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fugal, the second is a wind-choral, and the third is a section in the relative minor, B minor, where some of the second movement's trio's triplet figures make another reprise. There is then another longer fugal section, a variation of the main theme which modulates into a number of different keys along the way. It is characterized by staggered entrances of the theme, before another variation on another reprise of the main theme slows dramatically into a slower chorale section featuring all the winds and brass. There is then a section with another variation on the original theme up to the original tempo, and then a presto in 1 which drives to the end, which concludes with 12 D major chords over a long timpani roll, and then 3 long Ds, the third of which is a
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consciously trying to achieve in a 'Germanic' way and his own characteristics." Wiley, less polarizing, calls the Third the "least comformative" of the symphonies and admits its unorthodox structure and wide range of material "may produce an impression of strangeness, especially of genre." These factors, he says, make the Third difficult to categorize: "It is not folkish, nor classical, nor
Berliozian/Lisztian, nor particularly Tchaikovskian in light of his other symphonies."
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810:. He remained highly sensitive to their concerns and expectations and searched constantly for new ways to meet them. Part of meeting his listeners' expectations was using the polonaise, which he did in several of his works, including the Third Symphony. Using it in the finale of a work could assure its success with Russian listeners.
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388:), before repeating the theme from the key change and then returning to the tonic at the end instead of the dominant, with a developmental section in between before the recapitulation. The movement closes with a coda, which occurs twice (essentially back to back) and accelerandos to an extremely fast tempo towards the very end.
803:. This made his creative situation more akin to Mendelssohn or Mozart than to many of his European contemporaries. Because of this cultural mindset, Tchaikovsky saw no conflict in making his music accessible or palatable to his listeners, many of whom were among the Russian aristocracy and would eventually include
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and his own lyric impulses, opted for the latter and "was at least wise enough not to attempt an amalgamation" of academic and melodic veins, which fundamentally worked against each other. The best parts of the symphony, he continues, are the three inner movements, where the composer allowed his gift
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The symphony was premiered in Moscow in
November 1875 under the baton of the composer's friend and champion, Nikolai Rubinstein. Tchaikovsky, who attended rehearsals and the performance, was "generally satisfied" but complained to Rimsky-Korsakov that the fourth movement "was played far from well as
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and questions whether
Tchaikovsky wanted to allude in this work to the 18th century. Rosa Newmarch mentions the 3rd Symphony in D is a work altogether different in style to his two earlier ones, and totally western in character. Such a move would not be unique or unprecedented in Tchaikovsky's work;
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figures between the upper strings and woodwinds, there is a trio in the form of a march, which modulates through a number of different keys, starting with G minor, before returning to the relative major to the tonic B minor of the movement, D major. The entire opening of the movement up to the trio
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On the positive side of the spectrum, Keller calls the Third
Symphony the composer's "freest and most fluent so far" and Maes dismisses naysayers of the piece as those who judge the quality of a Tchaikovsky composition "by the presence of lyric charm, and formal complexity ... as incompatible with
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This movement is characterized by rhythms typical of a polonaise, a Polish dance, from which the symphony draws its name. The opening theme is effectively a variety of a rondo theme, and it returns several more times in the movement, with different episodes in between each occurrence: the first is
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major (the subdominant to F) and the recapitulation in D major (the parallel major to D minor). This movement is atypically more lyrical than the second. Between the two is a contrasting middle section, consisting of material closely resembling the repeated eighth note triplet figures in the trio
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On the symphony's instrumentation, musicologist
Francis Maes writes that here, Tchaikovsky's "feeling for the magic of sound is revealed for the first time" and likens the music's "sensual opulence" to the more varied and finely shaded timbres of the orchestral suites. Wiley adds about this aspect,
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Western critics and audiences began calling this symphony the Polish after Sir August Manns led the first
British performance in 1899, with the finale seen as an expression by the Polish people for their liberation from Russian domination and the reinstatement of their independence. Since this was
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considers it "the weakest, most academic" of the seven the composer completed. Warrack notes a disjunction between the work's various musical elements. He writes that it "lacks the individuality of its fellows" and notes "a somewhat awkward tension between the regularity of a symphonic form he was
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of the strings" in the first movement, the waltz theme and trio of the second movement and the trio of the fourth movement (in other words, the smaller group of winds balanced against the larger group of strings). The finale, Wiley states, does not decide which format
Tchaikovsky may have actually
759:, would be his next major work) and orchestral suites. Wiley seconds the stylistic nearness to the orchestral suites and notes that the creative freedom, beauty and lack of apparent internal logic between movements which is characteristic of those compositions also seems apparent in the symphony.
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time, this movement opens with all winds, notably a flute solo. This movement is the most romantic in nature of the five, and it is roughly a variation of slow sonata ternary form without a development, although the traditional dominant-tonic recapitulation is abandoned for more distant keys, the
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Occupying the middle ground between these extremes, Brown deems the Third "the most inconsistent ... least satisfactory" of the symphonies and "badly flawed" but admits it is "not so devoid of 'particularly successful ideas' as the composer's own judgment would have us believe." He surmises that
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disagrees. Rather than a "regression" in symphonic form, Keller sees the five-movement form, along "with the introduction of dance rhythms into the material of every movement except the first," as widening "the field of symphonic contrasts both within and between movements."
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the way Chopin had treated the dance in his works and people had heard them in that light for at least a generation, their interpretation of the finale of the Third
Symphony in a similar manner was completely understandable. Unfortunately, it was also completely wrong.
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507:(literally meaning 'joke' in Italian) does not in itself imply this metric convention. Like other scherzi of its time, the movement is fast enough to be conducted in one and is composed in ternary form. After a prolonged 'question and answering' of
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against the normal rhythmic pattern of the first movement. He also notes the Third's "capricious rhythms and fanciful manipulation of musical forms," which presage the music
Tchaikovsky would write for his ballets (his first,
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there in
November 1876. However, after the symphony had been rehearsed, the Philharmonic Society cancelled the performance, citing the work's apparent difficulty and lack of public familiarity with the composer. The fact that
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is then repeated, and the movement closes with a brief reprise of some of the trio's march material. The trio uses material Tchaikovsky had composed for an 1872 cantata to celebrate the bicentenary of the birth of Tsar
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for melody "its full unfettered exercise." Brown says the symphony "discloses the widening dichotomy within Tchaikovsky's style, and powerfully proclaims the musical tensions that matched those within the man himself."
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three years earlier, would become a major interpreter of Tchaikovsky's music. He would premiere five of the composer's operas and, among many traversals of the orchestral works, conduct the first performance of the
647:, "As far as I can see this symphony presents no particularly successful ideas, but in workmanship it's a step forward." Not long before composing this symphony, Tchaikovsky had received a thorough drubbing from
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to the opening polonaise, Wiley says Tchaikovsky concludes the work on a note "more pretentious than a divertimento, less grand than a symphony, leaves the work's genre identity suspended in the breach."
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figure in the winds and strings, after which the beginning up to the trio is basically repeated again. The movement closes with a brief coda consisting of string pizzicatos and clarinet and bassoon solos.
210:, who seems to have been the first to refer to it as the "Polish Symphony", in reference to the recurring Polish dance rhythms prominent in the symphony's final movement. Several musicologists, including
150:, Op. 29, was written in 1875. He began it at Vladimir Shilovsky's estate at Ussovo on 5 June and finished on 1 August at Verbovka. Dedicated to Shilovsky, the work is unique in Tchaikovsky's
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The initial critical response to the Third Symphony in Russia was uniformly warm. However, over the long run, opinion has remained generally mixed, leaning toward negative. Among musicologists,
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made a similar statement by calling the Third Symphony 'the first 'typical' symphony (and the first Mozartean one!) in the sense that it is the first to be thoroughly dominated by the dance."
788:(1757–1831) (Polish: JĂłzef KozĹ‚owski), a Pole who served in the Russian army and whose greatest successes as a composer were with his polonaises. To commemorate Russian victory over the
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of the second movement. The movement closes with a brief coda with string tremolos, and a repeat of the wind solos accompanied by string pizzicatos from the opening of the movement.
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675:, "went off very well and had a considerable success," in the composer's estimation. NápravnĂk, who had conducted the first performance of the revised overture–fantasia
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and a symbol of Russian imperialism. In other words, Tchaikovsky's use of the polonaise was the diametric opposite to Chopin's. This context for the dance began with
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Tchaikovsky recorded little about the composition of his Third Symphony. He penned the work quickly, between June and August 1875. After its premiere, he wrote
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as a symbol of Polish independence, interpreted Tchaikovsky's use of the same dance likewise; actually, in Tsarist Russia it was musical code for the
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postulates that Tchaikovsky might have conceived the Third Symphony with the notion of what Schumann might have written had he been Russian. The
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In explaining his analogy, Wiley points out how the composer holds back the full orchestra occasionally in a manner much like that of a
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in the title is his "first nominal gesture toward 18th century music," is in fact a near-contemporary of the symphony.) Musicologist
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time. This is somewhat unusual, as scherzi in classical music of the time are traditionally in triple meter, although the name
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Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002), tr. Pomerans, Arnold J. and Erica Pomerans.
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it could have been, had there been more rehearsals." The first performance in Saint Petersburg, given in February 1876 under
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In a sort of ternary form, this begins as a waltz, and then after a trio consisting of a many-times-repeated triplet
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premiered on April 13, 1967 and is considered the first full-length abstract ballet. Choreographed with ballerina
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the alleged lyric personality of the composer." Maes points out the symphony's "high degree of motivic and
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One thing to keep in mind is that Tchaikovsky lived and worked in what was probably the last 19th-century
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intricacies," which include the composer's use of asymmetrical phrases and a Schumannesque play of
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1638:(Seattle: University of Washington Press, 1969). Library of Congress Catalog Card No. 78–105437.
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Cummings, Robert, Description of Tchaikovsky Symphony No. 3, allmusic.com. Accessed 17 Mar 2012.
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The first performance of the Third outside Russia was scheduled for October 1878 with the
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output in two ways: it is the only one of his seven symphonies (including the unnumbered
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Tchaikovsky was not the only Russian composer to use Schumann in general, or the
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for cello and orchestra, which Wiley suggests by Tchaikovsky's use of the word
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This movement, in common time, begins with a slow funeral march opening in the
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The British premiere of the Third Symphony was led by Sir August Manns at the
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303:"Is the symphony a discourse or the play of sound? It revels in the moment."
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1519:(New York: W.W. Norton & Company, 1945), ed. Abraham, Gerald. ISBN n/a.
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1546:(New York: Drake Publishers Inc., 1972), 2 vols., ed. Simpson, Robert.
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In Tsarist Russia, the polonaise was considered musical code for the
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movement occurs between the opening movement and the slow movement).
1420:"Company premiere of Jewels, BalletMet Columbus at the Ohio Theatre"
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acknowledged it as a reference when, as a naval cadet, he wrote his
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The symphony, without its first movement, was used by choreographer
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overall tone of exuberant optimism. For these reasons, musicologist
1045:(Revised ed.). New York: Charles Scribner’s Sons. p. 51.
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700:. Richter, an admirer of Tchaikovsky's work, had already conducted
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218:, consider this name a faux pas. Western listeners, conditioned by
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1620:(Berkeley and Los Angeles: University of California Press, 2009).
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The average performance of this symphony runs about 45 minutes.
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and a reprise of the movement's second theme in the form of a
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had been hissed by the audience and unfavorably reviewed by
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that the composer occasionally wrote in a form of Mozartian
299:(violins I, violins II, violas, cellos, and double basses).
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International Tchaikovsky Competition for Young Musicians
1459:(London: MacMillan, 1980), 20 vols., ed. Sadie, Stanley.
920:; the work itself is closely patterned after Schumann's
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http://en.tchaikovsky-research.net/pages/Symphony_No._3
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Its first performance in the United Kingdom was at the
1648:(Oxford and New York: Oxford University Press, 2009).
871:. Petipa collaborated with Tchaikovsky on the ballets
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In his biography and analysis of Tchaikovsky's music,
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1581:, BalletMet Columbus, Sep 2003. Accessed 17 Mar 2012.
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formal layout has been either a blessing or a curse.
1601:(London and New York: Macmillan, 1992), 4 vols, ed.
255:The Symphony is scored for an orchestra comprising
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720:in London in 1899. Manns dubbed the work with the
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763:Tchaikovsky, caught between the proscriptions of
530:: Allegro con fuoco (Tempo di polacca) (D major)
2525:Ballets to the music of Pyotr Ilyich Tchaikovsky
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1140:
1138:
1136:
2139:Festival Overture on the Danish National Anthem
1504:, (New York: W.W. Norton & Company, 1991).
1489:, (New York: W.W. Norton & Company, 1983).
1456:The New Grove Dictionary of Music and Musicians
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1542:Keller, Hans, "Pyotr Ilyich Tchaikovsky." In
1529:Natasha's Dance: A Cultural History of Russia
1474:(New York: W.W. Norton & Company, 1978).
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713:might have also contributed to its decision.
160:) in a major key (discounting the unfinished
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365:: Moderato assai (Tempo di marcia funebre) (
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883:, hence the use of Tchaikovsky's music in
1671:International Music Score Library Project
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829:, the third and final part of his ballet
1487:Tchaikovsky: The Crisis Years, 1874–1878
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230:and, by extension, Russian imperialism.
181:on 19 November 1875, under the baton of
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1502:Tchaikovsky: The Final Years, 1885–1893
1472:Tchaikovsky: The Early Years, 1840–1874
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241:section of his full length 1967 ballet
2520:Symphonies by Pyotr Ilyich Tchaikovsky
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1531:(New York: Metropolitan Books, 2002).
772:Controversy over the nickname "Polish"
568:points out in the 1980 edition of the
2437:International Tchaikovsky Competition
2422:Moscow State Tchaikovsky Conservatory
1689:
1515:Cooper, Martin, "The Symphonies." In
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559:likens the five-movement format to a
537:in the very last bar of the symphony.
1636:Tchaikovsky Symphonies and Concertos
1577:Potter, Jeannine, Program notes for
639:Composition and initial performances
16:Symphony by Pyotr Ilyich Tchaikovsky
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191:premiere on 24 January 1876, under
13:
1453:, "Tchaikovsky, Pyotr Ilyich." In
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1365:Figes, 274; Maes, 78–9, 137.
250:
134:Problems playing these files? See
31:
14:
2541:
2167:Orchestral Suite No. 4 in G major
2162:Orchestral Suite No. 3 in G major
2157:Orchestral Suite No. 2 in C major
2152:Orchestral Suite No. 1 in D minor
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1646:The Master Musicians: Tchaikovsky
1598:The New Grove Dictionary of Opera
1559:A History of Russian Music: From
247:, omitting the opening movement.
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1595:, "Tchaikovsky, Pyotr Il'yich",
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391:
119:
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83:
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2249:String Quartet No. 2 in F major
2244:String Quartet No. 1 in D major
1987:Piano Concerto No. 2 in G major
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1383:Figes, 274; Maes, 139–41.
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863:was meant to evoke the work of
403:: Allegro moderato e semplice (
2427:Tchaikovsky Symphony Orchestra
2412:Tchaikovsky State House-Museum
1589:(New York: Dial Press, 1977).
1043:Tchaikovsky His Life and Works
1034:
1023:
1010:
997:
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177:The symphony was premiered in
1:
2417:Tchaikovsky Museum (Votkinsk)
2318:Grand Piano Sonata in G major
2194:Liturgy of St John Chrysostom
931:
694:Vienna Philharmonic Orchestra
618:For other musicologists, the
578:throughout his career. (The
344:Saint Petersburg Conservatory
2037:Variations on a Rococo Theme
847:in mind and inspired by the
626:admits the second movement,
580:Variations on a Rococo Theme
7:
912:in particular, as a model.
689:after Tchaikovsky's death.
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330:. The work also shares the
10:
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2277:String Sextet in D minor (
2031:Violin Concerto in D major
206:in 1899, conducted by Sir
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2372:Modest Ilyich Tchaikovsky
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2254:String Quartet No. 3 in E
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2146:Festival Coronation March
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1992:Piano Concerto No. 3 in E
1976:Piano Concerto No. 1 in B
1968:
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1851:
1763:
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606:had in mind. By adding a
350:Symphony by his teacher,
233:The symphony was used by
148:Symphony No. 3 in D major
43:I. Introduzione e Allegro
1717:Pyotr Ilyich Tchaikovsky
1041:Newmarch, Rosa (1908) .
895:
144:Pyotr Ilyich Tchaikovsky
2530:Compositions in D major
2323:Piano Sonata No. 2 in C
2266:Souvenir d'un lieu cher
1030:Cummings, allmusic.com.
914:Nikolai Rimsky-Korsakov
869:Imperial Russian Ballet
645:Nikolai Rimsky-Korsakov
369:) — Allegro briliante (
306:
667:
651:over the flaws in his
363:Introduzione e Allegro
36:
26:
2272:Piano Trio in A minor
2233:Quartet Movement in B
2018:Sérénade mélancolique
1392:Maes, 137; Taruskin,
665:
237:as the score for the
197:New York Philharmonic
79:III. Andante elegiaco
35:
22:
2432:Chaikovskij (crater)
2279:Souvenir de Florence
2177:Serenade for Strings
1728:List of compositions
1676:Tchaikovsky Research
1517:Music of Tchaikovsky
1196:As quoted in Brown,
1183:As quoted in Brown,
1157:As quoted in Brown,
1130:Keller, 344–5.
891:Notes and references
837:New York City Ballet
653:First Piano Concerto
346:; the other was the
2095:Francesca da Rimini
1926:Symphony in B minor
1867:The Sleeping Beauty
1835:The Queen of Spades
1814:Mazepa (or Mazeppa)
1807:The Maid of Orleans
1616:Taruskin, Richard,
1587:Repertory in Review
874:The Sleeping Beauty
382:sonata-allegro form
24:Tchaikovsky c. 1875
2384:Antonina Miliukova
2305:Souvenir de Hapsal
2298:Scherzo Ă la russe
2011:Andante and Finale
1642:Wiley, Roland John
849:unicorn tapestries
835:. Created for the
668:
649:Nikolai Rubinstein
488:The scherzo is in
271:(in A, B-flat), 2
183:Nikolai Rubinstein
37:
27:
2515:1875 compositions
2480:
2479:
2390:Nadezhda von Meck
2088:Capriccio Italien
2044:Pezzo capriccioso
1961:
1654:978-0-19-536892-5
1593:Taruskin, Richard
1585:Reynolds, Nancy,
1374:Maes, 78–9.
823:George Balanchine
657:Nadezhda von Meck
557:Roland John Wiley
235:George Balanchine
124:
106:
88:
70:
52:
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2407:In popular media
2378:Vladimir Davydov
2354:The Music Lovers
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2067:Romeo and Juliet
2059:Orchestral works
2004:Concert Fantasia
1997:
1996:
1981:
1980:
1959:
1956:
1955:
1941:No. 6 in B minor
1936:No. 5 in E minor
1921:No. 4 in F minor
1911:No. 3 in D major
1901:No. 2 in C minor
1895:Winter Daydreams
1891:No. 1 in G minor
1793:Vakula the Smith
1710:
1703:
1696:
1687:
1686:
1669:: Scores at the
1618:On Russian Music
1527:Figes, Orlando,
1439:
1436:
1430:
1429:
1427:
1426:
1415:
1406:
1403:
1397:
1390:
1384:
1381:
1375:
1372:
1366:
1363:
1357:
1350:
1339:
1332:
1326:
1319:
1310:
1303:
1294:
1291:
1285:
1278:
1272:
1265:
1256:
1249:
1240:
1233:
1227:
1220:
1214:
1207:
1201:
1194:
1188:
1181:
1175:
1168:
1162:
1155:
1149:
1142:
1131:
1128:
1122:
1115:
1109:
1102:
1096:
1089:
1083:
1076:
1070:
1067:New Grove (1980)
1063:
1057:
1056:
1038:
1032:
1027:
1021:
1014:
1008:
1001:
995:
992:
983:
976:
961:
958:
925:
906:
731:Critical opinion
702:Romeo and Juliet
678:Romeo and Juliet
673:Eduard NápravnĂk
666:Eduard NápravnĂk
597:, "the winds as
588:Richard Taruskin
544:
523:
502:
501:
500:
499:
482:: Allegro vivo (
475:
466:
465:
461:first being in B
459:
458:
457:
456:
442:
441:
435:Andante elegiaco
430:
410:
409:
395:
352:Anton Rubinstein
193:Eduard NápravnĂk
189:
167:
166:
157:Manfred Symphony
126:
125:
108:
107:
90:
89:
72:
71:
61:II. Alla tedesca
54:
53:
34:
2545:
2544:
2540:
2539:
2538:
2536:
2535:
2534:
2505:
2504:
2503:
2499:Classical Music
2493:
2491:
2483:
2481:
2476:
2448:
2395:
2360:
2333:
2325:
2324:
2285:
2256:
2255:
2235:
2234:
2221:
2201:All-Night Vigil
2181:
2054:
1994:
1993:
1978:
1977:
1964:
1953:
1952:
1879:
1847:
1828:The Enchantress
1759:
1750:Belyayev circle
1719:
1714:
1663:
1557:Maes, Francis,
1447:
1442:
1437:
1433:
1424:
1422:
1416:
1409:
1404:
1400:
1391:
1387:
1382:
1378:
1373:
1369:
1364:
1360:
1351:
1342:
1333:
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1304:
1297:
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1288:
1279:
1275:
1266:
1259:
1250:
1243:
1234:
1230:
1221:
1217:
1208:
1204:
1195:
1191:
1182:
1178:
1169:
1165:
1156:
1152:
1143:
1134:
1129:
1125:
1116:
1112:
1103:
1099:
1090:
1086:
1077:
1073:
1064:
1060:
1053:
1039:
1035:
1028:
1024:
1015:
1011:
1007:, 44; Maes, 78.
1002:
998:
993:
986:
977:
964:
959:
938:
934:
929:
928:
907:
903:
898:
893:
845:Suzanne Farrell
819:
782:Romanov dynasty
774:
733:
711:Eduard Hanslick
641:
595:concerto grosso
553:
548:
514:Peter the Great
498:
493:
492:
491:
490:
489:
463:
462:
455:
450:
449:
448:
447:
446:
443:major→D major)
439:
438:
407:
406:
313:Robert Schumann
309:
253:
251:Instrumentation
228:Romanov dynasty
187:
164:
163:
141:
140:
132:
130:
129:
128:
127:
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111:
110:
109:
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84:
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75:
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66:
63:
57:
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48:
45:
38:
32:
17:
12:
11:
5:
2543:
2533:
2532:
2527:
2522:
2517:
2502:
2501:
2478:
2477:
2475:
2474:
2464:
2453:
2450:
2449:
2447:
2446:
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2444:
2434:
2429:
2424:
2419:
2414:
2409:
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2397:
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2387:
2381:
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2359:
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2320:
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2293:
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2269:
2262:
2251:
2246:
2241:
2229:
2227:
2223:
2222:
2220:
2219:
2211:
2204:
2197:
2189:
2187:
2183:
2182:
2180:
2179:
2174:
2164:
2159:
2154:
2149:
2142:
2135:
2128:
2121:
2114:
2105:
2098:
2091:
2084:
2077:
2070:
2062:
2060:
2056:
2055:
2053:
2052:
2050:Cello Concerto
2047:
2040:
2033:
2028:
2021:
2014:
2007:
2000:
1989:
1984:
1972:
1970:
1966:
1965:
1963:
1962:
1948:
1938:
1933:
1923:
1918:
1908:
1905:Little Russian
1898:
1887:
1885:
1881:
1880:
1878:
1877:
1874:The Nutcracker
1870:
1863:
1855:
1853:
1849:
1848:
1846:
1845:
1838:
1831:
1824:
1817:
1810:
1803:
1796:
1789:
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1775:
1767:
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1752:
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1724:
1721:
1720:
1713:
1712:
1705:
1698:
1690:
1684:
1683:
1678:
1673:
1667:Symphony No. 3
1662:
1661:External links
1659:
1658:
1657:
1639:
1629:
1614:
1603:Sadie, Stanley
1590:
1583:
1574:
1555:
1540:
1525:
1520:
1513:
1500:Brown, David,
1498:
1485:Brown, David,
1483:
1470:Brown, David,
1468:
1446:
1443:
1441:
1440:
1438:Reynolds, 247.
1431:
1407:
1398:
1385:
1376:
1367:
1358:
1340:
1327:
1311:
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1286:
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1163:
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1123:
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1084:
1071:
1058:
1052:978-0838303108
1051:
1033:
1022:
1009:
996:
984:
962:
935:
933:
930:
927:
926:
918:First Symphony
900:
899:
897:
894:
892:
889:
880:The Nutcracker
853:Musée de Cluny
818:
812:
790:Ottoman Empire
786:Osip Kozlovsky
773:
770:
732:
729:
727:at that time.
718:Crystal Palace
640:
637:
612:recapitulation
552:
549:
547:
546:
545:
538:
525:
524:
517:
509:sixteenth note
494:
477:
476:
469:
451:
432:
431:
424:
398:
397:
396:
389:
378:parallel minor
359:
308:
305:
252:
249:
222:'s use of the
204:Crystal Palace
188:St. Petersburg
131:
118:
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82:
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2261:
2252:
2250:
2247:
2245:
2242:
2240:
2231:
2230:
2228:
2226:Chamber music
2224:
2217:
2216:
2212:
2210:
2209:
2205:
2203:
2202:
2198:
2196:
2195:
2191:
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2129:
2127:
2126:
2125:1812 Overture
2122:
2120:
2119:
2115:
2113:
2112:
2111:
2106:
2104:
2103:
2099:
2097:
2096:
2092:
2090:
2089:
2085:
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2082:
2078:
2076:
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2071:
2069:
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2064:
2063:
2061:
2057:
2051:
2048:
2046:
2045:
2041:
2039:
2038:
2034:
2032:
2029:
2027:
2026:
2025:Valse-Scherzo
2022:
2020:
2019:
2015:
2013:
2012:
2008:
2006:
2005:
2001:
1999:
1990:
1988:
1985:
1983:
1974:
1973:
1971:
1967:
1958:
1951:Symphony in E
1949:
1946:
1942:
1939:
1937:
1934:
1931:
1927:
1924:
1922:
1919:
1916:
1912:
1909:
1906:
1902:
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1896:
1892:
1889:
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1823:
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1818:
1816:
1815:
1811:
1809:
1808:
1804:
1802:
1801:
1800:Eugene Onegin
1797:
1795:
1794:
1790:
1788:
1787:
1786:The Oprichnik
1783:
1781:
1780:
1776:
1774:
1773:
1769:
1768:
1766:
1762:
1756:
1753:
1751:
1748:
1746:
1743:
1739:
1736:
1735:
1734:
1733:Musical style
1731:
1729:
1726:
1725:
1722:
1718:
1711:
1706:
1704:
1699:
1697:
1692:
1691:
1688:
1682:
1679:
1677:
1674:
1672:
1668:
1665:
1664:
1655:
1651:
1647:
1643:
1640:
1637:
1633:
1632:Warrack, John
1630:
1627:
1626:0-520-26806-7
1623:
1619:
1615:
1612:
1611:0-333-48552-1
1608:
1604:
1600:
1599:
1594:
1591:
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1582:
1580:
1575:
1572:
1571:0-520-21815-9
1568:
1564:
1561:Kamarinskaya
1560:
1556:
1553:
1552:0-87749-244-1
1549:
1545:
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1538:
1537:0-8050-5783-8
1534:
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1521:
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1514:
1511:
1510:0-393-03099-7
1507:
1503:
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1495:0-393-01707-9
1492:
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1480:0-393-07535-2
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1465:0-333-23111-2
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1120:
1114:
1108:, 20–1.
1107:
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1088:
1081:
1075:
1068:
1062:
1054:
1048:
1044:
1037:
1031:
1026:
1020:, 63–4.
1019:
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989:
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866:
865:Marius Petipa
862:
858:
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846:
842:
838:
834:
833:
828:
824:
817:
811:
809:
808:Alexander III
806:
802:
801:feudal nation
797:
795:
791:
787:
783:
778:
769:
766:
760:
758:
757:
751:
747:
741:
738:
737:Martin Cooper
728:
726:
723:
719:
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712:
708:
703:
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688:
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680:
679:
674:
664:
660:
658:
654:
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629:
625:
621:
620:Schumannesque
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162:Symphony in E
159:
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139:
137:
116:
98:
80:
62:
44:
25:
21:
2352:
2344:
2310:
2303:
2296:
2278:
2264:
2215:Six Romances
2213:
2206:
2199:
2192:
2170:
2144:
2137:
2132:Marche slave
2130:
2123:
2118:The Voyevoda
2116:
2109:
2107:
2100:
2093:
2086:
2079:
2072:
2065:
2042:
2035:
2024:
2016:
2009:
2003:
1960:(unfinished)
1944:
1929:
1914:
1910:
1904:
1894:
1872:
1865:
1858:
1840:
1833:
1826:
1819:
1812:
1805:
1798:
1791:
1784:
1777:
1772:The Voyevoda
1770:
1645:
1635:
1617:
1596:
1586:
1578:
1562:
1558:
1544:The Symphony
1543:
1528:
1516:
1501:
1486:
1471:
1454:
1451:Brown, David
1445:Bibliography
1434:
1423:. Retrieved
1401:
1393:
1388:
1379:
1370:
1361:
1353:
1335:
1330:
1322:
1306:
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1281:
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1268:
1252:
1236:
1231:
1223:
1218:
1210:
1205:
1197:
1192:
1184:
1179:
1171:
1166:
1158:
1153:
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1126:
1118:
1113:
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1100:
1092:
1087:
1079:
1074:
1066:
1061:
1042:
1036:
1025:
1017:
1012:
1004:
999:
994:Keller, 344.
979:
909:
904:
884:
878:
872:
860:
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830:
826:
820:
815:
798:
779:
775:
761:
754:
742:
734:
724:
715:
706:
701:
698:Hans Richter
691:
684:
676:
669:
642:
628:Alla tedesca
627:
624:John Warrack
617:
592:
583:
569:
561:divertimento
554:
527:
504:
495:
479:
452:
434:
401:Alla tedesca
400:
362:
356:
347:
339:
331:
317:
310:
301:
254:
242:
238:
232:
216:Francis Maes
208:August Manns
201:
176:
172:Alla tedesca
171:
155:
147:
142:
133:
23:
2357:(1971 film)
2349:(1970 film)
2346:Tchaikovsky
2312:The Seasons
2290:Piano music
2186:Vocal music
2074:The Tempest
1969:Concertante
1821:Cherevichki
1394:Grove Opera
1307:Tchaikovsky
1293:Cooper, 30.
1080:Tchaikovsky
980:Tchaikovsky
765:sonata form
632:Hans Keller
566:David Brown
421:eighth note
336:David Brown
212:David Brown
97:IV. Scherzo
2509:Categories
2338:Portrayals
2171:Mozartiana
1945:Pathétique
1884:Symphonies
1738:Symphonies
1425:2013-02-12
1405:Maes, 137.
1146:Symphonies
1106:Symphonies
1091:Taruskin,
932:References
746:polyphonic
685:Pathétique
599:concertino
437:(D minor→B
283:(in F), 3
279:(in F), 2
136:media help
2374:(brother)
2102:The Storm
1860:Swan Lake
1144:Warrack,
1104:Warrack,
1069:, 18:628.
960:Maes, 78.
756:Swan Lake
722:sobriquet
571:New Grove
332:Rhenish's
285:trombones
269:clarinets
224:polonaise
199:Society.
152:symphonic
115:V. Finale
2462:Category
2392:(patron)
2380:(nephew)
2326:♯
2257:♭
2236:♭
2218:(Op. 38)
1995:♭
1979:♭
1954:♭
1745:The Five
1418:Potter.
1396:, 4:663.
885:Diamonds
861:Diamonds
827:Diamonds
750:hemiolas
687:symphony
576:pastiche
551:Analysis
464:♭
445:Also in
440:♭
408:♭
320:Symphony
281:trumpets
273:bassoons
239:Diamonds
165:♭
2400:Related
1930:Manfred
1852:Ballets
1842:Iolanta
1352:Brown,
1334:Brown,
1321:Brown,
1305:Wiley,
1280:Brown,
1267:Brown,
1251:Brown,
1235:Brown,
1222:Brown,
1209:Brown,
1170:Brown,
1117:Brown,
1093:Russian
1078:Wiley,
1065:Brown,
1016:Brown,
1003:Brown,
978:Wiley,
910:Rhenish
867:at the
851:in the
814:Use in
794:Ukraine
792:in the
603:ripieno
601:to the
535:fermata
505:scherzo
484:B minor
480:Scherzo
415:G minor
386:A major
371:D major
367:D minor
340:Rhenish
328:scherzo
318:Rhenish
297:strings
293:timpani
257:piccolo
2485:Portal
2386:(wife)
2365:People
2208:Moscow
2081:Hamlet
1915:Polish
1779:Undina
1764:Operas
1652:
1624:
1609:
1579:Jewels
1569:
1550:
1539:(hc.).
1535:
1508:
1493:
1478:
1463:
1354:Crisis
1338:, 150.
1323:Crisis
1309:, 132.
1282:Crisis
1271:, 102.
1269:Crisis
1255:, 241.
1253:Crisis
1239:, 487.
1226:, 226.
1213:, 186.
1198:Crisis
1185:Crisis
1172:Crisis
1159:Crisis
1121:, 441.
1095:, 130.
1082:, 143.
1049:
1005:Crisis
982:, 133.
922:Fourth
841:Jewels
832:Jewels
816:Jewels
725:Polish
696:under
584:Rococo
528:Finale
261:flutes
244:Jewels
220:Chopin
179:Moscow
2472:Audio
2329:minor
2260:minor
2239:major
2110:Fatum
1998:major
1982:minor
1957:major
1755:Death
1356:, 30.
1336:Final
1325:, 50.
1284:, 66.
1237:Final
1224:Early
1211:Early
1200:, 61.
1187:, 52.
1174:, 42.
1161:, 42.
1148:, 20.
1119:Final
1018:Early
896:Notes
857:Paris
707:Romeo
608:fugue
411:major
348:Ocean
324:suite
311:Like
277:horns
265:oboes
168:major
1650:ISBN
1622:ISBN
1607:ISBN
1567:ISBN
1548:ISBN
1533:ISBN
1506:ISBN
1491:ISBN
1476:ISBN
1461:ISBN
1047:ISBN
877:and
825:for
805:Tsar
307:Form
295:and
291:, 3
289:tuba
275:, 4
267:, 2
263:, 2
259:, 2
214:and
855:in
315:'s
146:'s
2511::
1644:,
1634:,
1605:.
1563:to
1410:^
1343:^
1314:^
1298:^
1260:^
1244:^
1135:^
987:^
965:^
939:^
887:.
859:,
486:)
417:)
373:)
354:.
287:,
2487::
2281:)
2173:)
2169:(
1947:)
1943:(
1932:)
1928:(
1917:)
1913:(
1907:)
1903:(
1897:)
1893:(
1709:e
1702:t
1695:v
1656:.
1628:.
1613:.
1573:.
1554:.
1512:.
1497:.
1482:.
1467:.
1428:.
1055:.
924:.
496:4
453:4
413:→
405:B
138:.
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