Tchaikovsky
Hamad Alrashed
Fall 2016 Tchaikovsky
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…
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.
2-Ballets
1876
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.
1889
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).
1892
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 …show more content…
Like "Kamarinskaya" is fall into two parts; the first, a slow plaintive song, and the second a vivid dance melody in the salon genre: several waltzes and capriccios, small dance forms, nocturnes, and variations. These pieces are marked by warm emotionalism. Most of them are in the urban or folk spirit. The famous"Romance" Opus 5. ( 1868) dedicated to the French singer Desire Artot, is a master piece of the melancholy muse of the young Tchaikovsky. The remarkable beauty of the broad flowing melody not marred by the vivd contrasting dance episode. The transition from one genre to another is an amazingly smooth and delicate. The passionate lyricism of the Russian urban song is combined with a glorified folk dance motif, in "Humoresque" Opus 10 composed in 1871-1872 the folk element is developed further. All the varied links follow one another in the same continuous sequence as in a folk round dance. numerous contrasts produce picturesque effect; for example the first motif women 's dance is set off by the second, the men 's dance which the stamping feet can be heard, those forming a contrast between grace , and strength, similarly effective is the constant reiteration of the same motives, the often repeatedly theme in folk songs , and instrumental dance music does not weary the listener, take the motif of
Hamad Alrashed
Fall 2016 Tchaikovsky
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…
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.
2-Ballets
1876
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.
1889
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).
1892
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 …show more content…
Like "Kamarinskaya" is fall into two parts; the first, a slow plaintive song, and the second a vivid dance melody in the salon genre: several waltzes and capriccios, small dance forms, nocturnes, and variations. These pieces are marked by warm emotionalism. Most of them are in the urban or folk spirit. The famous"Romance" Opus 5. ( 1868) dedicated to the French singer Desire Artot, is a master piece of the melancholy muse of the young Tchaikovsky. The remarkable beauty of the broad flowing melody not marred by the vivd contrasting dance episode. The transition from one genre to another is an amazingly smooth and delicate. The passionate lyricism of the Russian urban song is combined with a glorified folk dance motif, in "Humoresque" Opus 10 composed in 1871-1872 the folk element is developed further. All the varied links follow one another in the same continuous sequence as in a folk round dance. numerous contrasts produce picturesque effect; for example the first motif women 's dance is set off by the second, the men 's dance which the stamping feet can be heard, those forming a contrast between grace , and strength, similarly effective is the constant reiteration of the same motives, the often repeatedly theme in folk songs , and instrumental dance music does not weary the listener, take the motif of