https://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&feed=atom&action=historySymphony No. 4 - Revision history2024-03-29T05:39:06ZRevision history for this page on the wikiMediaWiki 1.38.2https://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=59913&oldid=prevBrett: /* Publication */2023-05-29T21:47:41Z<p><span dir="auto"><span class="autocomment">Publication</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 22:47, 29 May 2023</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| 1879 <ref name="note50"/></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| 1879 <ref name="note50"/></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| Advertised in ''Signale für die musikalische Welt'' (September 1879), No. 45, p. 716.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| Advertised in ''Signale für die musikalische Welt'' (September 1879), No. 45, p. 716.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|-</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">| 3378</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">| Arr. for piano 4 hands</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">| [[Sergey Taneyev]]</ins></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| 3377</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| 3377</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| Advertised in ''Signale für die musikalische Welt'' (September 1888), No. 46, p. 733. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| Advertised in ''Signale für die musikalische Welt'' (September 1888), No. 46, p. 733. </div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">| Arr. for piano 4 hands</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">| 1879 <ref name="note49"/></del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">| Advertised by [[Rahter]] in ''Signale für die musikalische Welt'' (March 1880), No. 22, p. 350. </del></div></td><td colspan="2" class="diff-side-added"></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| 24242</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| 24242</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| ''Scherzo'', arr. for solo piano</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| ''Scherzo'', arr. for solo piano</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| Richard Hoffman</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| Richard Hoffman</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>| 1895<del style="font-weight: bold; text-decoration: none;">-</del>96</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>| 1895<ins style="font-weight: bold; text-decoration: none;">/</ins>96</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| Advertised in ''Signale für die musikalische Welt'' (January 1896), No. 4, p. 61.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>| Advertised in ''Signale für die musikalische Welt'' (January 1896), No. 4, p. 61.</div></td></tr>
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</table>Bretthttps://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=59903&oldid=prevBrett at 18:10, 29 May 20232023-05-29T18:10:22Z<p></p>
<a href="https://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=59903&oldid=59081">Show changes</a>Bretthttps://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=59081&oldid=prevTony: /* Related Works */2023-04-12T10:38:22Z<p><span dir="auto"><span class="autocomment">Related Works</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 11:38, 12 April 2023</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Related Works==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Related Works==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The main theme of the Finale (movt. IV) is a variant of the folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'In the Field a Birch-Tree Stood' (Во поле береза стояла), which Tchaikovsky had harmonized as No. 9 in Set 2 of [[Mariya Mamontova]]'s collection of [[Children's Songs on Russian and Ukrainian Tunes (Mamontova)|Children's Songs on Russian and Ukrainian Tunes]] (1877).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The main theme of the Finale (movt. IV) is a variant of the folk tune 'In the Field a Birch-Tree Stood' (Во поле береза стояла), which Tchaikovsky had harmonized as No. 9 in Set 2 of [[Mariya Mamontova]]'s collection of [[Children's Songs on Russian and Ukrainian Tunes (Mamontova)|Children's Songs on Russian and Ukrainian Tunes]] (1877).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==External Links==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==External Links==</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=58564&oldid=prevTony: /* Notes and References */2023-01-21T13:49:18Z<p><span dir="auto"><span class="autocomment">Notes and References</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:49, 21 January 2023</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l197">Line 197:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note47">See [[Letter 1154]] to [[Nadezhda von Meck]], 14/26 April 1879.</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note47">See [[Letter 1154]] to [[Nadezhda von Meck]], 14/26 April 1879.</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note48">[[Letter 959]] to [[Nadezhda von Meck]], 6/18 November 1878.</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note48">[[Letter 959]] to [[Nadezhda von Meck]], 6/18 November 1878.</ref> </div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><ref name="note49">See [[Letter 1297]] to [[Nadezhda von Meck]], 25 September/7 October 1879. This was also advertised by [[Jurgenson]]'s European agent for the symphony, [[Daniel Rahter]] ([[Hamburg]]) in Hofmeister's ''Musikalisch-literarischer Monatsbericht'' for November 1880 (p. 327). [[Taneyev]]'s arrangement was also published independently by [[Rahter]] (plate 367, 91 pages).</ref> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ref name="note49">See [[Letter 1297]] to [[Nadezhda von Meck]], 25 September/7 October 1879. This was also advertised by [[Jurgenson]]'s European agent for the symphony, [[Daniel Rahter]] ([[Hamburg]])<ins style="font-weight: bold; text-decoration: none;">, </ins>in Hofmeister's ''Musikalisch-literarischer Monatsbericht'' for November 1880 (p. 327). [[Taneyev]]'s arrangement was also published independently by [[Rahter]] (plate 367, 91 pages).</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note50">See Letter from [[Pyotr Jurgenson]] to Tchaikovsky, 6/18 September 1880 — [[Klin]] House-Museum Archive. Advertised by [[Rahter]] ([[Hamburg]]) in Hofmeister's ''Musikalisch-literarischer Monatsbericht'' for November 1880 (p. 317), who released it under their own imprint (plate 365).</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note50">See Letter from [[Pyotr Jurgenson]] to Tchaikovsky, 6/18 September 1880 — [[Klin]] House-Museum Archive. Advertised by [[Rahter]] ([[Hamburg]]) in Hofmeister's ''Musikalisch-literarischer Monatsbericht'' for November 1880 (p. 317), who released it under their own imprint (plate 365).</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note50A">The parts were first advertised for sale by [[Rahter]] in the July 1889 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 259). The [[Hamburg]] firm published the parts with their own imprint (plate 366).</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note50A">The parts were first advertised for sale by [[Rahter]] in the July 1889 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 259). The [[Hamburg]] firm published the parts with their own imprint (plate 366).</ref></div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=58563&oldid=prevTony: /* Composition */2023-01-21T13:26:37Z<p><span dir="auto"><span class="autocomment">Composition</span></span></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>On 26 December/7 January, the composer reported: "Yesterday and today I sat, without rising, and today I have ''finished'' my dear symphony" <ref name="note34"/>. This statement is corroborated by a note after the fourth movement of the manuscript score: "[[San Remo]] 7 Jan 1878 (26 Dec 1877)".</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>On 26 December/7 January, the composer reported: "Yesterday and today I sat, without rising, and today I have ''finished'' my dear symphony" <ref name="note34"/>. This statement is corroborated by a note after the fourth movement of the manuscript score: "[[San Remo]] 7 Jan 1878 (26 Dec 1877)".</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>A few more days were devoted to "putting the final touches to the full score, which I shall take with me, so that in [[ Milan]] I might obtain a ''metronome'' and insert the correct tempi". On 29 December/10 January, Tchaikovsky sent the full score to [[Moscow]] <ref name="note35"/>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>A few more days were devoted to "putting the final touches to the full score, which I shall take with me, so that in [[Milan]] I might obtain a ''metronome'' and insert the correct tempi". On 29 December/10 January, Tchaikovsky sent the full score to [[Moscow]] <ref name="note35"/>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>On finishing the Symphony, the composer wrote: "It seems to me that this is my best work. Of my two latest creations, i.e. the opera and the symphony, I favour the latter" <ref name="note36"/>. "What lies in store for this symphony? Will it survive long after its author has disappeared from the face of the earth, or straight away plunge into the depths of oblivion? I only know that at this moment I... am blind to any shortcomings in my new offspring. Yet I am sure that, as regards texture and form, it represents a step forward in my development..." <ref name="note37"/>.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>On finishing the Symphony, the composer wrote: "It seems to me that this is my best work. Of my two latest creations, i.e. the opera and the symphony, I favour the latter" <ref name="note36"/>. "What lies in store for this symphony? Will it survive long after its author has disappeared from the face of the earth, or straight away plunge into the depths of oblivion? I only know that at this moment I... am blind to any shortcomings in my new offspring. Yet I am sure that, as regards texture and form, it represents a step forward in my development..." <ref name="note37"/>.</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=58562&oldid=prevTony: /* Composition */ Text replacement - "progress" to "progresses" (due to context)2023-01-21T13:15:15Z<p><span dir="auto"><span class="autocomment">Composition: </span> Text replacement - "progress" to "progresses" (due to context)</span></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:15, 21 January 2023</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Composition==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Composition==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The first references to the composition of the Fourth Symphony are encountered in letters from Tchaikovsky to [[Nadezhda von Meck]] dating from early May 1877. In a letter of 1/13 May, he wrote that he was now: "... engrossed in a symphony, which I began to write during the winter... Any other type of work would weigh heavily upon me at the moment — in other words the sort of work which requires a certain frame of mind... I find that now my nerves are frayed and irritable when I am deflected from the symphony, which <del style="font-weight: bold; text-decoration: none;">progress </del>with some difficulty" <ref name="note1"/>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The first references to the composition of the Fourth Symphony are encountered in letters from Tchaikovsky to [[Nadezhda von Meck]] dating from early May 1877. In a letter of 1/13 May, he wrote that he was now: "... engrossed in a symphony, which I began to write during the winter... Any other type of work would weigh heavily upon me at the moment — in other words the sort of work which requires a certain frame of mind... I find that now my nerves are frayed and irritable when I am deflected from the symphony, which <ins style="font-weight: bold; text-decoration: none;">progresses </ins>with some difficulty" <ref name="note1"/>.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>By 3/15 May the first three movements had been written. "I have prepared the first three movements in sketch form, and have set about the finale", the composer wrote to [[Nadezhda von Meck]], "but because lately I have had no inclination to work, I shall set it aside until the summer" <ref name="note2"/>. Yet on 27 May/8 June, Tchaikovsky told her: "The symphony is finished, i.e. in outline. By the end of the summer it should be scored" <ref name="note3"/>.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>By 3/15 May the first three movements had been written. "I have prepared the first three movements in sketch form, and have set about the finale", the composer wrote to [[Nadezhda von Meck]], "but because lately I have had no inclination to work, I shall set it aside until the summer" <ref name="note2"/>. Yet on 27 May/8 June, Tchaikovsky told her: "The symphony is finished, i.e. in outline. By the end of the summer it should be scored" <ref name="note3"/>.</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=57119&oldid=prevBrett: /* Performances */2022-08-13T15:57:22Z<p><span dir="auto"><span class="autocomment">Performances</span></span></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 16:57, 13 August 2022</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l103">Line 103:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[London]], Saint James's Hall, Philharmonic Society concert, 20 May/1 June 1893, conducted by Tchaikovsky</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[London]], Saint James's Hall, Philharmonic Society concert, 20 May/1 June 1893, conducted by Tchaikovsky</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Amsterdam, Concertgebouw, subscription concert, 28 October/9 November 1893, conducted by [[Willem Kes]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* Amsterdam, Concertgebouw, subscription concert, 28 October/9 November 1893, conducted by [[Willem Kes]]</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* [[Prague]], National Theatre, 22 January/3 February 1896, conducted by [[Vasily Safonov]]<del style="font-weight: bold; text-decoration: none;">.</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* [[Prague]], National Theatre, 22 January/3 February 1896, conducted by [[Vasily Safonov]]</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">* Amsterdam, Concertgebouw, subscription concert, 15/27 February 1896, conducted by Willem Mengelberg</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Critical Reception==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==Critical Reception==</div></td></tr>
</table>Bretthttps://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=57114&oldid=prevBrett: /* Performances */2022-08-13T15:47:02Z<p><span dir="auto"><span class="autocomment">Performances</span></span></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 16:47, 13 August 2022</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[Kiev]], 2nd Russian Musical Society symphony concert, 5/17 December 1890, conducted by [[Aleksandr Vinogradsky]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[Kiev]], 2nd Russian Musical Society symphony concert, 5/17 December 1890, conducted by [[Aleksandr Vinogradsky]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[London]], Saint James's Hall, Philharmonic Society concert, 20 May/1 June 1893, conducted by Tchaikovsky</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[London]], Saint James's Hall, Philharmonic Society concert, 20 May/1 June 1893, conducted by Tchaikovsky</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">* Amsterdam, Concertgebouw, subscription concert, 28 October/9 November 1893, conducted by [[Willem Kes]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[Prague]], National Theatre, 22 January/3 February 1896, conducted by [[Vasily Safonov]].</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>* [[Prague]], National Theatre, 22 January/3 February 1896, conducted by [[Vasily Safonov]].</div></td></tr>
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</table>Bretthttps://en.tchaikovsky-research.net/index.php?title=Symphony_No._4&diff=35038&oldid=prevBrett: 1 revision imported2022-07-12T11:13:56Z<p>1 revision imported</p>
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<p><b>New page</b></p><div>Tchaikovsky's '''''Symphony No. 4''''' in F minor, [[Op.]] 36 ([[TH]] 27 ; [[ČW]] 24), was begun in the spring of 1877 and completed in December the same year.<br />
<br />
==Instrumentation==<br />
The Symphony is scored for an orchestra comprising piccolo, 2 flutes, 2 oboes, 2 clarinets (in A, B-flat), 2 bassoons + 4 horns (in F), 2 trumpets (in F), 3 trombones, tuba + 3 timpani, triangle, cymbals, bass drum + violins I, violins II, violas, cellos, and double basses.<br />
<br />
==Movements and Duration==<br />
There are four movements:<br />
<ol style="list-style-type: upper-roman;"><br />
<li>Andante sostenuto — Moderato con anima (F minor, 424 bars)</li><br />
<li>Andantino in modo di canzona (B-flat minor, 304 bars)</li><br />
<li>''Scherzo''. ''Pizzicato ostinato''. Allegro (F major, 414 bars)</li><br />
<li>''Finale''. Allegro con fuoco (F major, 293 bars)</li><br />
</ol><br />
A complete performance lasts around 40 to 45 minutes.<br />
<br />
==Composition==<br />
The first references to the composition of the Fourth Symphony are encountered in letters from Tchaikovsky to [[Nadezhda von Meck]] dating from early May 1877. In a letter of 1/13 May, he wrote that he was now: "... engrossed in a symphony, which I began to write during the winter... Any other type of work would weigh heavily upon me at the moment — in other words the sort of work which requires a certain frame of mind... I find that now my nerves are frayed and irritable when I am deflected from the symphony, which progress with some difficulty" <ref name="note1"/>.<br />
<br />
By 3/15 May the first three movements had been written. "I have prepared the first three movements in sketch form, and have set about the finale", the composer wrote to [[Nadezhda von Meck]], "but because lately I have had no inclination to work, I shall set it aside until the summer" <ref name="note2"/>. Yet on 27 May/8 June, Tchaikovsky told her: "The symphony is finished, i.e. in outline. By the end of the summer it should be scored" <ref name="note3"/>.<br />
<br />
In fact the instrumentation of the Symphony was not begun until August 1877. In May and June, the composer worked on his opera ''[[Yevgeny Onegin]]''; then he travelled to [[Saint Petersburg]] and [[Kiev]] in connection with his wedding arrangements. He arrived at [[Kamenka]] on 30 July/12 August, but did not immediately start work there: "I would be lying if I said that I have returned to my normal state of mind. This is insufferable... and singularly disappointing. I have decided not to do any further work. Work frightens and oppresses me... Hopefully my urge to work will return" <ref name="note4"/>.<br />
<br />
However, it was not long before Tchaikovsky began to orchestrate the Symphony <ref name="note5"/>, and on 12/24 August he could report: "''Our'' symphony is progressing a little. I will take particular care when orchestrating the first movement — it is very long and complicated; yet it is also, in my opinion, the best movement. The remaining three are much simpler, and orchestrating them will be very enjoyable. The Scherzo employs a new orchestral effect, which I have designed myself" <ref name="note6"/>.<br />
<br />
The instrumentation of the first movement was delayed. On 27 August/8 September, Tchaikovsky told his brother [[Anatoly]] that he was working on the piano score of the opera ''[[Yevgeny Onegin]]'' <ref name="note7"/>.<br />
<br />
On 12/24 September, Tchaikovsky reported from [[Moscow]] to [[Nadezhda von Meck]]: "I have scored the first movement of the symphony" <ref name="note8"/>. However, it is apparent from the composer's subsequent letters that the instrumentation of the first movement was still unfinished at this point.<br />
<br />
On 24 September/6 October, for the sake of his health [following the end of his marriage], Tchaikovsky left [[Moscow]] for [[Saint Petersburg]], and eventually abroad. In a letter of 16/28 October, he asked [[Pyotr Jurgenson]] to send on to [[Clarens]] the copy-book containing the sketches of the Symphony, which he had left behind in [[Moscow]] <ref name="note9"/>.<br />
<br />
"I have done a little work, and now I can say with some certainty that our symphony will be finished by December at the latest...", he wrote to [[Nadezhda von Meck]] on 25 October/6 November 1877 <ref name="note10"/>.<br />
<br />
The package with the sketches arrived in Switzerland when Tchaikovsky had already moved on to [[Rome]], and the sketches did not reach him until 11/23 November. "You can imagine how anxious I was!", wrote Tchaikovsky to [[Nadezhda von Meck]], "... if the symphony should have been lost, I would not have had the strength to write it all out again from memory!" <ref name="note11"/>.<br />
<br />
Tchaikovsky did not take up the orchestration straight away, presumably because he did not want to interrupt the work he had already started on the opera ''[[Yevgeny Onegin]]'' <ref name="note12"/>.<br />
<br />
From December onwards, Tchaikovsky worked on the instrumentation of the Symphony almost without interruption. From his surviving letters we can follow the course of work in detail:<br />
* 2/14 December: "Tomorrow I shall throw myself into the symphony..." <ref name="note13"/>.<br />
* 3/15 December: "... in the morning set about my symphony" <ref name="note14"/>.<br />
* 4/16 December: "I sat, immersed in the instrumentation of the symphony..." <ref name="note15"/>. "This is the second day that I have worked on my symphony, and I am working very assiduously" <ref name="note16"/>.<br />
* 5/17 December: The instrumentation of the symphony "... comes to me with great difficulty. I wrote from morning to dinner time, until in the evening I was so tired that I could do no more" <ref name="note17"/>. "... I have worked diligently on my symphony all day" <ref name="note18"/>.<br />
* 6/18 December: "The first movement is almost ready. I can say with confidence that this is my best composition" <ref name="note19"/>. "I'm very satisfied with my symphony, which is undoubtedly the best that I've written, but it's not coming to me without hard work, particularly the first movement" <ref name="note20"/>.<br />
* 7/19 December: "I'm probably near the end of the symphony, on which I've worked with great vigour" <ref name="note21"/>.<br />
* 9/21 December: "Not only am I occupying myself assiduously with scoring ''our'' symphony, I am utterly absorbed in this work. None of my previous orchestral works ever cost me such labour, yet I have never felt such a love for one of my own pieces. I found that I was pleasantly surprised by this work. At first I wrote largely for the sake of completing the symphony, knowing how difficult this task would eventually be. But little by little it captured my enthusiasm, and now my difficulties have fallen away... perhaps I am mistaken, but I think that this symphony is something out of the ordinary, and that it is the best thing I have done so far... Now I... can wholly devote myself to work in the knowledge that I am bringing forth something which, in my opinion, shall not be forgotten..." <ref name="note22"/>.<br />
* 10/22 December: "The first movement of the symphony is coming to an end. Today I worked extremely hard, and I'm very tired" <ref name="note23"/>.<br />
* 11/23 December: "Today I finished the most difficult movement of the symphony — the first" <ref name="note24"/>. On the fair copy of the manuscript full score of the first movement is the note: "[[Venice]] 23(11) December 1877".<br />
* 12/24 December: "Today I set about the second half of the symphony's second movement. The work becomes easier with each hour that passes. I hope that, in spite of the interruption, the whole thing will be finished before our New Year" <ref name="note25"/>. "When I wrote the opera [''[[Yevgeny Onegin]]''], I did not experience the same feeling as with the symphony. There I took a chance: perhaps it will do, or maybe nothing will come of it. But while writing the symphony I'm fully aware that it is a composition ''out of the ordinary'', and far more perfect in form than anything I've written previously" <ref name="note26"/>.<br />
The date on the manuscript full score of the second movement indicates that the instrumentation was completed on 13/25 December 1877.<br />
* 15/27 December: "The symphony is absorbing me so much, that I haven't the strength to tear myself away from it" <ref name="note27"/>. "Finished the Scherzo. Very tired" <ref name="note28"/>. The date on the manuscript of the third movement reads: "27/15 Dec 1877. [[Venice|Venezia]]".<br />
* 16/28 December: "There can be no question that in these two weeks my state of health, physically and mentally, has been excellent. A not inconsiderable factor in this has been my ''symphony'', the work on which has filled me with enthusiasm... At the moment three movements are ready; I do not know how long I shall be busy with the remainder — but it seems to me that these three movements represent the crowning glory of all my musical achievements" <ref name="note29"/>.<br />
* 20 December 1877/1 January 1878: "In this symphony I have succeeded in writing something good — tomorrow I shall be reconciled to all former and future misfortunes" <ref name="note30"/>.<br />
<br />
Work on the Symphony was interrupted for a few days by negotiations concerning Tchaikovsky's appointment to a delegation at the [[Paris]] International Exhibition ("I was preparing to start on the finale of the symphony today...") <ref name="note31"/>. Tchaikovsky declined to go on this tour: "I cannot ''see'' people, I need to isolate myself from all the hustle and bustle [...] Peace, peace, peace and work — these are the only two things that I need now", he wrote to [[Nikolay Rubinstein]], who had proposed his name for the delegation <ref name="note32"/>.<br />
<br />
On 24 December/5 January, Tchaikovsky resumed the instrumentation of the Symphony: "This morning I set about my symphony, and worked all day; this is the reason that I am so tired...", he wrote to [[Anatoly Tchaikovsky]] the same day <ref name="note33"/>.<br />
<br />
On 26 December/7 January, the composer reported: "Yesterday and today I sat, without rising, and today I have ''finished'' my dear symphony" <ref name="note34"/>. This statement is corroborated by a note after the fourth movement of the manuscript score: "[[San Remo]] 7 Jan 1878 (26 Dec 1877)".<br />
<br />
A few more days were devoted to "putting the final touches to the full score, which I shall take with me, so that in [[ Milan]] I might obtain a ''metronome'' and insert the correct tempi". On 29 December/10 January, Tchaikovsky sent the full score to [[Moscow]] <ref name="note35"/>.<br />
<br />
On finishing the Symphony, the composer wrote: "It seems to me that this is my best work. Of my two latest creations, i.e. the opera and the symphony, I favour the latter" <ref name="note36"/>. "What lies in store for this symphony? Will it survive long after its author has disappeared from the face of the earth, or straight away plunge into the depths of oblivion? I only know that at this moment I... am blind to any shortcomings in my new offspring. Yet I am sure that, as regards texture and form, it represents a step forward in my development..." <ref name="note37"/>.<br />
<br />
==Subject==<br />
In letters to [[Nadezhda von Meck]] and [[Sergey Taneyev]], Tchaikovsky disclosed more about the content of the Fourth Symphony. In a letter to [[Nadezhda von Meck]] of 17 February/1 March 1878, he set out a detailed programme for his Fourth Symphony:<br />
{{quote|You asked me whether there is a definite programme to this symphony? Usually when this question is put to me about a symphonic work my answer is: ''none''! Indeed, this is a difficult question to answer. How can one put into words the intangible sensations which one experiences when writing an instrumental work without a specific subject? This is a purely lyrical process. This is, fundamentally, an unburdening of the soul in music, with its essence distilled into sounds, in the same manner in which a lyrical poet expresses himself in verse. The only difference is that music has much more powerful means and a more subtle language with which to express thousands of different emotions and frames of mind. [...] In ''our'' symphony there ''is'' a programme, i.e. it is possible to express in words what it is trying to say, and to you, and only to you, I am able and willing to explain the meaning both of the whole and of the separate movements. Of course, I can do this only in general terms.}}<br />
<br />
{{quote|The introduction is the ''seed'' of the whole symphony, undoubtedly the main idea:}}<br />
<div align="center">[[File:0763 ex1.jpg|400px]]</div><br />
<br />
{{quote|This is ''Fate'': this is that fateful force which prevents the impulse to happiness from attaining its goal, which jealously ensures that peace and happiness shall not be complete and unclouded, which hangs above the head like the sword of Damocles, unwaveringly, constantly poisoning the soul. It is an invincible force that can never be overcome — merely endured, hopelessly.}}<br />
<div align="center">[[File:0763 ex2.jpg|400px]]</div><br />
<br />
{{quote|The bleak and hopeless feelings grow stronger and intense. Is it not better to escape from reality and to immerse oneself in dreams:}}<br />
<div align="center">[[File:0763 ex3.jpg|400px]]</div><br />
<br />
{{quote|Oh joy! Out of nowhere a sweet and gentle day-dream appears. Some blissful, radiant human image hurries by and beckons us away:}}<br />
<div align="center">[[File:0763 ex4.jpg|400px]]</div><br />
<br />
{{quote|How wonderful! How distant the obsessive first theme of the allegro now sounds! Gradually the soul is enveloped by daydreams. Everything gloomy and joyless is forgotten. Here it is, here it is — happiness!}}<br />
<br />
{{quote|No! These were daydreams, and ''Fate'' wakes us from them:}}<br />
<div align="center">[[File:0763 ex5.jpg|400px]]</div><br />
<br />
{{quote|And thus all life is an unbroken alternation of harsh reality with fleeting dreams and visions of happiness... No haven exists... Drift upon that sea until it engulfs and submerges you in its depths. That, roughly, is the programme of the first movement.}}<br />
<br />
{{quote|The second movement of the symphony expresses another aspect of sadness. This is that melancholy feeling which comes in the evening when, weary from one's toil, one sits alone with a book — but it falls from the hand. There come a whole host of memories. It is sad that so much is now ''in the past'', albeit pleasant to recall one's youth. Both regretting the past, and yet not wishing to begin life over again. Life is wearisome. It is pleasant to rest and look around. Memories abound! Happy moments when the young blood boiled, and life was satisfying. There are also painful memories, irreconcilable losses. All this is now somewhere far distant. It is both sad, yet somehow sweet to be immersed in the past...}}<br />
<br />
{{quote|The third movement expresses no specific feeling. This is whimsical arabesques, vague images which can sweep past the imagination after drinking a little wine and feeling the first phases of intoxication. The spirit is neither cheerful, nor sad. Thinking about nothing in particular, giving free rein to the imagination, which somehow begins to paint strange pictures... Amid these memories there suddenly comes a picture of drunken peasants and a street song... Then, somewhere in the distance, a military procession passes. These are completely incoherent images which sweep through the head as one falls asleep. They have nothing in common with reality; they are strange, wild, and incoherent...}}<br />
<br />
{{quote|The fourth movement. If within yourself you find no reasons for joy, then look at others. Go out among the people. See how they can enjoy themselves, surrendering themselves wholeheartedly to joyful feelings. Picture the festive merriment of ordinary people. Hardly have you managed to forget yourself and to be carried away by the spectacle of the joys of others, than irrepressible ''fate'' appears again and reminds you of yourself. But others do not care about you, and they have not noticed that you are solitary and sad. O, how they are enjoying themselves! How happy they are that all their feelings are simple and straightforward. Reproach yourself, and do not say that everything in this world is sad. Joy is a simple but powerful force. Rejoice in the rejoicing of others. To live is still possible.}}<br />
<br />
{{quote|That, my dear friend, is all I can explain to you about the symphony. Of course, this is vague and incomplete. But an intrinsic quality of instrumental music is that it does not yield to detailed analysis [...] Just as I was about to put the letter in an envelope, I re-read it and was horrified at the incoherence and inadequacy of the programme I sent to you. This is the first time in my life that I have attempted to translate musical thoughts and images into words, and I could not manage to do this adequately. I was severely depressed last winter when writing the symphony, and it serves as a faithful echo of what I was experiencing. But it is known as an ''echo''. How can it be translated into a clear and coherent succession of words? I do not know how to do that. I have already forgotten so much. They remain general recollections of the passions and mysterious feelings that I experienced" <ref name="note38"/>.}}<br />
<br />
==Performances==<br />
The Fourth Symphony was performed for the first time in [[Moscow]] at the tenth concert of the Russian Musical Society on 10/22 February 1878, conducted by [[Nikolay Rubinstein]], where it had great success. On 25 November/7 December the same year, the work was performed in [[Saint Petersburg]] at the fifth symphony concert of the Russian Musical Society, conducted by [[Eduard Nápravník]].<br />
<br />
Other notable early performances included:<br />
* [[Paris]], 15th Châtelet concert, 13/25 January 1880, conducted by [[Édouard Colonne]]<br />
* [[Pavlovsk]], symphony concert, 29 August/10 September 1888, conducted by [[Julius Laube]]<br />
* [[Dresden]], 5th Philharmonic Society concert, 8/20 February 1889, conducted by Tchaikovsky<br />
* [[New York]], Metropolitan Opera House, Symphony Society concert, 20 January/1 February 1890, conducted by [[Walter Damrosch]]<br />
* [[Kiev]], 2nd Russian Musical Society symphony concert, 5/17 December 1890, conducted by [[Aleksandr Vinogradsky]]<br />
* [[London]], Saint James's Hall, Philharmonic Society concert, 20 May/1 June 1893, conducted by Tchaikovsky<br />
* [[Prague]], National Theatre, 22 January/3 February 1896, conducted by [[Vasily Safonov]].<br />
<br />
==Critical Reception==<br />
Following the [[Saint Petersburg]] premiere, [[Modest Tchaikovsky]] wrote about the impression the Symphony had made on the public:<br />
{{quote|If ever a symphonic work produced a furore after its performance, then it was your symphony. After the first movement the applause was moderate — how should I say? — something like what is usually heard after the first movement of a [[Beethoven]] or [[Schumann]] symphony; after the second movement there was considerably more applause — such that [[Nápravník]] was even obliged to take a bow; after the Scherzo — a ''fff'' clamour, stamping and cries of "''bis''". [[Nápravník]] bowed once more... and the noise only intensified, until the conductor raised his baton. Then everyone fell silent until only your pizzicato could be heard ... After this, more cries, calls, bows by [[Nápravník]], and so on. The end of the Finale was greeted with unanimous applause, calls and stamping of feet ... The performance was very lively, but in the last movement... breathtaking <ref name="note39"/>.}}<br />
<br />
Responding to [[Sergey Taneyev]], who wrote that "The trumpet fanfares which constitute the introduction, and which subsequently appear from time]] to time, the changes of tempo in the second subject — all these make one think that this is programme music..." <ref name="note40"/>, Tchaikovsky replied: <br />
{{quote|As to your remark that my symphony is programmatic, then I am in complete agreement. I just do not understand why you consider this to be a defect. It is the opposite that I fear — i.e. I should not wish symphonic works to flow from my pen that express nothing, and which consist of empty playing with chords, rhythms and modulations. My symphony is, of course, programmatic, but the programme is such that it is impossible to formulate in words. Such a thing would provoke ridicule and laughter. But is this not what a symphony, that is, the most lyrical of all musical forms, ought to be? Ought it not to express everything for which there are no words, but which gushes forth from the soul and cries out to be expressed? However, I must confess to you: in my naivety I imagined that the idea of the symphony was very clear, that in general outline its sense could be understood even without a programme. Please do not think that I am trying to plume myself in front of you with my depth of feelings and grandeur of thoughts that are not susceptible of verbal expression. I was not even seeking to express a new idea. In essence my symphony is an imitation of [[Beethoven]]'s Fifth, that is, I was imitating not his musical thoughts, but the fundamental idea. [...] Furthermore, I'll add that there is not a note in this symphony (that is, in mine) which I did not feel deeply, and which did not serve as an echo of sincere impulses within my soul. A possible exception is the middle of the first movement, in which there are contrivances, seams, glued-together bits — in a word, ''artificiality'' <ref name="note41"/>.}}<br />
<br />
All his life, Tchaikovsky retained a love for this symphony. At the end of 1878 he wrote: "I adore terribly this child of mine; it is one of only a few works with which I have not experienced disappointment" <ref name="note42"/>. Ten years later, when referring to the symphony, he wrote "it turns out that not only have I not cooled towards it, as I have cooled towards the greater part of my compositions, but on the contrary, I am filled with warm and sympathetic feelings towards it. I don't know what the future may bring, but presently it seems to me that this is ''my best symphonic work''" <ref name="note43"/>.<br />
<br />
==Publication==<br />
Tchaikovsky was very anxious that the Symphony should be published in the best possible way <ref name="note44"/>. When dispatching the full score to [[Moscow]], Tchaikovsky asked [[Jurgenson]] to entrust the piano duet arrangement to [[Sergey Taneyev]] or [[Karl Klindworth]] <ref name="note45"/>. The next day he approached [[Taneyev]] with the same request, and the latter readily agreed <ref name="note46"/>. However, this work was delayed until June 1878 because of a projected performance in [[Saint Petersburg]], and [[Nikolay Rubinstein]]'s intention to perform the Scherzo from the Symphony in [[Paris]] <ref name="note47"/>. On 6/18 November 1878, Tchaikovsky wrote to [[Nadezhda von Meck]]: "''Our symphony'' is being printed" <ref name="note48"/>. However, it was not until June 1879 that he checked the proofs of the full score and piano arrangement.<br />
<br />
The symphony was published by [[Pyotr Jurgenson]] in [[Moscow]], with [[Daniel Rahter]] in [[Hamburg]] acting as his European agent:<br />
* Arrangement for piano 4 hands ([[Sergey Taneyev]]). Plate 3378, 91 pages (August 1879) <ref name="note49"/><br />
* Full score. Plate 3376, 225 pages (September 1880) <ref name="note50"/><br />
* Orchestral parts. Plate 3377, 47 parts (June 1888) <ref name="note50A"/><br />
* Arrangement for 2 pianos 8 hands ([[Eduard Langer]]). Plate 24242, 77 pages (1900) <ref name="note50B"/><br />
* Arrangement for solo piano ([[Henryk Pachulski]]). Plate 26191, 73 pages (1901) <ref name="note50C"/><br />
* Miniature full score (published by Eulenburg, Leipzig). Plate 7015, 250 pages (1902) <ref name="note50D"/>.<br />
<br />
[[Rahter]] also commissioned two arrangements that were published under his own imprint:<br />
* Arrangement of the Scherzo for solo piano (Richard Hoffman). Plate 807 (1896) <ref name="note50E"/><br />
* Arrangement of the whole symphony for solo piano (Otto Singer). Plate 1674, 71 pages (1905) <ref name="note50F"/>.<br />
<br />
The full score of the Symphony was published in volume 16Б of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Pavel Berlinsky (1949).<br />
<br />
==Autographs==<br />
Tchaikovsky's manuscript score is now preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2|simfoniya-no-4|(ф. 88, No. 58)}}.<br />
<br />
==Recordings==<br />
{{reclink}}<br />
<br />
==Dedication==<br />
The Symphony No. 4 is dedicated (clandestinely) to [[Nadezhda von Meck]] — on the title page is the inscription: "Dedicated to my best friend" <ref name="note51"/>.<br />
<br />
==Related Works==<br />
The main theme of the Finale (movt. IV) is a variant of the folk-tune 'In the Field a Birch-Tree Stood' (Во поле береза стояла), which Tchaikovsky had harmonized as No. 9 in Set 2 of [[Mariya Mamontova]]'s collection of [[Children's Songs on Russian and Ukrainian Tunes (Mamontova)|Children's Songs on Russian and Ukrainian Tunes]] (1877).<br />
<br />
==External Links==<br />
* {{imslpscore|Symphony_No.4,_Op.36_(Tchaikovsky,_Pyotr)|Symphony No. 4}}<br />
<br />
==Notes and References==<br />
<references><br />
<ref name="note1">[[Letter 554]] to [[Nadezhda von Meck]], 1/13 May 1877.</ref> <br />
<ref name="note2">[[Letter 557]] to [[Nadezhda von Meck]], 3/15 May 1877.</ref> <br />
<ref name="note3">[[Letter 569]] to [[Nadezhda von Meck]], 27 May/8 June 1877.</ref> <br />
<ref name="note4">[[Letter 593]] to [[Nadezhda von Meck]], 2/14 August 1877.</ref> <br />
<ref name="note5">See [[Letter 594]] to [[Nadezhda von Meck]], 11/23 August 1877.</ref> <br />
<ref name="note6">[[Letter 595]] to [[Nadezhda von Meck]], 12/24 August 1877.</ref> <br />
<ref name="note7">See [[Letter 596]] to [[Anatoly Tchaikovsky]], 27 August/8 September 1877.</ref> <br />
<ref name="note8">[[Letter 601]] to [[Nadezhda von Meck]], 12/24 September 1877.</ref> <br />
<ref name="note9">[[Letter 620]] to [[Pyotr Jurgenson]], 25 October/6 November 1877.</ref> <br />
<ref name="note10">[[Letter 626]] to [[Nadezhda von Meck]], 25 October/6 November 1877.</ref> <br />
<ref name="note11">[[Letter 644]] to [[Nadezhda von Meck]], 11/23 November 1877.</ref> <br />
<ref name="note12">See [[Letter 621]] to [[Modest Tchaikovsky]], 17/29 October 1877, and [[Letter 1632]] to [[Pyotr Jurgenson]], 28 October/9 November 1877.</ref> <br />
<ref name="note13">[[Letter 670]] to [[Anatoly Tchaikovsky]], 2/14–3/15 December 1877.</ref> <br />
<ref name="note14">[[Letter 670]] to [[Anatoly Tchaikovsky]], 2/14–3/15 December 1877.</ref> <br />
<ref name="note15">[[Letter 676]] to [[Modest Tchaikovsky]], 4/16 December 1877.</ref> <br />
<ref name="note16">[[Letter 673]] to [[Nadezhda von Meck]], 4/16 December 1877.</ref> <br />
<ref name="note17">[[Letter 677]] to [[Pyotr Jurgenson]], 5/17 December 1877.</ref> <br />
<ref name="note18">[[Letter 678]] to [[Anatoly Tchaikovsky]], 5/17–7/19 December 1877.</ref> <br />
<ref name="note19">[[Letter 679]] to [[Nadezhda von Meck]], 6/18 December 1877.</ref> <br />
<ref name="note20">[[Letter 680]] to [[Modest Tchaikovsky]], 6/18 December 1877.</ref> <br />
<ref name="note21">[[Letter 681]] to [[Sergey Taneyev]], 7/19 December 1877.</ref> <br />
<ref name="note22">[[Letter 684]] to [[Nadezhda von Meck]], 9/21 December 1877.</ref> <br />
<ref name="note23">[[Letter 683]] to [[Anatoly Tchaikovsky]], 8/20–10/22 December 1877.</ref> <br />
<ref name="note24">[[Letter 686]] to [[Anatoly Tchaikovsky]], 11/23–14/26 December 1877.</ref> <br />
<ref name="note25">[[Letter 689]] to [[Nadezhda von Meck]], 12/24 December 1877.</ref> <br />
<ref name="note26">[[Letter 686]] to [[Anatoly Tchaikovsky]], 11/23–14/26 December 1877.</ref> <br />
<ref name="note27">[[Letter 690]] to [[Pyotr Jurgenson]], 15/27 December 1877.</ref> <br />
<ref name="note28">[[Letter 691]] to [[Anatoly Tchaikovsky]], 15/27–17/29 December 1877.</ref> <br />
<ref name="note29">[[Letter 692]] to [[Nadezhda von Meck]], 16/28 December 1877.</ref> <br />
<ref name="note30">[[Letter 696]] to [[Nadezhda von Meck]], 20 December 1877/1 January 1878.</ref> <br />
<ref name="note31">See [[Letter 700]] to [[Anatoly Tchaikovsky]], 21 December 1877/2 January 1878.</ref> <br />
<ref name="note32">[[Letter 702]] to [[Nikolay Rubinstein]], 23 December 1877/4 January 1878.</ref> <br />
<ref name="note33">[[Letter 708]] to [[Anatoly Tchaikovsky]], 24 December 1877/5 January 1878–25 December 1877/6 January 1878.</ref> <br />
<ref name="note34">[[Letter 709]] to [[Anatoly Tchaikovsky]], 26 December 1877/7 January 1878.</ref> <br />
<ref name="note35">See [[Letter 711]] to [[Nadezhda von Meck]], 30 December 1877/11 January 1878.</ref> <br />
<ref name="note36">[[Letter 713]] to [[Nikolay Rubinstein]], 1/13 January 1878.</ref> <br />
<ref name="note37">[[Letter 711]] to [[Nadezhda von Meck]], 30 December 1877/11 January 1878.</ref> <br />
<ref name="note38">[[Letter 763]] to [[Nadezhda von Meck]], 17 February/1 March 1878.</ref> <br />
<ref name="note39">Letter from [[Modest Tchaikovsky]] to the composer, 23 November/5 December–25 November/7 December 1878.</ref> <br />
<ref name="note40">Letter from [[Sergey Taneyev]] to the composer, 18/30 March 1878 — [[Klin]] House-Museum Archive.</ref> <br />
<ref name="note41">[[Letter 799]] to [[Sergey Taneyev]], 27 March/8 April 1878.</ref> <br />
<ref name="note42">[[Letter 985]] to [[Nadezhda von Meck]], 26 November/8 December 1878.</ref> <br />
<ref name="note43">[[Letter 3572]] to [[Nadezhda von Meck]], 18/30 May 1888.</ref> <br />
<ref name="note44">See [[Letter 725]] to [[Pyotr Jurgenson]], 12/24 January 1878.</ref> <br />
<ref name="note45">See [[Letter 724]] to [[Pyotr Jurgenson]], 1/13 January 1878.</ref> <br />
<ref name="note46">See [[Letter 716]] to [[Sergey Taneyev]], 2/14 January 1878, and [[Taneyev]]'s reply to Tchaikovsky, 8/20 November 1878.</ref> <br />
<ref name="note47">See [[Letter 1154]] to [[Nadezhda von Meck]], 14/26 April 1879.</ref> <br />
<ref name="note48">[[Letter 959]] to [[Nadezhda von Meck]], 6/18 November 1878.</ref> <br />
<ref name="note49">See [[Letter 1297]] to [[Nadezhda von Meck]], 25 September/7 October 1879. This was also advertised by [[Jurgenson]]'s European agent for the symphony, [[Daniel Rahter]] ([[Hamburg]]) in Hofmeister's ''Musikalisch-literarischer Monatsbericht'' for November 1880 (p. 327). [[Taneyev]]'s arrangement was also published independently by [[Rahter]] (plate 367, 91 pages).</ref> <br />
<ref name="note50">See Letter from [[Pyotr Jurgenson]] to Tchaikovsky, 6/18 September 1880 — [[Klin]] House-Museum Archive. Advertised by [[Rahter]] ([[Hamburg]]) in Hofmeister's ''Musikalisch-literarischer Monatsbericht'' for November 1880 (p. 317), who released it under their own imprint (plate 365).</ref><br />
<ref name="note50A">The parts were first advertised for sale by [[Rahter]] in the July 1889 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 259). The [[Hamburg]] firm published the parts with their own imprint (plate 366).</ref><br />
<ref name="note50B">Advertised for sale by [[Rahter]] in the August 1900 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 383), and also released under the firm's own imprint (plate 1344).</ref><br />
<ref name="note50C">Advertised by [[Rahter]] in the August 1900 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 383).</ref><br />
<ref name="note50D">''Eulenburg's kleine Orchester-Partitur-Ausgabe'', Nr. 30. Advertised by Eulenburg in the December 1902 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 638, 640).</ref><br />
<ref name="note50E">Advertised in the September 1896 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 430, 437).</ref><br />
<ref name="note50F">Advertised in the May 1905 edition of Hofmeister's ''Musikalisch-literarischer Monatsbericht'' (p. 256).</ref><br />
<ref name="note51">See [[Letter 574]] to [[Nadezhda von Meck]], 3/15 July 1877, and [[Letter 800]] to [[Pyotr Jurgenson]], 27 March/8 April 1878.</ref><br />
</references><br />
[[Category:Symphonies]]</div>Brett