Artykuły w czasopismach na temat „Tchaikovsky”
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1
Seibert, Donald C. "The Enchantress and Problems of Pacing in the Operas of Tchaikovsky: An Informal Interview with David Lloyd-Jones". Nineteenth-Century Music Review 4, nr 1 (czerwiec 2007): 103–17. http://dx.doi.org/10.1017/s1479409800000082.
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In June and July of 2004, Grange Park Opera gave the first professional stage performances in the United Kingdom of Tchaikovsky's The Enchantress (Charodeyka). David Lloyd-Jones conducted and was responsible for the performing version. The following article is based on an interview with him taped between the sixth and seventh performances.A retired Syracuse University music librarian, is the author of two published Tchaikovky studies: ‘The Tchaikovsky Fifth: a symphony without a programme’ (1991) and, in collaboration with Mark Elder, ‘The Dramaturgy of Tchaikovsky's Mazeppa’ (1988). He was for many years a contributor of record reviews and interviews to Fanfare magazine.
2
Maes, Francis. "Tchaikovsky, Onegin, and the Art of Characterization". Arts 13, nr 3 (30.04.2024): 82. http://dx.doi.org/10.3390/arts13030082.
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Tchaikovsky enjoyed composing Yevgeni Onegin. He expressed his fulfillment in a famous letter to Sergey Taneyev. What could his enthusiasm convey about the content of the project? Music criticism has taken Tchaikovsky’s words as proof for the thesis that the opera is connected to autobiographical circumstances. In this mode of thinking, the quality of Tchaikovsky’s music is the result of the composer’s identification with the subject matter. Despite the objection of several Tchaikovsky scholars, the autobiographical paradigm remains very much alive in the reception of Tchaikovsky’s music. As an alternative, Tchaikovsky scholarship has explored a hermeneutical approach that would link his music to its context in Russian society and culture. In this paper, I present another possible reaction to Tchaikovsky’s statement: an exploration of the composer’s approach to musical characterization. Analysis of some key scenes reveals that the definition of characters and situations by musical means is more precise than standard interpretations of the opera would concede. This discovery may lead to a new assessment of characterization as a critical tool to refine the definition of Tchaikovsky’s position in European music history. The method may be applied to examples outside his operatic output, such as Serenade for Strings and the Fifth Symphony.
3
Zhen, Li. "The Origins of Theatricality in Vocal Art of Alexander Tchaikovsky". Университетский научный журнал, nr 79 (24.04.2024): 100–105. http://dx.doi.org/10.25807/22225064_2024_79_100.
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This article is devoted to the vocal works of the outstanding Russian composer Alexander Vladimirovich Tchaikovsky. The perspective of the study is the manifestation of theatricality in the composer’s vocal cycles. The quality of theatricality was formed by the conditions of Tchaikovsky’s personal formation in the atmosphere of professional activity of the closest members of his family. His father, Vladimir Alexandrovich Tchaikovsky, was the director of the Stanislavski and Nemirovich-Danchenko Moscow Music Theatre. His work in the 1960–70s had a huge impact on the personality of the future composer. His uncle, Boris Alexandrovich Tchaikovsky, was an outstanding Soviet composer. The vocal cycles of Alexander Tchaikovsky show the tendency towards theatricalisation of vocal works, which developed in Western European and Russian musical art of the 19th and 20th centuries.
4
Stepanidina, Ol'ga Dmitrievna, i Viсtor Anatolyevich Demidov. "The influence of French lyrical romances on creativity of P. Tchaikovsky and their significance in the formation of the performing principles of the Russian chamber-vocal culture of the mid-XIX century". PHILHARMONICA. International Music Journal, nr 3 (marzec 2022): 52–68. http://dx.doi.org/10.7256/2453-613x.2022.3.37842.
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The subject of the study is the influence of the French lyrical romance on the chamber-vocal lyrics of P. Tchaikovsky and its significance in the formation of domestic music performance in the middle of the XIX century. In the lyrical romances of P. Tchaikovsky and in the cycle Op.65, their common features and national differences are studied. The significance of P. Tchaikovsky's chamber vocal music on the opera and chamber music is revealed. The article uses methods of complex and comparative analysis, which creates prerequisites for a fairly objective conclusion about the harmonious implementation of French music features in Tchaikovsky's compositional work and music performing. For the first time, the analysis of the prerequisites for P. Tchaikovsky's creation of lyrical romances inspired by France of the era of lyrical opera and the appearance of an opera-chamber singer as a result of the influence of French lyrical romance on the chamber-vocal creativity of P. Tchaikovsky is considered. The scientific novelty of this research lies in a comprehensive approach to studying the problem of the influence of French lyrical romance on the peculiarities and originality of P. Tchaikovsky's chamber lyrics and the domestic chamber vocal culture of the second half of the XIX century. Author concluded that lyrical romances and of Op. 65 reveals influence of French poets on P. Tchaikovsky. The practical significance of this research lies in the fact that professional chamber performers in their concert activities and teachers of music educational institutions in practical work with students are obliged to approach the choice of expressive means with knowledge of style and genesis.
5
Skvirskaya, T. Z. "Pages of the History of the Creation of the Cantata Moscow by P.I. Tchaikovsky: Unpublished Correspondence between the Composer and P.A. Richter". Art & Culture Studies, nr 4 (grudzień 2023): 578–603. http://dx.doi.org/10.51678/2226-0072-2023-4-578-603.
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The article for the first time publishes the correspondence of P. I. Tchaikovsky with the Chairman of the Coronation Commission P. A. Richter, connected with the history of the cantata Moscow. This work for soloists, choir, and orchestra to the text by A. N. Maikov was written by Tchaikovsky on the order of the Coronation Commission and was first performed on the day of the solemn coronation of Emperor Alexander III on May 15 (27), 1883. Richter’s letters and telegrams to Tchaikovsky are stored in the Tchaikovsky State Memorial Musical Museum-Reserve in Klin, they have been mentioned in literature but have not been published. It was Richter who on March 4 (16), 1883 turned to the composer, who was then in Paris, with a request to compose a coronation cantata. Response letters and telegrams from Tchaikovsky to Richter, previously unknown, were discovered by the author of the article in 2022 in the Russian State Historical Archives (St. Petersburg). In total, ten archival documents are introduced into scientific circulation, including six unpublished texts by Tchaikovsky: four letters and two telegrams. The correspondence covers the period from March 4 (16) to April 17 (29), 1883. The published epistolary documents are provided with historical and textual-critical comments. The telegrams of both correspondents are presented in the French original and translated into Russian. Tchaikovsky’s correspondence with Richter and comments on it reveal the details of the history of the creation and first performance of the cantata Moscow, the pages of the history of its manuscript and new facts of the composer’s biography. The correspondence materials are a valuable source for restoring the creative history of the cantata as part of the preparation of a new critical edition of this work in Academic Complete Works of P. I. Tchaikovsky.
6
Vinogradova, A. S. "The Man of the Theater from the Environment of P.I. Tchaikovsky: K.N. De‐Lazari". Art & Culture Studies, nr 3 (październik 2021): 306–33. http://dx.doi.org/10.51678/2226-0072-2021-3-306-333.
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This paper is dedicated to a creative personality from P.I. Tchaikovsky’s friendly circle, Konstantin Nikolaevich De-Lazari (stage name Konstantinov). Throughout the composer’s life, this artist of almost all theatrical genres (from drama and opera to vaudeville and operetta) maintained friendly relations with Pyotr Ilyich himself, then with his brothers and father. Serving alternately in the troupes of the opera (Bolshoi Theater, Moscow) and drama theaters (Alexandrinsky Theater, St. Petersburg), he did not lose touch with either the musical or dramatic environment and was considered “his own man” behind the scenes of the theaters of both capitals. He was a friend of Pyotr Ilyich’s friends: N.G. Rubinstein, G.A. Laroche; patronized talented actresses who played prominent roles in the destinies of M.I. Tchaikovsky (M.G. Savina) and A.I. Tchaikovsky (A.Ya. Glama-Meshcherskaya). K.N. De-Lazari left several memoir texts; their exact number and significance for the biography of P.I. Tchaikovsky has not yet received a scientific assessment. These texts and their interpretation will help to expand our understanding of the composer’s circle of friends and the synthetism of perception of musical and dramatic theater, characteristic of P.I. Tchaikovsky, his natural artistry, in a broad sense.
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Goldin, Vladislav I. "N. V. Tchaikovsky and A. I. Denikin: Dialogue, Collaboration, and Controversy of the Anti-Bolshevik Movement Leaders in the Days of the Civil War in Russia: Documents from Russian and Foreign Archives". Herald of an archivist, nr 1 (2022): 81–97. http://dx.doi.org/10.28995/2073-0101-2022-1-81-97.
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The article presents the activities of the anti-Bolshevik movement leaders, N.V. Tchaikovsky in the North and General A.I. Denikin in the South of Russia in the days of the Civil War. The object and aim of the research is to analyze their relations, dialogue, collaboration, and contradicting views on state building, interrelations of civil and military powers, relations with the foreign allies by studying archival documents. Most of the studied documents are from documentary collections of the former Russian Historical Archive Abroad in Prague transferred in 1946 to Moscow and now mostly stored in the State Archive of the Russian Federation: personal provenance fonds of N. V. Tchaikovsky and A. I. Denikin, documentary collection of the “Society of Northerners.” The article analyzes a long letter written by Tchaikovsky and addressed to Denikin (April 1919), where he assesses organization of power in the Northern Region, relations of the military, including foreign allies and Commander-in-Chief of the Entente forces, with the government of the Northern Region. It presents documents on Tchaikovsky’s views on the political process in South Russia at the time when he was a member of the Russian Political Delegation of the Russian Political Conference in Paris; on relations of the White movement with nationalities. The article highlights Tchaikovsky’s meeting with the Polish leader Josef Pilsudski in an attempt to organize a military alliance of Denikin’s forces with Poland. It assesses Tchaikovsky’s participation in the South Russian Government in 1920 and his relations with General Denikin at the same period. Tchaikovsky sought to implement a “middle” course, balancing the “left” and the “right” fractions, civil and military powers; to demonstrate democratic nature of the Government; and to gain support of a considerable part of the population, while General Denikin was in favor of military dictatorship. Neither approach brought success to the anti-Bolshevik movement in the Civil War. However, identifying and introducing into scientific use documents of these two leaders of the anti-Bolshevik movement is important for proper understanding of its history.
8
Brown, David. "Tchaikovsky". Musical Times 133, nr 1791 (maj 1992): 221. http://dx.doi.org/10.2307/1193695.
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Fanning, David. "Tchaikovsky". Nineteenth-Century Music Review 3, nr 1 (czerwiec 2006): 150–53. http://dx.doi.org/10.1017/s1479409800000471.
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Campbell, Stuart. "Tchaikovsky". Nineteenth-Century Music Review 1, nr 1 (czerwiec 2004): 193–95. http://dx.doi.org/10.1017/s1479409800002056.
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Brown, David. "Tchaikovsky". Nineteenth-Century Music Review 2, nr 2 (listopad 2005): 225–26. http://dx.doi.org/10.1017/s1479409800002433.
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Zhou, Shuaina, i Chong Yew Yoong. "A Structural and Harmonic Analysis with Performance Implications of Tchaikovsky’s “June: Barcarolle” from “The Seasons, Op. 37a, No. 6”". Scientific and Social Research 4, nr 9 (27.09.2022): 38–43. http://dx.doi.org/10.26689/ssr.v4i9.4329.
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Tchaikovsky is known as the “master of melody.” His melodies are extremely rich, and he is good at using small musical forms to express rich and deep emotional feelings. The musical form and structure of “June: Barcarolle” in Tchaikovsky’s piano collection “The Seasons” will be discussed in this paper.
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Zajaczkowski, Henry. "Tchaikovsky - 1". Musical Times 133, nr 1789 (marzec 1992): 110. http://dx.doi.org/10.2307/966418.
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Harrington, Clive A. D. "Tchaikovsky - 2". Musical Times 133, nr 1789 (marzec 1992): 110. http://dx.doi.org/10.2307/966419.
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Zajaczkowski, Henry, i David Brown. "Tchaikovsky Remembered". Musical Times 135, nr 1814 (kwiecień 1994): 243. http://dx.doi.org/10.2307/1002777.
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Абдоков, Ю. Б. "Eduard Serov as Interpreter of Boris Tchaikovsky’s First Symphony: On the Problem of Style Authenticity". OPERA MUSICOLOGICA, nr 4 (15.11.2020): 19–40. http://dx.doi.org/10.26156/om.2020.12.4.002.
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В статье впервые в отечественном искусствознании рассматривается феномен творческого взаимодействия одного из крупнейших оркестровых композиторов ХХ столетия Бориса Александровича Чайковского (1925–1996) и выдающегося российского дирижера, профессора Санкт-Петербургской консерватории Эдуарда Афанасьевича Серова (1937–2016). Основным предметом анализа является интерпретация, запечатленная в премьерной студийной записи Первой симфонии Б. Чайковского, осуществленной Серовым в июне 2006 года. Масштабный оркестровый опус, сочиненный Б. Чайковским, когда он был студентом в консерваторском классе Д. Д. Шостаковича, никогда прежде не исследовался в российском музыкознании. Тембровая поэтика и архитектоника самой ранней циклической партитуры Б. Чайковского осмыслены в контексте изучения авторского оркестрового стиля и его слагаемых, включая те, которые обозначены самим композитором («тембровая оптика», «перспективные планы», «атмосферная среда» и т. д.). Принципиально важным в оценке дирижерской трактовки Серова является анализ стилевой адекватности, проявляющейся в исполнительской расшифровке того, что Б. Чайковский, анализируя музыку других авторов, называл «темброво-поэтическим кодом» оркестровой партитуры. В статье впервые публикуется уникальный эпистолярный документ — послание Шостаковича своему ученику (после показа симфонии на композиторской кафедре Московской консерватории); также приводятся суждения самого Б. Чайковского, в которых он оценивает профессиональные качества Серова-дирижера и делится личными представлениями о стилевом аутентизме в дирижерском и шире — исполнительском искусстве. The article represents the first attempt in the Russian art criticism to deal with the phenomenon of creative interaction between one of the greatest orchestral composers of the twentieth century — Boris A. Tchaikovsky (1925–1996) and an outstanding Russian conductor — professor of Saint Petersburg Conservatoire Eduard A. Serov (1937–2016). The main subject of the analysis is the interpretation of B. Tchaikovsky’s First Symphony performed by Serov in June 2006, provided in the premiere studio record. This large-scale orchestral opus composed by B. Tchaikovsky while being a student in the Conservatory class of Dmitri D. Shostakovich has never been studied in Russian musicology before. Timbre poetics and architectonics of the earliest cyclic score by B. Tchaikovsky are conceptualized in the context of the author’s orchestral style and its components, including those designated by the composer himself (“timbre optics”, “perspective plans”, “atmospheric environment”, etc.). The analysis of stylistic adequacy, which B. Tchaikovsky called the “timbral-poetic code”, is fundamentally important in the conductor’s interpretation of the score by Serov. B. Tchaikovsky himself used this term while analyzing the music of other authors. This article is the first to publish a unique epistolary document — Shostakovich’s letter to his pupil (written after the performance of the Symphony at the Moscow Conservatory’s composition department), as well as the previously unpublished judgements of B. Tchaikovsky himself concerning Serov’s professional qualities as a conductor, and style authenticity in conducting and — more widely — in the performance practice.
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Balatskaya, A. L. "P. I. TCHAIKOVSKY AND J. E. CONUS. FROM THE HISTORY OF CORRESPONDENCE". Arts education and science 1, nr 1 (2021): 197–204. http://dx.doi.org/10.36871/hon.202101023.
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The article is devoted to one of the insufficiently studied pages of Tchaikovsky's epistolary heritage — his correspondence with the novice musician Julius Conus, representative of a musical dynasty that provided Russian culture with many prominent figures. The focus of the study is a written dialogue between P. I. Tchaikovsky and J. E. Conus, which lasted from 1891 to 1893 and reproduced from published letters and artifacts found in the archives. The value of the correspondence lies in the opportunity to reconstruct in detail the biography of Julius Conus during this period, as well as to trace Pyotr Ilyich's impact on the young musician's formation. Tchaikovsky's friendly letters testify to his fatherly concern for "Julik" (a Russified name of Julius with some scherzo tinge). These days the name of J. E. Conus is undeservedly forgotten. In the halo of Tchaikovsky's interest in this man appears a bright individuality of a young musician, undoubtedly worthy to be revived in Russian musical culture.
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Kline, Paul, i Henry Zajaczkowski. "Zajaczkowski on Tchaikovsky". Musical Times 131, nr 1770 (sierpień 1990): 406. http://dx.doi.org/10.2307/966616.
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Wang, Yangyanru. "Discussing the Ethnicity of Tchaikovsky's 1812 Overture through the Professional Lens of Musicology". Highlights in Art and Design 5, nr 1 (22.02.2024): 5–11. http://dx.doi.org/10.54097/hiaad.v5n1.02.
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The scope of my dissertation is: the sections of the 1812 Overture that are characterized by Russian folk music; the connection between the Russo-French War of 1812 and the 1812 Overture; and the composer Tchaikovsky's inspiration and compositional process for writing the 1812 Overture. The purpose of the research is: to discuss the embodiment of Russian musical style in the 1812 Overture through the knowledge and understanding of folk music. In the process of writing the article, the first step is to listen to the audio of the 1812 Overture, watch the video of the 1812 Overture, and find out the characteristic passages of Russian music and the use of characteristic instruments in the video of the 1812 Overture, and combine them with the same passages in the score of the 1812 Overture. Next, collect literature on the 1812 Overture, Tchaikovsky, Russian folk music, and definitions of folk music. And begin to organize the framework of the thesis and categories the literature. Finally write the paper, revise the final draft and submit the course paper. The result is a discussion and critical response to the reasons for the controversy of the Russian national music of the composer Tchaikovsky by the people of Russia itself by analyzing the national character of the 1812 Overture. The conclusion is that the 1812 Overture is a strong confirmation of the composer Tchaikovsky's expertise in using not only Western European symphonic music, but also Russian musical styles in his musical compositions.
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Shen, Rui. "Melody Master Tchaikovsky: Analysis of Ethnic Colors in the Piano Suite "Four Seasons"". Highlights in Art and Design 3, nr 2 (4.07.2023): 13–20. http://dx.doi.org/10.54097/hiaad.v3i2.9851.
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Tchaikovsky was a great musician in Russia during the Romantic period. Due to his melodic works, he was known as the "master of melody" in Russia and received an honorary doctoral degree from the University of Cambridge in the United Kingdom. His creative genres cover a wide range of opera, dance, symphonies, concertos, and piano works. His music incorporates the characteristics of folk songs and his works reflect the oppressive psychology of the Russian people under the Tsar's rule, as well as their longing and longing for a better life in the future. He is committed to revealing the conflicting emotions within people's hearts. His later works are full of strong dramatic conflicts, his own thoughts on life, and fiery emotional colors. This article takes Tchaikovsky's piano suite "Four Seasons" as the text, and analyzes the ethnic characteristics of Tchaikovsky's works from the perspective of ethnology, using acoustic methods. The aim is to clarify the ethnic colors in "The Four Seasons" and reveal the profound ethnic connotations in Tchaikovsky's music works by utilizing elements such as harmony and melody.
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Комаров, А. В. "Tchaikovsky as the Author of Piano Arrangements of His Own Compositions". Научный вестник Московской консерватории, nr 2(33) (22.06.2018): 94–125. http://dx.doi.org/10.26176/mosconsv.2018.33.2.05.
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С фортепианными переложениями как неотъемлемой частью музыкальной культуры XIX века Чайковский был связан на протяжении всей жизни. Обширную часть наследия композитора составляют переложения для фортепиано в 2 и 4 руки его собственных сочинений и произведений других авторов. Но если последние перекладывались Чайковским преимущественно в силу различных внешних обстоятельств, то переложениям собственных сочинений композитор уделял всегда особое внимание. Круг музыкантов, пользовавшихся доверием композитора в этом отношении, был весьма невелик и с течением времени неуклонно сужался. Чайковский стремился перекладывать свои сочинения самостоятельно, несмотря на постоянные жалобы на несовершенство переложения как формы представления оркестрового произведения и различные трудности при его создании. Всего композитором переложены более сорока его собственных сочинений. Помимо определенного этапа в истории самих произведений, переложения становились также частью фортепианного наследия Чайковского. Композитор неизменно настаивал на творческом характере создания переложений. В качестве примеров работы Чайковского в предлагаемой статье подробно рассмотрены переложения трех оркестровых сюит для фортепиано в 4 руки. With piano arrangements as an integral part of the musical culture of the XIX century, Tchaikovsky was associated for all his life. A large part of the composer’s legacy consists of arrangements for piano in 2 and 4 hands of his own compositions and works by other authors. But if Tchaikovsky made the latter ones mainly due to various external circumstances, he always paid special attention to the arrangements of his own compositions. The circle of musicians who enjoyed the composer’s confidence in this respect was very small and with time steadily narrowed. Tchaikovsky tried to make piano arrangements himself, despite the constant complaints about the imperfection of the transposition as a form of representation of the orchestral work and various difficulties in creating it. In total more than 40 of his own compositions have been arranged for piano by the composer. In addition to a certain stage in the history of the works themselves, the arrangements also became part of Tchaikovsky’s pianistic heritage. The composer invariably insisted on the creative nature of piano arrangements. In the proposed paper the four hands piano arrangements of three orchestral suites are considered in detail as examples of Tchaikovsky’s approach.
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Moiseev, Grigory A. "Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich: A Posthumous Dialogue". Observatory of Culture 17, nr 5 (12.11.2020): 496–509. http://dx.doi.org/10.25281/2072-3156-2020-17-5-496-509.
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Pyotr Ilyich Tchaikovsky and Grand Duke Konstantin Konstantinovich (the august poet K. R.) were linked by many years of friendship and creative cooperation. After the composer’s death (October 25, 1893), K. R. became involved in the process of perpetuating his memory. The posthumous dialogue was manifested in various forms: Grand Duke Konstantin Konstantinovich’s participation in church and secular memorial ceremonies, private commemorations, and his close communication with M.I. Tchaikovsky and V.L. Davydov — the composer’s brother and nephew. In addition, K. R. reexamined his creative and epistolary communication with the composer, whose memory he would pass on to his children. These and other aspects are considered in three sections of the proposed article: 1) “Under the Sign of the Liturgy Op. 41” (this spiritual and musical work runs through the whole life of the Grand Duke); 2) “The Grand Duke and M.I. Tchaikovsky” (a key figure in the “human” aspect); 3) “K. R. Reads ‘The Life of Pyotr Ilyich Tchaikovsky’” (one of the most important findings was a copy of the book ‘The Life of Pyotr Ilyich Tchaikovsky’, which belonged to Grand Duke and bears his notes; they retrospectively reflect the process of in-depth family reading). The article is based on documentary materials from Russian and foreign collections (including the State Archive of the Russian Federation and the Library of Congress, USA), many of which are introduced into scientific use for the first time. The article uses methods of comparative source studies. The materials of the article can be used in a course of the history of Russian music, as well as in a modern commented edition of the epistolary heritage and diaries of P.I. Tchaikovsky, M.I. Tchaikovsky and Grand Duke Konstantin Konstantinovich.
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Tsolyk, Nataliia. "HISTORICAL PROSE OF MICHAL TCHAIKOVSKY IN THE CONTEXT OF THE “UKRAINIAN SCHOOL” AESTHETIC SEARCHES". Polish Studies of Kyiv, nr 36 (2020): 355–63. http://dx.doi.org/10.17721/psk.2020.36.355-363.
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The article analyses the visions of Polish literary critics, attesting to a certain reception of the life path as well as the comprehension of Michal Tchaikovsky’s works in the context of the Polish Romanticism “Ukrainian school”. The genre-thematic and compositional features of the prose are also outlined, the author’s narrative strategy is analysed, and both ideological and aesthetic writer views and his literary contacts are shown. The significance of his creativity and activity through the implementation of the romantic idea is clarified. Tchaikovsky’s creation of a prose formula for Romantic Ukrainianism, the search for new forms of transferring Ukrainian stereotypes to Polish soil is still poorly understood. Various manifestations of reception and prose typology, M. Tchaikovsky’s artistic skill in the context of the “Ukrainian school” became the subject of the research. The author’s world-views were taken into account while studying Tchaikovsky’s prose which made it possible to systematically outline the problems, poetic and genre features of the works. The embodiment of the romantic ethnic hero features, a look on the Cossacks are expressed both in the works themselves and in the author’s prefaces, comments, notes making up an integral part of the writer’s creative achievements. M. Tchaikovsky is considered the father of a Polish historical novel. Mythologized vision of history and modern Polish-Ukrainian relations are reflected in various prose forms – diary, gavendas (“Gavendas”, “Legends”, “The Poles and Poles Strange Life”), adventure stories (“Wernygora”, “Kirdzhali”, “Stefan Charnetsky”, “Koshovata”, “Ovruchanyn”, “Hetman of Ukraine”), modern stories (“The Gilovs”, “Anna”), pamphlets (“Bulgaria”, “Nemolyaka”, “Bosnia”, “From Hetman Lach Times”). Slavic-Turkish tales of the Danube Cossacks whose manuscripts were burned in Istanbul remain still unknown. The movement of life was the M. Tchaikovsky environment namely a direct action in which one sees scope, confidence, and desire to bring to life all that he dreamed of. The author of “Wernygora” realised his longing for ancient life through literary activity, he dreamed of Ukraine, and created a world he wanted to see around him. The Cossacks, Slavophilism and colourful personalities have become he sources of M. Tchaikovsky’s works. The moment of literary creativity comes in the periods when the social roles of the politician and the soldier have been lost. The paper is another step towards understanding the place and role of M. Tchaikovsky’s works in Polish romanticism through the prism of historical prose. It is an attempt to read the works scientifically in the context of historical, social and cultural factors at the theoretical level. Research is a contribution to the set of theoretical knowledge of hermeneutics, theory of literature, social anthropology.
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Zagidullina, Dilbar Renatovna, i Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky". PHILHARMONICA. International Music Journal, nr 1 (styczeń 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.
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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky’s Violin concerto and Piano concerto, the symphonic poems “The Juvenile” and “The Winds of Siberia”, the Symphony No 3 “Sevastopol”, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as: the timbre-texture embodiment of thematic invention (the peculiarities of orchestra compositions); the ensemble combinations of instruments and their meaning. The authors also analyze the composer’s favorite timbre-texture techniques. The authors define and consider the phenomenon of “timbre pointillism” typical for the timbre writing of the composer. The original symphonic works by Tchaikovsky have been studied many times. In 2019 a research by Yu. Abdokov was published in which the author considers the peculiarities of an orchestra in Tchaikovsky’s theatrical music. The orchestra in his symphonic compositions also has theatrical features, however with some peculiarities. The features of Tchaikovsky’s timbre-orchestra writing haven’t been analyzed yet, and this fact determines the scientific novelty of the research. The authors attempt to generalize the peculiarities of the timbre writing of the composer. Tchaikovsky himself always emphasized the necessity of a single and final variant of orchestration.
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Matthew-Walker, Robert. "A New Tchaikovsky Completion". Musical Times 132, nr 1784 (październik 1991): 498. http://dx.doi.org/10.2307/966570.
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Ritzarev, Marina, Alexander Poznansky, Ralph C. Burr Jr. i Robert Bird. "Tchaikovsky through Others' Eyes". Slavic and East European Journal 45, nr 1 (2001): 150. http://dx.doi.org/10.2307/3086434.
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Frolova-Walker, Marina, i Leslie Kearney. "Tchaikovsky and His World". Notes 56, nr 1 (wrzesień 1999): 149. http://dx.doi.org/10.2307/900500.
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Seaman, Gerald R., Alexandra Orlova, R. M. Davison i Alexander Poznansky. "Tchaikovsky: A Self-Portrait". Notes 49, nr 3 (marzec 1993): 1013. http://dx.doi.org/10.2307/898954.
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Fowler, Jennifer. "Don't Blame Mrs Tchaikovsky!" Musical Times 134, nr 1804 (czerwiec 1993): 311. http://dx.doi.org/10.2307/1003047.
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Carey, William B. "Tchaikovsky on Handicap Management". Journal of Developmental & Behavioral Pediatrics 26, nr 2 (kwiecień 2005): 122. http://dx.doi.org/10.1097/00004703-200504000-00007.
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Kors, S. "Iolanta. Peter Ilyich Tchaikovsky". Opera Quarterly 13, nr 4 (1.01.1997): 198–201. http://dx.doi.org/10.1093/oq/13.4.198.
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Pines, R. "Mazeppa. Peter Ilyich Tchaikovsky". Opera Quarterly 15, nr 4 (1.01.1999): 779–83. http://dx.doi.org/10.1093/oq/15.4.779.
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GRAEME, R. "Tcherevichki. Peter Ilyich Tchaikovsky". Opera Quarterly 16, nr 1 (1.01.2000): 142–46. http://dx.doi.org/10.1093/oq/16.1.142.
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Wakeling, Dennis W. "Mazeppa. Peter Ilich Tchaikovsky". Opera Quarterly 8, nr 2 (1991): 186–88. http://dx.doi.org/10.1093/oq/8.2.186.
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Michael Adams. "Tchaikovsky (review)". Notes 65, nr 3 (2009): 554–55. http://dx.doi.org/10.1353/not.0.0136.
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Spence, Des. "Tell Tchaikovsky the news". BMJ 333, nr 7562 (3.08.2006): 309.2. http://dx.doi.org/10.1136/bmj.333.7562.309-a.
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Albrecht Gaub. "Tchaikovsky (review)". Notes 67, nr 1 (2010): 126–29. http://dx.doi.org/10.1353/not.2010.0034.
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Slonimsky, Nicolas. "Further Light on Tchaikovsky". Musical Quarterly 75, nr 4 (1991): 70–73. http://dx.doi.org/10.1093/mq/75.4.70.
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Dorris, George. "Tchaikovsky and the ballet". Dance Chronicle 9, nr 2 (styczeń 1985): 256–63. http://dx.doi.org/10.1080/01472528508568925.
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Franseen, Kristin M. "Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch". 19th-Century Music 44, nr 2 (2020): 100–118. http://dx.doi.org/10.1525/ncm.2020.44.2.100.
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Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.
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Tsolyk, Nataliia. "LITERARY VISION OF HISTORY IN THE WORKS OF MICHAL TCHAIKOVSKY". Polish Studies of Kyiv, nr 37 (2021): 354–66. http://dx.doi.org/10.17721/psk.2021.37.354-366.
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Polish prose of the “Ukrainian school” in Polish literature, which in its artistic, aesthetic and ideological content was quite a noticeable phenomenon and still remains little studied in Polish and Ukrainian literary criticism. It is also important for us that the concept of literary Ukrainianism is reflected here. This is especially true of writers on the Ukrainian-Polish borderland, many of whom idealized the common Polish-Ukrainian history and were passionate supporters of the Cossacks, as well as those who were fierce opponents of the latter. It can be argued that romantic frontier prose also impresses with all the variety of themes, motives, topos, first of all, related to Ukraine. This is what prompted to choose the object of study of the artistic and textual array of creative heritage of Mikhail Tchaikovsky. The coexistence in the works of romance of myth and history was considered obvious, because historical events were to confirm the truth of the mythical story, the myth, in turn, was to give meaning to history. Given this, this study is relevant and timely, and this approach is quite justified. Tchaikovsky is considered the father of the Polish historical novel. The writer built his works on the basis of Walterscott’s model of the historical novel: a combination of love and historical-political plots. The work is a further step towards rethinking the place and role of Tchaikovsky’s work in Polish romanticism through the prism of the features of historical prose. At the theoretical level, it is an attempt to scientifically read works in broad connection with historical, social and cultural factors. Michal Tchaikovsky’s works on Ukrainian historical themes are undoubtedly a relevant and insufficiently covered topic in Ukrainian Polish studies, so they need new approaches and interpretations. The obtained results, no doubt, can be used in an in-depth and comprehensive study of the history of Polish and Ukrainian literature of the Romantic era. Work experience is also useful in conducting special courses and special seminars, will help in writing new textbooks and manuals, enriching modern knowledge of the theory and history of the “Ukrainian school” of Polish romanticism.
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Kozyrev, Alexey P. "Prince V. F. Odoevsky in search of “Russian harmony”". Philosophy of the History of Philosophy 2 (2021): 316–30. http://dx.doi.org/10.21638/spbu34.2021.120.
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The article examines the searching for national identity in the musical and critical heritage of Prince Vladimir Fyodorovich Odoyevsky, which is associated with his philosophical interests and reflects his philosophical development after the “Society of Lyubomudriye” (“Society of Wisdom”) and “Russian nights”. The 19th century is the century of discovery of the national, and the culture and aesthetics of romanticism contributed to that discovery and led to intense nation-building. Odoevsky distinguishes between Russian and the so-called “general” Western European music, basing this distinction on the analysis of Old Russian singing. It is based on the system of Echos (“glas”) and Ecphonesis (“poglasitsa”), which is typologically close to the ancient Indian scales. He studies the “hook letter” (“Kryuki”) reform carried out in the 16th–17th centuries by Ivan Shaidurov and other “didascals”, comparing it with the activities of Guido of Arezzo in the West in the 11th century. Odoevsky perceives music, firstly, as an ordered system of mathematical patterns, that is confirmed by the ideas of Leibniz and Euler, and secondly, as a special spiritual reality associated with ascetic practices. Odoevsky connects the national in music not with an appeal to folk songs, and even less with its recording in the spirit of European harmony, but with a deep form of musical composition, associated with the specificity of musical neuma. Music turns out to be an integral part of the iconosphere, it correlates with architecture and other kinds of art. Odoevsky’s ideas were developed in the works of the contemporary Russian cultural philosopher and composer Vladimir Martynov. The article examines the controversy of Sergei Taneyev and Pyotr Tchaikovsky, in which Taneyev, continuing Odoevsky’s ideas, defends the concept of a special “Russian harmony” and builds his work strategy in accordance with that idea. Tchaikovsky, on the other hand, stands for the unity of the European musical process, although he recognizes the national originality of various musical schools. Tchaikovsky’s statements about the contiguity of the Russian musical tradition with the European tradition were censored in the Soviet publication of Tchaikovsky and Taneyev correspondence (1951).
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Pinto Junior, Rafael Alves. "Tchaikovsky, leitor de Dante: lugar da angústia e imaginação narrativa em Francesca da Rimini op.32 (1876)". Per Musi, nr 26 (grudzień 2012): 86–93. http://dx.doi.org/10.1590/s1517-75992012000200009.
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Este texto tem como objetivo discutir a estrutura do poema sinfônico Francesca da Rimini op. 32, composto por Piotr IlyichTchaikovsky (1840-1893) em 1876, inspirado no Canto V do Inferno (1307) da Divina Comédia de Dante Alighieri (1265-1321). Interessa-nos observar como Tchaikovsky parte do texto poético de Dante - usando-o como fonte - e desenvolve uma narrativa musical que abre ao ouvinte outros planos do sensível. Em Francesca, Tchaikovsky não se limita ao relato, mas cria, a partir dele, o seu próprio. Procuramos encontrar a operação-chave da estrutura compositiva da obra que parece ser a mímesis: se Dante descreve o que "vê" no real de sua ficção, Tchaikovsky descreve o que sente no "real" do espaço-tempo musical.
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Abdokov, Yuri B. "The film music by Boris Tchaikovsky: “Timbral optics” and “Visual acoustics”". ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, nr 2 (2022): 104–39. http://dx.doi.org/10.35852/2588-0144-2022-2-104-139.
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There is something inexplicable in the fact that the film music of the greatest Russian composer of the 20th century, Boris Alexandrovich Tchaikovsky (1925–1996), hasn’t yet been seriously analyzed – not only as a part of his multifaceted legacy, but also as one of the very meaningful pages in the history of music and cinematography. The entire “literature” about the film music of the artist is limited with several synoptical essays (sometimes with gross factual errors and incredible contextual comparisons). But after all he, together with S. Prokofiev, D. Shostakovich, G. Popov, definitively changed the status of music in the Russian cinematography. It is unlikely that this gap, incomprehensible to any professional, aesthetic and moral logic, can be explained only by the fact that the composer imposed a strict ban on the making the studies devoted to his life and work during his lifetime. He was the only composer in the country awarded with the title of People’s Artist of the USSR and the USSR State Prize, who refused official appraisal, although supposed chroniclers and various interviewers always surrounded him. The need for a phenomenological understanding of musical and cinematographic logic of Boris Tchaikovsky became evident after the completion by the article’s author the first monographic study of all the orchestral scores of the composer. B. Tchaikovsky knew cinema very well, he appreciated the unique features of the cinematography, used its expressive possibilities in his symphonic and chamber music in his original way. The composer created a gallery of vivid images in the film music beloved by millions, although many don’t realize its authorship. The poetics of B. Tchaikovsky’s film music raises a number of issues primary to the holistic understanding of the composer’s style: the role of music and the sound-timbre palette in the process of film-making; the “optical” properties of musical timbres, acoustic images as visual projections; the typology of timbral extension and cinematographic chronos; the linking of musical and visual plasticity, and others. For the first time are published the judgments of B. Tchaikovsky revealing some of his views on the essence of music in cinematography and the peculiarities of the interaction between the composer and the director. As the main analytical material are used such outstanding films like “Seryozha” by G. Danelia, “Burn, O Burn, my Star” by A. Mitta, “French Lessons” and “A Raw Youth” by E. Tashkov, “Aibolit-66” by R. Bykov, “The Marriage of Balzaminov” by K. Voinov and others.
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Pines, Roger. "Pikovaya dama. Pyotr Il'yich Tchaikovsky". Opera Quarterly 11, nr 4 (1995): 133–36. http://dx.doi.org/10.1093/oq/11.4.133.
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Pines, R. "Eugene Onegin. Peter Ilyich Tchaikovsky". Opera Quarterly 18, nr 1 (1.01.2002): 129–31. http://dx.doi.org/10.1093/oq/18.1.129.
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harris, Dale. "Pikovata Dama Peter Ilich Tchaikovsky". Opera Quarterly 8, nr 2 (1991): 146–50. http://dx.doi.org/10.1093/oq/8.2.146.
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Pines, R. "Eugene Onegin. Peter Ilyich Tchaikovsky". Opera Quarterly 19, nr 4 (1.10.2003): 810–13. http://dx.doi.org/10.1093/oq/kbg103.
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Hendrix, Brian. "Tchaikovsky Versus the Western Canon". Philosophy and Literature 24, nr 2 (2000): 467–76. http://dx.doi.org/10.1353/phl.2000.0039.
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Bullock, P. R. "Tchaikovsky. By Roland John Wiley." Music and Letters 91, nr 4 (1.11.2010): 591–93. http://dx.doi.org/10.1093/ml/gcq071.
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