Hamad Alrashed introduction
Tchaikovsky an always associated composer with the Moscow school according to his teaching position , as well as using Russian harmonies , and melodies as much as the mighty five do. The turning point of view between Tchaikovsky and the five by his philosophical point of that he is akin more to western ideas.
Tchaikovsky bridges the gap between the two schools, for example tonality in his thematic presentation reveal that all of his themes are revoid of modality, thus suggest more functional, supplementary chromatic, accompaniment, while many themes possess Russian Character-minor.
Tchaikovsky structural innovations of the ninteenth century symphony are noticeable, …show more content…
Symphonic music as a vehicle of expression
Tchaikovsky point and clarify his opinion and point of view in his of the symphonic music by his words ( I wish mot symphonic works to come from my pen which express nothing, and which consist of with empty playing with chords, rhythms, and modulations....ought not a symphony -that is the most lyrical of all musical forms , express everything for which there are no words , but which the soul wishes to express , and which requires to be expressed ...I 'll add moreover, that there is not a note in this symphony that is in mine, No 4 which I did not feel deeply, and which did not serve as an echo of sincere impulses within my soul) (Kraus, "P 26".
Unlike the symphonic poems when the expression depends on a specific literary illusion, symphonies depict a series of deeply felt emotions. This artistic point of view was shared by Robert Schumman , greatly admired composer by Tchaikovsky, particulary for his second , and third symphonies.
Program of the first movement
Introduction. Complete resignation before fate , or, which is the same, before the inscrutable predestination of of …show more content…
68. Libretto by M.I. Tchaikovsky ( in collaboration with the composer) after A.S. Pushkin , compose January 19 to June 8 1890, ( commissioned by imperial theatres). First performed December 7, 1890 St. Petersburg, Mariinsky theatre, conducted by E.F. Napravnik, my 1 August 1891, Jurgenson.
Swan lake ballet in four acts, op.20. Libretto by B.V. Begichev l, and V.F.Geltser. Composed Aug 14 1875 to April 10 1876 , commissioned by Imperial theatres, first performed February 20 1877, Moscow. Bolshoi theatre, produced by Reisinger , conducted by S.J. Ryabov, published July 1895, Jurgenson.
Sleeping beauty ballet, three acts, with prologue( five scenes) op.66, Libretto by M.I.Petitpas and I.A.Vsevolozhsky. Composed Dec 1888 to August 16(20) 1889 , commissioned by Imperial theatres, first performance Jan 3 1889, St.Petersburg, Mariinsky theatre, produced by M.I.Petitpas, conducted by R.ae.Drigo. Published only the Piano score, (Jurgenson).
Nutcracker Ballet-fairy tale in three act( three scenes) Op 71. Libretto by by M.I.Petitpas, after E.T.A.Hoffman A.Dumas . Composed Feb 22 1891 to March 23 1892 , commissioned by Imperial theatres. First performance Dec.6 1892 St.Petersburg, Mariinsky theatre produced by L.I.Ivanov, conducted by R.E.Drigo. Published Nov 1892