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[[File:Tchaikovsky by Reutlinger.jpg|thumb|212px|{{center|Pyotr Ilyich Tchaikovsky, {{c.|1888}}<ref group=a>Published in 1903</ref><br />[[File:Tchaikovsky's signature.jpg|150px|alt=Tchaikovsky's signature]]}}|alt=]]
[[File:Tchaikovsky by Reutlinger.jpg|thumb|212px|{{center|Pyotr Ilyich Tchaikovsky, {{c.|1888}}<ref group=a>Published in 1903</ref><br />[[File:Tchaikovsky's signature.jpg|150px|alt=Tchaikovsky's signature]]}}|alt=]]
'''Pyotr Ilyich Tchaikovsky'''<ref group=a>Often anglicized as ''Peter Ilich Tchaikovsky''; also standardized by the [[wikipedia:Library of Congress|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.</ref> ({{IPAc-en|lang|tʃ|aɪ|ˈ|k|ɒ|f|s|k|i}} {{Respell|chy|KOF|skee}};<ref>[http://www.dictionary.com/browse/tchaikovsky "Tchaikovsky"]. ''[[wikipedia:Random House Webster's Unabridged Dictionary|Random House Webster's Unabridged Dictionary]]''.</ref> {{lang-rus|Пётр Ильи́ч Чайко́вский,<ref group=a>Петръ Ильичъ Чайковскій in Russian pre-revolutionary script.</ref>}} {{IPA-ru|pʲɵtr ɪlʲˈjitɕ tɕɪjˈkofskʲɪj|IPA|Ru-Pyotr Ilyich Tchaikovsky.ogg}}; 7 May 1840 – 6 November 1893<ref group=a>Russia was still using [[wikipedia:Old style and new style dates|old style dates]] in the 19th century, rendering his lifespan as 25 April 1840&nbsp;– 25 October 1893. Some sources in the article report dates as old style rather than new style.</ref>) was a [[wikipedia:Russian composer|Russian composer]] of the [[wikipedia:Romantic period|Romantic period]]. He was the first Russian composer whose music made a lasting impression internationally. He was honored in 1884 by Tsar [[wikipedia:Alexander III of Russia|Alexander III]] and awarded a lifetime pension.
'''Pyotr Ilyich Tchaikovsky'''<ref group=a>Often anglicized as ''Peter Ilich Tchaikovsky''; also standardized by the [[wikipedia:Library of Congress|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.</ref> ({{IPAc-en|lang|tʃ|aɪ|ˈ|k|ɒ|f|s|k|i}} {{Respell|chy|KOF|skee}};<ref>[http://www.dictionary.com/browse/tchaikovsky "Tchaikovsky"]. ''[[wikipedia:Random House Webster's Unabridged Dictionary|Random House Webster's Unabridged Dictionary]]''.</ref> {{lang-rus|Пётр Ильи́ч Чайко́вский,<ref group=a>Петръ Ильичъ Чайковскій in Russian pre-revolutionary script.</ref>}} {{IPA-ru|pʲɵtr ɪlʲˈjitɕ tɕɪjˈkofskʲɪj|IPA|Ru-Pyotr Ilyich Tchaikovsky.ogg}}; 7 May 1840 – 6 November 1893<ref group=a>Russia was still using [[wikipedia:Old style and new style dates|old style dates]] in the 19th century, rendering his lifespan as 25 April 1840&nbsp;– 25 October 1893. Some sources in the article report dates as old style rather than new style.</ref>) was a [[wikipedia:Russian composer|Russian composer]] of the [[wikipedia:Romantic period|Romantic period]]. He was the first Russian composer whose music made a lasting impression internationally. He was honored in 1884 by Tsar [[wikipedia:Alexander III of Russia|Alexander III]] and awarded a lifetime pension.


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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 [[wikipedia:Peter the Great|Peter the Great]]. That resulted in uncertainty among the [[wikipedia:intelligentsia|intelligentsia]] about the country's national identity, an ambiguity mirrored in Tchaikovsky's career.
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 [[wikipedia:Peter the Great|Peter the Great]]. That resulted in uncertainty among the [[wikipedia:intelligentsia|intelligentsia]] about the country's national identity, an ambiguity mirrored in Tchaikovsky's career.
Though a russian orthodox, Tchaikovsky had a number of personal doubts about the Christian faith, which in any case had a profound impact on him and his works.


== Religious views ==
== Religious views ==
Tchaikovsky expresses his views on religion and christianity in his letters and in his personal diary.
Tchaikovsky expresses his views on religion and christianity in his '''letters'''<ref>[[tchaikovsky:Bibliography_(2007/19)|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}}</ref> and in his '''personal diary'''<ref>[[tchaikovsky:Diaries|Dnevniki P. I. Cajkovskogo]] [Tchaikovsky's Diaries], Moscow-Petrograd 1923</ref>.


Touching on the question of eternal life, he writes in a letter to [[tchaikovsky:Nadezhda von Meck|Nadezhda von Meck]] in 1877:
Touching on the question of eternal life, he writes in a letter to [[tchaikovsky:Nadezhda von Meck|Nadezhda von Meck]] in 1877:
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{{quote|text=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|author=Pyotr Tchaikovsky|source=Dnevniki P. I. Cajkovskogo, p. 209-210 (record of June 29, 1886)}}
{{quote|text=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|author=Pyotr Tchaikovsky|source=Dnevniki P. I. Cajkovskogo, p. 209-210 (record of June 29, 1886)}}


==Music==
== Musical compositions ==
{{see also|List of compositions by Pyotr Ilyich Tchaikovsky|Music of Pyotr Ilyich Tchaikovsky|Symphonies by Pyotr Ilyich Tchaikovsky}}
 
[[File:Porträt_des_Komponisten_Pjotr_I._Tschaikowski_(1840-1893).jpg|thumb|212px|{{center|Pjotr I. Tschaikowski, oil on canvas, by [[w:Nikolai Dmitriyevich Kuznetsov|Nikolai Dmitriyevich Kuznetsov]] (1893)}}]]


Musical compositions by Tchaikovsky which were religiously inspired are:
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 (Vesper Service), for unaccompanied chorus Op. 52 (1881-82) ===
{{ordered list|type=upper-roman
 
  | Introductory Psalm: Bless My Soul, O Lord
The [[tchaikovsky:All-Night Vigil|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".
  | Kathisma: Blessed is the Man
 
  | Lord, I Call to Thee
==== Movements and Duration ====
  | Gladsome Light
There are seventeen numbers, intended to be sung at specific points during the service.
  | Rejoice, O Virgin
# Introductory Psalm: "Bless My Soul, O Lord" (Предначинательный псалом: «Благослови душе моя»)
  | The Lord is God
# "Lord Have Mercy" and other brief responses («Господи, помилуй» и другие краткие молитвословия)
  | Polyeleion: Praise the Name of the Lord
# Kathisma: "Blessed is the Man"' (Кафисма: «Блажен муж»)
  | Troparia: Blessed Art Thou, Lord
# "Lord, I Call to Thee" («Господи, воззвах к Тебе»)
  | Gradual Antiphon: From My Youth
# "Gladsome Light" («Свете тихий»)
  | Hymns after the Gospel Reading: Having Beheld the Resurrection of Christ
# "Rejoice, O Virgin" («Богородице, Дево, радуйся»)
  | Common Katabasis: I Shall Open My Lips
# "The Lord is God" («Бог Господь»)
  | Canticle of the Mother of God : Holy is the Lord Our God
# Polyeleion: "Praise the Name of the Lord" (Полиелей: «Хвалите имя Господне»)
  | Theotokion: Both Now and Forever
# Troparia: "Blessed Art Thou, Lord" (Тропари: «Благословен еси Господи»)
  | Great Doxology: Glory to God in the Highest
# Gradual Antiphon: "From My Youth" (Степенна «От юности моея»)
  | To Thee the Glorious Leader
# Hymns after the Gospel Reading: "Having Beheld the Resurrection of Christ" (Песнопения по Евангелии: «Воскресение Христово видевше»)
}}
# Common Katabasis: "I Shall Open My Lips" (Катавасия рядовая: «Отверзну уста моя»)
# Canticle of the Mother of God (Песнь Богоматери с припевом)
# "Holy is the Lord Our God" («Свят Господь Бог наш»)
# Theotokion: "Both Now and Forever" (Богородичен «И ныне и присно»)
# Great Doxology: "Glory to God in the Highest" (Великое славословие: «Слава в вышних Богу»)
# "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 {{Bible quote|version=NABRE|ref=Psalm 103}}
* No. 3 – after {{Bible quote|version=NABRE|ref=Psalm 150}}
* No. 4 – after {{Bible quote|version=NABRE|ref=Psalm 140}}
* No. 7 – after {{Bible quote|version=NABRE|ref=Psalm 117}}
* No. 8 – after {{Bible quote|version=NABRE|ref=Psalm 134}} and {{Bible quote|version=NABRE|ref=Psalm 135}}
* No. 9 – after {{Bible quote|version=NABRE|ref=Psalm 148}}
* No. 10 – after {{Bible quote|version=NABRE|ref=Psalm 119}}, {{Bible quote|version=NABRE|ref=Psalm 120}}, {{Bible quote|version=NABRE|ref=Psalm 121}}, {{Bible quote|version=NABRE|ref=Psalm 122}}, {{Bible quote|version=NABRE|ref=Psalm 123}}, {{Bible quote|version=NABRE|ref=Psalm 124}}, {{Bible quote|version=NABRE|ref=Psalm 125}}, {{Bible quote|version=NABRE|ref=Psalm 126}}, {{Bible quote|version=NABRE|ref=Psalm 127}}, {{Bible quote|version=NABRE|ref=Psalm 128}}, {{Bible quote|version=NABRE|ref=Psalm 129}}, {{Bible quote|version=NABRE|ref=Psalm 130}}, {{Bible quote|version=NABRE|ref=Psalm 131}}, {{Bible quote|version=NABRE|ref=Psalm 132}}.
* No. 11 – after {{Bible quote|version=NABRE|ref=Psalm 148}}, {{Bible quote|version=NABRE|ref=Psalm 149}}, {{Bible quote|version=NABRE|ref=Psalm 150}} and {{Bible quote|version=NABRE|ref=Psalm 140}}


{{#ev:youtube|https://www.youtube.com/watch?v=mbg6_I4g0dA||center|||rel=0&enablejsapi=1&origin=https://en.seminaverbi.bibleget.io}}
{{#ev:youtube|https://www.youtube.com/watch?v=mbg6_I4g0dA||center|||rel=0&enablejsapi=1&origin=https://en.seminaverbi.bibleget.io}}


=== The Liturgy of St. John Chrysostom ===


=== The Liturgy of St. John Chrysostom ===
See [[Liturgy of St. John Chrysostom (Tchaikovsky)]] and [[tchaikovsky:Liturgy_of_Saint_John_Chrysostom|Liturgy of Saint John Chrysostom]].


See [[Liturgy_of_St._John_Chrysostom_(Tchaikovsky)]].
'''''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''.<ref name=MusicaRussica>{{cite web|title=Peter Tchaikovsky (1840-1893)|work=Musica Russica|url=http://www.musicarussica.com/composers/peter-tchaikovsky|accessdate=22 March 2013}}</ref>
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''.<ref name=MusicaRussica>{{cite web|title=Peter Tchaikovsky (1840-1893)|work=Musica Russica|url=http://www.musicarussica.com/composers/peter-tchaikovsky|accessdate=22 March 2013}}</ref>


{{#ev:youtube|https://www.youtube.com/watch?v=OPlK5HwFxcw||center|||rel=0&enablejsapi=1&origin=https://en.seminaverbi.bibleget.io}}
==== Movements and Duration ====
The fifteen numbers are intended to be sung at specific points in the liturgy service.
# '''Amen. Lord Have Mercy''' (Амин. Господи помилуй)<br/>After the exclamation "Blessed is the Kingdom" (После возглашения «Благословенно царство») (50 bars).
# '''Glory to the Father and to the Son''' (Слава Отцу и Сыну)<br/>After the First Antiphon (После первого антифона) (63 bars).
# '''Come, Let Us Worship''' (Придите, поклонимся)<br/>After the Little Entrance (После малого входа) (56 bars).
# '''Alleleuja''' (Аллилуйя)<br/>After the Epistle Reading (После чтения апостола) (15 bars).
# '''Glory to Thee, O Lord''' (Слава тебе Господи)<br/>After the Gospel Reading (После чтения евангелия) (26 bars).
# '''Cherubic Hymn''' (Херувимская песнь) (98 bars).
# '''Lord Have Mercy''' (Господи помилуй)<br/>After the Cherubic Hymn (После херувимской песни) (16 bars).
# '''I Believe in One God, The Father, The Almighty''' (Верую во Единаго Бога Отца)<br/>The Creed (Символ веры) (92 bars).
# '''Merciful Peace''' (Милость мира)<br/>After the Creed (После Cимвола веры) (42 bars).
# '''We Hymn Thee''' (Тебе поем)<br/>After the exclamation "Thine Own of Thine Own" (После возглашения «Твоя от твоих») (39 bars).
# '''It is Truly Fitting''' (Достойно есть)<br/>After the words "Especially For Our Most Holy" (После слов «Изрядко о пресвятей») (55 bars).
# '''Amen. And With Your Spirit, Lord Have Mercy''' (Амин. И со духом твоим, Господи, помилуй)<br/>After the exclamation "And Grant That With Our Mouths" (После возглашения: «И даждь нам единеми усты») (13 bars).
# '''Our Father''' (Отче наш)<br/>The Lord's Prayer (Молитва Господня) (44 bars).
# '''Praise the Lord from the Heavens''' (Хвалите, хвалите, Господа с небес)<br/>Communion Hymn (Причастный стих) (86 bars).
# '''Blessed is He Who Comes in the Name of the Lord''' (Благословен грядый во имя Господне)<br/>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.
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.
{{#ev:youtube|https://www.youtube.com/watch?v=OPlK5HwFxcw||center|||rel=0&enablejsapi=1&origin=https://en.seminaverbi.bibleget.io}}


=== Legend ===
=== Legend ===


See [[Legend (Tchaikovsky)]].
See [[Legend (Tchaikovsky)]] and [[tchaikovsky:Sixteen_Songs_for_Children,_Op._54|Sixteen Songs for Children, Op. 54]].


Legend (Russian: Легенда, Legenda), Op. 54, No. 5 (also known as The Crown of Roses in some English-language sources)[1] 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).[2] The words are based on the poem "Roses and Thorns" by American poet Richard Henry Stoddard, originally published in Graham's Magazine of May 1856.[2][3] :
Tchaikovsky's '''''Sixteen Songs for Children''''' (Шестнадцать песен для детей), Op. 54, were written at [[tchaikovsky:Kamenka|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 [[w:Richard Henry Stoddard|Richard Henry Stoddard]], originally published in the May 1856 edition of [[w:Graham's Magazine|Graham's Magazine]], and translated into russian by [[tchaikovsky:Aleksey Pleshcheyev|Aleksey Pleshcheyev]]:
 
{{#ev:youtube|https://www.youtube.com/watch?v=X-Zwjn-2n_A||center|||rel=0&enablejsapi=1&origin=https://en.seminaverbi.bibleget.io}}
 
{{#ev:youtube|https://www.youtube.com/watch?v=3TBtiB4l-KQ||center|||rel=0&enablejsapi=1&origin=https://en.seminaverbi.bibleget.io}}
 
==== Text ====


{{Poem quote|text=The young child Jesus had a garden
{{Poem quote|text=The young child Jesus had a garden
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And placed it on his shining head;
And placed it on his shining head;
And where the roses should have shone,
And where the roses should have shone,
Were little drops of blood instead!|title=Roses and Thorns|source={{cite journal |journal=Graham's Magazine |date=May 1856 |volume=xlviii |issue=5 |location=Philadelphia |title=Roses and Thorns |page=414 |first=R[ichard] H[enry] |last=Stoddard |url=https://hdl.handle.net/2027/iau.31858055621449?urlappend=%3Bseq=436}}}}
Were little drops of blood instead!|title=Roses and Thorns |source={{cite journal |journal=Graham's Magazine |date=May 1856 |volume=xlviii |issue=5 |location=Philadelphia |title=Roses and Thorns |page=414 |first=R[ichard] H[enry] |last=Stoddard |url=https://hdl.handle.net/2027/iau.31858055621449?urlappend=%3Bseq=436}}}}
 
=== 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 [[w:Joan of Arc|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.


{{listen|type=music|pos=left
==== Libretto ====
|filename=Tschikovsky Op 40.ogg|title=Valse in F-sharp minor|description=From ''Twelve Pieces for piano'', Op. 40, No. 9, a digital recording by [[Kevin MacLeod]]
The opera's libretto was compiled by Tchaikovsky, after [[tchaikovsky:Friedrich Schiller|Friedrich Schiller]]'s tragedy ''Die Jungfrau von Orleans'' (1801) in a Russian translation by [[tchaikovsky:Vasily Zhukovsky|Vasily Zhukovsky]], with additional material from Auguste Mermet's opera ''Jeanne d'Arc'' and Jules Barbier's drama of the same name <ref name="note1">Jules Barbier's drama ''Jeanna d'Arc'', in 5 acts, 7 scenes with music by [[tchaikovsky:Charles Gounod|Charles Gounod]] was first performed in [[tchaikovsky:Paris|Paris]] on 8 November 1873. According to Félix Clément (1822–1885), this drama represented events with historical accuracy Among the musical numbers, Clément highly rated the chorus of refugees, the soldiers' chorus, and the funeral march — see Félix Clément & Pierre Larousse, ''Dictionnaire des operas (Dictionnaire lyrique)'' (1897 edition, revised by Arthur Pougin), p. 604. Auguste Mermet's opera ''Jeanna d'Arc'', in 4 acts, 6 scenes, was first performed in [[tchaikovsky:Paris|Paris]] on 5 April 1876.</ref>.
|filename2=Pyotr Ilyich Tchaikovsky - romeo and juliet- overture-fantasy.ogg|title2=Romeo and Juliet Overture|description2=Performed by the Skidmore College Orchestra, courtesy of [[Musopen]]
 
| filename3    = Pyotr Ilyich Tchaikovsky - 1812 overture.ogg
During the summer of 1878 Tchaikovsky began to look for a subject for a new opera.
| title3      = 1812 Overture
 
| description3 = Performed by the Skidmore College Orchestra. Courtesy of Musopen
"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? ''[[tchaikovsky:Romeo and Juliet (projected opera)|Romeo]]'' or ''[[tchaikovsky:Les Caprices de Marianne|Les Caprices de Marianne]]''?", Tchaikovsky wrote in the summer of 1878
}}
<ref name="note2">See [[tchaikovsky:Letter 900|Letter 900]] to [[tchaikovsky:Modest Tchaikovsky|Modest Tchaikovsky]], 21 August/2 September 1878.</ref>.
 
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 
<ref name="note3">The original gives an incorrect date of "2 December".</ref>, Tchaikovsky writes to [[tchaikovsky:Nadezhda von Meck|Nadezhda von Meck]]: "I am attracted by a new operatic subject, namely:''The Maid of Orleans'' by [[tchaikovsky:Schiller|Schiller]] [...] The idea of writing an opera based on this story came to me in [[tchaikovsky:Kamenka|Kamenka]] while I was leafing through [[tchaikovsky:Zhukovsky|Zhukovsky]], who has translated [[tchaikovsky:Schiller|Schiller]]'s ''The Maid of Orleans''. It has wonderful potential for music [...] I was pondering the subject before my last visit to [[tchaikovsky:Saint Petersburg|Saint Petersburg]], but now I am seriously interested" 
<ref name="note4">[[tchaikovsky:Letter 973|Letter 973]] to [[tchaikovsky:Nadezhda von Meck|Nadezhda von Meck]], 21 November/3 December 1878; see also [[tchaikovsky:Letter 966|Letter 966]] to [[tchaikovsky:Modest Tchaikovsky|Modest Tchaikovsky]], 13/25 November 1878.</ref>.
 
Intending to write the libretto himself, Tchaikovsky embarked on studying the story. The composer did not restrict himself to [[tchaikovsky:Schiller|Schiller]]'s drama only: he sought to incorporate a variety of historical and artistic sources 
<ref name="note5">See [[tchaikovsky:Letter 968|Letter 968]] to [[tchaikovsky:Pyotr Jurgenson|Pyotr Jurgenson]], 15/27 November 1878; [[tchaikovsky:Letter 976|Letter 976]] to [[tchaikovsky:Nadezhda von Meck|Nadezhda von Meck]], 23 November/5 December 1878; [[tchaikovsky:Letter 1016|Letter 1016]] to [[tchaikovsky:Anatoly Tchaikovsky|Anatoly Tchaikovsky]], 11/23 December 1878; and [[tchaikovsky:Letter 1008|Letter 1008]] to [[tchaikovsky:Modest Tchaikovsky|Modest Tchaikovsky]], 6/18 December 1878.</ref>. On 6/18 December 1878 he told [[tchaikovsky:Nadezhda von Meck|Nadezhda von Meck]]: "For the moment I have only [[tchaikovsky:Schiller|Schiller]]'s drama translated by [[tchaikovsky:Zhukovsky|Zhukovsky]]. Obviously the opera text cannot be based strictly on [[tchaikovsky:Schiller|Schiller]]'s scenario. There are too many characters, too many minor episodes. It requires a reworking, not just an abridgement...
<ref name="note6">[[tchaikovsky:Letter 1007|Letter 1007]] to [[tchaikovsky:Nadezhda von Meck|Nadezhda von Meck]], 6/18 December 1878.</ref>. "I want to burrow in catalogues and obtain a small collection of books on '' Jeanne d'Arc''" 
<ref name="note7">See [[tchaikovsky:Letter 1007|Letter 1007]] to [[tchaikovsky:Nadezhda von Meck|Nadezhda von Meck]], 6/18 December 1878.</ref> . "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 [[tchaikovsky:Schiller|Schiller]], but I must admit I'm disturbed by his disdain for historical accuracy"
<ref name="note8">[[tchaikovsky:Letter 1013|Letter 1013]] to [[tchaikovsky:Modest Tchaikovsky|Nadezhda von Meck]], 10/22 December 1878.</ref>.
 
He was particularly impressed by a scene in which "the king, archbishops and knights recognize Jeanne as a missionary from on high"<ref>Pëtr Il'ic Cajkovskij, Perepiska s N. F. fon-Mekk, vol. 1, p. 543 (letter from Florence, December 6-18, 1878)</ref> and decided that it just had to be a part of his opera. And the scenes of her passion, which he related to the passion of Christ, had a profound impact on him:
 
{{quote|text=Imagine, my dear friend, that my heroine, that is Jeanne d'Arc, is to blame for my yesterday's abnormally excited condition and bad night. At last, in the evening I began reading your book [Henri-Alexandre Wallon, Jeanne d'Arc, Paris, 1876.], and having reached Jeanne's last days, her sufferings and execution that was preceded by abjuration, when her strength was out and she admitted that she was a witch, I felt such a pity and pain for all the mankind in her person, that it made me feel completely destroyed|author=Pyotr Tchaikovsky|source=Perepiska s N. F. fon-Mekk, vol. 1, p. 539-540 (letter from Florence, December 10, 1878)}}
 
==== Movements and Duration ====
''See [[tchaikovsky:The_Maid_of_Orleans#Movements_and_Duration|The Maid of Orleans#Movements_and_Duration]] on the Tchaikovsky wiki.''
 
{{#ev:youtube|https://www.youtube.com/watch?v=bCynRoXfRlk||center|||rel=0&enablejsapi=1&origin=https://en.seminaverbi.bibleget.io}}
 
{{#ev:youtube|https://www.youtube.com/watch?v=kmpp6RGVsro||center|||rel=0&enablejsapi=1&origin=https://en.seminaverbi.bibleget.io}}


==Notes==
==Notes==
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* Hosking, Geoffrey, ''Russia and the Russians: A History'' (Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 2001). {{ISBN|0-674-00473-6}}.
* 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}}.
* 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}}.
* {{wikicite|ref={{SfnRef|Kozinn|1992}}|reference=[[wikipedia:Allan Kozinn|Kozinn, Allan]], [https://www.nytimes.com/1992/07/18/arts/critic-s-notebook-defending-tchaikovsky-with-gravity-and-with-froth.html?ref=peterilyichtchaikovsky "Critic's Notebook; Defending Tchaikovsky, With Gravity and With Froth"]. In ''[[wikipedia:The New York Times|The New York Times]]'', 18 July 1992. Retrieved 27 February 2012.}}
* {{wikicite|ref={{SfnRef|Kozinn|1992}}|reference=[[wikipedia:Allan Kozinn|Kozinn, Allan]], [https://www.nytimes.com/1992/07/18/arts/critic-s-notebook-defending-tchaikovsky-with-gravity-and-with-froth.html?ref=peterilyichtchaikovsky "Critic's Notebook; Defending Tchaikovsky, With Gravity and With Froth"]. In ''[[wikipedia:The New York Times|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. [[wikipedia:Gerald Abraham|Abraham, Gerald]]. ISBN n/a. {{OCLC|385829}}
* Lockspeiser, Edward, "Tchaikovsky the Man". In ''Music of Tchaikovsky'' (New York: W.W. Norton & Company, 1946), ed. [[wikipedia:Gerald Abraham|Abraham, Gerald]]. ISBN n/a. {{OCLC|385829}}
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{{Wikiquote}}
{{Wikiquote}}
* [http://www.tchaikovsky-research.net Tchaikovsky Research]
* [http://www.tchaikovsky-research.net Tchaikovsky Research]
* {{imslpscore|The_Maid_of_Orleans_(Tchaikovsky,_Pyotr)|''The Maid of Orleans''}}
* {{BBC composer page|tchaikovsky|Tchaikovsky}}
* {{BBC composer page|tchaikovsky|Tchaikovsky}}
* [http://cylinders.library.ucsb.edu/search.php?query=+Tchaikovsky&queryType=%40attr+1%3D1 Tchaikovsky cylinder recordings], from the [[wikipedia:Cylinder Preservation and Digitization Project|Cylinder Preservation and Digitization Project]] at the [[wikipedia:University of California, Santa Barbara|University of California, Santa Barbara]] Library.
* [http://cylinders.library.ucsb.edu/search.php?query=+Tchaikovsky&queryType=%40attr+1%3D1 Tchaikovsky cylinder recordings], from the [[wikipedia:Cylinder Preservation and Digitization Project|Cylinder Preservation and Digitization Project]] at the [[wikipedia:University of California, Santa Barbara|University of California, Santa Barbara]] Library.
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* {{IMSLP|id=Tchaikovsky%2C_Pyotr_Ilyich|cname=Pyotr Ilyich Tchaikovsky}}
* {{IMSLP|id=Tchaikovsky%2C_Pyotr_Ilyich|cname=Pyotr Ilyich Tchaikovsky}}
* [https://web.archive.org/web/20150518111217/http://www.studioceleste.eu/ Tchaikovsky Arias and Piano works performed live in Brussels]
* [https://web.archive.org/web/20150518111217/http://www.studioceleste.eu/ Tchaikovsky Arias and Piano works performed live in Brussels]


{{Pyotr Ilyich Tchaikovsky}}
{{Pyotr Ilyich Tchaikovsky}}
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[[Category:Russian classical pianists]]
[[Category:Russian classical pianists]]
[[Category:Russian opera composers]]
[[Category:Russian opera composers]]
[[Category:Music]]