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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 ==
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== Musical compositions ==
== Musical compositions ==
[[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:
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==== Text ====
==== Text ====
Tchaikovsky adapted the text from the Russian Orthodox Liturgy service. Several of the numbers are based on the text of Biblical psalms:  
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. 1 – after {{Bible quote|version=NABRE|ref=Psalm 103}}
* No. 3 – after {{Bible quote|version=NABRE|ref=Psalm 150}}.
* No. 3 – after {{Bible quote|version=NABRE|ref=Psalm 150}}
* No. 4 – after {{Bible quote|version=NABRE|ref=Psalm 140}}.
* No. 4 – after {{Bible quote|version=NABRE|ref=Psalm 140}}
* No. 7 – after {{Bible quote|version=NABRE|ref=Psalm 117}}.
* 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. 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. 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. 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}}.
* 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}}
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=== 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)]] and [[tchaikovsky:Liturgy_of_Saint_John_Chrysostom|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.
'''''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.
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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.
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 [[Graham's Magazine]], and translated into russian by [[tchaikovsky:Aleksey Pleshcheyev|Aleksey Pleshcheyev]]:
'''''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 ===
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==== Libretto ====
==== Libretto ====
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"/>.
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>.


During the summer of 1878 Tchaikovsky began to look for a subject for a new opera.
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? ''[[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"/>.
"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>.


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"/>, 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"/>.
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>.


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"/>. 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"/>. "I want to burrow in catalogues and obtain a small collection of books on '' Jeanne d'Arc''" <ref name="note7"/> . "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"/>.
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 ====
==== Movements and Duration ====
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==References==
==References==
<ref name="note1">Jules Barbier's drama ''Jeanna d'Arc'', in 5 acts, 7 scenes with music by [[Charles Gounod]] was first performed in [[Paris]] on 8 November 1873 {{NS}}. 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 [[Paris]] on 5 April 1876 {{NS}}.</ref>
<ref name="note2">See [[Letter 900]] to [[Modest Tchaikovsky]], 21 August/2 September 1878.</ref>
<ref name="note3">The original gives an incorrect {{NS}} date of "2 December".</ref>
<ref name="note4">[[Letter 973]] to [[Nadezhda von Meck]], 21 November/3 December 1878; see also [[Letter 966]] to [[Modest Tchaikovsky]], 13/25 November 1878.</ref>
<ref name="note5">See [[Letter 968]] to [[Pyotr Jurgenson]], 15/27 November 1878; [[Letter 976]] to [[Nadezhda von Meck]], 23 November/5 December 1878; [[Letter 1016]] to [[Anatoly Tchaikovsky]], 11/23 December 1878; and [[Letter 1008]] to [[Modest Tchaikovsky]], 6/18 December 1878.</ref>
<ref name="note6">[[Letter 1007]] to [[Nadezhda von Meck]], 6/18 December 1878.</ref>
<ref name="note7">See [[Letter 1007]] to [[Nadezhda von Meck]], 6/18 December 1878.</ref>
<ref name="note8">[[Letter 1013]] to [[Modest Tchaikovsky]], 10/22 December 1878.</ref>
{{Reflist|20em}}
{{Reflist|20em}}


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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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[[Category:Russian classical pianists]]
[[Category:Russian classical pianists]]
[[Category:Russian opera composers]]
[[Category:Russian opera composers]]
[[Category:Music]]