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Iosif Kotek and Pyotr Ilyich Tchaikovsky. The Valse-Scherzo in C major, Op. 34, TH 58, is a work for violin and orchestra by Pyotr Ilyich Tchaikovsky, written in 1877.. It is not to be confused with two similarly named works by Tchaikovsky, both for solo piano: one written in 1870 as Op. 7, [1] and one from 1889 without opus number.
Scherzo à la russe in B ♭ major; Impromptu in E ♭ minor; Op. 2 Souvenir de Hapsal, 3 pieces for piano (1867) Op. 3 The Voyevoda, opera (1868) Op. 4 Valse-caprice in D major, for piano (1868) Op. 5 Romance in F minor, for piano (1868) Op. 6 6 Romances (1869), including "None but the lonely heart" Op. 7 Valse-scherzo in A, for piano (1870)
Texture rather than form was Tchaikovsky's concern when composing the Second Orchestral Suite, making it very different from its predecessor. [1] One interesting point about the opening movement, Jeu de sons (Play of sounds), according to scholars is that the names of Tchaikovsky's brother Anatoly, his wife and daughter are encrypted in
Original cast in the Imperial Ballet's original production of Tchaikovsky's ballet The Nutcracker, December 1892 "Tchaikovsky was made for ballet," writes musicologist David Brown [4] Before him, musicologist Francis Maes writes, ballet music was written by specialists, such as Ludwig Minkus and Cesare Pugni, "who wrote nothing else and knew all the tricks of the trade."
Tchaikovsky dedicated the work to "B*****", which is understood to refer to Brailovo itself. It was published in May 1879, as Op. 42. In 1880, the Méditation was published separately, and has since become well known as an independent piece. The Scherzo and Mélodie were published separately in 1884.
These elements take over the movement in the trio section, which is a scherzo. The scherzo theme initially played by the first violins can be seen as a superimposition of 4 4 over 3 4. Hemiola is used again as a transitional technique (mm. 97–105). The waltz returns, but with the texture from the scherzo.
Valse mélancolique (Allegro moderato, E minor) Wiley contends that while Tchaikovsky referred to this movement as the "obligatory waltz number," it is not typical of his work in this vein. The somber character of the opening theme is exceptional and the syncopated second subject much like that in the scherzo.
Tchaikovsky intended the first movement to be an imitation of Mozart's style, and it was based on the form of the classical sonatina, with a slow introduction. [2] The stirring 36-bar Andante introduction is marked "sempre marcatissimo" and littered with double-stopping in the violins and violas, forming towering chordal structures. Then, the ...