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A side benefit of Tchaikovsky's friendship with Glazunov, Lyadov and Rimsky-Korsakov was an increased confidence in his own abilities as a composer, along with a willingness to let his musical works stand alongside those of his contemporaries. Tchaikovsky wrote to von Meck in January 1889, after being once again well represented in Belyayev's ...
Pyotr Ilyich Tchaikovsky [n 1] (/ tʃ aɪ ˈ k ɒ f s k i / chy-KOF-skee; [2] 7 May 1840 – 6 November 1893) [n 2] was a Russian composer during the Romantic period. He was the first Russian composer whose music made a lasting impression internationally.
Tchaikovsky's treatment of Mozart's work here was both faithful and, as David Brown phrases it, "affectionate". [2] He took the music as it stood and endeavoured to present it in the best possible light—this is, in late 19th-century guise. His intent was to win greater appreciation among his contemporaries for Mozart's lesser-known works. [3]
While the contributions of the Russian nationalistic group The Five were important in their own right in developing an independent Russian voice and consciousness in classical music, Tchaikovsky's formal conservatory training allowed him to write works with Western-oriented attitudes and techniques, showcasing a wide range and breadth of technique from a poised "Classical" form simulating 18th ...
Pyotr Ilyich Tchaikovsky. Pyotr Ilyich Tchaikovsky wrote many works well-known to the general classical public, including Romeo and Juliet, the 1812 Overture, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker.
Here Tchaikovsky harnessed the harmonic, melodic and rhythmic quirks of Ukrainian folk music to produce an opening movement massive in scale, intricate in structure and complex in texture—what Brown calls "one of the most solid structures Tchaikovsky ever fashioned" [47] —and a finale that, with the folk song "The Crane" offered in an ever ...
The Sleeping Beauty (Russian: Спящая красавица, romanized: Spyashchaya krasavitsa listen ⓘ) is a ballet in a prologue and three acts to music by Pyotr Ilyich Tchaikovsky, his Opus 66, completed in 1889.
Tchaikovsky biographer and music writer David Brown has commented, "[The Concert Fantasia's] crippling weakness is that it contains not one really strong idea, yet its very original structure suffices to show that Tchaikovsky was concerned to fashion something more than a mere showpiece to gratify a virtuoso pianist or inflame a lionizing ...