1840 in 209:. He was the first Russian composer 8562:Infectious disease deaths in Russia 8532:Classical composers of church music 8273:Tchaikovsky and the Belyayev circle 5820:. New York: Philosophical Library. 5812: 4502:Walker, Shaun (18 September 2013). 2889:". This letter is quoted in Brown, 2627:produce the following results for ' 2381:Eta trel' mogla by byt' i luchshye. 2164:], such as the love theme from 1992: 1033: 920:, was to have been set to music by 273:professional relationship was mixed 13: 7421: 6489: 6424:, "Tchaikovsky, Pyotr Ilyich". In 6234:(New York: Schirmer Books, 1991). 6175:Russia and the Russians: A History 6011:Tchaikovsky: The Man and His Music 2250: 1757:, the primary Western large-scale 14: 8688: 8677:Composers from the Russian Empire 7076:Orchestral Suite No. 4 in G major 7071:Orchestral Suite No. 3 in G major 7066:Orchestral Suite No. 2 in C major 7061:Orchestral Suite No. 1 in D minor 6577:Works by Pyotr Ilyich Tchaikovsky 6543: 6441:The Master Musicians: Tchaikovsky 6333:The New Grove Dictionary of Opera 6210:A History of Russian Music: From 6034:"Tschaïkovsky, Peter Ilich" 5887:(20 volumes). London: MacMillan. 4741:, 430–432; Holden, 371; Warrack, 3144:Leonowitz, Jacob (6 April 2016). 2150:Pyotr Ilyich Tchaikovsky in media 1592: 1418:Music of Pyotr Ilyich Tchaikovsky 1327:Death of Pyotr Ilyich Tchaikovsky 780: 515:(RMS) was founded in 1859 by the 508:three-year civil service career. 8577:LGBT Eastern Orthodox Christians 8502:19th-century classical composers 8464: 8452: 8440: 8428: 8416: 8404: 8378: 8369: 8368: 7375: 7366: 7365: 6504:. London, U.K.: Reaktion Books. 6330:, "Tchaikovsky, Pyotr Il'yich", 6247:Tchaikovsky Through Others' Eyes 6098:. New York: Metropolitan Books. 5789: 5761: 5748: 5735: 5726: 5717: 5704: 5691: 5678: 5665: 5652: 5643: 5620: 5591: 5575: 5551: 5542: 5524: 5511: 5498: 5489: 5480: 5462: 5453: 5440: 5431: 5418: 5405: 5396: 5379: 5366: 5353: 5344: 5331: 5302: 5293: 5276: 5255: 5246: 5233: 5220: 5211: 5182: 5164: 5147: 5134: 5121: 5108: 5095: 5086: 5077: 5039: 5004: 4986: 4968: 4950: 4932: 4919: 4902: 4889: 4860: 4847: 4834: 4825: 4816: 4799: 4761: 4731: 4718: 4700: 4665: 4576: 4559: 4542: 4521: 4495: 4478: 4469: 4456: 4443: 4430: 4417: 4404: 4391: 4382: 4356: 4347: 4334: 4321: 4312: 4299: 4286: 4273: 3975:"Symphony No. 2, Little Russian" 3029:Wiley, Christopher Mark (2008). 2931: 2922: 2913: 2896: 2873: 2864: 2377:Эта трель могла бы быть и лучше. 2282: 1905: 1891: 1830:Dostoevsky. German musicologist 1690: 1669: 1641: 1239: 1230: 1221: 805: 648:at its inaugural performance in 499:Tchaikovsky as a student at the 447:Imperial School of Jurisprudence 398:, Russian Empire in present-day 356: 335: 160: 136: 122: 8582:Russian male classical pianists 8542:Composers from Saint Petersburg 8507:19th-century classical pianists 7158:String Quartet No. 2 in F major 7153:String Quartet No. 1 in D major 6896:Piano Concerto No. 2 in G major 4213: 4200: 4187: 4149: 4111: 4098: 4089: 4076: 4063: 4038: 4021: 3992: 3966: 3953: 3940: 3931: 3922: 3913: 3900: 3887: 3878: 3865: 3852: 3839: 3826: 3813: 3800: 3787: 3774: 3757: 3744: 3735: 3726: 3693: 3680: 3667: 3658: 3649: 3640: 3627: 3614: 3601: 3588: 3575: 3566: 3553: 3536: 3514: 3505: 3492: 3479: 3470: 3453: 3436: 3423: 3410: 3401: 3388: 3379: 3349: 3340: 3311: 3298: 3285: 3258: 3238: 3220: 2847: 2834: 2797: 2776: 2763: 2740: 2723: 2710: 2689: 1786: 998:Cathedral of Christ the Saviour 7336:Tchaikovsky Symphony Orchestra 7321:Tchaikovsky State House-Museum 4844:(2001), 24:681–662; Maes, 155. 4809:vol. 18, pp. 613, 620; Wiley, 4528:Alberge, Dalya (2 June 2018). 4197:, thoughtco.com, 25 March 2017 3732:Figes, xxxii; Volkov, 111–112. 3703:, 20; Holden, 38–39; Warrack, 3542:Holden, 23–24, 26; Poznansky, 3271:. Princeton University Press. 3003:Alberge, Dalya (2 June 2018). 2978: 2953: 2676: 2512: 1944:. However, beginning with the 1313:Tchaikovsky was also aided by 1048:Tchaikovsky State House-Museum 904:The last of the early operas, 1: 7326:Tchaikovsky Museum (Votkinsk) 7227:Grand Piano Sonata in G major 7103:Liturgy of St John Chrysostom 5495:Figes, 274; Maes, 78–79, 137. 5299:Benward & Saker, 111–112. 4239:vol. 18, p. 621; Holden, 233. 4195:"Tchaikovsky's 1812 Overture" 2947: 2842:Alexander II was assassinated 2703:, and translator (Poznansky, 2520:Eastern Slavic naming customs 2036: 1901:Dance of the Sugar Plum Fairy 1842: 1400:New Grove Dictionary of Music 943:for cello and orchestra, the 693: 552:Saint Petersburg Conservatory 309:sudden death at the age of 53 261:Saint Petersburg Conservatory 54: 8602:People from Sarapulsky Uyezd 8587:Russian male opera composers 6946:Variations on a Rococo Theme 6297:Lives of the Great Composers 4584:"Artôt, Désirée (1835–1907)" 2065:, according to music critic 2063:Variations on a Rococo Theme 2027:Dedicatees and collaborators 2021: 1966:Variations on a Rococo Theme 1875:a tune at a higher or lower 1792: 1604:Variations on a Rococo Theme 1331:Symphony No. 6 (Tchaikovsky) 1158:at the inaugural concert of 1042:Tchaikovsky's last home, in 940:Variations on a Rococo Theme 710:and an 18-year-old pianist, 517:Grand Duchess Elena Pavlovna 21:Tchaikovsky (disambiguation) 16:Russian composer (1840–1893) 7: 8597:People from Cherkasy Oblast 8527:Burials at Tikhvin Cemetery 8517:19th-century male musicians 8316:Gothic Revival architecture 6474:Tchaikovsky's Musical Style 5548:As quoted in Botstein, 100. 5261:As quoted in Botstein, 101. 4870:, 189; Maes, 131, 138, 152. 4758:, 431–435; Holden, 373–400. 4616:, 207–208, 219–220; Wiley, 3361:en.tchaikovsky-research.net 2669: 2659: 2649: 2639: 2625:transliterations of Russian 2542:; also standardized by the 2489: 2468: 2452: 2440:Peter Jurgenson in Moskau. 2430: 2414: 2398: 2386: 2374:This trill could be better. 2370: 2355: 2336: 2320: 2298: 1851:Sequence ascending by step 1210:). The following year, the 934:, based on the same story. 501:St. Petersburg Conservatory 295:, his failed marriage with 10: 8693: 8657:Russian Romantic composers 8627:Russian classical pianists 8257:Neue Zeitschrift für Musik 7432:List of Romantic composers 7186:String Sextet in D minor ( 6940:Violin Concerto in D major 6120:. New York: Random House. 6056:. New York: W. W. Norton. 5963:. New York: W. W. Norton. 5944:. New York: W. W. Norton. 5925:. New York: W. W. Norton. 5906:. New York: W. W. Norton. 5805: 5786:, tchaikovsky-research.net 5662:vol. 18, pp. 606–607, 628. 5562:Music Criticisms 1850–1900 5468:Figes, 274; Maes, 139–141. 5389:vol. 18, p. 628; Hopkins, 2518:In this name that follows 2482:According to musicologist 2447:Peter Jurgenson in Moskau. 2147: 2084: 1743: 1433:Antecedents and influences 1421: 1415: 1364:Alexander Nevsky Monastery 1324: 1169: 1028:Piano Trio in A minor 926:Imperial Mariinsky Theatre 669: 666:Relationship with The Five 396:Yekaterinoslav Governorate 245:Overture-Fantasy, several 18: 8612:Pupils of Nikolai Zaremba 8567:LGBTQ classical composers 8348: 8293: 8238: 8172: 8151: 7438: 7429: 7361: 7308: 7281:Modest Ilyich Tchaikovsky 7273: 7246: 7198: 7163:String Quartet No. 3 in E 7134: 7094: 7055:Festival Coronation March 6967: 6901:Piano Concerto No. 3 in E 6885:Piano Concerto No. 1 in B 6877: 6792: 6760: 6672: 6632: 6566:"Discovering Tchaikovsky" 5857:Tchaikovsky and His World 5582:Boston Evening Transcript 3754:, 47–48; Rubinstein, 110. 3268:Tchaikovsky and His World 3095:KEELING, BRET L. (2003). 2629: 2602: 2596: 2594:, his name is written as 2180:Statue of Tchaikovsky in 2171: 2143: 1773: 1707: 1665:Romeo and Juliet Overture 1484:after the rediscovery of 1386:were also buried nearby. 1178:Russian Symphony Concerts 1156:Festival Coronation March 612:Dances of the Hay Maidens 490: 311:is generally ascribed to 120: 115: 105: 86: 64: 46: 37: 30: 8672:String quartet composers 8622:Russian ballet composers 8572:LGBT classical musicians 8487:Pyotr Ilyich Tchaikovsky 8278:Tchaikovsky and The Five 6626:Pyotr Ilyich Tchaikovsky 6118:Tchaikovsky: A Biography 5795:As quoted in Poznansky, 5601:vol. 18, p. 628; Wiley, 5140:As quoted in Polyansky, 4998:tchaikovsky-research.net 4980:tchaikovsky-research.net 4962:tchaikovsky-research.net 4944:tchaikovsky-research.net 4712:tchaikovsky-research.net 4069:Holden, 75–76; Warrack, 3594:Holden, 24–25; Warrack, 3572:As quoted in Holden, 25. 3265:Kearney, Leslie (2014). 3232:tchaikovsky-research.net 3054:Summers, Claude (2004). 2506: 2198:, a 1993 stamp of Russia 1411: 1408:We may never find out." 1320: 1152:New York Music Society's 714:, met and agreed upon a 327:Early life and education 156:Pyotr Ilyich Tchaikovsky 38: 32:Pyotr Ilyich Tchaikovsky 8652:Russian opera composers 7232:Piano Sonata No. 2 in C 7175:Souvenir d'un lieu cher 6076:Pittsburgh Post-Gazette 6040:Encyclopædia Britannica 5732:As quoted in Maes, 166. 5411:As quoted in Taruskin, 4612:, 137–147; Polayansky, 3559:Holden, 24; Poznansky, 3520:Holden, 15; Poznansky, 2817:1878 Paris World's Fair 2792:Memories of Tchaikovsky 2782:According to historian 2682:Russia was still using 2670:Pëtr Il'ich Chaykovskiy 2660:Pëtr Ilʹich Chaĭkovskiĭ 2640:Pyotr Ilyich Chaykovsky 2603:Петръ Ильичъ Чайковскій 2540:Peter Ilich Tchaikovsky 2538:. Often anglicized as 2305:What a wonderful thing. 1653:Twelve Pieces for piano 1380:Nikolai Rimsky-Korsakov 1339:Tchaikovsky's grave in 1212:University of Cambridge 1204:Académie des Beaux-Arts 1182:Nikolai Rimsky-Korsakov 1104:Russian Musical Society 1081:Bolshoi Kamenny Theatre 1059:Order of Saint Vladimir 1057:conferred upon him the 743:Nikolai Rimsky-Korsakov 704:Russian Musical Society 645:Der Ring des Nibelungen 580:Russian Musical Society 578:for performance by the 519:(a German-born aunt of 513:Russian Musical Society 8632:Russian LGBT composers 8301:Common practice period 6245:Poznansky, Alexander, 5992:The Viking Opera Guide 5450:vol. 18, pp. 613, 615. 4994:"Carl Maria von Weber" 4633:, 146–148; Poznansky, 4569:, 156–158; Poznansky, 4436:Maes, 133–134; Wiley, 4305:Holden, 266; Warrack, 4292:Holden, 261; Warrack, 4221:The Years of Wandering 4208:The Years of Wandering 4169:The Years of Wandering 2758:The Years of Wandering 2338:Yelizaveta Lavrovskaya 2199: 2188: 2094: 2042: 1864: 1637:Valse in F-sharp minor 1449: 1441:An 1839 lithograph of 1347: 1276:Vladimir "Bob" Davydov 1187:Rimsky-Korsakov, with 1068:Orchestral Suite No. 3 1050: 793: 771:, later nicknamed the 699: 504: 386:near the banks of the 305:Vladimir "Bob" Davydov 7181:Piano Trio in A minor 7142:Quartet Movement in B 6927:Sérénade mélancolique 6472:Zajaczkowski, Henry, 6013:. New York: Pegasus. 6009:Brown, David (2007). 5902:Brown, David (1978). 5286:, 9. Also see Brown, 4684:Holden, 159, 231–232. 4388:Rimsky-Korsakov, 308. 4279:Maes, 140; Taruskin, 3819:Holden, 83; Warrack, 3620:Holden, 25; Warrack, 3498:Holden, 14; Warrack, 3357:"Aleksandra Davydova" 3228:"Tchaikovsky: A Life" 2650:Pëtr Ilʹič Čajkovskij 2630:Пётр Ильич Чайковский 2597:Пётр Ильич Чайковский 2194: 2179: 2092: 2034: 1850: 1440: 1338: 1041: 1012:that this piece, the 866:, based on a play by 788: 683: 670:Further information: 600:Characteristic Dances 498: 483:, were "negligible". 471:and Vladimir Gerard. 40:Пётр Ильич Чайковский 8607:People from Votkinsk 8338:Romantic nationalism 8284:War of the Romantics 7341:Chaikovskij (crater) 7188:Souvenir de Florence 7086:Serenade for Strings 6637:List of compositions 6560:Tchaikovsky Research 6498:Bullock, Philip Ross 6439:Wiley, Roland John, 6320:Steinberg, Michael, 6294:Schonberg, Harold C. 6278:, tr. Aline Delano, 6228:Poznansky, Alexander 6208:and Erica Pomerans, 6054:Music of Tchaikovsky 5741:Maes, 73; Taruskin, 5710:Maes, 73; Taruskin, 5697:Holden, xxi; Wiley, 5372:Maes, 73; Taruskin, 5312:, 423–424; Warrack, 4552:, 156–157; Warrack, 4206:As quoted in Brown, 4167:As quoted in Brown, 3858:As quoted in Wiley, 2749:Serenade for Strings 1960:Pastiche (Passé-ism) 1583:Carl Maria von Weber 1464:argues the music of 831:First Piano Concerto 820:First Piano Concerto 749:became known as the 676:The Five (composers) 233:First Piano Concerto 110:List of compositions 8547:Deaths from cholera 8537:Composers for piano 8333:Musical nationalism 8251:Musical nationalism 7004:Francesca da Rimini 6835:Symphony in B minor 6776:The Sleeping Beauty 6744:The Queen of Spades 6723:Mazepa (or Mazeppa) 6716:The Maid of Orleans 6457:, "Symphonies". In 6455:Zhitomirsky, Daniel 6351:Taruskin, Richard, 6204:Maes, Francis, tr. 5192:, 426; Keller, 347. 4940:"Gioachino Rossini" 4768:Alexander Poznansky 4490:Al'manakh, vypusk 1 4048:(2001), 25:153–154. 3673:Maes, 35; Warrack, 2965:transliteration.com 2887:Francesca da Rimini 2584:Pierre Tschaïkowsky 2544:Library of Congress 2278:Tchaikovsky's voice 2213:The Sleeping Beauty 2078:The Sleeping Beauty 2059:Wilhelm Fitzenhagen 2008:The Queen of Spades 2004:The Sleeping Beauty 1978:The Queen of Spades 1974:The Sleeping Beauty 1832:Hermann Kretzschmar 1714:Harold C. Schonberg 1628:Compositional style 1555:The Sleeping Beauty 1540:A Life for the Tsar 1535:The Queen of Spades 1520:The Sleeping Beauty 1284:Alexander Poznansky 1063:hereditary nobility 868:Alexander Ostrovsky 818:from Tchaikovsky's 592:Moscow Conservatory 544:Mikhailovsky Palace 408:Zaporozhian Cossack 8246:Indianist movement 8164:Romantic orchestra 7293:Antonina Miliukova 7214:Souvenir de Hapsal 7207:Scherzo à la russe 6920:Andante and Finale 6422:Wiley, Roland John 6374:Bouis, Antonina W. 6311:Steinberg, Michael 6206:Arnold J. Pomerans 6198:The New York Times 5994:. London: Viking. 4976:"Vincenzo Bellini" 4776:19th Century Music 4654:, 157; Poznansky, 4084:Viking Opera Guide 4031:, 474–476; Wiley, 3973:Robinson, Harlow. 3893:Maes, 8–9; Wiley, 3546:, 32–37; Warrack, 3420:, 27; Holden, 6–8. 2823:, 249–250; Wiley, 2588:Peter Tschaikowsky 2371:Pyotr Tchaikovsky: 2245:20th-century music 2240:The Rite of Spring 2200: 2189: 2134:cultural historian 2095: 2043: 1865: 1807:Daniel Zhitomirsky 1450: 1395:a local restaurant 1348: 1304:Antonina Miliukova 1272:Modest Tchaikovsky 1189:Alexander Glazunov 1051: 1006:Nikolai Rubinstein 843:Max Erdmannsdörfer 794: 700: 505: 376:Vyatka Governorate 374:, a small town in 297:Antonina Miliukova 293:Nikolai Rubinstein 8392: 8391: 8263:New German School 7858:Felix Mendelssohn 7853:Fanny Mendelssohn 7389: 7388: 7299:Nadezhda von Meck 6997:Capriccio Italien 6953:Pezzo capriccioso 6870: 6581:Project Gutenberg 6511:978-1-78023-654-4 6502:Pyotr Tchaikovsky 6482:978-0-8357-1806-6 6449:978-0-19-536892-5 6434:978-1-56159-239-5 6416:978-0-684-13558-8 6381:978-0-307-27063-4 6361:978-0-520-29348-9 6346:978-0-333-48552-1 6328:Taruskin, Richard 6305:978-0-393-03857-6 6276:Rubinstein, Anton 6270:978-0-333-23111-1 6255:978-0-253-33545-6 6240:978-0-02-871885-9 6222:978-0-520-21815-4 6183:978-0-674-00473-3 6171:Hosking, Geoffrey 6165:978-0-333-23111-1 6147:978-1-56159-239-5 6127:978-0-679-42006-4 6105:978-0-8050-5783-6 6020:978-0-571-23194-2 6001:978-0-670-81292-9 5970:978-0-393-03099-0 5951:978-0-393-02311-4 5932:978-0-393-01707-6 5913:978-0-393-07535-9 5894:978-0-333-23111-1 5866:978-0-691-00429-7 5844:978-0-07-294262-0 5564:, ed. and trans. 5179:Zhitomirsky, 102. 5157:vol. 18, p. 628; 4912:, 39, 52; Brown, 4492:, (Moscow, 1995). 3278:978-1-4008-6488-1 2861:vol. 18, p. 620). 2480: 2479: 2418:(sings) A-o, a-o. 2287: 2067:Michael Steinberg 1910: 1871:within melodies ( 1759:musical structure 1695: 1674: 1646: 1571:Gioachino Rossini 1567:Giacomo Meyerbeer 1563:Felix Mendelssohn 1454:Roland John Wiley 1405:Roland John Wiley 1376:Modest Mussorgsky 1368:Alexander Borodin 1315:Nadezhda von Meck 1292:Vladimir Medinsky 1154:orchestra in his 1093:Ivan Vsevolozhsky 1085:Mariinsky Theatre 1010:Nadezhda von Meck 979:Fyodor Dostoevsky 949:Fourth Symphonies 839:Adele aus der Ohe 810: 790:Nadezhda von Meck 747:Alexander Borodin 739:Modest Mussorgsky 604:Johann Strauss II 412:Battle of Poltava 301:Nadezhda von Meck 153: 152: 148: 134: 8684: 8469: 8468: 8467: 8457: 8456: 8455: 8445: 8444: 8443: 8433: 8432: 8431: 8421: 8420: 8409: 8408: 8407: 8400: 8382: 8372: 8371: 8268:Post-romanticism 8133:Vaughan Williams 7416: 7409: 7402: 7393: 7392: 7379: 7369: 7368: 7316:In popular media 7287:Vladimir Davydov 7263:The Music Lovers 7237: 7236: 7168: 7167: 7147: 7146: 6976:Romeo and Juliet 6968:Orchestral works 6913:Concert Fantasia 6906: 6905: 6890: 6889: 6868: 6865: 6864: 6850:No. 6 in B minor 6845:No. 5 in E minor 6830:No. 4 in F minor 6820:No. 3 in D major 6810:No. 2 in C minor 6804:Winter Daydreams 6800:No. 1 in G minor 6702:Vakula the Smith 6619: 6612: 6605: 6596: 6595: 6590:Internet Archive 6573: 6523: 6135:Holoman, D. Kern 6131: 6109: 6087: 6085: 6083: 6065: 6044: 6036: 6024: 6005: 5974: 5959:— (1991). 5955: 5940:— (1986). 5936: 5921:— (1983). 5917: 5898: 5870: 5848: 5829: 5800: 5793: 5787: 5783: 5777: 5768: 5765: 5759: 5752: 5746: 5739: 5733: 5730: 5724: 5721: 5715: 5708: 5702: 5695: 5689: 5682: 5676: 5669: 5663: 5656: 5650: 5647: 5641: 5638: 5627: 5624: 5618: 5615: 5606: 5595: 5589: 5579: 5573: 5558:Hanslick, Eduard 5555: 5549: 5546: 5540: 5537: 5531: 5528: 5522: 5519:The Crisis Years 5515: 5509: 5502: 5496: 5493: 5487: 5484: 5478: 5475: 5469: 5466: 5460: 5457: 5451: 5444: 5438: 5435: 5429: 5422: 5416: 5409: 5403: 5400: 5394: 5391:New Grove (1980) 5383: 5377: 5370: 5364: 5357: 5351: 5348: 5342: 5335: 5329: 5326: 5317: 5306: 5300: 5297: 5291: 5280: 5274: 5271: 5262: 5259: 5253: 5250: 5244: 5237: 5231: 5224: 5218: 5215: 5209: 5202: 5193: 5186: 5180: 5177: 5171: 5170:Zajaczkowski, 25 5168: 5162: 5151: 5145: 5138: 5132: 5129:New Grove (1980) 5125: 5119: 5112: 5106: 5099: 5093: 5090: 5084: 5081: 5075: 5068: 5059: 5056: 5050: 5049:vol. 18, p. 606. 5043: 5037: 5036:vol. 18, p. 628. 5030: 5015: 5008: 5002: 5001: 4990: 4984: 4983: 4972: 4966: 4965: 4958:"Giuseppe Verdi" 4954: 4948: 4947: 4936: 4930: 4923: 4917: 4906: 4900: 4893: 4887: 4880: 4871: 4864: 4858: 4851: 4845: 4838: 4832: 4829: 4823: 4820: 4814: 4803: 4797: 4790: 4779: 4765: 4759: 4752: 4746: 4735: 4729: 4722: 4716: 4715: 4708:"Symphony No. 6" 4704: 4698: 4691: 4685: 4682: 4676: 4669: 4663: 4652:The Crisis Years 4648: 4642: 4631:The Crisis Years 4627: 4621: 4610:The Crisis Years 4606: 4600: 4599: 4597: 4595: 4580: 4574: 4563: 4557: 4546: 4540: 4539: 4525: 4519: 4518: 4516: 4514: 4499: 4493: 4482: 4476: 4473: 4467: 4460: 4454: 4447: 4441: 4434: 4428: 4421: 4415: 4408: 4402: 4395: 4389: 4386: 4380: 4373: 4367: 4360: 4354: 4351: 4345: 4338: 4332: 4325: 4319: 4318:Holden, 272–273. 4316: 4310: 4303: 4297: 4290: 4284: 4277: 4271: 4264: 4258: 4251: 4240: 4233: 4224: 4217: 4211: 4204: 4198: 4191: 4185: 4178: 4172: 4165: 4156: 4155:Volkov, 122–123. 4153: 4147: 4144: 4135: 4128: 4122: 4119:The Crisis Years 4115: 4109: 4108:, 159, 170, 193. 4102: 4096: 4093: 4087: 4080: 4074: 4067: 4061: 4058: 4049: 4042: 4036: 4025: 4019: 4012: 3999: 3996: 3990: 3989: 3987: 3985: 3970: 3964: 3957: 3951: 3944: 3938: 3935: 3929: 3926: 3920: 3917: 3911: 3904: 3898: 3891: 3885: 3882: 3876: 3869: 3863: 3856: 3850: 3843: 3837: 3830: 3824: 3817: 3811: 3804: 3798: 3797:vol. 18, p. 608. 3791: 3785: 3778: 3772: 3761: 3755: 3748: 3742: 3739: 3733: 3730: 3724: 3717: 3708: 3697: 3691: 3684: 3678: 3671: 3665: 3662: 3656: 3653: 3647: 3644: 3638: 3631: 3625: 3618: 3612: 3605: 3599: 3592: 3586: 3579: 3573: 3570: 3564: 3557: 3551: 3540: 3534: 3531: 3525: 3518: 3512: 3509: 3503: 3496: 3490: 3483: 3477: 3474: 3468: 3457: 3451: 3446:, 25–26; Wiley, 3440: 3434: 3427: 3421: 3414: 3408: 3405: 3399: 3398:, 22; Holden, 7. 3392: 3386: 3383: 3377: 3374: 3365: 3364: 3353: 3347: 3344: 3338: 3331: 3322: 3315: 3309: 3302: 3296: 3289: 3283: 3282: 3262: 3256: 3255: 3242: 3236: 3235: 3224: 3218: 3215: 3209: 3206: 3197: 3196: 3170: 3161: 3160: 3158: 3156: 3141: 3132: 3131: 3129: 3127: 3092: 3079: 3078: 3076: 3074: 3051: 3045: 3044: 3042: 3040: 3026: 3020: 3019: 3017: 3015: 3000: 2994: 2982: 2976: 2975: 2973: 2971: 2957: 2942: 2935: 2929: 2926: 2920: 2917: 2911: 2908:The Crisis Years 2900: 2894: 2891:The Crisis Years 2877: 2871: 2868: 2862: 2851: 2845: 2838: 2832: 2821:The Crisis Years 2809:The Crisis Years 2801: 2795: 2780: 2774: 2767: 2761: 2744: 2738: 2727: 2721: 2714: 2708: 2693: 2687: 2680: 2674: 2672: 2662: 2652: 2642: 2632: 2631: 2622: 2621: 2620: 2614: 2609: 2605: 2604: 2599: 2598: 2516: 2501:Tatiana Davydova 2484:Leonid Sabaneyev 2443: 2311: 2300:Anton Rubinstein 2296: 2295: 2289: 2288: 2265: 2166:Romeo and Juliet 2109:delirium tremens 2041: 2040: 1890–1895 2038: 1993:Aesthetic impact 1984:, who turned to 1950:Richard Taruskin 1912: 1911: 1862: 1861: 1860: 1858: 1768:whole-tone scale 1697: 1696: 1676: 1675: 1648: 1647: 1621:Vakula the Smith 1579:Vincenzo Bellini 1360:Tikhvin Cemetery 1345:Saint Petersburg 1341:Tikhvin Cemetery 1243: 1234: 1034:Return to Russia 1020:Eduard Nápravník 991:Sergei Diaghilev 983:Alexandre Benois 957:, and the opera 907:Vakula the Smith 847:Eduard Nápravník 812: 811: 764:Romeo and Juliet 751:moguchaya kuchka 728:octatonic scales 698: 695: 606:at a concert in 528:Anton Rubinstein 469:Aleksey Apukhtin 432:Vladimir Davydov 360: 339: 249:, and the opera 242:Romeo and Juliet 201: 195: 194: 191: 190: 187: 184: 181: 178: 175: 172: 169: 166: 142: 140: 128: 126: 100:, Russian Empire 98:Saint Petersburg 93: 81:, Russian Empire 74: 72: 59: 56: 51: 41: 28: 27: 8692: 8691: 8687: 8686: 8685: 8683: 8682: 8681: 8477: 8476: 8475: 8465: 8463: 8453: 8451: 8441: 8439: 8429: 8427: 8415: 8411:Classical music 8405: 8403: 8395: 8393: 8388: 8365: 8361:Modernist music 8357: 8354:Classical music 8344: 8289: 8234: 8215:Romantic ballet 8210:Orchestral song 8190:Chorale prelude 8185:Character piece 8168: 8159:Romantic guitar 8152:Instrumentation 8147: 7983:Rimsky-Korsakov 7603:Ferdinand David 7440: 7434: 7425: 7420: 7390: 7385: 7357: 7304: 7269: 7242: 7234: 7233: 7194: 7165: 7164: 7144: 7143: 7130: 7110:All-Night Vigil 7090: 6963: 6903: 6902: 6887: 6886: 6873: 6862: 6861: 6788: 6756: 6737:The Enchantress 6668: 6659:Belyayev circle 6628: 6623: 6564: 6546: 6541: 6512: 6496: 6492: 6490:Further reading 6487: 6404:Warrack, John, 6366:Volkov, Solomon 6128: 6114:Holden, Anthony 6106: 6081: 6079: 6021: 6002: 5984:Nicholas Kenyon 5971: 5952: 5933: 5914: 5895: 5867: 5845: 5808: 5803: 5794: 5790: 5781: 5778: 5771: 5766: 5762: 5753: 5749: 5740: 5736: 5731: 5727: 5722: 5718: 5709: 5705: 5701:(2001), 25:144. 5696: 5692: 5688:(2001), 25:144. 5683: 5679: 5670: 5666: 5657: 5653: 5648: 5644: 5639: 5630: 5625: 5621: 5617:Schonberg, 367. 5616: 5609: 5605:(2001), 25:169. 5596: 5592: 5580: 5576: 5566:Henry Pleasants 5556: 5552: 5547: 5543: 5538: 5534: 5529: 5525: 5516: 5512: 5503: 5499: 5494: 5490: 5486:Maes, 146, 152. 5485: 5481: 5476: 5472: 5467: 5463: 5458: 5454: 5445: 5441: 5436: 5432: 5423: 5419: 5410: 5406: 5401: 5397: 5384: 5380: 5371: 5367: 5363:(2001), 12:413. 5358: 5354: 5349: 5345: 5336: 5332: 5327: 5320: 5310:The Final Years 5307: 5303: 5298: 5294: 5288:The Final Years 5281: 5277: 5272: 5265: 5260: 5256: 5251: 5247: 5238: 5234: 5225: 5221: 5217:Keller, 346–47. 5216: 5212: 5206:The Final Years 5203: 5196: 5190:The Final Years 5187: 5183: 5178: 5174: 5169: 5165: 5152: 5148: 5139: 5135: 5126: 5122: 5118:, 422, 432–434. 5116:The Final Years 5113: 5109: 5100: 5096: 5091: 5087: 5082: 5078: 5072:The Final Years 5069: 5062: 5058:Schonberg, 366. 5057: 5053: 5044: 5040: 5031: 5018: 5012:The Early Years 5009: 5005: 4992: 4991: 4987: 4974: 4973: 4969: 4956: 4955: 4951: 4938: 4937: 4933: 4929:(2001), 25:149. 4924: 4920: 4914:The Final Years 4910:The Early Years 4907: 4903: 4897:The Early Years 4894: 4890: 4881: 4874: 4868:The Final Years 4865: 4861: 4852: 4848: 4839: 4835: 4830: 4826: 4822:Asafyev, 13–14. 4821: 4817: 4804: 4800: 4796:(2001), 25:169. 4791: 4782: 4766: 4762: 4753: 4749: 4736: 4732: 4726:The Final Years 4723: 4719: 4706: 4705: 4701: 4692: 4688: 4683: 4679: 4670: 4666: 4649: 4645: 4628: 4624: 4607: 4603: 4593: 4591: 4590:on 24 June 2009 4582: 4581: 4577: 4567:The Early Years 4564: 4560: 4550:The Early Years 4547: 4543: 4526: 4522: 4512: 4510: 4500: 4496: 4483: 4479: 4474: 4470: 4464:The Early Years 4461: 4457: 4453:, 32 et passim. 4448: 4444: 4435: 4431: 4422: 4418: 4409: 4405: 4396: 4392: 4387: 4383: 4374: 4370: 4364:The Final Years 4361: 4357: 4352: 4348: 4342:The Final Years 4339: 4335: 4329:The Final Years 4326: 4322: 4317: 4313: 4304: 4300: 4291: 4287: 4278: 4274: 4265: 4261: 4257:(2001), 25:162. 4252: 4243: 4234: 4227: 4218: 4214: 4205: 4201: 4192: 4188: 4179: 4175: 4166: 4159: 4154: 4150: 4145: 4138: 4129: 4125: 4116: 4112: 4103: 4099: 4094: 4090: 4081: 4077: 4068: 4064: 4059: 4052: 4043: 4039: 4035:(2001), 25:161. 4026: 4022: 4018:(2001), 25:147. 4013: 4002: 3997: 3993: 3983: 3981: 3971: 3967: 3961:The Early Years 3958: 3954: 3945: 3941: 3936: 3932: 3927: 3923: 3918: 3914: 3905: 3901: 3892: 3888: 3883: 3879: 3870: 3866: 3857: 3853: 3844: 3840: 3831: 3827: 3818: 3814: 3808:The Early Years 3805: 3801: 3792: 3788: 3782:The Early Years 3779: 3775: 3765:The Early Years 3762: 3758: 3749: 3745: 3740: 3736: 3731: 3727: 3718: 3711: 3698: 3694: 3688:The Early Years 3685: 3681: 3672: 3668: 3663: 3659: 3654: 3650: 3645: 3641: 3632: 3628: 3619: 3615: 3606: 3602: 3593: 3589: 3583:The Early Years 3580: 3576: 3571: 3567: 3558: 3554: 3541: 3537: 3532: 3528: 3519: 3515: 3510: 3506: 3497: 3493: 3484: 3480: 3475: 3471: 3461:The Early Years 3458: 3454: 3444:The Early Years 3441: 3437: 3428: 3424: 3418:The Early Years 3415: 3411: 3406: 3402: 3396:The Early Years 3393: 3389: 3384: 3380: 3375: 3368: 3355: 3354: 3350: 3345: 3341: 3332: 3325: 3321:, 1; Holden, 5. 3316: 3312: 3303: 3299: 3293:The Early Years 3290: 3286: 3279: 3263: 3259: 3244: 3243: 3239: 3226: 3225: 3221: 3216: 3212: 3207: 3200: 3193: 3171: 3164: 3154: 3152: 3142: 3135: 3125: 3123: 3093: 3082: 3072: 3070: 3068: 3052: 3048: 3038: 3036: 3027: 3023: 3013: 3011: 3001: 2997: 2983: 2979: 2969: 2967: 2959: 2958: 2954: 2950: 2945: 2936: 2932: 2927: 2923: 2918: 2914: 2901: 2897: 2878: 2874: 2869: 2865: 2852: 2848: 2839: 2835: 2802: 2798: 2788:Nikolay Kashkin 2784:Harlow Robinson 2781: 2777: 2768: 2764: 2745: 2741: 2728: 2724: 2718:The Early Years 2715: 2711: 2694: 2690: 2684:Old Style dates 2681: 2677: 2616: 2615: 2607: 2592:Cyrillic script 2580:P. Tschaïkowsky 2517: 2513: 2509: 2492: 2441: 2435:Peter Jurgenson 2309: 2294: 2293: 2292: 2291: 2290: 2283: 2280: 2259: 2253: 2251:Voice recording 2235:Igor Stravinsky 2174: 2152: 2146: 2138:Joseph Horowitz 2104:Eduard Hanslick 2093:Eduard Hanslick 2087: 2055:Nathan Milstein 2039: 2029: 2024: 2016:Romanov dynasty 1995: 1982:Igor Stravinsky 1962: 1930: 1929: 1928: 1927: 1926: 1913: 1906: 1903: 1894: 1856: 1853: 1852: 1845: 1795: 1776: 1746: 1710: 1705: 1704: 1703: 1702: 1701: 1698: 1691: 1688: 1682: 1681: 1680: 1677: 1670: 1667: 1661: 1660: 1659: 1649: 1642: 1639: 1630: 1595: 1547:, whose ballet 1447:Josef Kriehuber 1443:Robert Schumann 1435: 1430: 1420: 1414: 1333: 1323: 1257: 1256: 1255: 1254: 1246: 1245: 1244: 1236: 1235: 1224: 1216:Doctor of Music 1208:Mark Antokolsky 1197:Belyayev circle 1174: 1168: 1123:Bolshoi Theater 1108:Johannes Brahms 1036: 972:Violin Concerto 922:Alexander Serov 895:Vladimir Stasov 826: 825: 824: 823: 822: 813: 806: 803: 783: 769:Second Symphony 708:Vladimir Stasov 696: 678: 668: 625:music criticism 614:, in his opera 602:, conducted by 540:Nikolai Zaremba 511:Meanwhile, the 493: 392:Kamsko-Votkinsk 382:in present-day 368: 367: 366: 365: 364: 361: 352: 351: 350: 340: 329: 281:Peter the Great 237:Violin Concerto 207:Romantic period 199: 163: 159: 149: 145:Cyrillic script 141: 135: 127: 101: 95: 91: 90:6 November 1893 82: 76: 70: 68: 60: 57: 42: 39: 33: 24: 17: 12: 11: 5: 8690: 8680: 8679: 8674: 8669: 8664: 8659: 8654: 8649: 8644: 8639: 8634: 8629: 8624: 8619: 8614: 8609: 8604: 8599: 8594: 8589: 8584: 8579: 8574: 8569: 8564: 8559: 8554: 8549: 8544: 8539: 8534: 8529: 8524: 8519: 8514: 8509: 8504: 8499: 8494: 8489: 8474: 8473: 8461: 8449: 8437: 8425: 8413: 8390: 8389: 8387: 8386: 8376: 8358: 8350: 8349: 8346: 8345: 8343: 8342: 8341: 8340: 8330: 8329: 8328: 8323: 8318: 8313: 8303: 8297: 8295: 8291: 8290: 8288: 8287: 8280: 8275: 8270: 8265: 8260: 8253: 8248: 8242: 8240: 8236: 8235: 8233: 8232: 8227: 8225:Symphonic poem 8222: 8220:Romantic opera 8217: 8212: 8207: 8202: 8197: 8192: 8187: 8182: 8176: 8174: 8170: 8169: 8167: 8166: 8161: 8155: 8153: 8149: 8148: 8146: 8145: 8140: 8135: 8130: 8125: 8120: 8115: 8110: 8105: 8100: 8095: 8090: 8085: 8080: 8075: 8070: 8065: 8060: 8055: 8050: 8045: 8040: 8035: 8030: 8025: 8020: 8015: 8010: 8005: 8000: 7995: 7990: 7985: 7980: 7975: 7970: 7965: 7960: 7955: 7950: 7945: 7940: 7935: 7930: 7925: 7920: 7915: 7910: 7905: 7900: 7895: 7890: 7885: 7880: 7875: 7870: 7865: 7860: 7855: 7850: 7845: 7840: 7835: 7830: 7825: 7820: 7815: 7810: 7805: 7800: 7795: 7790: 7785: 7780: 7775: 7770: 7765: 7760: 7755: 7750: 7745: 7740: 7735: 7730: 7725: 7720: 7715: 7710: 7705: 7700: 7695: 7690: 7685: 7680: 7675: 7670: 7665: 7660: 7655: 7650: 7645: 7640: 7635: 7630: 7625: 7620: 7615: 7610: 7605: 7600: 7598:Félicien David 7595: 7590: 7585: 7580: 7575: 7570: 7565: 7560: 7555: 7550: 7545: 7540: 7535: 7530: 7525: 7520: 7515: 7510: 7505: 7500: 7495: 7490: 7485: 7480: 7475: 7470: 7465: 7460: 7455: 7450: 7444: 7442: 7436: 7435: 7430: 7427: 7426: 7423:Romantic music 7419: 7418: 7411: 7404: 7396: 7387: 7386: 7384: 7383: 7373: 7362: 7359: 7358: 7356: 7355: 7354: 7353: 7343: 7338: 7333: 7328: 7323: 7318: 7312: 7310: 7306: 7305: 7303: 7302: 7296: 7290: 7284: 7277: 7275: 7271: 7270: 7268: 7267: 7259: 7250: 7248: 7244: 7243: 7241: 7240: 7229: 7224: 7217: 7210: 7202: 7200: 7196: 7195: 7193: 7192: 7183: 7178: 7171: 7160: 7155: 7150: 7138: 7136: 7132: 7131: 7129: 7128: 7120: 7113: 7106: 7098: 7096: 7092: 7091: 7089: 7088: 7083: 7073: 7068: 7063: 7058: 7051: 7044: 7037: 7030: 7023: 7014: 7007: 7000: 6993: 6986: 6979: 6971: 6969: 6965: 6964: 6962: 6961: 6959:Cello Concerto 6956: 6949: 6942: 6937: 6930: 6923: 6916: 6909: 6898: 6893: 6881: 6879: 6875: 6874: 6872: 6871: 6857: 6847: 6842: 6832: 6827: 6817: 6814:Little Russian 6807: 6796: 6794: 6790: 6789: 6787: 6786: 6783:The Nutcracker 6779: 6772: 6764: 6762: 6758: 6757: 6755: 6754: 6747: 6740: 6733: 6726: 6719: 6712: 6705: 6698: 6691: 6684: 6676: 6674: 6670: 6669: 6667: 6666: 6661: 6656: 6651: 6650: 6649: 6639: 6633: 6630: 6629: 6622: 6621: 6614: 6607: 6599: 6593: 6592: 6583: 6574: 6562: 6557: 6545: 6544:External links 6542: 6540: 6539: 6524: 6510: 6493: 6491: 6488: 6486: 6485: 6470: 6452: 6437: 6419: 6402: 6384: 6363: 6349: 6338:Sadie, Stanley 6325: 6318: 6308: 6291: 6273: 6258: 6243: 6225: 6202: 6186: 6168: 6153:Hopkins, G. W. 6150: 6132: 6126: 6110: 6104: 6092:Figes, Orlando 6088: 6066: 6050:Gerald Abraham 6045: 6031:, ed. (1911). 6029:Chisholm, Hugh 6025: 6019: 6006: 6000: 5975: 5969: 5956: 5950: 5937: 5931: 5918: 5912: 5899: 5893: 5871: 5865: 5853:Botstein, Leon 5849: 5843: 5830: 5814:Asafyev, Boris 5809: 5807: 5804: 5802: 5801: 5788: 5769: 5760: 5747: 5734: 5725: 5716: 5703: 5690: 5677: 5664: 5651: 5649:Botstein, 100. 5642: 5628: 5619: 5607: 5590: 5574: 5550: 5541: 5532: 5530:Maes, 145–148. 5523: 5510: 5497: 5488: 5479: 5470: 5461: 5452: 5439: 5430: 5417: 5404: 5395: 5378: 5365: 5352: 5343: 5330: 5318: 5301: 5292: 5275: 5273:Botstein, 101. 5263: 5254: 5245: 5232: 5219: 5210: 5194: 5181: 5172: 5163: 5146: 5133: 5120: 5107: 5094: 5085: 5076: 5060: 5051: 5038: 5016: 5003: 4985: 4967: 4949: 4931: 4918: 4901: 4888: 4872: 4859: 4846: 4833: 4824: 4815: 4798: 4780: 4760: 4747: 4730: 4717: 4699: 4686: 4677: 4664: 4658:, 234; Wiley, 4643: 4637:, 234; Wiley, 4622: 4601: 4575: 4558: 4541: 4520: 4494: 4477: 4468: 4455: 4442: 4429: 4416: 4403: 4390: 4381: 4368: 4355: 4346: 4333: 4320: 4311: 4298: 4285: 4272: 4259: 4241: 4225: 4212: 4199: 4186: 4173: 4157: 4148: 4136: 4123: 4110: 4097: 4088: 4075: 4062: 4060:Taruskin, 665. 4050: 4037: 4020: 4000: 3998:Holden, 51–52. 3991: 3965: 3952: 3939: 3930: 3921: 3912: 3910:(2001), 8:913. 3899: 3886: 3884:Figes, 178–181 3877: 3864: 3851: 3838: 3825: 3812: 3799: 3786: 3773: 3756: 3743: 3734: 3725: 3709: 3692: 3679: 3666: 3657: 3648: 3639: 3626: 3613: 3600: 3587: 3574: 3565: 3552: 3535: 3526: 3513: 3504: 3491: 3478: 3469: 3452: 3435: 3422: 3409: 3400: 3387: 3378: 3366: 3348: 3339: 3323: 3310: 3297: 3284: 3277: 3257: 3237: 3219: 3210: 3198: 3191: 3162: 3133: 3080: 3066: 3046: 3021: 2995: 2977: 2951: 2949: 2946: 2944: 2943: 2930: 2921: 2912: 2895: 2872: 2863: 2855:Claude Debussy 2846: 2844:in March 1881. 2833: 2811:, 250; Wiley, 2796: 2775: 2762: 2739: 2722: 2709: 2688: 2675: 2510: 2508: 2505: 2504: 2503: 2498: 2491: 2488: 2478: 2477: 2475: 2473: 2470: 2466: 2465: 2460: 2457: 2454: 2450: 2449: 2444: 2438: 2432: 2428: 2427: 2422: 2419: 2416: 2412: 2411: 2406: 2403: 2400: 2396: 2395: 2393: 2391: 2388: 2384: 2383: 2378: 2375: 2372: 2368: 2367: 2365: 2363: 2360: 2357:Vasily Safonov 2353: 2352: 2347: 2344: 2341: 2334: 2333: 2328: 2325: 2322: 2318: 2317: 2312: 2306: 2303: 2281: 2276: 2275: 2274: 2273: 2272: 2252: 2249: 2231:Anthony Holden 2209:Herman Laroche 2173: 2170: 2145: 2142: 2121:New York Times 2086: 2083: 2051:Jascha Heifetz 2035:Marius Petipa 2028: 2025: 2023: 2020: 1994: 1991: 1976:and the opera 1961: 1958: 1946:Third Symphony 1918:The Nutcracker 1914: 1904: 1899: 1898: 1897: 1896: 1895: 1893: 1890: 1844: 1841: 1811:musical themes 1794: 1791: 1775: 1772: 1745: 1742: 1709: 1706: 1699: 1689: 1684: 1683: 1678: 1668: 1663: 1662: 1650: 1640: 1635: 1634: 1633: 1632: 1631: 1629: 1626: 1618:and his opera 1614:Little Russian 1594: 1593:Creative range 1591: 1575:Giuseppe Verdi 1559:Hector Berlioz 1478:Jules Massenet 1470:Richard Wagner 1434: 1431: 1416:Main article: 1413: 1410: 1384:Mily Balakirev 1372:Mikhail Glinka 1352:Sixth Symphony 1322: 1319: 1308:writer's block 1248: 1247: 1238: 1237: 1229: 1228: 1227: 1226: 1225: 1223: 1220: 1193:Anatoly Lyadov 1167: 1164: 1137:Fifth Symphony 1116:Jules Massenet 1112:Antonín Dvořák 1100:Sergei Taneyev 1035: 1032: 851:Sergei Taneyev 835:Hans von Bülow 814: 804: 799: 798: 797: 796: 795: 782: 781:Opera composer 779: 774:Little Russian 720:Mikhail Glinka 712:Mily Balakirev 686:Mily Balakirev 667: 664: 576:First Symphony 548:Russian Museum 492: 489: 380:Russian Empire 362: 355: 354: 353: 346:, Russia, now 341: 334: 333: 332: 331: 330: 328: 325: 285:intelligentsia 271:with whom his 222:The Nutcracker 151: 150: 121: 118: 117: 113: 112: 107: 103: 102: 96: 94:(aged 53) 88: 84: 83: 77: 66: 62: 61: 52: 44: 43: 35: 34: 31: 15: 9: 6: 4: 3: 2: 8689: 8678: 8675: 8673: 8670: 8668: 8665: 8663: 8660: 8658: 8655: 8653: 8650: 8648: 8645: 8643: 8640: 8638: 8635: 8633: 8630: 8628: 8625: 8623: 8620: 8618: 8615: 8613: 8610: 8608: 8605: 8603: 8600: 8598: 8595: 8593: 8590: 8588: 8585: 8583: 8580: 8578: 8575: 8573: 8570: 8568: 8565: 8563: 8560: 8558: 8555: 8553: 8550: 8548: 8545: 8543: 8540: 8538: 8535: 8533: 8530: 8528: 8525: 8523: 8520: 8518: 8515: 8513: 8510: 8508: 8505: 8503: 8500: 8498: 8495: 8493: 8490: 8488: 8485: 8484: 8482: 8472: 8462: 8460: 8450: 8448: 8438: 8436: 8426: 8424: 8419: 8414: 8412: 8402: 8401: 8398: 8385: 8381: 8377: 8375: 8367: 8366: 8363: 8362: 8356: 8355: 8347: 8339: 8336: 8335: 8334: 8331: 8327: 8324: 8322: 8319: 8317: 8314: 8312: 8309: 8308: 8307: 8304: 8302: 8299: 8298: 8296: 8292: 8285: 8281: 8279: 8276: 8274: 8271: 8269: 8266: 8264: 8261: 8259: 8258: 8254: 8252: 8249: 8247: 8244: 8243: 8241: 8237: 8231: 8228: 8226: 8223: 8221: 8218: 8216: 8213: 8211: 8208: 8206: 8203: 8201: 8198: 8196: 8193: 8191: 8188: 8186: 8183: 8181: 8178: 8177: 8175: 8171: 8165: 8162: 8160: 8157: 8156: 8154: 8150: 8144: 8141: 8139: 8136: 8134: 8131: 8129: 8126: 8124: 8121: 8119: 8116: 8114: 8111: 8109: 8106: 8104: 8101: 8099: 8096: 8094: 8091: 8089: 8086: 8084: 8081: 8079: 8076: 8074: 8071: 8069: 8068:J. Strauss II 8066: 8064: 8061: 8059: 8056: 8054: 8051: 8049: 8046: 8044: 8041: 8039: 8036: 8034: 8031: 8029: 8026: 8024: 8021: 8019: 8016: 8014: 8011: 8009: 8006: 8004: 8001: 7999: 7996: 7994: 7991: 7989: 7986: 7984: 7981: 7979: 7976: 7974: 7971: 7969: 7966: 7964: 7961: 7959: 7956: 7954: 7951: 7949: 7946: 7944: 7941: 7939: 7936: 7934: 7931: 7929: 7926: 7924: 7921: 7919: 7916: 7914: 7911: 7909: 7906: 7904: 7901: 7899: 7896: 7894: 7891: 7889: 7886: 7884: 7881: 7879: 7876: 7874: 7871: 7869: 7866: 7864: 7861: 7859: 7856: 7854: 7851: 7849: 7846: 7844: 7841: 7839: 7836: 7834: 7831: 7829: 7826: 7824: 7821: 7819: 7816: 7814: 7811: 7809: 7806: 7804: 7801: 7799: 7796: 7794: 7791: 7789: 7786: 7784: 7781: 7779: 7776: 7774: 7771: 7769: 7766: 7764: 7761: 7759: 7756: 7754: 7751: 7749: 7746: 7744: 7741: 7739: 7736: 7734: 7731: 7729: 7726: 7724: 7721: 7719: 7716: 7714: 7711: 7709: 7706: 7704: 7701: 7699: 7696: 7694: 7691: 7689: 7686: 7684: 7681: 7679: 7676: 7674: 7671: 7669: 7666: 7664: 7661: 7659: 7656: 7654: 7651: 7649: 7646: 7644: 7641: 7639: 7636: 7634: 7631: 7629: 7626: 7624: 7621: 7619: 7616: 7614: 7611: 7609: 7606: 7604: 7601: 7599: 7596: 7594: 7591: 7589: 7586: 7584: 7581: 7579: 7576: 7574: 7571: 7569: 7566: 7564: 7561: 7559: 7556: 7554: 7551: 7549: 7546: 7544: 7541: 7539: 7536: 7534: 7531: 7529: 7526: 7524: 7521: 7519: 7516: 7514: 7511: 7509: 7506: 7504: 7501: 7499: 7496: 7494: 7491: 7489: 7486: 7484: 7481: 7479: 7476: 7474: 7471: 7469: 7466: 7464: 7461: 7459: 7456: 7454: 7451: 7449: 7446: 7445: 7443: 7439:Composers and 7437: 7433: 7428: 7424: 7417: 7412: 7410: 7405: 7403: 7398: 7397: 7394: 7382: 7378: 7374: 7372: 7364: 7363: 7360: 7352: 7349: 7348: 7347: 7344: 7342: 7339: 7337: 7334: 7332: 7329: 7327: 7324: 7322: 7319: 7317: 7314: 7313: 7311: 7307: 7300: 7297: 7294: 7291: 7288: 7285: 7282: 7279: 7278: 7276: 7272: 7265: 7264: 7260: 7257: 7256: 7252: 7251: 7249: 7245: 7239: 7230: 7228: 7225: 7223: 7222: 7218: 7216: 7215: 7211: 7209: 7208: 7204: 7203: 7201: 7197: 7191: 7189: 7184: 7182: 7179: 7177: 7176: 7172: 7170: 7161: 7159: 7156: 7154: 7151: 7149: 7140: 7139: 7137: 7135:Chamber music 7133: 7126: 7125: 7121: 7119: 7118: 7114: 7112: 7111: 7107: 7105: 7104: 7100: 7099: 7097: 7093: 7087: 7084: 7081: 7077: 7074: 7072: 7069: 7067: 7064: 7062: 7059: 7057: 7056: 7052: 7050: 7049: 7045: 7043: 7042: 7038: 7036: 7035: 7034:1812 Overture 7031: 7029: 7028: 7024: 7022: 7021: 7020: 7015: 7013: 7012: 7008: 7006: 7005: 7001: 6999: 6998: 6994: 6992: 6991: 6987: 6985: 6984: 6980: 6978: 6977: 6973: 6972: 6970: 6966: 6960: 6957: 6955: 6954: 6950: 6948: 6947: 6943: 6941: 6938: 6936: 6935: 6934:Valse-Scherzo 6931: 6929: 6928: 6924: 6922: 6921: 6917: 6915: 6914: 6910: 6908: 6899: 6897: 6894: 6892: 6883: 6882: 6880: 6876: 6867: 6860:Symphony in E 6858: 6855: 6851: 6848: 6846: 6843: 6840: 6836: 6833: 6831: 6828: 6825: 6821: 6818: 6815: 6811: 6808: 6805: 6801: 6798: 6797: 6795: 6791: 6785: 6784: 6780: 6778: 6777: 6773: 6771: 6770: 6766: 6765: 6763: 6759: 6753: 6752: 6748: 6746: 6745: 6741: 6739: 6738: 6734: 6732: 6731: 6727: 6725: 6724: 6720: 6718: 6717: 6713: 6711: 6710: 6709:Eugene Onegin 6706: 6704: 6703: 6699: 6697: 6696: 6695:The Oprichnik 6692: 6690: 6689: 6685: 6683: 6682: 6678: 6677: 6675: 6671: 6665: 6662: 6660: 6657: 6655: 6652: 6648: 6645: 6644: 6643: 6642:Musical style 6640: 6638: 6635: 6634: 6631: 6627: 6620: 6615: 6613: 6608: 6606: 6601: 6600: 6597: 6591: 6587: 6584: 6582: 6578: 6575: 6571: 6567: 6563: 6561: 6558: 6555: 6551: 6548: 6547: 6537: 6533: 6529: 6525: 6521: 6517: 6513: 6507: 6503: 6499: 6495: 6494: 6483: 6479: 6475: 6471: 6468: 6464: 6460: 6456: 6453: 6450: 6446: 6442: 6438: 6435: 6431: 6427: 6423: 6420: 6417: 6413: 6409: 6408: 6403: 6400: 6396: 6392: 6388: 6387:Warrack, John 6385: 6382: 6378: 6375: 6371: 6367: 6364: 6362: 6358: 6354: 6350: 6347: 6343: 6339: 6335: 6334: 6329: 6326: 6323: 6319: 6316: 6312: 6309: 6306: 6302: 6298: 6295: 6292: 6289: 6285: 6281: 6277: 6274: 6271: 6267: 6263: 6259: 6256: 6252: 6248: 6244: 6241: 6237: 6233: 6229: 6226: 6223: 6219: 6215: 6212:Kamarinskaya 6211: 6207: 6203: 6200: 6199: 6194: 6190: 6189:Kozinn, Allan 6187: 6184: 6180: 6176: 6172: 6169: 6166: 6162: 6158: 6154: 6151: 6148: 6144: 6140: 6136: 6133: 6129: 6123: 6119: 6115: 6111: 6107: 6101: 6097: 6093: 6089: 6078: 6077: 6072: 6067: 6063: 6059: 6055: 6051: 6046: 6042: 6041: 6035: 6030: 6026: 6022: 6016: 6012: 6007: 6003: 5997: 5993: 5989: 5988:Stephen Walsh 5985: 5981: 5980:Amanda Holden 5976: 5972: 5966: 5962: 5957: 5953: 5947: 5943: 5938: 5934: 5928: 5924: 5919: 5915: 5909: 5905: 5900: 5896: 5890: 5886: 5885: 5880: 5879:Stanley Sadie 5876: 5872: 5868: 5862: 5858: 5854: 5850: 5846: 5840: 5836: 5831: 5827: 5823: 5819: 5815: 5811: 5810: 5798: 5792: 5785: 5776: 5774: 5764: 5757: 5751: 5744: 5738: 5729: 5720: 5713: 5707: 5700: 5694: 5687: 5681: 5674: 5668: 5661: 5655: 5646: 5637: 5635: 5633: 5623: 5614: 5612: 5604: 5600: 5594: 5587: 5583: 5578: 5571: 5567: 5563: 5559: 5554: 5545: 5539:Botstein, 99. 5536: 5527: 5520: 5514: 5507: 5501: 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Strauss 7998:Rubinstein 7923:Paderewski 7893:Mussorgsky 7888:Moszkowski 7863:Mercadante 7247:Portrayals 7080:Mozartiana 6854:Pathétique 6793:Symphonies 6647:Symphonies 5477:Maes, 137. 5459:Maes, 138. 5426:Stravinsky 5424:Taruskin, 5413:Stravinsky 5328:Maes, 161. 5314:Symphonies 5290:, 422–423. 5284:Symphonies 5228:Symphonies 5103:Symphonies 4886:, 293–294. 4853:Taruskin, 4745:, 269–270. 4697:, 171–172. 4620:, 147–150. 4401:, 548–549. 4331:, 319–320. 4223:, 151–152. 4095:Maes, 171. 3784:, 100–101. 3719:Taruskin, 3407:Holden, 7. 3217:Holden, 4. 2970:2 December 2948:References 2882:Nibelungen 2731:Homophobia 2701:librettist 2576:Chaikovsky 2524:patronymic 2472:(whistles) 2437:in Moscow. 2182:Simferopol 2158: [ 2148:See also: 1843:Repetition 1787:Repetition 1751:Modulation 1730:modulating 1505:' ballets 1422:See also: 1356:Pathétique 1325:See also: 1268:homosexual 1170:See also: 1046:, now the 987:Léon Bakst 878:Mandragora 755:"The Five" 724:whole tone 564:Ode to Joy 538:taught by 400:Mykolaivka 388:Kama River 247:symphonies 75:7 May 1840 71:1840-05-07 8435:Biography 7908:Offenbach 7883:Moscheles 7878:Moniuszko 7873:Meyerbeer 7828:Marschner 7813:MacDowell 7628:Donizetti 7573:Cherubini 7563:Chaminade 7488:Beethoven 7473:Balakirev 7463:Atterberg 7441:musicians 7283:(brother) 7011:The Storm 6769:Swan Lake 6520:932385370 6399:78-105437 5754:Warrack, 5723:Maes, 73. 5699:New Grove 5686:New Grove 5660:New Grove 5603:New Grove 5599:New Grove 5448:New Grove 5402:Maes, 78. 5393:, 13:698. 5387:New Grove 5361:New Grove 5359:Holoman, 5339:New Grove 5282:Warrack, 5241:New Grove 5226:Warrack, 5155:New Grove 5131:, 12:454. 5127:Roberts, 5101:Warrack, 5047:New Grove 5034:New Grove 4927:New Grove 4899:, 34, 97. 4842:New Grove 4807:New Grove 4794:New Grove 4671:Warrack, 4410:Warrack, 4353:Maes, 173 4255:New Grove 4237:New Grove 4046:New Grove 4033:New Grove 4016:New Grove 3937:Maes, 49. 3928:Maes, 42. 3919:Maes, 39. 3908:New Grove 3795:New Grove 3655:Maes, 35. 3646:Maes, 31. 3476:Maes, 33. 3113:0027-1276 3073:5 January 3039:5 January 3014:5 January 2939:Swan Lake 2904:Swan Lake 2859:New Grove 2786:, it was 2425:A-o, a-o. 2421:А-о, а-о. 2196:Swan Lake 2022:Reception 2012:polonaise 1873:repeating 1869:sequences 1793:Structure 1527:'s opera 1501:. So did 1494:The Demon 1378:; later, 1261:sexuality 1147:César Cui 954:Swan Lake 735:César Cui 706:, critic 688:, one of 629:Beethoven 546:(now the 476:harmonium 414:in 1709. 321:exoticism 216:Swan Lake 116:Signature 8374:Category 8351: ← 8230:Symphony 8093:Thalberg 8058:Spontini 8033:Sibelius 8028:Scriabin 8013:Schubert 8008:Sarasate 7973:Respighi 7968:Reinecke 7928:Paganini 7838:Massenet 7833:Masarnau 7818:Madetoja 7763:Kreisler 7753:Kalivoda 7698:J. Gomis 7683:Glazunov 7678:Giuliani 7568:Chausson 7558:Chadwick 7548:Bruckner 7371:Category 7301:(patron) 7289:(nephew) 7235:♯ 7166:♭ 7145:♭ 7127:(Op. 38) 6904:♭ 6888:♭ 6863:♭ 6654:The Five 6536:66-13606 6500:(2016). 6116:(1995). 6094:(2002). 5990:(eds.). 5714:, 4:663. 5586:Symphony 5570:Concerto 5506:Concerto 5376:, 4:669. 4857:, 4:664. 4840:Fuller, 4513:21 April 4344:, 90–91. 4283:, 4:664. 4073:, 58–59. 4029:Concerto 3906:Garden, 3810:, 82–83. 3707:, 36–38. 3524:, 11–12. 3121:44030280 2857:(Brown, 2756:(Brown, 2665:BGN/PCGN 2490:See also 2469:Safonov: 2431:Safonov: 2324:At last. 1970:pastiche 1954:doubling 1824:added up 1789:below.) 1616:symphony 1508:Coppélia 1218:degree. 690:The Five 684:A young 650:Bayreuth 641:Wagner's 637:Schumann 384:Udmurtia 372:Votkinsk 348:a museum 344:Votkinsk 269:The Five 79:Votkinsk 8397:Portals 8364:→ 8326:Science 8205:Mazurka 8180:Ballade 8113:Voříšek 8083:Tárrega 8078:Taneyev 8038:Smetana 7993:Rossini 7948:Puccini 7943:Prudent 7903:Nielsen 7868:Méreaux 7843:Medtner 7808:Lysenko 7778:Lachner 7743:Joachim 7723:Herbert 7643:Farrenc 7608:Delibes 7583:Crusell 7528:Borodin 7518:Berwald 7508:Berlioz 7498:Bennett 7493:Bellini 7478:Bazzini 7458:Arensky 7309:Related 6839:Manfred 6761:Ballets 6751:Iolanta 6588:at the 6556:(IMSLP) 6552:at the 6288:06-4844 6052:(ed.). 5881:(ed.). 5806:Sources 5684:Wiley, 5658:Brown, 5597:Brown, 5517:Brown, 5446:Brown, 5385:Brown, 5337:Brown, 5308:Brown, 5239:Brown, 5204:Brown, 5188:Brown, 5153:Brown, 5114:Brown, 5070:Brown, 5045:Brown, 5032:Brown, 5010:Brown, 4925:Wiley, 4908:Brown, 4895:Brown, 4882:Wiley, 4866:Brown, 4805:Brown, 4792:Wiley, 4754:Brown, 4737:Brown, 4724:Brown, 4693:Brown, 4650:Brown, 4629:Brown, 4608:Brown, 4565:Brown, 4548:Brown, 4462:Brown, 4440:, xvii. 4423:Wiley, 4362:Brown, 4340:Brown, 4327:Brown, 4266:Brown, 4253:Wiley, 4235:Brown, 4219:Brown, 4180:Brown, 4130:Brown, 4117:Brown, 4104:Wiley, 4086:, 1086. 4082:Brown, 4044:Wiley, 4014:Wiley, 3984:14 June 3959:Brown, 3946:Brown, 3871:Wiley, 3845:Wiley, 3832:Wiley, 3806:Brown, 3793:Brown, 3780:Brown, 3763:Brown, 3699:Brown, 3686:Brown, 3633:Brown, 3581:Brown, 3485:Wiley, 3459:Brown, 3442:Brown, 3416:Brown, 3394:Brown, 3333:Wiley, 3291:Brown, 3254:. 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In 5588:, 631 5508:, 486 5428:, 206 5230:, 11. 5144:, 18. 5014:, 72. 4813:, 58. 4656:Quest 4635:Quest 4614:Quest 4573:, 88. 4556:, 53. 4466:, 50. 4451:Quest 4399:Quest 4377:Quest 4366:, 92. 3950:, 49. 3897:, 27. 3875:, 77. 3862:, 95. 3849:, 79. 3836:, 87. 3823:, 61. 3771:, 35. 3690:, 60. 3677:, 36. 3637:, 14. 3624:, 31. 3611:, 17. 3598:, 31. 3585:, 43. 3561:Quest 3550:, 30. 3544:Quest 3522:Quest 3502:, 26. 3431:Quest 3117:JSTOR 2707:, 2). 2645:ISO 9 2574:, or 2548:Piotr 2507:Notes 2264:] 1877:pitch 1651:From 1412:Music 1321:Death 945:Third 912:Gogol 464:waltz 202:-skee 106:Works 8200:Lied 8138:Wolf 7988:Rode 7978:Ries 7958:Raff 7783:Lalo 7448:Adam 6532:LCCN 6516:OCLC 6506:ISBN 6478:ISBN 6463:OCLC 6445:ISBN 6430:ISBN 6412:ISBN 6395:LCCN 6377:ISBN 6357:ISBN 6342:ISBN 6301:ISBN 6284:LCCN 6266:ISBN 6251:ISBN 6236:ISBN 6218:ISBN 6179:ISBN 6161:ISBN 6143:ISBN 6122:ISBN 6100:ISBN 6084:2012 6058:OCLC 6015:ISBN 5996:ISBN 5965:ISBN 5946:ISBN 5927:ISBN 5908:ISBN 5889:ISBN 5861:ISBN 5839:ISBN 5822:OCLC 5797:Eyes 5316:, 9. 5142:Eyes 4596:2009 4571:Eyes 4515:2018 4486:Eyes 3986:2024 3752:Eyes 3609:Eyes 3563:, 26 3489:, 8. 3467:, 8. 3450:, 7. 3433:, 5. 3337:, 6. 3319:Eyes 3306:Eyes 3295:, 19 3273:ISBN 3187:ISBN 3157:2023 3128:2023 3109:ISSN 3075:2023 3062:ISBN 3041:2023 3016:2023 2972:2020 2735:Eyes 2705:Eyes 2633:' — 2608:IPA: 2552:Petr 2053:and 1857:Play 1815:keys 1805:and 1585:and 1523:and 1517:for 1511:and 1486:Bach 1468:and 1426:and 1382:and 1329:and 1114:and 1044:Klin 989:and 947:and 849:and 745:and 726:and 674:and 558:and 532:Lent 521:Tsar 422:and 219:and 198:chy- 143:(in 129:(in 87:Died 65:Born 8043:Sor 7588:Cui 6579:at 3308:, 1 3179:doi 2885:on 2558:or 2550:or 2534:is 2526:is 2237:'s 2184:in 2161:sic 1445:by 1343:in 914:'s 620:). 566:". 200:KOF 8483:: 6568:. 6514:. 6389:, 6368:, 6340:. 6313:, 6230:, 6214:to 6191:, 6173:, 6073:. 6037:. 5986:; 5982:; 5772:^ 5631:^ 5610:^ 5560:, 5321:^ 5266:^ 5197:^ 5063:^ 5019:^ 4996:. 4978:. 4960:. 4942:. 4875:^ 4783:^ 4774:" 4710:. 4532:. 4506:. 4244:^ 4228:^ 4160:^ 4139:^ 4053:^ 4003:^ 3977:. 3712:^ 3369:^ 3359:. 3326:^ 3248:. 3230:. 3201:^ 3185:. 3165:^ 3148:. 3136:^ 3115:. 3105:36 3103:. 3099:. 3083:^ 3007:. 2987:. 2963:. 2794:." 2667:: 2663:, 2657:: 2653:, 2647:: 2643:, 2637:: 2570:, 2566:, 2554:; 2262:ru 2057:. 2037:c. 1813:, 1589:. 1581:, 1577:, 1573:, 1569:, 1565:, 1561:, 1476:, 1456:. 1403:, 1370:, 1191:, 1162:. 1118:. 1110:, 993:. 985:, 963:. 853:. 845:, 841:, 741:, 737:, 694:c. 692:, 662:. 275:. 255:. 235:, 168:aɪ 165:tʃ 55:c. 8399:: 8286:" 8282:" 7415:e 7408:t 7401:v 7190:) 7082:) 7078:( 6856:) 6852:( 6841:) 6837:( 6826:) 6822:( 6816:) 6812:( 6806:) 6802:( 6618:e 6611:t 6604:v 6572:. 6538:. 6522:. 6484:. 6469:. 6451:. 6436:. 6418:. 6401:. 6383:. 6348:. 6307:. 6290:. 6272:. 6257:. 6242:. 6224:. 6185:. 6167:. 6149:. 6130:. 6108:. 6086:. 6064:. 6023:. 6004:. 5973:. 5954:. 5935:. 5916:. 5897:. 5869:. 5847:. 5828:. 5784:" 5782:' 5000:. 4982:. 4964:. 4946:. 4770:" 4714:. 4598:. 4538:. 4517:. 3988:. 3363:. 3281:. 3234:. 3195:. 3181:: 3159:. 3130:. 3077:. 3043:. 3018:. 2993:. 2974:. 2673:. 2600:( 2582:/ 2359:: 2340:: 2302:: 1925:. 192:/ 189:i 186:k 183:s 180:f 177:ɒ 174:k 171:ˈ 162:/ 158:( 147:) 133:) 73:) 69:( 23:.

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Pyotr Ilyich Tchaikovsky

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