Seeds of the Word

Pyotr Ilyich Tchaikovsky

Revision as of 10:16, September 11, 2020 by Johnrdorazio (talk | contribs) (→‎The Maid of Orleans)
"Tchaikovsky" redirects here. For other uses, see Tchaikovsky (disambiguation).
This name uses Eastern Slavic naming customs; the patronymic is Ilyich and the family name is Tchaikovsky.

Pyotr Ilyich Tchaikovsky[a 2] (English: /tʃaɪˈkɒfski/ chy-KOF-skee;[1] Russian: Пётр Ильи́ч Чайко́вский,[a 3] IPA: [pʲɵtr ɪlʲˈjitɕ tɕɪjˈkofskʲɪj] (About this soundlisten); 7 May 1840 – 6 November 1893[a 4]) was a Russian composer of the Romantic period. He was the first Russian composer whose music made a lasting impression internationally. He was honored in 1884 by Tsar Alexander III and awarded a lifetime pension.

Pyotr Ilyich Tchaikovsky, c. 1888[a 1]
Tchaikovsky's signature

Although musically precocious, Tchaikovsky was educated for a career as a civil servant. There was scant opportunity for a musical career in Russia at the time and no system of public music education. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching that he received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five with whom his professional relationship was mixed.

Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From that reconciliation, he forged a personal but unmistakably Russian style. The principles that governed melody, harmony and other fundamentals of Russian music ran completely counter to those that governed Western European music, which seemed to defeat the potential for using Russian music in large-scale Western composition or for forming a composite style, and it caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. That resulted in uncertainty among the intelligentsia about the country's national identity, an ambiguity mirrored in Tchaikovsky's career.

Religious views

Tchaikovsky expresses his views on religion and christianity in his letters[2] and in his personal diary[3].

Touching on the question of eternal life, he writes in a letter to Nadezhda von Meck in 1877:

However, conviction is one thing, and instinct and feeling another. Whilst I deny an eternal afterlife, it is with indignation that I reject at the same time the monstrous thought that I shall never see again some loved ones who are now dead. In spite of the triumphant force of my convictions, I shall never reconcile myself to the thought that my mother, whom I so loved and who was such a wonderful person, has disappeared forever and that I will never be able to tell her that even after twenty-three years of separation I still love her the same

— Pyotr Tchaikovsky, http://www.tchaikovsky-research.net/en/people/index.html

In another letter to Mrs von Meck in 1879, he recounts his impressions of reading the scene in The Brothers Karamazov where Father Zosima has to comfort a woman who has lost all her children. The question of the afterlife thus seems to be one which he thought about often:

Yes, my friend! It is better to have to die oneself every day for a thousand years than to lose those whom one loves and to seek consolation in the hypothetical idea that we shall meet again in the other world! Will we meet again? Happy are those who manage not to have doubts about this

— Pyotr Tchaikovsky, http://www.tchaikovsky-research.net/en/people/index.html

In his special diary he made a note in 1886 about his relationship with the Sacred Scriptures:

What an infinitely deep abyss between the Old and the New Testament! Am reading the Psalms of David and do not understand why, first, they are placed so high artistically and, second, in what way they could have anything in common with the Gospel. David is entirely worldly. The whole human race he divides into two unequal parts: in one, the godless (here belongs the vast majority), in the other, the godly and at their head he places himself. Upon the godless, he invokes in each psalm divine punishment, upon the godly, reward; but both punishment and reward are earthly. The sinners will be annihilated; the godly will reap the benefits of all the blessings of earthly life. How unlike Christ who prayed for his enemies and to his fellow man promised not earthly blessings but the Kingdom of Heaven. What eternal poetry and, touching to tears, what feeling of love and pity toward mankind in the words: “Come unto me all ye that labor and are heavy laden.” All the Psalms of David are nothing in comparison with these simple words.

— Pyotr Tchaikovsky[4]

This contrast between the Old and New Testament and his admiration for the figure of Christ, and, in particular, for Christ’s exhortation: “Come unto me all ye that labour and are heavy laden” (Matthew 11:28) — the underlying idea of which he once tried to set into music — are themes he often returned to in those years. Another interesting diary entry is that which he made in Maydanovo in 1887, on the same day that his old friend Nikolay Kondratyev died after a long illness in Aachen (where Tchaikovsky had visited him that summer):

Yelena Dyachkova ( o r), Ph.D. in History of Arts and Assistant professor at the Petro Tchaikovsky National Music Academy of Ukraine, wrote an interesting essay entitled “Tchaikovsky and the Bible”. Her thesis begins by stating:

Biblical mythology as a possible programme for a musical work never attracted Tchaikovsky's interest. Epistolary heritage also does not give the reason to suppose that the Bible was the composer's favourite book. Nevertheless, these superficially obvious facts do not settle the question about Tchaikovsky and the Bible. The Bible, together with ancient mythology, forms one of the basic conceptual paradigms of European culture. Its major semantic and psychological constants, such as the linear perception of time as a stream flowing from its source (the Creation) towards the end (the Judgement Day), the fear of Death, the responsibility for deeds (ethical principles), and finally, treating anguish and torments of the indi- vidual as a spiritual feat, are characteristics of practically all the works belonging to the European literature tradition. In particular, these constants may be perceived as peculiar cultural and artistic archetypes in Tchaikovsky's work.

— Yelena Dyachkova, Tchaikovsky and the Bible

It was in the decade between 1877 and 1887 that Tchaikovsky created most of his spiritual works. This also happened to be a time in which his close friendship with Nikolaj Kondrat'ev and family was under some stress, and they did not visit each other very much. During this time Tchaikovsky thought about existential questions, up to creating his own creed. In 1877 the composer writes:

I have forgotten that there are plenty of people who managed to create for themselves an harmonic set of ideas that replaced religion for them. It remains for me only to envy those people. It seems to me that all my life I am doomed to doubt and to look for a way out of contradictions

— Pyotr Tchaikovsky, Perepiska s N. F. fon-Mekk, vol. 1, p. 111 (letter from Venice, December 5-17, 1877)

And in 1887 again the composer makes a record in his diary touching on his religious beliefs:

How strange it was for me to read that 365 days ago I was still afraid to acknowledge that, despite all the fervor of sympathetic feelings awakened by Christ, I dared to doubt His Divinity. Since then, my religion has become infinitely more clear; I have been thinking much about God, life and death all this time, and especially in Aachen the fatal questions - what for, how, why? - often occupied me and anxiously flashed before me. It is the religion of mine that I would like to word in detail some time, if only to clarify for myself once and forever my beliefs and that border where they arise after the speculation. However, life with its vanities flies by, and I don't know if I shall have time to express that Credo that has been worked out by me lately. It has been worked out very clearly, but nevertheless, I do not use it for my praying practice yet. I am praying still as before, as I was taught to pray. However, God hardly needs to know how and why people pray. God does not need prayer. But we need it

— Pyotr Tchaikovsky[5] [6]

Ironically, Kondrat'ev's words: "Pray, my friend, pray. God will help you to get out of this situation"[7], that had offended Tchaikovsky so much in 1877, appeared to be prophetic.

— Yelena Dyachkova, Tchaikovsky and the Bible

It is possible that the Fifth Symphony grew out of some of these reflections, as suggested by Tchaikovsky’s notes on the initial sketches.[8]

Though having many doubts about christianity, Tchaikovsky however liked and at times attended Orthodox liturgies. Yelena Dyachkova writes:

It gave him strong emotional experience. "My attitude to church completely differs from yours," Tchaikovsky wrote to Nadežda von Meck. "For me it still keeps plenty of poetic charm. I attend mass very often; in my opinion, the Liturgy of John Chrysostom is one of the greatest artistic works. Being attentive at our Orthodox service and going carefully into the sense of every ceremony, you are certainly touched by the spirit. I also love all night vigil. To go on Saturday to an old small church, to stand in twilight filled with incense smoke, to dip into yourself and to search inside yourself for the answer to eternal questions: what for, when, where to, why?, awaking from muse when the choir begins to sing "From my youth many passions possess me", and to give yourself up to the influence of the fascinating poetry of this psalm, to be filled with some quiet admiration, when holy doors open and it is heard "Praise God from Heaven!", - oh, I like all that enormously, it is one of my greatest delights!"[9] In another letter the composer writes: "This week I have attended many church services and experienced great artistic delight. The Orthodox service acts upon the soul amazingly, if it is arranged, for example, like here in the Church of the Saviour!"[10]

— Yelena Dyachkova, Tchaikovsky and the Bible

In particular Tchaikovsky liked the Easter celebrations:

In one of his letters he complains: "For the first time in my life I have to spend Passion Week and celebrate Easter outside Russia. It is a considerable privation for me; from my early years I used to love this festival especially, and now I feel envy while thinking of those who celebrate it in Russia"[11]

— Yelena Dyachkova, Tchaikovsky and the Bible

In his diary he writes of his impressions of Beethoven and Mozart, comparing them with his impressions of God and Jesus:

I shall begin with Beethoven, whom it is usual to extol indisputably, and it is enjoined to worship him as a god. Thus, what is Beethoven for me? I admire a greatness in some of his works - but I do not love Beethoven. My attitude to him reminds me what I felt in my childhood about the Lord of Sabaoth. I felt (and by now my feelings have not changed) amazement, and at the same time, fear towards Him. He created Heaven and Earth, and He created me also, and yet, although I cringe before Him, there is no love. Christ, on the contrary, arouses just and only feeling of love. Although he was God, at the same time he was a man. He suffered like we. We feel sorry for him, we love in him his ideal human features. And when Beethoven takes a place in my heart similar to the Lord of Sabaoth, then I love Mozart as the Christ of music. By the way, you know, he lived almost as long as Christ

— Pyotr Tchaikovsky, Dnevniki P. I. Cajkovskogo, p. 209-210 (record of June 29, 1886)

Musical compositions

Musical compositions by Tchaikovsky which were religiously inspired are:

The All-Night Vigil (Vesper Service), for unaccompanied chorus Op. 52 (1881-82)

The All Night Vigil (Всенощное бдение), Op. 52, also known as the Vesper Service, was written between May 1881 and March 1882. Tchaikovsky described it as "An essay in harmonisation of liturgical chants".

Movements and Duration

There are seventeen numbers, intended to be sung at specific points during the service.

  1. Introductory Psalm: "Bless My Soul, O Lord" (Предначинательный псалом: «Благослови душе моя»)
  2. "Lord Have Mercy" and other brief responses («Господи, помилуй» и другие краткие молитвословия)
  3. Kathisma: "Blessed is the Man"' (Кафисма: «Блажен муж»)
  4. "Lord, I Call to Thee" («Господи, воззвах к Тебе»)
  5. "Gladsome Light" («Свете тихий»)
  6. "Rejoice, O Virgin" («Богородице, Дево, радуйся»)
  7. "The Lord is God" («Бог Господь»)
  8. Polyeleion: "Praise the Name of the Lord" (Полиелей: «Хвалите имя Господне»)
  9. Troparia: "Blessed Art Thou, Lord" (Тропари: «Благословен еси Господи»)
  10. Gradual Antiphon: "From My Youth" (Степенна «От юности моея»)
  11. Hymns after the Gospel Reading: "Having Beheld the Resurrection of Christ" (Песнопения по Евангелии: «Воскресение Христово видевше»)
  12. Common Katabasis: "I Shall Open My Lips" (Катавасия рядовая: «Отверзну уста моя»)
  13. Canticle of the Mother of God (Песнь Богоматери с припевом)
  14. "Holy is the Lord Our God" («Свят Господь Бог наш»)
  15. Theotokion: "Both Now and Forever" (Богородичен «И ныне и присно»)
  16. Great Doxology: "Glory to God in the Highest" (Великое славословие: «Слава в вышних Богу»)
  17. "To Thee the Glorious Leader" («Взбранной Воеводе победительная»)

A complete concert performance lasts around 45 minutes.

Text

Tchaikovsky adapted the text from the Russian Orthodox Liturgy service. Several of the numbers are based on the text of Biblical psalms:

  • No. 1 – after Psalm 103.
  • No. 3 – after Psalm 150.
  • No. 4 – after Psalm 140.
  • No. 7 – after Psalm 117.
  • No. 8 – after Psalm 134 and Psalm 135.
  • No. 9 – after Psalm 148.
  • No. 10 – after Psalm 119, Psalm 120, Psalm 121, Psalm 122, Psalm 123, Psalm 124, Psalm 125, Psalm 126, Psalm 127, Psalm 128, Psalm 129, Psalm 130, Psalm 131, Psalm 132.
  • No. 11 – after Psalm 148, Psalm 149, Psalm 150 and Psalm 140.

The Liturgy of St. John Chrysostom

See Liturgy_of_St._John_Chrysostom_(Tchaikovsky) and Liturgy_of_Saint_John_Chrysostom.

Liturgy of Saint John Chrysostom (Литургия святого Иоанна Златоуста), Op. 41, is a setting for unaccompanied voices of fifteen numbers from the Russian Orthodox Liturgy for unaccompanied voices, made by Tchaikovsky in 1878.

Tchaikovsky, known primarily for his symphonies, concertos and ballets, was deeply interested in the music and liturgy of the Russian Orthodox Church. In 1875, he compiled A Concise Textbook of Harmony Intended to Facilitate the Reading of Sacred Musical Works in Russia.[12]

Movements and Duration

The fifteen numbers are intended to be sung at specific points in the liturgy service.

  1. Amen. Lord Have Mercy (Амин. Господи помилуй)
    After the exclamation "Blessed is the Kingdom" (После возглашения «Благословенно царство») (50 bars).
  2. Glory to the Father and to the Son (Слава Отцу и Сыну)
    After the First Antiphon (После первого антифона) (63 bars).
  3. Come, Let Us Worship (Придите, поклонимся)
    After the Little Entrance (После малого входа) (56 bars).
  4. Alleleuja (Аллилуйя)
    After the Epistle Reading (После чтения апостола) (15 bars).
  5. Glory to Thee, O Lord (Слава тебе Господи)
    After the Gospel Reading (После чтения евангелия) (26 bars).
  6. Cherubic Hymn (Херувимская песнь) (98 bars).
  7. Lord Have Mercy (Господи помилуй)
    After the Cherubic Hymn (После херувимской песни) (16 bars).
  8. I Believe in One God, The Father, The Almighty (Верую во Единаго Бога Отца)
    The Creed (Символ веры) (92 bars).
  9. Merciful Peace (Милость мира)
    After the Creed (После Cимвола веры) (42 bars).
  10. We Hymn Thee (Тебе поем)
    After the exclamation "Thine Own of Thine Own" (После возглашения «Твоя от твоих») (39 bars).
  11. It is Truly Fitting (Достойно есть)
    After the words "Especially For Our Most Holy" (После слов «Изрядко о пресвятей») (55 bars).
  12. Amen. And With Your Spirit, Lord Have Mercy (Амин. И со духом твоим, Господи, помилуй)
    After the exclamation "And Grant That With Our Mouths" (После возглашения: «И даждь нам единеми усты») (13 bars).
  13. Our Father (Отче наш)
    The Lord's Prayer (Молитва Господня) (44 bars).
  14. Praise the Lord from the Heavens (Хвалите, хвалите, Господа с небес)
    Communion Hymn (Причастный стих) (86 bars).
  15. Blessed is He Who Comes in the Name of the Lord (Благословен грядый во имя Господне)
    After the Exclamation "In the Fear of God" (После возглашения «Со страхом Божиим») (92 bars).

A complete concert performance lasts around 50 minutes.

Text

Tchaikovsky adapted the text from the Russian Orthodox Liturgy service.

The Cherubikon is the usual Cherubic Hymn sung at the Great Entrance of the Byzantine liturgy. The hymn symbolically incorporates those present at the liturgy into the presence of the angels gathered around God's throne.

Legend

See Legend (Tchaikovsky) and Sixteen Songs for Children, Op. 54.

Tchaikovsky's Sixteen Songs for Children (Шестнадцать песен для детей), Op. 54, were written at Kamenka in October and November 1883, except for No. 16 which dates from around December 1880.

Legend (Russian: Легенда, Legenda), Op. 54, No. 5 (also known as The Crown of Roses in some English-language sources) is a composition by Pyotr Ilyich Tchaikovsky. Originally written in 1883 as a song for solo voice and piano, it was subsequently arranged by Tchaikovsky for solo voice and orchestra (1884), and then for unaccompanied choir (1889). The words are based on the poem "Roses and Thorns" by American poet Richard Henry Stoddard, originally published in the May 1856 edition of Graham's Magazine, and translated into russian by Aleksey Pleshcheyev:

The young child Jesus had a garden
Full of roses, rare and red;
And thrice a day he watered them,
To make a garland for his head!

When they were full-blown in the garden,
He led the Jewish children there,
And each did pluck himself a rose,
Until they stripped the garden bare!

"And now how will you make your garland?
For not a rose your path adorns:"
"But you forget," he answered them,
"That you have left me still the thorns.

They took the thorns, and made a garland,
And placed it on his shining head;
And where the roses should have shone,
Were little drops of blood instead!

— Roses and Thorns, Stoddard, R[ichard] H[enry] (May 1856). "Roses and Thorns". Graham's Magazine. Philadelphia. xlviii (5): 414.

The Maid of Orleans

The Maid of Orleans (Орлеанская дева), in 4 acts and 6 scenes, is Tchaikovsky's sixth completed opera, based on the historical legend of Joan of Arc. It was composed between December 1878 and March 1879, and orchestrated between April and August 1879, with revisions in December 1880, and September-October 1882.

Libretto

The opera's libretto was compiled by Tchaikovsky, after Friedrich Schiller's tragedy Die Jungfrau von Orleans (1801) in a Russian translation by Vasily Zhukovsky, with additional material from Auguste Mermet's opera Jeanne d'Arc and Jules Barbier's drama of the same name [13].

During the summer of 1878 Tchaikovsky began to look for a subject for a new opera.

"Here I'm writing the Introduzione e Fuga. Both of them will go to make up a suite, which I want to do now in order to take a long break from symphonic music, and set about an opera. What shall it be? Romeo or Les Caprices de Marianne?", Tchaikovsky wrote in the summer of 1878 [14].

Many of the composer's statements dating from the summer and autumn of 1878 indicate his desire to find a plot for an opera that could inspire him. Ultimately a subject was found. On 21 November/3 December 1878 [15], Tchaikovsky writes to Nadezhda von Meck: "I am attracted by a new operatic subject, namely:The Maid of Orleans by Schiller [...] The idea of writing an opera based on this story came to me in Kamenka while I was leafing through Zhukovsky, who has translated Schiller's The Maid of Orleans. It has wonderful potential for music [...] I was pondering the subject before my last visit to Saint Petersburg, but now I am seriously interested" [16].

Intending to write the libretto himself, Tchaikovsky embarked on studying the story. The composer did not restrict himself to Schiller's drama only: he sought to incorporate a variety of historical and artistic sources [17]. On 6/18 December 1878 he told Nadezhda von Meck: "For the moment I have only Schiller's drama translated by Zhukovsky. Obviously the opera text cannot be based strictly on Schiller's scenario. There are too many characters, too many minor episodes. It requires a reworking, not just an abridgement..." [18]. "I want to burrow in catalogues and obtain a small collection of books on Jeanne d'Arc" [19] . "I'm thinking a very great deal about the libretto and can't yet make a definite plan. There's much that pleases me in Schiller, but I must admit I'm disturbed by his disdain for historical accuracy" [20].


Movements and Duration

See The Maid of Orleans#Movements_and_Duration on the Tchaikovsky wiki.

Notes

  1. ↑ Published in 1903
  2. ↑ Often anglicized as Peter Ilich Tchaikovsky; also standardized by the Library of Congress. His names are also transliterated as Piotr or Petr; Ilitsch or Il'ich; and Tschaikowski, Tschaikowsky, Chajkovskij, or Chaikovsky. He used to sign his name/was known as P. Tschaïkowsky/Pierre Tschaïkowsky in French (as in his afore-reproduced signature), and Peter Tschaikowsky in German, spellings also displayed on several of his scores' title pages in their first printed editions alongside or in place of his native name.
  3. ↑ Петръ Ильичъ Чайковскій in Russian pre-revolutionary script.
  4. ↑ Russia was still using old style dates in the 19th century, rendering his lifespan as 25 April 1840 – 25 October 1893. Some sources in the article report dates as old style rather than new style.

References

  1. ↑ "Tchaikovsky". Random House Webster's Unabridged Dictionary.
  2. ↑ Perepiska s N. F. fon-Mekk [Correspondence with N. F. von Meck], ed. by V. A. Ždanov and N. T. Žegina, Moscow-Leningrad 1934-1936, ISBN 5962801423
  3. ↑ Dnevniki P. I. Cajkovskogo [Tchaikovsky's Diaries], Moscow-Petrograd 1923
  4. ↑ Wladimir Lakond, The Diaries of Tchaikovsky (1945), p. 244
  5. ↑ Wladimir Lakond, The Diaries of Tchaikovsky (1945), p. 249
  6. ↑ Dnevniki, P. I. Cajkovskogo, p. 213 (record of September 21, 1887)
  7. ↑ Pëtr Il'ic Cajkovskij, Perepiska s N. F. fon-Mekk, vol. 1, p. 113-114 (letter from Venice, December 5-17, 1877)
  8. ↑ see the work history http://www.tchaikovsky-research.net/en/Works/Symphonies/TH029.html
  9. ↑ Pëtr Il'ic Cajkovskij, Perepiska s N. F. fon-Mekk, vol. 1, p. 91 (letter from Vienna, November 23 - December 5, 1877)
  10. ↑ Pëtr Il'ic Cajkovskij, Perepiska s N. F. fon-Mekk, vol. 3, p. 270 (letter on the way from Moscow to Kamenka, April 7, 1884)
  11. ↑ Pëtr Il'ic Cajkovskij, Perepiska s N. F. fon-Mekk, vol. 3, p. 172 (letter from Paris, April 16, 1883)
  12. ↑ "Peter Tchaikovsky (1840-1893)". Musica Russica. Retrieved 22 March 2013.
  13. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named note1
  14. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named note2
  15. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named note3
  16. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named note4
  17. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named note5
  18. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named note6
  19. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named note7
  20. ↑ Cite error: Invalid <ref> tag; no text was provided for refs named note8

Sources

  • Asafyev, Boris (1947). "The Great Russian Composer". Russian Symphony: Thoughts About Tchaikovsky. New York: Philosophical Library.
  • Benward, Bruce; Saker, Marilyn (200). Music: In Theory and Practice, Vol. 1 (Seventh ed.). New York: McGraw-Hill. ISBN 978-0-07-294262-0.
  • Botstein, Leon (1998). "Music as the Language of Psychological Realm". In Kearney, Leslie (ed.). Tchaikovsky and His World. Princeton, New Jersey: Princeton University Press. ISBN 0-691-00429-3.
  • Brown, David, "Glinka, Mikhail Ivanovich" and "Tchaikovsky, Pyotr Ilyich". In The New Grove Encyclopedia of Music and Musicians (London: MacMillan, 1980), 20 vols., ed. Sadie, Stanley. ISBN 0-333-23111-2.
  • Brown, David, Tchaikovsky: The Early Years, 1840–1874 (New York: W.W. Norton & Company, 1978). ISBN 0-393-07535-4.
  • Brown, David, Tchaikovsky: The Crisis Years, 1874–1878, (New York: W.W. Norton & Company, 1983). ISBN 0-393-01707-9.
  • Brown, David, Tchaikovsky: The Years of Wandering, 1878–1885, (New York: W.W. Norton & Company, 1986). ISBN 0-393-02311-7.
  • Brown, David, Tchaikovsky: The Final Years, 1885–1893, (New York: W.W. Norton & Company, 1991). ISBN 0-393-03099-7.
  • Brown, David, Tchaikovsky: The Man and His Music (New York: Pegasus Books, 2007). ISBN 0-571-23194-2.
  • Cooper, Martin, "The Symphonies". In Music of Tchaikovsky (New York: W.W. Norton & Company, 1946), ed. Abraham, Gerald. ISBN n/a. OCLC 385829
  • Druckenbrod, Andrew, "Festival to explore Tchaikovsky's changing reputation". In Pittsburgh Post-Gazette, 30 January 2011. Retrieved 27 February 2012.
  • Dyachova, Yelena, Tchaikovsky and the Bible. In Musikgeschichte in Mittel- und Osteuropa : Mitteilungen der internationalen Arbeitsgemeinschaft an der Technischen Universität Chemnitz, p. 79-86 (Chemnitz ; Leipzig : Gudrun Schröder Verlag, 1997) OCLC 977041781
  • Figes, Orlando, Natasha's Dance: A Cultural History of Russia (New York: Metropolitan Books, 2002). ISBN 0-8050-5783-8 (hc.).
  • Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995). ISBN 0-679-42006-1.
  • Holoman, D. Kern, "Instrumentation and orchestration, 4: 19th century". In The New Grove Dictionary of Music and Musicians, Second Edition (London: Macmillan, 2001), 29 vols., ed. Sadie, Stanley. ISBN 1-56159-239-0.
  • Hopkins, G. W., "Orchestration, 4: 19th century". In The New Grove Encyclopedia of Music and Musicians (London: MacMillan, 1980), 20 vols., ed. Sadie, Stanley. ISBN 0-333-23111-2.
  • Hosking, Geoffrey, Russia and the Russians: A History (Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 2001). ISBN 0-674-00473-6.
  • Jackson, Timothy L., Tchaikovsky, Symphony no. 6 (Pathétique) (Cambridge: Cambridge University Press, 1999). ISBN 0-521-64676-6.
  • Karlinsky, Simon, "Russia's Gay Literature and Culture: The Impact of the October Revolution". In Hidden from History: Reclaiming the Gay and Lesbian Past (New York: American Library, 1989), ed. Duberman, Martin, Martha Vicinus and George Chauncey. ISBN 0-452-01067-5.
  • Kozinn, Allan, "Critic's Notebook; Defending Tchaikovsky, With Gravity and With Froth". In The New York Times, 18 July 1992. Retrieved 27 February 2012.
  • Lockspeiser, Edward, "Tchaikovsky the Man". In Music of Tchaikovsky (New York: W.W. Norton & Company, 1946), ed. Abraham, Gerald. ISBN n/a. OCLC 385829
  • Maes, Francis, tr. Arnold J. Pomerans and Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002). ISBN 0-520-21815-9.
  • Mochulsky, Konstantin, tr. Minihan, Michael A., Dostoyevsky: His Life and Work (Princeton: Princeton University Press, 1967). LCCN 65-10833.
  • Poznansky, Alexander, Tchaikovsky: The Quest for the Inner Man (New York: Schirmer Books, 1991). ISBN 0-02-871885-2.
  • Poznansky, Alexander, Tchaikovsky Through Others' Eyes. (Bloomington: Indiana Univ. Press, 1999). ISBN 0-253-33545-0.
  • Ridenour, Robert C., Nationalism, Modernism and Personal Rivalry in Nineteenth-Century Russian Music (Ann Arbor: UMI Research Press, 1981). ISBN 0-8357-1162-5.
  • Ritzarev, Marina, Tchaikovsky's Pathétique and Russian Culture (Ashgate, 2014). ISBN 9781472424112.
  • Roberts, David, "Modulation (i)". In The New Grove Encyclopedia of Music and Musicians (London: MacMillan, 1980), 20 vols., ed. Sadie, Stanley. ISBN 0-333-23111-2.
  • Rubinstein, Anton, tr. Aline Delano, Autobiography of Anton Rubinstein: 1829–1889 (New York: Little, Brown & Co., 1890). Library of Congress Control Number LCCN 06-4844.
  • Schonberg, Harold C. Lives of the Great Composers (New York: W.W. Norton & Company, 3rd ed. 1997). ISBN 0-393-03857-2.
  • Steinberg, Michael, The Concerto (New York and Oxford: Oxford University Press, 1998).
  • Steinberg, Michael, The Symphony (New York and Oxford: Oxford University Press, 1995).
  • Taruskin, Richard, "Tchaikovsky, Pyotr Il'yich", The New Grove Dictionary of Opera (London and New York: Macmillan, 1992), 4 vols, ed. Sadie, Stanley. ISBN 0-333-48552-1.
  • Volkov, Solomon, Romanov Riches: Russian Writers and Artists Under the Tsars (New York: Alfred A. Knopf House, 2011), tr. Bouis, Antonina W. ISBN 0-307-27063-7.
  • Warrack, John, Tchaikovsky Symphonies and Concertos (Seattle: University of Washington Press, 1969). LCCN 78-105437.
  • Warrack, John, Tchaikovsky (New York: Charles Scribner's Sons, 1973). ISBN 0-684-13558-2.
  • Wiley, Roland John, "Tchaikovsky, Pyotr Ilyich". In The New Grove Dictionary of Music and Musicians, Second Edition (London: Macmillan, 2001), 29 vols., ed. Sadie, Stanley. ISBN 1-56159-239-0.
  • Wiley, Roland John, The Master Musicians: Tchaikovsky (Oxford and New York: Oxford University Press, 2009). ISBN 978-0-19-536892-5.
  • Zhitomirsky, Daniel, "Symphonies". In Russian Symphony: Thoughts About Tchaikovsky (New York: Philosophical Library, 1947). ISBN n/a.
  • Zajaczkowski, Henry, Tchaikovsky's Musical Style (Ann Arbor and London: UMI Research Press, 1987). ISBN 0-8357-1806-9.

Further reading

External links

 
Wikimedia Commons has media related to Pyotr Ilyich Tchaikovsky.
 
Wikiquote has quotations related to: Pyotr Ilyich Tchaikovsky


Retrieved from "https://en.seminaverbi.bibleget.io/w/index.php?title=Pyotr_Ilyich_Tchaikovsky&oldid=22753"

NABRE

Matthew 11

28 “Come to me, all you who labor and are burdened, and I will give you rest.

— powered by BibleGet I/O

NABRE

Psalms 103

1Of David.Bless the LORD, my soul;all my being, bless his holy name!2Bless the LORD, my soul;and do not forget all his gifts,3Who pardons all your sins,and heals all your ills,4Who redeems your life from the pit,and crowns you with mercy and compassion,5Who fills your days with good things,so your youth is renewed like the eagle’s.6The LORD does righteous deeds,brings justice to all the oppressed.7He made known his ways to Moses,to the Israelites his deeds.8Merciful and gracious is the LORD,slow to anger, abounding in mercy.9He will not always accuse,and nurses no lasting anger;10He has not dealt with us as our sins merit,nor requited us as our wrongs deserve.11For as the heavens tower over the earth,so his mercy towers over those who fear him.12As far as the east is from the west,so far has he removed our sins from us.13As a father has compassion on his children,so the LORD has compassion on those who fear him.14For he knows how we are formed,remembers that we are dust.15As for man, his days are like the grass;he blossoms like a flower in the field.16A wind sweeps over it and it is gone;its place knows it no more.17But the LORD’s mercy is from age to age,toward those who fear him.His salvation is for the children’s children18of those who keep his covenant,and remember to carry out his precepts.19The LORD has set his throne in heaven;his dominion extends over all.20Bless the LORD, all you his angels,mighty in strength, acting at his behest,obedient to his command.21Bless the LORD, all you his hosts,his ministers who carry out his will.22Bless the LORD, all his creatures,everywhere in his domain.Bless the LORD, my soul!

— powered by BibleGet I/O

NABRE

Psalms 140

1For the leader. A psalm of David.2Deliver me, LORD, from the wicked;preserve me from the violent,3From those who plan evil in their hearts,who stir up conflicts every day,4Who sharpen their tongue like a serpent,venom of asps upon their lips.Selah5Keep me, LORD, from the clutches of the wicked;preserve me from the violent,who plot to trip me up.6The arrogant have set a trap for me;they have spread out ropes for a net,laid snares for me by the wayside.Selah7I say to the LORD: You are my God;listen, LORD, to the words of my pleas.8LORD, my master, my strong deliverer,you cover my head on the day of armed conflict.9LORD, do not grant the desires of the wicked one;do not let his plot succeed.Selah10Those who surround me raise their heads;may the mischief they threaten overwhelm them.11Drop burning coals upon them;cast them into the watery pit never more to rise.12Slanderers will not survive on earth;evil will hunt down the man of violence to overthrow him.13For I know the LORD will take up the cause of the needy,justice for the poor.14Then the righteous will give thanks to your name;the upright will dwell in your presence.

— powered by BibleGet I/O

NABRE

Psalms 150

1Hallelujah!Praise God in his holy sanctuary;give praise in the mighty dome of heaven.2Give praise for his mighty deeds,praise him for his great majesty.3Give praise with blasts upon the horn,praise him with harp and lyre.4Give praise with tambourines and dance,praise him with strings and pipes.5Give praise with crashing cymbals,praise him with sounding cymbals.6Let everything that has breathgive praise to the LORD!Hallelujah!

— powered by BibleGet I/O

NABRE

Psalms 134

1A song of ascents.O come, bless the LORD,all you servants of the LORDYou who stand in the house of the LORDthroughout the nights.2Lift up your hands toward the sanctuary,and bless the LORD.3May the LORD bless you from Zion,the Maker of heaven and earth.

— powered by BibleGet I/O

NABRE

Psalms 135

1Hallelujah!Praise the name of the LORD!Praise, you servants of the LORD,2Who stand in the house of the LORD,in the courts of the house of our God!3Praise the LORD, for the LORD is good!Sing to his name, for it brings joy!4For the LORD has chosen Jacob for himself,Israel as his treasured possession.5For I know that the LORD is great,that our Lord is greater than all gods.6Whatever the LORD desireshe does in heaven and on earth,in the seas and all the depths.7It is he who raises storm clouds from the end of the earth,makes lightning for the rain,and brings forth wind from his storehouse.8He struck down Egypt’s firstborn,of human being and beast alike,9And sent signs and wonders against you, Egypt,against Pharaoh and all his servants.10It is he who struck down many nations,and slew mighty kings—11Sihon, king of the Amorites,and Og, king of Bashan,all the kings of Canaan—12And made their land a heritage,a heritage for Israel his people.13O LORD, your name is forever,your renown, from generation to generation!14For the LORD defends his people,shows mercy to his servants.15The idols of the nations are silver and gold,the work of human hands.16They have mouths but do not speak;they have eyes but do not see;17They have ears but do not hear;nor is there breath in their mouths.18Their makers will become like them,and anyone who trusts in them.19House of Israel, bless the LORD!House of Aaron, bless the LORD!20House of Levi, bless the LORD!You who fear the LORD, bless the LORD!21Blessed be the LORD from Zion,who dwells in Jerusalem!Hallelujah!

— powered by BibleGet I/O

NABRE

Psalms 117

1Praise the LORD, all you nations!Extol him, all you peoples!2His mercy for us is strong;the faithfulness of the LORD is forever.Hallelujah!

— powered by BibleGet I/O

NABRE

Psalms 119

1Blessed those whose way is blameless,who walk by the law of the LORD.2Blessed those who keep his testimonies,who seek him with all their heart.3They do no wrong;they walk in his ways.4You have given them the commandto observe your precepts with care.5May my ways be firmin the observance of your statutes!6Then I will not be ashamedto ponder all your commandments.7I will praise you with sincere heartas I study your righteous judgments.8I will observe your statutes;do not leave me all alone.9How can the young keep his way without fault?Only by observing your words.10With all my heart I seek you;do not let me stray from your commandments.11In my heart I treasure your promise,that I may not sin against you.12Blessed are you, O LORD;teach me your statutes.13With my lips I reciteall the judgments you have spoken.14I find joy in the way of your testimoniesmore than in all riches.15I will ponder your preceptsand consider your paths.16In your statutes I take delight;I will never forget your word.17Be kind to your servant that I may live,that I may keep your word.18Open my eyes to see clearlythe wonders of your law.19I am a sojourner in the land;do not hide your commandments from me.20At all times my soul is stirredwith longing for your judgments.21With a curse you rebuke the proudwho stray from your commandments.22Free me from disgrace and contempt,for I keep your testimonies.23Though princes meet and talk against me,your servant meditates on your statutes.24Your testimonies are my delight;they are my counselors.25My soul clings to the dust;give me life in accord with your word.26I disclosed my ways and you answered me;teach me your statutes.27Make me understand the way of your precepts;I will ponder your wondrous deeds.28My soul is depressed;lift me up acccording to your word.29Lead me from the way of deceit;favor me with your law.30The way of loyalty I have chosen;I have kept your judgments.

— powered by BibleGet I/O

NABRE

Psalms 120

1A song of ascents.The LORD answered mewhen I called in my distress:2LORD, deliver my soul from lying lips,from a treacherous tongue.3What will he inflict on you,O treacherous tongue,and what more besides?4A warrior’s arrowssharpened with coals of brush wood!5Alas, I am a foreigner in Meshech,I live among the tents of Kedar!6Too long do I liveamong those who hate peace.7When I speak of peace,they are for war.

— powered by BibleGet I/O

NABRE

Psalms 122

1A song of ascents. Of David.I rejoiced when they said to me,“Let us go to the house of the LORD.”2And now our feet are standingwithin your gates, Jerusalem.3Jerusalem, built as a city,walled round about.4There the tribes go up,the tribes of the LORD,As it was decreed for Israel,to give thanks to the name of the LORD.5There are the thrones of justice,the thrones of the house of David.6For the peace of Jerusalem pray:“May those who love you prosper!7May peace be within your ramparts,prosperity within your towers.”8For the sake of my brothers and friends I say,“Peace be with you.”9For the sake of the house of the LORD, our God,I pray for your good.

— powered by BibleGet I/O

NABRE

Psalms 123

1A song of ascents.To you I raise my eyes,to you enthroned in heaven.2Yes, like the eyes of servantson the hand of their masters,Like the eyes of a maidon the hand of her mistress,So our eyes are on the LORD our God,till we are shown favor.3Show us favor, LORD, show us favor,for we have our fill of contempt.4Our souls are more than satedwith mockery from the insolent,with contempt from the arrogant.

— powered by BibleGet I/O

NABRE

Psalms 121

1A song of ascents.I raise my eyes toward the mountains.From whence shall come my help?2My help comes from the LORD,the maker of heaven and earth.3He will not allow your foot to slip;or your guardian to sleep.4Behold, the guardian of Israelnever slumbers nor sleeps.5The LORD is your guardian;the LORD is your shadeat your right hand.6By day the sun will not strike you,nor the moon by night.7The LORD will guard you from all evil;he will guard your soul.8The LORD will guard your coming and goingboth now and forever.

— powered by BibleGet I/O

NABRE

Psalms 124

1A song of ascents. Of David.Had not the LORD been with us,let Israel say,2Had not the LORD been with us,when people rose against us,3Then they would have swallowed us alive,for their fury blazed against us.4Then the waters would have engulfed us,the torrent overwhelmed us;5then seething water would have drowned us.6Blessed is the LORD, who did not leave usto be torn by their teeth.7We escaped with our lives like a birdfrom the fowler’s snare;the snare was broken,and we escaped.8Our help is in the name of the LORD,the maker of heaven and earth.

— powered by BibleGet I/O

NABRE

Psalms 148

1Hallelujah!Praise the LORD from the heavens;praise him in the heights.2Praise him, all you his angels;give praise, all you his hosts.3Praise him, sun and moon;praise him, all shining stars.4Praise him, highest heavens,you waters above the heavens.5Let them all praise the LORD’s name;for he commanded and they were created,6Assigned them their station forever,set an order that will never change.7Praise the LORD from the earth,you sea monsters and all the deeps of the sea;8Lightning and hail, snow and thick clouds,storm wind that fulfills his command;9Mountains and all hills,fruit trees and all cedars;10Animals wild and tame,creatures that crawl and birds that fly;11Kings of the earth and all peoples,princes and all who govern on earth;12Young men and women too,old and young alike.13Let them all praise the LORD’s name,for his name alone is exalted,His majesty above earth and heaven.14He has lifted high the horn of his people;to the praise of all his faithful,the Israelites, the people near to him.Hallelujah!

— powered by BibleGet I/O

NABRE

Psalms 125

1A song of ascents.Those trusting in the LORD are like Mount Zion,unshakable, forever enduring.2As mountains surround Jerusalem,the LORD surrounds his peopleboth now and forever.3The scepter of the wicked will not prevailin the land allotted to the just,Lest the just themselvesturn their hands to evil.4Do good, LORD, to the good,to those who are upright of heart.5But those who turn aside to crooked waysmay the LORD send down with the evildoers.Peace upon Israel!

— powered by BibleGet I/O

NABRE

Psalms 126

1A song of ascents.When the LORD restored the captives of Zion,we thought we were dreaming.2Then our mouths were filled with laughter;our tongues sang for joy.Then it was said among the nations,“The LORD had done great things for them.”3The LORD has done great things for us;Oh, how happy we were!4Restore our captives, LORD,like the dry stream beds of the Negeb.5Those who sow in tearswill reap with cries of joy.6Those who go forth weeping,carrying sacks of seed,Will return with cries of joy,carrying their bundled sheaves.

— powered by BibleGet I/O

NABRE

Psalms 128

1A song of ascents.Blessed are all who fear the LORD,and who walk in his ways.2What your hands provide you will enjoy;you will be blessed and prosper:3Your wife will be like a fruitful vinewithin your home,Your children like young olive plantsaround your table.4Just so will the man be blessedwho fears the LORD.5May the LORD bless you from Zion;may you see Jerusalem’s prosperityall the days of your life,6and live to see your children’s children.Peace upon Israel!

— powered by BibleGet I/O

NABRE

Psalms 129

1A song of ascents.Viciously have they attacked me from my youth,let Israel say now.2Viciously have they attacked me from my youth,yet they have not prevailed against me.3Upon my back the plowers plowed,as they traced their long furrows.4But the just LORD cut me freefrom the ropes of the wicked.5May they recoil in disgrace,all who hate Zion.6May they be like grass on the rooftopswithered in early growth,7Never to fill the reaper’s hands,nor the arms of the binders of sheaves,8And with none passing by to call out:“The blessing of the LORD be upon you!We bless you in the name of the LORD!”

— powered by BibleGet I/O

NABRE

Psalms 130

1A song of ascents.Out of the depths I call to you, LORD;2Lord, hear my cry!May your ears be attentiveto my cry for mercy.3If you, LORD, keep account of sins,Lord, who can stand?4But with you is forgivenessand so you are revered.5I wait for the LORD,my soul waitsand I hope for his word.6My soul looks for the Lordmore than sentinels for daybreak.More than sentinels for daybreak,7let Israel hope in the LORD,For with the LORD is mercy,with him is plenteous redemption,8And he will redeem Israelfrom all its sins.

— powered by BibleGet I/O

NABRE

Psalms 132

1A song of ascents.Remember, O LORD, for Davidall his hardships;2How he swore an oath to the LORD,vowed to the Mighty One of Jacob:3“I will not enter the house where I live,nor lie on the couch where I sleep;4I will give my eyes no sleep,my eyelids no rest,5Till I find a place for the LORD,a dwelling for the Mighty One of Jacob.”6“We have heard of it in Ephrathah;we have found it in the fields of Jaar.7Let us enter his dwelling;let us worship at his footstool.”8“Arise, LORD, come to your resting place,you and your mighty ark.9Your priests will be clothed with justice;your devout will shout for joy.”10For the sake of David your servant,do not reject your anointed.11The LORD swore an oath to David in truth,he will never turn back from it:“Your own offspring I will set upon your throne.12If your sons observe my covenant,and my decrees I shall teach them,Their sons, in turn,shall sit forever on your throne.”13Yes, the LORD has chosen Zion,desired it for a dwelling:14“This is my resting place forever;here I will dwell, for I desire it.15I will bless Zion with provisions;its poor I will fill with bread.16I will clothe its priests with salvation;its devout shall shout for joy.17There I will make a horn sprout for David;I will set a lamp for my anointed.18His foes I will clothe with shame,but on him his crown shall shine.”

— powered by BibleGet I/O

NABRE

Psalms 127

1A song of ascents. Of Solomon.Unless the LORD build the house,they labor in vain who build.Unless the LORD guard the city,in vain does the guard keep watch.2It is vain for you to rise earlyand put off your rest at night,To eat bread earned by hard toil—all this God gives to his beloved in sleep.3Certainly sons are a gift from the LORD,the fruit of the womb, a reward.4Like arrows in the hand of a warriorare the sons born in one’s youth.5Blessed is the man who has filled his quiver with them.He will never be shamedfor he will destroy his foes at the gate.

— powered by BibleGet I/O

NABRE

Psalms 149

1Hallelujah!Sing to the LORD a new song,his praise in the assembly of the faithful.2Let Israel be glad in its maker,the people of Zion rejoice in their king.3Let them praise his name in dance,make music with tambourine and lyre.4For the LORD takes delight in his people,honors the poor with victory.5Let the faithful rejoice in their glory,cry out for joy on their couches,6With the praise of God in their mouths,and a two-edged sword in their hands,7To bring retribution on the nations,punishment on the peoples,8To bind their kings in shackles,their nobles in chains of iron,9To execute the judgments decreed for them—such is the glory of all God’s faithful.Hallelujah!

— powered by BibleGet I/O

NABRE

Psalms 131

1A song of ascents. Of David.LORD, my heart is not proud;nor are my eyes haughty.I do not busy myself with great matters,with things too sublime for me.2Rather, I have stilled my soul,Like a weaned child to its mother,weaned is my soul.3Israel, hope in the LORD,now and forever.

— powered by BibleGet I/O