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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. These, along with two of his four concertos, three of his symphonies and two of his ten operas, are among his most ...
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 would make a lasting impression internationally.
Pyotr Ilyich Tchaikovsky was a Russian composer especially known for three very popular ballets: Swan Lake, The Sleeping Beauty and The Nutcracker. He also composed operas, symphonies, choral works, concertos, and various other classical works.
Concertante works by Pyotr Ilyich Tchaikovsky (1 C, 7 P) O. Operas by Pyotr Ilyich Tchaikovsky (11 P) Orchestral compositions by Pyotr Ilyich Tchaikovsky (5 C, 11 P) P.
Pyotr Ilyich Tchaikovsky Traditional Russian treatment of melody, harmony and structure actually worked against sonata form's modus operandi of movement, growth and development. Russian music—the Russian creative mentality as a whole, in fact—functioned on the principle of stasis.
Tchaikovsky in 1893, as painted by Nikolai Kuznetzov. Pyotr Ilyich Tchaikovsky's Piano Concerto No. 3 in E-flat major was at first conceived by him as a symphony in the same key. But he abandoned that idea, jetisoned all but the planned first movement, and reworked this in 1893 as a one-movement Allegro brillante for piano and orchestra.
While most of the work uses traditional Slavonic chants with simple homophonic settings, Tchaikovsky composed new music and free settings for six of the movements. These include movements 6, 8, 10, 11, 13 and 14. Movements 10 and 11 have some polyphony and imitation, providing a contrast from the block-chordal arrangement of the majority of the ...
Modest Ilyich Tchaikovsky admired The Enchantress [2] and one scene in particular. He pointed it out to his brother the composer, who proceeded to write a duet based on that scene. Pyotr saw the play himself in January 1885, after which he wrote to Shpazhinsky, asking him to convert the drama to an opera libretto. [1]
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