The Barber of Seville: Difference between revisions
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==Autographs== | ==Autographs== | ||
Tchaikovsky's autograph score is now preserved in the {{RUS-Mcm}} | Tchaikovsky's autograph score is now preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2|kuplety-grafa-almavivy-k-komedii-p-bomarshe-sevilskiy-ciryulnik|(ф. 88, No. 164)}}, together with a manuscript copy of the score arranged for voice and piano by [[Sergey Taneyev]]. Both manuscripts are enclosed in a folder on which is written: | ||
{{quote|Manuscript by ''Petr Ilyich Tchaikovsky''. This composition was written in the year 1872, for ''[[Beaumarchais]]''' comedy “The Barber of Seville” for the role of ''Count Almaviva'' (!) for a student performance at the ''Moscow Conservatory''. The piano part was written by [[Sergey Taneyev|S. I. Taneyev]]. 1905 Sept. 30.}} | {{quote|Manuscript by ''Petr Ilyich Tchaikovsky''. This composition was written in the year 1872, for ''[[Beaumarchais]]''' comedy “The Barber of Seville” for the role of ''Count Almaviva'' (!) for a student performance at the ''Moscow Conservatory''. The piano part was written by [[Sergey Taneyev|S. I. Taneyev]]. 1905 Sept. 30.}} | ||
Latest revision as of 14:49, 14 January 2023
Tchaikovsky's couplets for Pierre Beaumarchais' play The Barber of Seville (Севильский циргюльник) (TH 18 ; ČW 19) [1] were written early in 1872 to accompany a student production of the play at the Moscow Conservatory.
Instrumentation
The couplets are scored for solo tenor voice (performing the role of Count Almaviva) accompanied only by two violins.
Duration
There is one movement: Andantino (G major, 20 bars), lasting just 2 to 3 minutes in performance.
Subject
Pierre Beaumarchais' four-act play Le Barbier de Séville, ou la Précaution inutile was written in 1773, and first performed in Paris on 23 February 1775 with original music by Antoine-Laurent Baudron (1742-1834). The performance by students at the Moscow Conservatory was given in a Russian translation, which most sources attribute to the actor Mikhail Sadovsky (1847–1910), although Sadovsky's Russian version of The Barber of Seville seems to have been premiered at the Maly Theatre in Moscow in 1883 [2], and published for the first time the following year [3].
The couplets "Vous l'ordonnez" (translated in Tchaikovsky's version as «Имя звук лищь пустой!») are sung by Count Almaviva to Rosine towards the end of the first act of the play.
Composition
Little information survives concerning the origins of this composition, which presumably dates from a few weeks before the first performance in February 1872.
Performances
Tchaikovsky's music was first performed by students at the Moscow Conservatory on 12/24 February 1872. No information survives concerning further performances of the couplets during Tchaikovsky's lifetime.
Publication
The score of Tchaikovsky's couplets, together with an arrangement for voice and piano by Sergey Taneyev, was published in Moscow by Pyotr Jurgenson in 1906.
The score was published in volume 14 of Tchaikovsky's Complete Collected Works, edited by Irina Iordan (1962).
Autographs
Tchaikovsky's autograph score is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 164) [view], together with a manuscript copy of the score arranged for voice and piano by Sergey Taneyev. Both manuscripts are enclosed in a folder on which is written:
Manuscript by Petr Ilyich Tchaikovsky. This composition was written in the year 1872, for Beaumarchais' comedy “The Barber of Seville” for the role of Count Almaviva (!) for a student performance at the Moscow Conservatory. The piano part was written by S. I. Taneyev. 1905 Sept. 30.
Recordings
- See: Discography
External Links
- Internet Music Score Library Project (IMSLP) — downloadable scores
Notes and References
- ↑ Entitled 'Couplets of Count Almaviva for P. Beaumarchais' comedy "Le barbier de Séville"' in ČW.
- ↑ See the Maly Theatre website.
- ↑ Севильский цирюльник. Комедия в 4 действиях. Новый пер. арт. имп. моск. театров М. П. Садовского. Москва: журн. Будильник, 1884.
