https://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&feed=atom&action=historyThe Snow Maiden - Revision history2024-03-29T10:24:48ZRevision history for this page on the wikiMediaWiki 1.38.2https://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&diff=59071&oldid=prevTony: /* Related Works */2023-04-11T18:24:48Z<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 19:24, 11 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>In the music to ''The Snow Maiden'', Tchaikovsky re-used several numbers from his opera ''[[Undina]]'', namely: Undina's arioso («Водопад мой дядя»), for Lel's first song («Земляничка-ягодка»), and the introduction to the opera was transferred in its entirety to ''The Snow Maiden''. It is possible that other numbers from the opera were also re-used, since Tchaikovsky asked [[Vasily Bessel]] for the full score of ''[[Undina]]'' while he was working on ''The Snow Maiden''. He also made extensive use of Russian folksong:</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>In the music to ''The Snow Maiden'', Tchaikovsky re-used several numbers from his opera ''[[Undina]]'', namely: Undina's arioso («Водопад мой дядя»), for Lel's first song («Земляничка-ягодка»), and the introduction to the opera was transferred in its entirety to ''The Snow Maiden''. It is possible that other numbers from the opera were also re-used, since Tchaikovsky asked [[Vasily Bessel]] for the full score of ''[[Undina]]'' while he was working on ''The Snow Maiden''. He also made extensive use of Russian folksong:</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>* Prologue, No. 1 — The Introduction is identical to the Introduction to the opera ''[[Undina]]''.</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>* Prologue, No. 1 — The Introduction is identical to the Introduction to the opera ''[[Undina]]''.</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>* Prologue, No. 2 — The Dances of Birds use the folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'The Grey Eagle Flew up to the Mountains' (Вот сизый орел по гораи леталь), which appears as No. 31 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Prologue, No. 2 — The Dances of Birds use the folk tune 'The Grey Eagle Flew up to the Mountains' (Вот сизый орел по гораи леталь), which appears as No. 31 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Prologue, No. 4 — The Chorus uses the folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), and the following tenor solo employs the theme 'At Prince Volkhonsky's' (У кназя Волхонского). These tunes appear as Nos. 19 and 6 respectively from [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]]. The theme of the concluding chorus is derived either from the Russian folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'The Rich Tit-Mouse' (Синица богата) or the Ukrainian song 'Let's Play Music' (Вы музыки, грайте).</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>* Prologue, No. 4 — The Chorus uses the folk tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), and the following tenor solo employs the theme 'At Prince Volkhonsky's' (У кназя Волхонского). These tunes appear as Nos. 19 and 6 respectively from [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]]. The theme of the concluding chorus is derived either from the Russian folk tune 'The Rich Tit-Mouse' (Синица богата) or the Ukrainian song 'Let's Play Music' (Вы музыки, грайте).</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>* Prologue, No. 5a — The Melodrama is based on the Russian folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), which is No. 19 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Prologue, No. 5a — The Melodrama is based on the Russian folk tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), which is No. 19 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act I, No. 6 — Lel's First Song is based on ''Undina's Song'' from Act I of the opera ''[[Undina]].''</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>* Act I, No. 6 — Lel's First Song is based on ''Undina's Song'' from Act I of the opera ''[[Undina]].''</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>* Act I, No. 7 — Lel's Second Song uses the folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'By the Gates' (У ворот, ворот), which is No. 23 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act I, No. 7 — Lel's Second Song uses the folk tune 'By the Gates' (У ворот, ворот), which is No. 23 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act II, No. 9 — The Chorus of Blind Gusli-Players uses the folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'It Isn't Drink That's Muddling My Head' (Не хмель мою головушку клонит), which Tchaikovsky had previously arranged as No. 14 of [[Fifty Russian Folksongs]].</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>* Act II, No. 9 — The Chorus of Blind Gusli-Players uses the folk tune 'It Isn't Drink That's Muddling My Head' (Не хмель мою головушку клонит), which Tchaikovsky had previously arranged as No. 14 of [[Fifty Russian Folksongs]].</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>* Act III, No. 12 — The Khorovod uses the Russian folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'There is a Lime Tree in the Field' (Ай, во поле липинька).</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>* Act III, No. 12 — The Khorovod uses the Russian folk tune 'There is a Lime Tree in the Field' (Ай, во поле липинька).</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>* Act III, No. 14a — The first version of Lel's Third Song uses the Russian folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'I Was Strolling Along the Riverbank' (Я по бережку прохаживла), which is No. 2 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act III, No. 14a — The first version of Lel's Third Song uses the Russian folk tune 'I Was Strolling Along the Riverbank' (Я по бережку прохаживла), which is No. 2 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act III, No. 14b — The second version of Lel's Third Song uses the folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'Tis Not the Sound Resounding' (Не шум шумит), which Tchaikovsky also used as No. 21 from [[Fifty Russian Folksongs]], and later in Kuma's Arioso (Act I, No. 4) from the opera ''[[The Enchantress]]'' (1885-87).</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>* Act III, No. 14b — The second version of Lel's Third Song uses the folk tune 'Tis Not the Sound Resounding' (Не шум шумит), which Tchaikovsky also used as No. 21 from [[Fifty Russian Folksongs]], and later in Kuma's Arioso (Act I, No. 4) from the opera ''[[The Enchantress]]'' (1885-87).</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>* Act III, No. 15 — Brusila's Song uses the folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'Where Have You Been?' (Где ж ты была?), which appears as No. 25 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act III, No. 15 — Brusila's Song uses the folk tune 'Where Have You Been?' (Где ж ты была?), which appears as No. 25 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act IV, No. 18 — The trio section of the March employs the Russian folk<del style="font-weight: bold; text-decoration: none;">-</del>tune 'Oh, My Duckling in the Meadow' (Ой, утушка моя луговая), which Tchaikovsky arranged as No. 36 from [[Fifty Russian Folksongs]]. The text and tune of the chorus, 'We sowed the seed' (А мы просу сеяли), are taken from the song 'We Worked the Land' (А мы землю наняли), which Tchaikovsky had previously arranged as No. 26 of [[Fifty Russian Folksongs]] <ref name="note13"/>.</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>* Act IV, No. 18 — The trio section of the March employs the Russian folk tune 'Oh, My Duckling in the Meadow' (Ой, утушка моя луговая), which Tchaikovsky arranged as No. 36 from [[Fifty Russian Folksongs]]. The text and tune of the chorus, 'We sowed the seed' (А мы просу сеяли), are taken from the song 'We Worked the Land' (А мы землю наняли), which Tchaikovsky had previously arranged as No. 26 of [[Fifty Russian Folksongs]] <ref name="note13"/>.</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>* Act IV, No. 19 — The Finale includes the Russian folk<del style="font-weight: bold; text-decoration: none;">-</del>tune ‘In the hall, in the parlour' (Во горнице, ко светлице).</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>* Act IV, No. 19 — The Finale includes the Russian folk tune ‘In the hall, in the parlour' (Во горнице, ко светлице).</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>After ''The Snow Maiden'' had been withdrawn from the repertoire and its music forgotten, some numbers were re-used by Tchaikovsky in his music to [[Shakespeare]]'s tragedy ''[[Hamlet (incidental music)|Hamlet]]'', written in 1891. The Melodrama (Act II, No. 10) from ''The Snow Maiden'' (Kupava's lament) served as the entr'acte to Act III of the tragedy.</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>After ''The Snow Maiden'' had been withdrawn from the repertoire and its music forgotten, some numbers were re-used by Tchaikovsky in his music to [[Shakespeare]]'s tragedy ''[[Hamlet (incidental music)|Hamlet]]'', written in 1891. The Melodrama (Act II, No. 10) from ''The Snow Maiden'' (Kupava's lament) served as the entr'acte to Act III of the tragedy.</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&diff=58503&oldid=prevTony: /* Related Works */2023-01-16T18:56:03Z<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;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:56, 16 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;"><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>In the music to ''The Snow Maiden'', Tchaikovsky re-used several numbers from his opera ''[[Undina]]'', namely: Undina's arioso («Водопад мой дядя»), for Lel's first song («Земляничка-ягодка»), and the introduction to the opera was transferred in its entirety to ''The Snow Maiden''. It is possible that other numbers from the opera were also re-used<del style="font-weight: bold; text-decoration: none;">. </del>since Tchaikovsky asked [[Vasily Bessel]] for the full score of ''[[Undina]]'' while he was working on ''The Snow Maiden''. He also made extensive use of Russian folksong:</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>In the music to ''The Snow Maiden'', Tchaikovsky re-used several numbers from his opera ''[[Undina]]'', namely: Undina's arioso («Водопад мой дядя»), for Lel's first song («Земляничка-ягодка»), and the introduction to the opera was transferred in its entirety to ''The Snow Maiden''. It is possible that other numbers from the opera were also re-used<ins style="font-weight: bold; text-decoration: none;">, </ins>since Tchaikovsky asked [[Vasily Bessel]] for the full score of ''[[Undina]]'' while he was working on ''The Snow Maiden''. He also made extensive use of Russian folksong:</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>* Prologue, No. 1 — The Introduction is identical to the Introduction to the opera ''[[Undina]]''.</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>* Prologue, No. 1 — The Introduction is identical to the Introduction to the opera ''[[Undina]]''.</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>* Prologue, No. 2 — The Dances of Birds use the folk-tune 'The Grey Eagle Flew up to the Mountains' (Вот сизый орел по гораи леталь), which appears as No. 31 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Prologue, No. 2 — The Dances of Birds use the folk-tune 'The Grey Eagle Flew up to the Mountains' (Вот сизый орел по гораи леталь), which appears as No. 31 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Prologue, No. 4 — The Chorus uses the folk-tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), and the following tenor solo employs the theme 'At Prince Volkhonsky's' (У кназя Волхонского). These tunes appear as Nos. 19 and 6 respectively from [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]]. The theme of the concluding chorus is derived either from the Russian folk-tune 'The Rich Tit-Mouse' (Синица богата) or the Ukrainian song 'Let's Play Music' (Вы музыки, грайте).</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>* Prologue, No. 4 — The Chorus uses the folk-tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), and the following tenor solo employs the theme 'At Prince Volkhonsky's' (У кназя Волхонского). These tunes appear as Nos. 19 and 6 respectively from [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]]. The theme of the concluding chorus is derived either from the Russian folk-tune 'The Rich Tit-Mouse' (Синица богата) or the Ukrainian song 'Let's Play Music' (Вы музыки, грайте).</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>* Prologue, No. 5a — The Melodrama is based on the Russian folk-tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), which is No. 19 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Prologue, No. 5a — The Melodrama is based on the Russian folk-tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), which is No. 19 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act I, No. 6 — Lel's First Song is based on ''Undina's Song'' from Act I of the opera ''[[Undina]]''</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>* Act I, No. 6 — Lel's First Song is based on ''Undina's Song'' from Act I of the opera ''[[Undina]]<ins style="font-weight: bold; text-decoration: none;">.</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>* Act I, No. 7 — Lel's Second Song uses the folk-tune 'By the Gates' (У ворот, ворот), which is No. 23 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act I, No. 7 — Lel's Second Song uses the folk-tune 'By the Gates' (У ворот, ворот), which is No. 23 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].</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>* Act II, No. 9 — The Chorus of Blind Gusli-Players uses the folk-tune 'It Isn't Drink That's Muddling My Head' (Не хмель мою головушку клонит), which Tchaikovsky had previously arranged as No. 14 of [[Fifty Russian Folksongs]].</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>* Act II, No. 9 — The Chorus of Blind Gusli-Players uses the folk-tune 'It Isn't Drink That's Muddling My Head' (Не хмель мою головушку клонит), which Tchaikovsky had previously arranged as No. 14 of [[Fifty Russian Folksongs]].</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&diff=58502&oldid=prevTony: /* Publication */2023-01-16T16:24:30Z<p><span dir="auto"><span class="autocomment">Publication</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;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:24, 16 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>==Publication==</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>==Publication==</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>In May 1873, [[Pyotr Jurgenson]] published the piano scores of selected numbers from ''The Snow Maiden'': Lel's three songs, Brusila's Song and ''Dance of the Tumblers'' (passed by the censor on 15/27 May 1873). In the same year all the numbers from ''The Snow Maiden'' were published separately (passed by the censor on 22 September/4 October 1873). In December the same year, the author's piano arrangement of the songs was published (approved by the censor on 29 September/11 October 1873). Six years later (approved by the censor on 12/24 April 1879) a piano duet arrangement by [[Eduard Langer]] of the music to ''The Snow Maiden'' was issued.</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>In May 1873, [[Pyotr Jurgenson]] published the piano scores of selected numbers from ''The Snow Maiden'': Lel's three songs, Brusila's Song and ''Dance of the Tumblers'' (passed by the censor on 15/27 May 1873). In the same year<ins style="font-weight: bold; text-decoration: none;">, </ins>all the numbers from ''The Snow Maiden'' were published separately (passed by the censor on 22 September/4 October 1873). In December the same year, the author's piano arrangement of the songs was published (approved by the censor on 29 September/11 October 1873). Six years later (approved by the censor on 12/24 April 1879)<ins style="font-weight: bold; text-decoration: none;">, </ins>a piano duet arrangement by [[Eduard Langer]] of the music to ''The Snow Maiden'' was issued.</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>All these editions differed from the author's manuscript score with regard to the numbering of each musical number—and in particular the numbering of Lel's songs. In the autograph full score, Lel's first and second songs are combined as one, under the title "Lel's songs" (without an ordinal number). The third song is also not given a number, though on the autograph full score it was described as the second. In each of the published editions, each of the three songs had its own title, but in the separate editions of 1873 the second and third were given ordinal numbers.</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>All these editions differed from the author's manuscript score with regard to the numbering of each musical number—and in particular the numbering of Lel's songs. In the autograph full score, Lel's first and second songs are combined as one, under the title "Lel's songs" (without an ordinal number). The third song is also not given a number, though on the autograph full score it was described as the second. In each of the published editions, each of the three songs had its own title, but in the separate editions of 1873 the second and third were given ordinal numbers.</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>After Tchaikovsky's death the music to ''The Snow Maiden'' was published once again by [[Pyotr Jurgenson]]. In November 1894 the choral parts were issued. December 1895 saw the first publication of the full score (approved by the censor on 16/28 January 1895). This edition included two new numbers: the chorus of flowers to spring's monologue, No. 17 (this number was in the autograph full score, but had not been published earlier), and a second version of Lel's Third Song. In March 1896 the arrangement for voice with piano appeared in print; this also included the supplementary numbers (Lel's Third Song in an arrangement by [[Sergey Taneyev]]), which had been published separately in March 1895. In this new edition, Lel's songs were given consecutive numbers. In December 1897 the numbers were again issued separately, and in an arrangement for piano solo by Vyacheslav Laub.</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>After Tchaikovsky's death<ins style="font-weight: bold; text-decoration: none;">, </ins>the music to ''The Snow Maiden'' was published once again by [[Pyotr Jurgenson]]. In November 1894 the choral parts were issued. December 1895 saw the first publication of the full score (approved by the censor on 16/28 January 1895). This edition included two new numbers: the chorus of flowers to spring's monologue, No. 17 (this number was in the autograph full score, but had not been published earlier), and a second version of Lel's Third Song. In March 1896 the arrangement for voice with piano appeared in print; this also included the supplementary numbers (Lel's Third Song in an arrangement by [[Sergey Taneyev]]), which had been published separately in March 1895. In this new edition, Lel's songs were given consecutive numbers. In December 1897 the numbers were again issued separately, and in an arrangement for piano solo by Vyacheslav Laub.</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>The full score and vocal-piano reductions were published in volume 14, edited by Irina Iordan (1962) and volume 33, edited by Georgy Kirkor (1965), respectively of Tchaikovsky's ''[[Complete Collected 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>The full score and vocal-piano reductions were published in volume 14, edited by Irina Iordan (1962) and volume 33, edited by Georgy Kirkor (1965), respectively of Tchaikovsky's ''[[Complete Collected Works]]''.</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&diff=58501&oldid=prevTony: /* Performances */2023-01-16T16:18:46Z<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 17:18, 16 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;"><div>The first performance of ''The Snow Maiden'' was conducted by [[Nikolay Rubinstein]] on 11/23 May 1873 at the Bolshoi Theatre in [[Moscow]], in a production by artists of the combined companies. Yevlalya Kadmina performed the part of ''Lel''; Aleksandr Dodonov — ''Frost''; Nikolay Muzil — ''Brusila''; Glikeriya Fedotova — ''The Snow Maiden''; Mariya Yermolova — ''Spring''; Nadezhda Nikulina — ''Kupava''; Ivan Samarin — ''Tsar Berendey''.</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>The first performance of ''The Snow Maiden'' was conducted by [[Nikolay Rubinstein]] on 11/23 May 1873 at the Bolshoi Theatre in [[Moscow]], in a production by artists of the combined companies. Yevlalya Kadmina performed the part of ''Lel''; Aleksandr Dodonov — ''Frost''; Nikolay Muzil — ''Brusila''; Glikeriya Fedotova — ''The Snow Maiden''; Mariya Yermolova — ''Spring''; Nadezhda Nikulina — ''Kupava''; Ivan Samarin — ''Tsar Berendey''.</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>[[Nikolay Rubinstein]] liked the music to ''The Snow Maiden'', and after it was withdrawn from the repertoire (according to [[Nikolay Kashkin]]) he performed it to great acclaim at a Russian Musical Society charity concert on 28 March/9 April 1878. The solo singers were [[Aleksandra Svyatlovskaya]] and [[Aleksandr Dodonov]], and the text was recited by Nadezhda Nikulina and [[Ivan Samarin]]. By this time a concert performance had already taken place in [[Kiev]], at the first Russian Musical Society symphony concert on 14/26 April 1875, conducted by [[Ippolit Altani]]. In [[Saint Petersburg]] the music to ''The Snow Maiden'' was performed for the first time at a Russian symphony concert on 14/26 December 1894, conducted by Yury Bleichman.</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>[[Nikolay Rubinstein]] liked the music to ''The Snow Maiden'', and after it was withdrawn from the repertoire (according to [[Nikolay Kashkin]]) he performed it to great acclaim at a Russian Musical Society charity concert on 28 March/9 April 1878. The solo singers were [[Aleksandra Svyatlovskaya]] and [[Aleksandr Dodonov]], and the text was recited by Nadezhda Nikulina and [[Ivan Samarin]]. By this time<ins style="font-weight: bold; text-decoration: none;">, </ins>a concert performance had already taken place in [[Kiev]], at the first Russian Musical Society symphony concert on 14/26 April 1875, conducted by [[Ippolit Altani]]. In [[Saint Petersburg]]<ins style="font-weight: bold; text-decoration: none;">, </ins>the music to ''The Snow Maiden'' was performed for the first time at a Russian symphony concert on 14/26 December 1894, conducted by Yury Bleichman.</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>
<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>[[Nikolay Kashkin]] recalled that the piece was not particularly successful, despite being excellently performed. Yet the music was well received by the public. In letters to [[Aleksandr Ostrovsky]], [[Prov Sadovsky]] and V. I. Rodislavsky, reviewing the production, it is reported that it went well, and had every chance of becoming part of the standard repertoire. [[Prov Sadovsky]] gave the reason for the withdrawal of ''The Snow Maiden'' from the summer season of 1873 as the <del style="font-weight: bold; text-decoration: none;">departures </del>of members of the companies for summer engagements <ref name="note9"/>. By the end of the spring season the piece had been performed four times. In the following season it was revived and given four more performances. In the 1874/75 season, ''The Snow Maiden'' was performed one more time and then withdrawn from the repertoire. This was possibly because the performance required both the opera and ballet companies.</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>[[Nikolay Kashkin]] recalled that the piece was not particularly successful, despite being excellently performed. Yet the music was well received by the public. In letters to [[Aleksandr Ostrovsky]], [[Prov Sadovsky]] and V. I. Rodislavsky, reviewing the production, it is reported that it went well, and had every chance of becoming part of the standard repertoire. [[Prov Sadovsky]] gave the reason for the withdrawal of ''The Snow Maiden'' from the summer season of 1873 as the <ins style="font-weight: bold; text-decoration: none;">departure </ins>of members of the companies for summer engagements <ref name="note9"/>. By the end of the spring season<ins style="font-weight: bold; text-decoration: none;">, </ins>the piece had been performed four times. In the following season it was revived and given four more performances. In the 1874/75 season, ''The Snow Maiden'' was performed one more time and then withdrawn from the repertoire. This was possibly because the performance required both the opera and ballet companies.</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>Tchaikovsky had a great affection for his music to ''The Snow Maiden''. In a letter to [[Nadezhda von Meck]] of 1879, he wrote: "''The Snow Maiden'' is one of my favourite offspring. Spring is a wonderful time; I was in good spirits, as I always am at the approach of summer and three months of freedom. I think this music is imbued with the joys of spring that I was experiencing at the time" <ref name="note10"/>. According to [[Modest Tchaikovsky]], he later considered writing an opera on this subject <ref name="note11"/>. And when [[Nikolay Rimsky-Korsakov]] wrote his own opera ''The Snow Maiden'', Tchaikovsky was upset that "our ''subject'' has been stolen from us; that ''Lel'' sings the same words to different music—it's though they've taken from me by force something that is innately mine and dear to me, and are presenting it to the public in bright new clothes. It makes me want to weep!" <ref name="note12"/>.</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>Tchaikovsky had a great affection for his music to ''The Snow Maiden''. In a letter to [[Nadezhda von Meck]] of 1879, he wrote: "''The Snow Maiden'' is one of my favourite offspring. Spring is a wonderful time; I was in good spirits, as I always am at the approach of summer and three months of freedom. I think this music is imbued with the joys of spring that I was experiencing at the time" <ref name="note10"/>. According to [[Modest Tchaikovsky]], he later considered writing an opera on this subject <ref name="note11"/>. And when [[Nikolay Rimsky-Korsakov]] wrote his own opera ''The Snow Maiden'', Tchaikovsky was upset that "our ''subject'' has been stolen from us; that ''Lel'' sings the same words to different music—it's though they've taken from me by force something that is innately mine and dear to me, and are presenting it to the public in bright new clothes. It makes me want to weep!" <ref name="note12"/>.</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&diff=58500&oldid=prevTony: /* Composition */2023-01-16T16:11:53Z<p><span dir="auto"><span class="autocomment">Composition</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:11, 16 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>Tchaikovsky received the first portion of the text from [[Aleksandr Ostrovsky]] in early/mid March. On 9/21 March the writer finished the rough draft of the first act. On 15/27 March 1873, [[Ostrovsky]] sent the composer the text for the blind gusli players' song in the second act of the piece. "I am sending you", [[Ostrovsky]] wrote, "the song of the blind gusli players. It seems to me that the rhythm fits the words; I derived this rhythm from a 12th-century poem, ''The Tale of Igor's Campaign'' (Слово о полку Игореве). Although it is generally considered that this text does not have a definite metre, still on reading it closely, it seems to me that one can hear precisely this rhythm. The song is set in couplets. It might be better if this song had a soloist, i.e. if the first three lines of each couplet were sung by a single voice, and the remaining three by a small chorus? But do as you see fit, I won't make any directions on this point" <ref name="note2"/>.</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>Tchaikovsky received the first portion of the text from [[Aleksandr Ostrovsky]] in early/mid<ins style="font-weight: bold; text-decoration: none;">-</ins>March. On 9/21 March the writer finished the rough draft of the first act. On 15/27 March 1873, [[Ostrovsky]] sent the composer the text for the blind gusli players' song in the second act of the piece. "I am sending you", [[Ostrovsky]] wrote, "the song of the blind gusli players. It seems to me that the rhythm fits the words; I derived this rhythm from a 12th-century poem, ''The Tale of Igor's Campaign'' (Слово о полку Игореве). Although it is generally considered that this text does not have a definite metre, still on reading it closely, it seems to me that one can hear precisely this rhythm. The song is set in couplets. It might be better if this song had a soloist, i.e. if the first three lines of each couplet were sung by a single voice, and the remaining three by a small chorus? But do as you see fit, I won't make any directions on this point" <ref name="note2"/>.</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>The writer got his way, and the song of the blind gusli players was written for a soloist and small choir.</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>The writer got his way, and the song of the blind gusli players was written for a soloist and small choir.</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>On 6/18 April he told [[Aleksandr Ostrovsky]]: "The greater part is ready; only the first and second acts remain <ref name="note5"/>. But the main thing is if you would be so kind as to send me all those ''words'' which I am still missing: 1) Lel&#39;s first song; 2) The remaining couplets in Lel&#39;s second song; 3) The whole text of Spring's monologue during the dances in the fourth act; 4) The complete text of the final chorus («Бог Ярило»); 5) In the chorus set to the tune «А мы просо сеяли», are we supposed to retain the original words of the song, or use another text? If the latter, then be so kind as to send it to me. I beg you, Aleksandr Nikolayevich, to send me all the aforementioned as soon as possible". In the same letter, Tchaikovsky wrote that he had badly cut his hand, and because of this he was finding writing difficult. With the remaining numbers held up, he asked [[Ostrovsky]] to let him "reduce my workload somewhat [...] by having [the actor Nikolay] Muzil [who was to play Brusila] sing without any accompaniment that melody you spoke of"<ref name="note6"/>. The song referred to was Brusila's «Купался бобер».</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 6/18 April he told [[Aleksandr Ostrovsky]]: "The greater part is ready; only the first and second acts remain <ref name="note5"/>. But the main thing is if you would be so kind as to send me all those ''words'' which I am still missing: 1) Lel&#39;s first song; 2) The remaining couplets in Lel&#39;s second song; 3) The whole text of Spring's monologue during the dances in the fourth act; 4) The complete text of the final chorus («Бог Ярило»); 5) In the chorus set to the tune «А мы просо сеяли», are we supposed to retain the original words of the song, or use another text? If the latter, then be so kind as to send it to me. I beg you, Aleksandr Nikolayevich, to send me all the aforementioned as soon as possible". In the same letter, Tchaikovsky wrote that he had badly cut his hand, and because of this he was finding writing difficult. With the remaining numbers held up, he asked [[Ostrovsky]] to let him "reduce my workload somewhat [...] by having [the actor Nikolay] Muzil [who was to play Brusila] sing without any accompaniment that melody you spoke of"<ref name="note6"/>. The song referred to was Brusila's «Купался бобер».</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>On 7/19 April, the composer wrote to his father: "For around a month I've not risen from my desk because of work; I'm writing music to [[Ostrovsky]]'s <del style="font-weight: bold; text-decoration: none;">fairytale </del>piece ''The Snow Maiden''" <ref name="note7"/>. And on 27 April/9 May he told [[Aleksandra Davydova]] and [[Modest Tchaikovsky]]: "Currently at the nearby Bolshoi Theatre, frantic rehearsals are taking place for [[Ostrovsky]]'s piece ''The Snow Maiden''... for which I am required to attend the theatre in the evening" <ref name="note8"/>.</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>On 7/19 April, the composer wrote to his father: "For around a month I've not risen from my desk because of work; I'm writing music to [[Ostrovsky]]'s <ins style="font-weight: bold; text-decoration: none;">fairy-tale </ins>piece ''The Snow Maiden''" <ref name="note7"/>. And on 27 April/9 May he told [[Aleksandra Davydova]] and [[Modest Tchaikovsky]]: "Currently at the nearby Bolshoi Theatre, frantic rehearsals are taking place for [[Ostrovsky]]'s piece ''The Snow Maiden''... for which I am required to attend the theatre in the evening" <ref name="note8"/>.</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>It was probably during these rehearsals that Tchaikovsky wrote a second version of Lel's Third Song, perhaps because the first version was considered too difficult.</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>It was probably during these rehearsals that Tchaikovsky wrote a second version of Lel's Third Song, perhaps because the first version was considered too difficult.</div></td></tr>
</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&diff=58499&oldid=prevTony: /* Movements and Duration */2023-01-16T16:02:38Z<p><span dir="auto"><span class="autocomment">Movements and Duration</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:02, 16 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;"><div>| width="16%"|</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>| width="16%"|</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>| width="8%"| No. 1</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>| width="8%"| No. 1</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>| colspan="2"|'''Introduction''' (Интродукция)<br/>Moderato assai (107 bars)<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>| colspan="2"|'''Introduction''' (Интродукция)<br/>Moderato assai (107 bars)</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>|-</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>|-</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>| rowspan="4"|'''''Prologue'''''</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>| rowspan="4"|'''''Prologue'''''</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>| No. 2 </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>| No. 2 </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>| colspan="2"|'''Dances and Chorus of Birds''' (Танцы и хор птиц)<br/>Allegro giusto—Allegro moderato (419 bars)<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>| colspan="2"|'''Dances and Chorus of Birds''' (Танцы и хор птиц)<br/>Allegro giusto—Allegro moderato (419 bars)</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>| Собирались птицы<br/> ''Sobiralis ptitsy''</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>| Собирались птицы<br/> ''Sobiralis ptitsy''</div></td></tr>
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</table>Tonyhttps://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&diff=42558&oldid=prevBrett: 1 revision imported2022-07-12T11:25:03Z<p>1 revision imported</p>
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</td></tr></table>Bretthttps://en.tchaikovsky-research.net/index.php?title=The_Snow_Maiden&diff=42557&oldid=preven>Sauli Niemi: Clarified the amount of acts (in addition to the Prologue) the play contains.2020-04-04T20:10:02Z<p>Clarified the amount of acts (in addition to the Prologue) the play contains.</p>
<p><b>New page</b></p><div>Tchaikovsky's music for '''''The Snow Maiden''''' (Снегурочка), Op. 12 ([[TH]] 19 ; [[ČW]] 15), was written in March and April 1873 to accompany the first production of [[Aleksandr Ostrovsky]]'s 'spring legend' in a prologue and four acts.<br />
<br />
==Instrumentation==<br />
''The Snow Maiden'' is scored for solo voices, mixed chorus, and a large theatre orchestra comprising piccolo, 2 flutes, 2 oboes, English horn (''ad lib.''), 2 clarinets (in A, B-flat, C), 2 bassoons + 4 horns (in F), 2 trumpets (in D, F), 3 trombones, tuba + 3 timpani, triangle, tambourine, military drum, cymbals, bass drum + harp, violins I, violins II, violas, cellos, and double basses.<br />
<br />
There are three solo singing roles:<br />
* ''Lel'' (Лель) — mezzo-soprano<br />
* ''Frost'' (Мороз) — tenor <br />
* ''Brusila'' (Брусила) — tenor.<br />
<br />
==Movements and Duration==<br />
Tchaikovsky's original score contains 19 individual numbers, of which two (Nos. 14 and 15) exist in two versions. The titles of numbers in Russian (Cyrillic) are taken from the published score, with English translations added in bold type. Vocal incipits are given in the right-hand column, with transliterations below in italics.<br />
<br />
{| class="wikitable"<br />
| width="16%"|<br />
| width="8%"| No. 1<br />
| colspan="2"|'''Introduction''' (Интродукция)<br/>Moderato assai (107 bars).<br />
| width="33%"| <br />
|-<br />
| rowspan="4"|'''''Prologue'''''<br />
| No. 2 <br />
| colspan="2"|'''Dances and Chorus of Birds''' (Танцы и хор птиц)<br/>Allegro giusto—Allegro moderato (419 bars).<br />
| Собирались птицы<br/> ''Sobiralis ptitsy''<br />
|-<br />
| No. 3<br />
| colspan="2"|'''Frost&#39;s Monologue''' (Монолог Мороза)<br/> Moderato—Moderato quasi Allegro (61 bars) <br />
| Из леску по дорожке за возом воз<br/> ''Iz lesku po dorozhke za vozom voz'' <br />
|-<br />
| No. 4<br />
| colspan="2"|'''Chorus of Farewell to Winter''' (Хор провожания Масленицы)<br/> Moderato (108 bars) <br />
| Раным рано куры запели<br/>''Ranym rano kury zapeli'' <br />
|-<br />
| rowspan="2"|No. 5<br />
| width="3%"| (a)<br />
| width="40%"|'''Melodrama''' (Мелодрама)<br/>Allegro vivo (86 bars) <br />
| <br />
|-<br />
| rowspan="3"|'''''Act I''''' <br />
| (b)<br />
| '''Entr&#39;acte''' (Антракт)<br/>Moderato assai (24 bars) <br />
| <br />
|-<br />
| No. 6 <br />
| colspan="2"|'''Lel&#39;s First Song''' (Первая песнь Леля)<br/>Moderato (157 bars) <br />
| Земляничка ягодка<br/>''Zemlyanichka yagodka'' <br />
|-<br />
| No. 7<br />
| colspan="2"|'''Lel&#39;s Second Song''' (Вторая песнь Леля)<br/>Allegro (92 bars) <br />
| Как по лесу, лес шумит<br/>''Kak po lesu, les shumit'' <br />
|-<br />
| rowspan="4"|'''''Act II'''''<br />
| No. 8<br />
| colspan="2"|'''Entr&#39;acte''' (Антракт)<br/>Andantino quasi Allegretto (57 bars) <br />
| <br />
|-<br />
| No. 9 <br />
| colspan="2"|'''Chorus of Blind Gusli Players''' (Хор слепых гусляров)<br/>Moderato (42 bars) <br />
| Вещие, звонкие струны рокочут<br/>''Veshchie, zvonkie struny rokоchut''<br />
|-<br />
| No. 10<br />
| colspan="2"|'''Melodrama''' (Мелодрама)<br/>Andantino quasi Allegretto (57 bars) <br />
| <br />
|-<br />
| No. 11 <br />
| colspan="2"|'''Chorus of People and Courtiers''' (Хор народа и царедворцев)<br/>Allegro moderato—Moderato (32 bars) <br />
| Привет тебе, премудрый<br/>''Privet tebe, premudry'' <br />
|-<br />
| rowspan="9"|'''''Act III'''''<br />
| No. 12<br />
| colspan="2"|'''Khorovod''' (Хоровод)<br/>[Allegro moderato] (56 bars) <br />
| Ай, во поле<br/>''Ay, vo pole'' <br />
|-<br />
| No. 13<br />
| colspan="2"|'''Dance of the Tumblers''' (Пляска скоморохов)<br/>Allegro vivace (358 bars) <br />
| <br />
|-<br />
| rowspan="3"|No. 14 <br />
| colspan="2"|'''Lel&#39;s Third Song''' (Третья песнь Леля):<br />
| rowspan="3"|Туча со громом сговаривалась<br/>''Tucha so gromom sgovarivalas'' <br />
|-<br />
| (a)<br />
| [First version (Первая версия)]<br/>Moderato (53 bars)<br />
|-<br />
| (b)<br />
| [Second version (Вторая версия)]<br/>Moderato (54 bars) <br />
|-<br />
| rowspan="3"|No. 15<br />
| colspan="2"|'''Brusila&#39;s Song''' (Песенка Брусилы): <br />
| rowspan="3"|Купался, купался бобер<br/>''Kupalsya, kupalsya bober'' <br />
|-<br />
| (a)<br />
| [First version (Первая версия)]<br/>Allegro (24 bars) <br />
|-<br />
| (b)<br />
| [Second version (Вторая версия)]<br/>Allegro (12 bars) <br />
|-<br />
| No. 16<br />
| <br />
| '''Appearance of the Wood Goblin and the Snow Maiden&#39;s Spirit''' (Появление Лешего и тени Снегурочки)<br/>Allegro vivace (30 bars) <br />
| <br />
|-<br />
| rowspan="4"|'''''Act IV''''' <br />
| rowspan="2"|No. 17<br />
| (a)<br />
| '''Entr&#39;acte''' (Антракт)<br/>Andantino (39 bars) <br />
| <br />
|-<br />
| (b)<br />
| '''Spring&#39;s Monologue, Chorus and Dances''' (Монолог Весны, хор и тихие танцы). Andantino (47 bars) <br />
| Зорь весенних цвет душистий<br/>''Zor vesennikh tsvet dushisty'' <br />
|-<br />
| No. 18<br />
| <br />
| '''Tsar Berendey&#39;s March and Chorus''' (Марш царя Берендея и хор)<br/>Tempo di Marcia. Moderato (176 bars) <br />
| А мы просо сеяли, сеяли<br/>''A my proso seyali, seyali'' <br />
|-<br />
| No. 19<br />
| <br />
| '''Finale''' (Финал)<br/>Allegro giusto (125 bars) <br />
| Бог Ярило, свет и сила<br/>''Bog Yarilo, svet i sila'' <br />
|}<br />
A concert performance of the music to ''The Snow Maiden'' lasts around 75 to 80 minutes.<br />
<br />
==Subject==<br />
At the beginning of 1873, the Maly Theatre in [[Moscow]] was closed for structural repairs, with the result that all three companies—drama, opera and ballet—performed on the stage of the Bolshoi Theatre. The management committee of the [[Moscow]] Imperial Theatres — Pavel Kavelin, L. N. Auber and [[Vladimir Begichev]] (on the initiative of the latter)—decided to make the most of this opportunity to unite for a single fairy-tale production. The committee approached [[Aleksandr Ostrovsky]] with a request that he should write a suitable piece, the music for which, at the recommendation of the committee and the personal request of [[Ostrovsky]], was to be written by Tchaikovsky <ref name="note1"/>. Both the dramatist and the composer worked with great enthusiasm, and collaborated closely on the work.<br />
<br />
==Composition==<br />
Tchaikovsky received the first portion of the text from [[Aleksandr Ostrovsky]] in early/mid March. On 9/21 March the writer finished the rough draft of the first act. On 15/27 March 1873, [[Ostrovsky]] sent the composer the text for the blind gusli players' song in the second act of the piece. "I am sending you", [[Ostrovsky]] wrote, "the song of the blind gusli players. It seems to me that the rhythm fits the words; I derived this rhythm from a 12th-century poem, ''The Tale of Igor's Campaign'' (Слово о полку Игореве). Although it is generally considered that this text does not have a definite metre, still on reading it closely, it seems to me that one can hear precisely this rhythm. The song is set in couplets. It might be better if this song had a soloist, i.e. if the first three lines of each couplet were sung by a single voice, and the remaining three by a small chorus? But do as you see fit, I won't make any directions on this point" <ref name="note2"/>.<br />
<br />
The writer got his way, and the song of the blind gusli players was written for a soloist and small choir.<br />
<br />
On 25 March/6 April, Tchaikovsky gave the full score to the directorate with instructions "to carry out any changes and additions to my score which may be required, if such are deemed essential" <ref name="note3"/>. In 1879, recalling his work on ''The Snow Maiden'' in a letter to [[Nadezhda von Meck]], Tchaikovsky wrote: "I liked [[Ostrovsky]]'s piece, and I wrote the music in three weeks, without having to exert myself" <ref name="note4"/>.<br />
<br />
On 6/18 April he told [[Aleksandr Ostrovsky]]: "The greater part is ready; only the first and second acts remain <ref name="note5"/>. But the main thing is if you would be so kind as to send me all those ''words'' which I am still missing: 1) Lel&#39;s first song; 2) The remaining couplets in Lel&#39;s second song; 3) The whole text of Spring's monologue during the dances in the fourth act; 4) The complete text of the final chorus («Бог Ярило»); 5) In the chorus set to the tune «А мы просо сеяли», are we supposed to retain the original words of the song, or use another text? If the latter, then be so kind as to send it to me. I beg you, Aleksandr Nikolayevich, to send me all the aforementioned as soon as possible". In the same letter, Tchaikovsky wrote that he had badly cut his hand, and because of this he was finding writing difficult. With the remaining numbers held up, he asked [[Ostrovsky]] to let him "reduce my workload somewhat [...] by having [the actor Nikolay] Muzil [who was to play Brusila] sing without any accompaniment that melody you spoke of"<ref name="note6"/>. The song referred to was Brusila's «Купался бобер».<br />
<br />
On 7/19 April, the composer wrote to his father: "For around a month I've not risen from my desk because of work; I'm writing music to [[Ostrovsky]]'s fairytale piece ''The Snow Maiden''" <ref name="note7"/>. And on 27 April/9 May he told [[Aleksandra Davydova]] and [[Modest Tchaikovsky]]: "Currently at the nearby Bolshoi Theatre, frantic rehearsals are taking place for [[Ostrovsky]]'s piece ''The Snow Maiden''... for which I am required to attend the theatre in the evening" <ref name="note8"/>.<br />
<br />
It was probably during these rehearsals that Tchaikovsky wrote a second version of Lel's Third Song, perhaps because the first version was considered too difficult.<br />
<br />
==Arrangements==<br />
Tchaikovsky also arranged the vocal-piano reduction simultaneously with the orchestration in March and April 1873, except for the second version of Lel's Third Song (Act III, No. 14b) which was arranged in 1895 by [[Sergey Taneyev]].<br />
<br />
==Performances==<br />
The first performance of ''The Snow Maiden'' was conducted by [[Nikolay Rubinstein]] on 11/23 May 1873 at the Bolshoi Theatre in [[Moscow]], in a production by artists of the combined companies. Yevlalya Kadmina performed the part of ''Lel''; Aleksandr Dodonov — ''Frost''; Nikolay Muzil — ''Brusila''; Glikeriya Fedotova — ''The Snow Maiden''; Mariya Yermolova — ''Spring''; Nadezhda Nikulina — ''Kupava''; Ivan Samarin — ''Tsar Berendey''.<br />
<br />
[[Nikolay Rubinstein]] liked the music to ''The Snow Maiden'', and after it was withdrawn from the repertoire (according to [[Nikolay Kashkin]]) he performed it to great acclaim at a Russian Musical Society charity concert on 28 March/9 April 1878. The solo singers were [[Aleksandra Svyatlovskaya]] and [[Aleksandr Dodonov]], and the text was recited by Nadezhda Nikulina and [[Ivan Samarin]]. By this time a concert performance had already taken place in [[Kiev]], at the first Russian Musical Society symphony concert on 14/26 April 1875, conducted by [[Ippolit Altani]]. In [[Saint Petersburg]] the music to ''The Snow Maiden'' was performed for the first time at a Russian symphony concert on 14/26 December 1894, conducted by Yury Bleichman.<br />
<br />
==Critical Reception==<br />
[[Nikolay Kashkin]] recalled that the piece was not particularly successful, despite being excellently performed. Yet the music was well received by the public. In letters to [[Aleksandr Ostrovsky]], [[Prov Sadovsky]] and V. I. Rodislavsky, reviewing the production, it is reported that it went well, and had every chance of becoming part of the standard repertoire. [[Prov Sadovsky]] gave the reason for the withdrawal of ''The Snow Maiden'' from the summer season of 1873 as the departures of members of the companies for summer engagements <ref name="note9"/>. By the end of the spring season the piece had been performed four times. In the following season it was revived and given four more performances. In the 1874/75 season, ''The Snow Maiden'' was performed one more time and then withdrawn from the repertoire. This was possibly because the performance required both the opera and ballet companies.<br />
<br />
Tchaikovsky had a great affection for his music to ''The Snow Maiden''. In a letter to [[Nadezhda von Meck]] of 1879, he wrote: "''The Snow Maiden'' is one of my favourite offspring. Spring is a wonderful time; I was in good spirits, as I always am at the approach of summer and three months of freedom. I think this music is imbued with the joys of spring that I was experiencing at the time" <ref name="note10"/>. According to [[Modest Tchaikovsky]], he later considered writing an opera on this subject <ref name="note11"/>. And when [[Nikolay Rimsky-Korsakov]] wrote his own opera ''The Snow Maiden'', Tchaikovsky was upset that "our ''subject'' has been stolen from us; that ''Lel'' sings the same words to different music—it's though they've taken from me by force something that is innately mine and dear to me, and are presenting it to the public in bright new clothes. It makes me want to weep!" <ref name="note12"/>.<br />
<br />
==Publication==<br />
In May 1873, [[Pyotr Jurgenson]] published the piano scores of selected numbers from ''The Snow Maiden'': Lel's three songs, Brusila's Song and ''Dance of the Tumblers'' (passed by the censor on 15/27 May 1873). In the same year all the numbers from ''The Snow Maiden'' were published separately (passed by the censor on 22 September/4 October 1873). In December the same year, the author's piano arrangement of the songs was published (approved by the censor on 29 September/11 October 1873). Six years later (approved by the censor on 12/24 April 1879) a piano duet arrangement by [[Eduard Langer]] of the music to ''The Snow Maiden'' was issued.<br />
<br />
All these editions differed from the author's manuscript score with regard to the numbering of each musical number—and in particular the numbering of Lel's songs. In the autograph full score, Lel's first and second songs are combined as one, under the title "Lel's songs" (without an ordinal number). The third song is also not given a number, though on the autograph full score it was described as the second. In each of the published editions, each of the three songs had its own title, but in the separate editions of 1873 the second and third were given ordinal numbers.<br />
<br />
After Tchaikovsky's death the music to ''The Snow Maiden'' was published once again by [[Pyotr Jurgenson]]. In November 1894 the choral parts were issued. December 1895 saw the first publication of the full score (approved by the censor on 16/28 January 1895). This edition included two new numbers: the chorus of flowers to spring's monologue, No. 17 (this number was in the autograph full score, but had not been published earlier), and a second version of Lel's Third Song. In March 1896 the arrangement for voice with piano appeared in print; this also included the supplementary numbers (Lel's Third Song in an arrangement by [[Sergey Taneyev]]), which had been published separately in March 1895. In this new edition, Lel's songs were given consecutive numbers. In December 1897 the numbers were again issued separately, and in an arrangement for piano solo by Vyacheslav Laub.<br />
<br />
The full score and vocal-piano reductions were published in volume 14, edited by Irina Iordan (1962) and volume 33, edited by Georgy Kirkor (1965), respectively of Tchaikovsky's ''[[Complete Collected Works]]''.<br />
<br />
==Autographs==<br />
Tchaikovsky's full score of ''The Snow Maiden'' is preserved in the Central Music Library of the Mariinsky Theatre in [[Saint Petersburg]] (VII,1.4.154). This omits the second version of Lel's Third Song (Act III, No. 14b), which is held at the {{RUS-Mcm}} in [[Moscow]] {{TOW2|muzyka-k-vesenney-skazke-a-n-ostrovskogo-snegurochka-pesn-lelya-no-3-vtoraya-versiya|(ф. 88, No. 53)}}, together with an incomplete autograph of Tchaikovsky's arrangement for voices and piano {{TOW2|muzyka-k-vesenney-skazke-a-n-ostrovskogo-snegurochka-19-nomerov|ф. 88, No. 54)}}.<br />
<br />
==Recordings==<br />
{{reclink}}<br />
<br />
==Related Works==<br />
In the music to ''The Snow Maiden'', Tchaikovsky re-used several numbers from his opera ''[[Undina]]'', namely: Undina's arioso («Водопад мой дядя»), for Lel's first song («Земляничка-ягодка»), and the introduction to the opera was transferred in its entirety to ''The Snow Maiden''. It is possible that other numbers from the opera were also re-used. since Tchaikovsky asked [[Vasily Bessel]] for the full score of ''[[Undina]]'' while he was working on ''The Snow Maiden''. He also made extensive use of Russian folksong:<br />
* Prologue, No. 1 — The Introduction is identical to the Introduction to the opera ''[[Undina]]''.<br />
* Prologue, No. 2 — The Dances of Birds use the folk-tune 'The Grey Eagle Flew up to the Mountains' (Вот сизый орел по гораи леталь), which appears as No. 31 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].<br />
* Prologue, No. 4 — The Chorus uses the folk-tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), and the following tenor solo employs the theme 'At Prince Volkhonsky's' (У кназя Волхонского). These tunes appear as Nos. 19 and 6 respectively from [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]]. The theme of the concluding chorus is derived either from the Russian folk-tune 'The Rich Tit-Mouse' (Синица богата) or the Ukrainian song 'Let's Play Music' (Вы музыки, грайте).<br />
* Prologue, No. 5a — The Melodrama is based on the Russian folk-tune 'Long Time Said, Long Time Spoken' (Давно сказано, давно баено), which is No. 19 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].<br />
* Act I, No. 6 — Lel's First Song is based on ''Undina's Song'' from Act I of the opera ''[[Undina]]''<br />
* Act I, No. 7 — Lel's Second Song uses the folk-tune 'By the Gates' (У ворот, ворот), which is No. 23 in [[Prokunin]]'s [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].<br />
* Act II, No. 9 — The Chorus of Blind Gusli-Players uses the folk-tune 'It Isn't Drink That's Muddling My Head' (Не хмель мою головушку клонит), which Tchaikovsky had previously arranged as No. 14 of [[Fifty Russian Folksongs]].<br />
* Act III, No. 12 — The Khorovod uses the Russian folk-tune 'There is a Lime Tree in the Field' (Ай, во поле липинька).<br />
* Act III, No. 14a — The first version of Lel's Third Song uses the Russian folk-tune 'I Was Strolling Along the Riverbank' (Я по бережку прохаживла), which is No. 2 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].<br />
* Act III, No. 14b — The second version of Lel's Third Song uses the folk-tune 'Tis Not the Sound Resounding' (Не шум шумит), which Tchaikovsky also used as No. 21 from [[Fifty Russian Folksongs]], and later in Kuma's Arioso (Act I, No. 4) from the opera ''[[The Enchantress]]'' (1885-87).<br />
* Act III, No. 15 — Brusila's Song uses the folk-tune 'Where Have You Been?' (Где ж ты была?), which appears as No. 25 in [[Vasily Prokunin]]'s collection of [[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]].<br />
* Act IV, No. 18 — The trio section of the March employs the Russian folk-tune 'Oh, My Duckling in the Meadow' (Ой, утушка моя луговая), which Tchaikovsky arranged as No. 36 from [[Fifty Russian Folksongs]]. The text and tune of the chorus, 'We sowed the seed' (А мы просу сеяли), are taken from the song 'We Worked the Land' (А мы землю наняли), which Tchaikovsky had previously arranged as No. 26 of [[Fifty Russian Folksongs]] <ref name="note13"/>.<br />
* Act IV, No. 19 — The Finale includes the Russian folk-tune ‘In the hall, in the parlour' (Во горнице, ко светлице).<br />
<br />
After ''The Snow Maiden'' had been withdrawn from the repertoire and its music forgotten, some numbers were re-used by Tchaikovsky in his music to [[Shakespeare]]'s tragedy ''[[Hamlet (incidental music)|Hamlet]]'', written in 1891. The Melodrama (Act II, No. 10) from ''The Snow Maiden'' (Kupava's lament) served as the entr'acte to Act III of the tragedy.<br />
<br />
==External Links==<br />
* {{imslpscore|The_Snow_Maiden,_Op.12_(Tchaikovsky,_Pyotr)|The Snow Maiden}}<br />
<br />
==Notes and References==<br />
<references><br />
<ref name="note1">See [[Letter 1352]] to [[Nadezhda von Meck]], 24 November/6 December–25 November/7 December 1879 and Tchaikovsky's petition to Pavel Kavelin — [[Klin]] House-Museum Archive.</ref> <br />
<ref name="note2">Letter from [[Aleksandr Ostrovsky]] to Tchaikovsky, 15/27 March 1873 — [[Klin]] House-Museum Archive. This letter was published by [[Sergey Popov]] in {{bib|1937/43|А. Н. Островский и русские композиторы. Письма}} (1937), p. 161.</ref> <br />
<ref name="note3">See Tchaikovsky's application to Pavel Kavelin for payment for his work on ''The Snow Maiden'', 26 March/7 April 1873 — [[Klin]] House-Museum Archive.</ref> <br />
<ref name="note4">[[Letter 1352]] to [[Nadezhda von Meck]], 24 November/6 December–25 November/7 December 1879.</ref> <br />
<ref name="note5">i.e. the final work on Acts I and II.</ref> <br />
<ref name="note6">[[Letter 297]] to [[Aleksandr Ostrovsky]], 6/18 April 1873.</ref> <br />
<ref name="note7">[[Letter 298]] to [[Ilya Tchaikovsky]], 7/19 April 1873.</ref> <br />
<ref name="note8">[[Letter 301]] to [[Aleksandra Davydova]] and [[Modest Tchaikovsky]], 27 April/9 May 1873.</ref> <br />
<ref name="note9">See ''A. N. Ostrovsky. Дневник и письма'' (1937), pp. 102, 118–120.</ref> <br />
<ref name="note10">[[Letter 1352]] to [[Nadezhda von Meck]], 24 November/6 December–25 November/7 December 1879.</ref> <br />
<ref name="note11"> {{bib|1901/24|Жизнь Петра Ильича Чайковского ; том 2}} (1901), pp. 262–263.</ref> <br />
<ref name="note12">[[Letter 1926]] to [[Pyotr Jurgenson]], 4/16 January 1882.</ref><br />
<ref name="note13">We are most grateful to Mr Simone Mantelli for bringing this to our attention.</ref><br />
</references><br />
[[Category:Incidental Music]]</div>en>Sauli Niemi