Scan 22
Musical Courier 1897-11-03: Vol 35 Iss 922, 1897
24 lines. Read by computer on 23 September 2026. Printed page 23. See the scan on archive.org.
1carolle; the theme and variations from op. 19, played by Von Bulow and Rummel; a scherzo in F from "Souvenir de Hapsal," and the "Album d'Enfants," op. 39. Some of the eighteen morceaux, op. 72, are played, but if in public when, where and by whom?
3I shall not consider in detail all the piano, orchestral or lyric works of Tschaikowsky, but only the typical ones, and, furthermore, I can urge pianists who are clamoring for a novel repertory to study and search for themselves and not be deterred by the absence of stereotyped forms of passage work, for, while Tschaikowsky is never a path-breaker in this respect, his piano music is not always cast in an acceptable mold.
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7I have mentioned op. 1, No. 1, as being a Scherzo a la Russe; the second number an Impromptu. The little scherzo in F from op. 2 is tricky and full of vitality. The only pianist, to my knowledge, who has played it in public is Anthony Stankowitch, a pupil of Door and Anton Bruckner. It is not difficult. The second theme is very pretty. This op. 2 also contains "Ruines d'un Chateau," and the familiar song without words, op. 3—you see, I am in deadly earnest and mean to give you the story to its bitter end—is the opera "Voyevode," the overture to which we are to hear this season. Op. 4 is Valse Caprice, for piano in A flat, very brilliant, and played by Anton Door; op. 5, the piano Romance much played by Rubinstein; op. 6 is composed of six romances for voice; op. 7 is a piano Valse-Scherzo, also played by Rubinstein; op. 8, a Capriccio for piano in G flat; op. 9, three piano pieces—a Reverie, a Polka and a Mazourka; op. 10, two piano pieces—a Nocturne in B and a Humoresque; op. 11, the famous string quartet, E flat, with its entrancing slow movement; op. 12, an opera rejoicing in the felicitous title of "Snegourotchka," or "La Fille de Neige," a lyric drama in three acts. I cannot truthfully lie to you about this composition, for I am free, although not proud, to confess that I never saw a damned note of it. It was also damned by Russian critics. Op. 13—at last we come to a symphony, the first in G minor, sometimes called "A Winter's Journey." It has been played here. Op. 14 is an opera, "Vakoula" (the Smith), in three acts; op. 15 is the "Ouverture Triompale"; op. 16 comprises six romances for voice with piano; op. 17 the second symphony in C, and known as the Russian. In this Tschaikowsky begins to reveal his skill in orchestration, and the themes of the first movement are all strong and characteristic. Op. 18 is "The Tempest," a fantaisie for orchestra I never remember hearing. Has it been given in America, Mr. Hale? In op. 19 we land once more on familiar piano land, six pieces, the last of which is the variations in F.
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11These are built upon an original theme, simply harmonized, savoring of a Russian cantus firmus. The first three are not striking, the fourth, an allegro vivace, is original in treatment; the fifth, an andante amoroso in D flat, suggests Chopin; the sixth, very bold and full of imitations; the seventh, short and in the mode ecclesiastic; eighth, in D minor, is Schumannish; nine is a fascinating mazourka; number ten is in F minor, and tender; number eleven, "Alla Schumann," is characteristic; the twelfth on a pedal point is Brahms in color, and the presto finale, made of a figure in sixteenths, is very brilliant. These variations give us a taste of Tschaikowsky's quality in a form at which he was never beaten except by Brahms. They have served as models for several composers of the younger generation.
13Op. 20 is "Le Lac de Cygnes," a ballet in three acts, also unknown to us, but the title is a charming one; op. 21 is six pieces for piano, dedicated to Rubinstein, a Prelude, Fugue, Impromptu, Marche Funèbre, Mazourka and Scherzo; op. 22 is the second string quartet, almost as famous as its predecessor, but, if more euphonious, is not marked by the rude Russian vigor and originality of op. 11; op. 23 is the first piano concerto in B flat minor, and here let us tarry before again plunging further in the thicket of twisting, octopus-like numerals.
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17This concerto, one of the most brilliant of works of its class written since Liszt, is quite as fragmentary as Xaver Scharwenka's concerto in the same key, but it is more massive, more symphonic doubt as to its meaning or what to expect. But the Poco meno mosso is delightful, albeit its halting, syncopated accent breeds pessimistic doubts, soon resolved in the flowing lyric measures which ensue. The shadow of Schumann hovers here on brooding wings; yet another theme presents itself in A flat for the muted violins, with a zephyr-like accompaniment from the piano. Pastoral is the effect and plangent the rippling arpeggi. This theme leads off in the development with the profile only of the triplets of the intermezzo preceding. The piano part bursts in with octaves, and is singularly rich and vigorous. This reprise is full of learning and boldness of handling. I like the way the second theme reappears in B flat, although tonalities throughout are constantly shifting, and a harmonic haze, a blur of color, is often the only picture presented. The cadenza toward the close of the movement is more than three pages, and starts off in G flat, sounding suspiciously like the cadenza in Rubinstein's D minor concerto. The finale is very impressive. The second movement in D flat is exquisite, a melting, amorous nocturne, charged with the soft languors of summer night in Russia. There is atmosphere and there is a beloved one being sung to. The prestissimo, a fairy scherzo, with dancing, delicate shapes, all disporting themselves to a vague valse tune that must have been born on the Danube. This section has been charged with being commonplace, but a clever concert master can with a pencil stroke give the bowing and rhythm the distinction it needs. Yes, Tschaikowsky could be distractingly banal; he could add the two of loveliness to the two of vulgar and make the sum five instead of four.
19The andantino semplice ends serenely, and the Allegro con fuoco which follows is Russian in its insist, irritable hammering accent on the second beat of the bar. You can't help being carried away by the swing of it all, and the gay second subject relieves the drastic note at the beginning. All goes bravely, another subject appearing in Schumannish figuration. A dazzling movement this. Joseffy has altered the three pages of what he calls "Czerny unisons," and made the passage work more modern. The finale is thundering. This B flat minor concerto is, after all, Tschaikowsky at his best on the piano. His melodies are sweet, for the most part sane, and there is a sense of restless power suffusing the entire composition. It will stand as one of his representative efforts.
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23Let us, O weary sister, O bored brother, take up our staff and again wander down this flower and fungi dotted path of opus land. Op. 24 is our next number, and is the opera "Eugene Oneguin," or "Jewgeny Onegin." This was produced in St. Petersburg in 1879. It has never proved a success, although transplanted in various countries. The Mazourka and Valse are familiar, and the Polonaise in G has been arranged by Liszt for concert. It is sonorous and pompous, but rather empty to me. The lyric theme or trio is commonplace. Upon the opera as a whole I can pass no judgment, not having a score. Op. 25, more romances, six for voice; op. 26 is the "Serenade Melancholique," for violin; op. 27, six romances for voice; op. 28, seven more; op. 29, the third symphony in D, a further step in power and variety in this form. The first movement is beautiful music. Op. 30 is the third string quartet; op. 31 is the delightfully fresh "Marche Slave," for orchestra, which we have so often admired in the concert room; op. 32 brings us to the Tschaikowsky we all
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