Piano Concerto No. 1 and Six Duets, Op. 46: Difference between pages

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Tchaikovsky's '''''Piano Concerto No. 1''''', in B-flat minor, [[Opus]] 23 ([[TH]] 55 ; [[ČW]] 53), was composed between November 1874 and February 1875, and revised in 1879 and 1889.
Tchaikovsky's '''''Six Duets''''' (Шесть дуэтов), [[Op.]] 46 ([[TH]] 102 ; [[ČW]] 312-317), were written between June and August 1880 at [[Kamenka]] and [[Simaki]].


==Instrumentation==
==Instrumentation==
The concerto is scored for solo piano and an orchestra comprising 2 flutes, 2 oboes, 2 clarinets (in B-flat), 2 bassoons + 4 horns (in F), 2 trumpets (in F), 3 trombones + 3 timpani + violins I, violins II, violas, cellos, and double basses.
Scored for soprano and mezzo-soprano (Nos. 1, 3, 4, 6), soprano and tenor (No. 5) or soprano and baritone (No. 2), with piano accompaniment.


==Movements and Duration==
==Movements and Duration==
There are three movements:
# '''Evening''' (Вечер)<br/>Andante non troppo (A-flat major, 121 bars).
<ol style="list-style-type: upper-roman;">
# '''Scottish Ballad: Edward''' (Шотландская баллада: Эдвард) <ref name="note1"/><br/>Allegro agitato, ma non troppo (A minor, 171 bars).
<li>Allegro non troppo e molto maestoso <ref name="note1"/> (D-flat major)—Allegro con spirito (B-flat minor, 865 bars)</li>
# '''Tears''' (Слёзы)<br/>Andante molto sostenuto (G minor, 57 bars).
<li>Andantino semplice (D-flat major, 170 bars)</li>
# '''In the Garden, By the Ford''' (В огороде, возле броду)<br/>Allegro moderato (A major, 67 bars).
<li>Allegro con fuoco (B-flat major, 301 bars) <ref name="note2"/></li>
# '''Passion Spent''' (Минула страсть)<br/>Allegro agitato (F minor, 198 bars).
</ol>
# '''Dawn''' (Рассвет)<br/>Allegro moderato (E major, 147 bars).
A complete performance of the concerto lasts approximately 35 minutes.


==Composition==
==Texts==
===First version===
1. [[Ivan Surikov]] (1841–1880), from his poems ''The Sun Has Set'' (Солнце утомилось) and ''In the Still Air'' (В воздухе смолкает) (1864–66):
The first reference to the concerto is found in a letter to [[Modest Tchaikovsky]] of 29 October/10 November 1874, when Tchaikovsky had completed work on the piano score of the opera ''[[Vakula the Smith]]'': "I wanted to start a piano concerto—but for some reason it didn't work out" <ref name="note3"/>. In a letter to [[Vasily Bessel]] of 9/21 November the composer reported: "I am again beginning to think about a new large-scale composition which, since I finished the piano score of the opera, has taken over all my thoughts" <ref name="note4"/>. "I'm now entirely immersed in composing a piano concerto", Tchaikovsky wrote on 21 November/3 December, and in the same letter he complained that "it's going with much difficulty and rather badly. I'm routinely having to be strict with myself, and to compel piano passages to come into my head..." <ref name="note5"/>. In a letter from the composer to [[Modest Tchaikovsky]] of 28 November/10 December, we read: "I am completely bogged down in the composition of the piano concerto; it's coming along—but very poorly" <ref name="note6"/>.
{{libtext
|Original text=
<poem>
Солнце утомилось, ходя день деньской;
Тихо догорая, гаснет за рекой.
 
Край далёкий неба весь зарей облит,
Заревом пожара блещет и горит.
 
В воздухе смолкает шум дневных тревог;
Тишь ночную с неба шлёт на землю бог.
 
Ходят огневые полосы в реке;
Грустно где-то песня льётся вдалеке.
 
Тихо... Отчего же в сердце у меня
Не стихает горе прожитого дня?
 
Отчего ж так больно скорбь сжимает грудь?
Боже мой! Боже мой! дай мне отдохнуть!
</poem>
 
|Translated text=
}}
 
2. [[Aleksey Tolstoy]] (1817–1875), from his poem ''Edward: A Scottish Folk-Ballad'' (Эдвард. Народная шотландская баллада) (1871) — a translation from the English of ''Edward'' from Thomas Percy's ''Reliques of Ancient English Poetry'' (1765) <ref name="note2"/>:
{{libtext
|Original text=
<poem>
«Чьей кровию меч свой ты так обагрил,
    Эдвард, Эдвард?
Чьей кровию меч свой ты так обагрил?
Зачем ты глядишь так сурово?»
 
«То сокола я, рассердяся, убил,
То сокола я, рассердяся, убил,
И негде добыть мне другого!»
 
«У сокола кровь так красна не бежит,
    Эдвард, Эдвард!
У сокола кровь так красна не бежит
Твой меч окровавлен краснее!»
 
«Мой конь краснобурый был мною убит,
Мой конь краснобурый был мною убит,
Тоскую по добром коне я!»
 
«Конь стар у тебя, эта кровь не его,
    Эдвард, Эдвард!
Конь стар у тебя, эта кровь не его,
Не то в твоём сумрачном взоре!»
 
«Отца я сейчас заколол моего,
Отца я сейчас заколол моего,
И лютое жжёт меня горе!»
 
«А грех чем тяжёлый искупишь ты свой,
    Эдвард, Эдвард!
А грех чем тяжёлый искупишь ты свой?
Чем сымешь ты с совести ношу?»
 
«Я сяду в ладью непогодой морской,
Я сяду в ладью непогодой морской,
И ветру все парусы брошу!»
 
«Что ж будет с твоими детьми и с женой,
    Эдвард, Эдвард?
Что ж будет с твоими детьми и с женой,
В их горькой, беспомощной доле?»
 
Пусть по миру ходят за хлебом с сумой,
Пусть по миру ходят за хлебом с сумой,
Я с ними не сви жуся боле!
 
«А матери что ты оставишь своей,
    Эдвард, Эдвард?
А матери что ты оставишь своей,
Тебя что у груди качала?»
 
«Проклятье тебе до скончания дней,
Проклятье тебе до скончания дней!
Тебе, что мне грех нашептала!»
    — «Эдвард, Эдвард?»
</poem>
 
|Translated text=
}}
::Five stanzas of [[Aleksey Tolstoy]]'s poem were omitted by Tchaikovsky, as was the refrain "Mother, my mother" before each repeated word in Edward's retort.
 
3. [[Fyodor Tyutchev]] (1803–1873), after an untitled poem (1850):
{{libtext
|Original text=
<poem>
Слёзы людские, о слёзы людские,
Льётесь вы ранней и поздней порой,
Льётесь безвестные, льётесь незримые,
Неистощимые, неисчислимые, —
Льётесь, как льются струи дождевые
В осень глухую порою ночной.
</poem>
 
|Translated text=
}}
 
4. [[Ivan Surikov]] (1841–1880), from his poem ''Song—from T. Shevchenko'' (Песнь—из Т. Шевченко) (ca. 1869) — a translation from the Ukrainian poem ''In the Garden, By the Ford'' (Но вгородi коло броду) (1848) by [[Taras Shevchenko]] (1814–1861):
{{libtext
|Original text=
<poem>
В огороде, возле броду,
  Маков цвет не всходит,
И до броду за водою
  Девица не ходит.
 
В огороде хмель зелёный
  Сохнет на тычине;
Черноброва, белолица
  Девица в кручине.
 
В огороде, возле броду,
  Верба наклонилась, —
Загрустилась черноброва,
  Тяжко загрустилась.


Between 7/19–12/24 December, Tchaikovsky visited [[Kiev]] for a production of ''[[The Oprichnik]]''. On returning to [[Moscow]], he wrote to [[Modest Tchaikovsky]] that he had worked "tirelessly" on the concerto, which in his words "certainly should be finished this week" <ref name="note7"/>. It has not been precisely established when the sketches were completed, but "this week" ended on 22 December/3 January (Sunday), and bearing in mind that the arrangement for two pianos was finished on 21 December 1874/2 January 1875 (according to the manuscript), it might be concluded that the sketches for the concerto were completed on the journey back from [[Kiev]], i.e. in early/mid-December. After returning from [[Kiev]] (11/23–12/24 December), the composer worked on the arrangement which, as has already been noted, was completed on Saturday 21 December/2 January.
Она плачет, плачет и рыдает,
  Словно рыбка бьётся,
А над нею, молодою,
  Молодец смеётся.
</poem>


On 24 December 1874/5 January 1875, Tchaikovsky played the concerto to [[Nikolay Rubinstein]] and [[Nikolay Hubert]]. Recalling this occasion, the composer wrote to [[Nadezhda von Meck]]: "As I am not a pianist, it was essential for me to consult a virtuoso-specialist, so that he could point out to me anything that might prove to be technically difficult, awkward, ineffective, etc.". [[Nikolay Rubinstein|Rubinstein]] gave a sharply critical evaluation of the concerto, and suggested a number of amendments to the author. Deeply insulted by such severe criticism, Tchaikovsky refused to alter the concerto, declaring that it would be published exactly as it stood, as indeed it was <ref name="note8"/>.
|Translated text=
}}


In January 1875, Tchaikovsky orchestrated the concerto, completing this work on 9/21 February (according to the date on the manuscript).
5. [[Aleksey Tolstoy]], after an untitled poem (1858):
{{libtext
|Original text=
<poem>
Минула страсть, и пыл её тревожный
Уже не мучит сердца моего,
Но разлюбить тебя мне невозможно!
Всё, что не ты, — так суетно, так ложно,
Всё, что не ты, — бесцветно и мертво.


During the spring of 1875, Tchaikovsky sent the concerto to [[Hans von Bülow]] (it seems, in the arrangement for two pianos) and received an enthusiastic response from him, with warm gratitude for the dedication of the concerto: "Perhaps it would be presumptuous on my part, being unfamiliar with the whole scope of your works and prodigious talent, to say that for me your Op. 23 displays such brilliance, and is such a remarkable achievement among your musical works, that you have without doubt enriched the world of music as never before. There is such unsurpassed originality, such nobility, such strength, and there are so many arresting moments throughout this unique conception; there is such a maturity of form, such style—its design and execution, with such consonant harmonies, that I could weary you by listing all the memorable moments which caused me to thank the author—not to mention the pleasure from performing it all. In a word, this true gem shall earn you the gratitude of all pianists" <ref name="note9"/>.
Без повода и права негодуя,
Уж не кипит бунтующая кровь, —
Но с пошлой жизнью слиться не могу я,
Моя любовь, о друг, и не ревнуя,
Осталась та же прежняя любовь.
</poem>


On 8/20 July, in a letter to [[Pyotr Jurgenson]], Tchaikovsky asked him to send [[Hans von Bülow]] in [[London]] the full score and parts of the concerto before 1/13 September, since at around that date [[Bülow]] was leaving for a concert tour of America <ref name="note10"/>.
|Translated text=
}}


===Second version===
6. [[Ivan Surikov]], from an untitled poem (1864–65):
It seems that directly after the first performance of the concerto in [[Moscow]], Tchaikovsky decided to make some changes to it. Unfortunately it is not known whether this was the composer's own idea, or a concession to others; nevertheless, he wrote about this intention to [[Hans von Bülow]] in December 1875. In [[Bülow]]'s letter of reply on 1/13 January 1876, we read: "Why did you write that you want to make changes to your concerto? Naturally I received them with great interest—but at this point I should tell you frankly that in my view no changes are necessary—except for some augmentations to the piano part in a few ''tutti'', which I had already introduced myself, as I had done in Raff's concerto. If I might be permitted to make another observation: the great effect of the finale is diminished if the triumphal 2nd motif, before the last ''Stretta'' is to be played'' Molto meno mosso''. This would have the effect of a more thrilling climax, and not so formal. Perhaps I am mistaken, but the public and some musicians favour my idea" <ref name="note11"/>.
{{libtext
|Original text=
<poem>
Занялась заря —
Скоро солнце взойдёт.
Слышишь... чу! соловей
Громко песни поёт.


When [[Jurgenson]] published the full score in 1879, the piano part in the concerto's first movement contained differences compared with the first edition of the arrangement for two pianos, although these did not touch upon the harmonies or form of the work. These were probably the changes of which Tchaikovsky informed [[Hans von Bülow]] in December 1875, and [[Edward Dannreuther]] in March 1876 <ref name="note12"/>. For a time, the printed full score differed from the published arrangement for two pianos.
Все ярчей и ярчей
Переливы зари;
Словно пар над рекой
Поднялся, посмотри.


===Third version===
От цветов на полях
: ''See also [[Talk:Piano Concerto No. 1|The Authenticity of the "Third Version"]]''
Льётся запах кругом,
During the late 1880s, Tchaikovsky began corresponding with the [[Leipzig]]-based publishing firm of [[Daniel Rahter]] concerning a new edition of the concerto, and his correspondence shows that he consulted with others (including [[Aleksandr Ziloti]]) about possible changes.  
И сияет роса
На траве серебром.


On 27 December 1888/8 January 1889, in a letter from Tchaikovsky to [[Ziloti]] we read: "In [[Petersburg]], [[Rahter]] gave me a copy of the full score of the First Concerto, and asked me to look through it... This copy bears your name and your notes, and it was somehow given to [[Rahter]] by Blumenfeld... it must be returned ''to [[Rahter]]'', but meanwhile I must ask you to review it once more. In the finale, I have now altered ''der verfluchte Stelle'' <ref name="note13"/>; I think it will be shorter and better; mainly because where previously there had been the strange rhythmic motif:
И к воде наклонясь,
Что-то шепчет камыш;
А кругом, на полях,
Непробудная тишь... Ах!


[[File:3751_ex1.jpg|400px|center]]
Как отрадно, легко,
Широко дышит грудь!
Ну, молись же скорей!
Ну молись да и в путь!
</poem>


... this aberration has now been eliminated. I have retained your pages (i.e. the copy with my previous changes)... I saw that you have proof pages from the First Concerto. I do not understand at all whom you did these corrections for — was it ''[[Jurgenson]]'' or ''[[Rahter]]''?" <ref name="note14"/>. And so it would appear that Tchaikovsky himself introduced some alterations to the new edition, while at the same time rejecting others made by [[Ziloti]].
|Translated text=
}}


In 1889, [[Rahter]] began to advertise the new edition of the concerto, described as "Neue, vom Componisten revidirte Ausgabe" ('new edition, revised by the composer'). At around the same time, Tchaikovsky's principal publisher [[Jurgenson]] (who worked closely with [[Rahter]]) announced his own '3me édition revue et corrigée', which corresponds to the version we are familiar with today.
==Composition==
While correcting proofs of the opera ''[[The Maid of Orleans]]'' in May and June 1880, Tchaikovsky considered writing a vocal work <ref name="note3"/>. On 5/17 June he told [[Nadezhda von Meck]]: "Yesterday I started to compose some small vocal pieces, and began with a duet to words to [[Aleksey Tolstoy|A. K. Tolstoy]]'s ''Passion Spent''" <ref name="note4"/>. In this same letter he wrote of his intention to use verses by the poet [[Ivan Surikov]] ("He was quite a talented man, and his pieces are shot through with genuine sentiment") for his future work. References to work on the duets is also found in a letter to [[Karl Albrecht]] of 21 June/3 July <ref name="note5"/>. Notes and sketches for duets Nos. 1, 2 and 5 can be found in collections of poetry by [[Ivan Surikov]] and [[Aleksey Tolstoy]] in the composer's personal library at [[Klin]] <ref name="note6"/>.


==Arrangements==
On 10/22 July, Tchaikovsky wrote from [[Simaki]] to [[Nadezhda von Meck]] that he was making fair copies of "the romances for two voices written at [[Kamenka]]" <ref name="note7"/>. Returning to [[Kamenka]], the composer completed the fair copies of the duets, and also the fair copies of the [[Seven Romances, Op. 47]], written at [[Brailov]] and [[Simaki]]. Duets Nos. 1 and 2 were written on separate sheets, but the remaining duets are together one after another. On 24 August/5 September, he told [[Pyotr Jurgenson]] and [[Sergey Taneyev]] that he had completed the duets and romances and would be sending them to [[Jurgenson]] via [[Anatoly Tchaikovsky]] <ref name="note8"/> (who left Kamenka on 30 August/11 September).
Tchaikovsky arranged the concerto for 2 pianos (4 hands) in December 1874. This was revised at the same time that changes were made to the full score in 1879 and 1888-90.


==Performances==
Finally, in late August/early September, Tchaikovsky informed [[Nadezhda von Meck]] that he had completed the fair copies of the vocal pieces and sent them to [[Pyotr Jurgenson]] <ref name="note9"/>.
The first performance of the concerto took place on 13/25 October 1875 at the Music Hall in Boston, played by [[Hans von Bülow]] (conductor Benjamin Johnson Lang), who included it in his programme "at the first venue", hoping to repay the "compliment and trust" which the composer had shown by dedicating the concerto to him <ref name="note15"/>. [[Hans von Bülow]]'s performance of the concerto was enthusiastically received by the Boston audience <ref name="note16"/>, for whom it was repeated with the same participants on 18/30 October 1875. [[Bülow]] then moved on to [[New York]], where on 10/22 November and 15/27 November he gave further performances of the concerto under the direction of Leopold Damrosch.


On 1/13 November 1875, the concerto was performed in [[Saint Petersburg]] at the first symphony concert of the Russian Musical Society, pianist Gustav Kross (conducted by [[Eduard Nápravník]]), and on 21 November/3 December in [[Moscow]], played by [[Sergey Taneyev]] (conducted by [[Nikolay Rubinstein]]) at the third Russian Musical Society symphony concert.
Out of all the duets, Tchaikovsky greatly favoured ''Tears'' (No. 3). In a letter of 3/15–4/16 July 1881, he wrote to [[Nadezhda von Meck]]: "The ''Scottish Ballad'' is also among my favourite offspring, but I am quite certain, alas, that it will never be performed as I imagined. It must not be sung, but declaimed quickly and with great passion" <ref name="note10"/>.


On 10/22 March 1878, the concerto was performed by [[Nikolay Rubinstein]] in [[Moscow]] at a special symphony concert of the Russian Musical Society (with [[Eduard Langer]] conducting), and subsequently he performed it in [[Saint Petersburg]] and [[Paris]]. On receiving the news that [[Nikolay Rubinstein|Rubinstein]] had performed the concerto, Tchaikovsky admitted to being "very, very pleased" <ref name="note17"/>.
One further reference to the duets survives, in a letter of 4/16 June 1881 to [[Sergey Flerov]]. The latter approved of the duets, but criticised the "impossible words" of the ''Scottish Ballad'' (No. 2), and made remarks concerning the duet ''Dawn'' (No. 6): "in the second edition you need to change just ''one'' word in No. 6, namely: ‘Well, pray quickly'. This "''well, pray''" is terribly odd. It would be better to put "''O, pray''" <ref name="note11"/>. Although he took exception to the first remark, the composer agreed with the second: "With regard to ‘well, pray', your comment is absolutely right, and I shall certainly attend to this matter, if and when the second edition is printed" <ref name="note12"/>. However, in the next edition this passage remained unchanged.


Tchaikovsky always preferred his First Concerto over his other works for piano <ref name="note18"/>, and he included it in his concert tours of Europe and America in the 1880s and 1890s (with soloists [[Vasily Sapelnikov]], [[Aleksandr Ziloti]], [[Emil von Sauer]], and [[Adele aus der Ohe]]). The First Piano Concerto, along with the [[Sixth Symphony]], were the last works which the author himself conducted. Notable performances during his lifetime include:
==Performances==
''Dawn'' (No. 6) was performed in [[Paris]] at the Salle Érard on 25 April/7 May 1889, with soloists [[Marie de Benardaky]] (soprano) and Juliette Conneau (mezzo-soprano).


* [[London]], Crystal Palace, 28 February/11 March 1876, [[Edward Dannreuther]] (piano), conducted by August Manns.
==Arrangements==
* [[Wiesbaden]], 1st Allgemeiner deutscher Musikverein concert, 24 May/5 June 1878, [[Hans von Bülow]] (piano/conductor).
The duet ''Dawn'' (No. 6) was orchestrated by Tchaikovsky at the request of Nina Fride and Yevgeniya Mravina for a royal command performance which took place in [[Saint Petersburg]] on 17/29 December 1889, conducted by [[Eduard Nápravník]]. According to Nina Fride, the duet was orchestrated by Tchaikovsky in just one night <ref name="note13"/>.
* [[Paris]], Trocadero Hall (International Exhibition), 1st Russian Concert, 28 August/9 September 1878, [[Nikolay Rubinstein]] (piano), conducted by [[Édouard Colonne]].
* [[Moscow]], 1st Russian Musical Society symphony concert, 3/15 November 1878, [[Nikolay Rubinstein]] (piano).
* [[New York]], 1st Philharmonic Society concert, 10/22 November 1879, Franz Rummel (piano), conducted by [[Theodore Thomas]].
* Meiningen, 5th subscription concert, 27 March/8 April 1883, Franz Mannstaedt (piano)
* [[Saint Petersburg]], 2nd Russian Musical Society symphony concert, 17/29 November 1884, Natalya Kalinovskaya-Chikhacheva (piano), conducted by [[Nikolay Rimsky-Korsakov]] [possibly the first performance using the 1879 version of the score].
* [[Moscow]], special Russian Musical Society symphony concert, 19/31 January 1885, [[Hans von Bülow]] (piano), conducted by [[Max Erdmannsdörfer]].
* [[New York]], Metropolitan Opera House (232nd Philharmonic Society concert), 2/14 January 1888, Rafael Joseffy (piano), conducted by Theodore Thomas.
* [[Hamburg]], 6th Philharmonic Society Concert, 8/20 January 1888, [[Vasily Sapelnikov]] (piano), conducted by Tchaikovsky.
* [[Berlin]], Philharmonic Society concert, 27 January/8 February 1888, [[Aleksandr Ziloti]] (piano), conducted by Tchaikovsky.
* [[Prague]], Rudolfinum, 7/19 February 1888, [[Aleksandr Ziloti]] (piano), conducted by Tchaikovsky.
* [[Kiev]], 2nd Russian Musical Society symphony concert, 18/30 March 1888, Natalya Kalinovskaya-Chikhacheva (piano), conducted by Yevgeny Ryb.
* [[Dresden]], 5th Philharmonic Society concert, 8/20 February 1889, [[Emil von Sauer]] (piano), conducted by Tchaikovsky.
* [[London]], Saint James's Hall (3rd Philharmonic Society concert), 30 March/11 April 1889, [[Vasily Sapelnikov]] (piano), conducted by Tchaikovsky.
* [[Moscow]], 3rd Russian Musical Society symphony concert, 11/23 November 1889, [[Aleksandr Ziloti]] (piano), conducted by Tchaikovsky.
* [[Moscow]], 10th Russian Musical Society symphony concert, 23 February/7 March 1891, Nikolay Lavrov (piano), conducted by [[Leopold Auer]].
* [[New York]], [Carnegie] Music Hall, 27 April/9 May 1891, [[Adele aus der Ohe]] (piano), conducted by Tchaikovsky.
* [[Baltimore]], Lyceum Theatre, 3/15 May 1891,  Boston Festival Orchestra, [[Adele aus der Ohe]] (piano), conducted by Tchaikovsky.
* [[Philadelphia]], Academy of Music, 6/18 May 1891, Boston Festival Orchestra, [[Adele aus der Ohe]] (piano), conducted by Tchaikovsky.
* [[Brussels]], 2/14 January 1893, [[Franz Rummel]] (piano), conducted by Tchaikovsky.
* [[Saint Petersburg]], 1st Russian Musical Society symphony concert, 16/28 October 1893, [[Adele aus der Ohe]] (piano), conducted by Tchaikovsky.
* [[Vienna]], 4th Philharmonic Society subscription concert, 18/20 December 1896, Ossip Gabrilowitsch (piano), conducted by Hans Richter.


==Publication==
The request to orchestrate the duet was made to Tchaikovsky in a letter from Nina Fride of 11/23 November 1889: "I ask a big favour from you, which I hope you will not refuse. For our concert tour, Yevgeniya Konstantinovna Mravina and I have chosen your duet ''Dawn''. Would you be so kind and obliging as to orchestrate it, if at all possible, ''without delay'', i.e. the concert is due to take place very soon, on 20 November" <ref name="note14"/>. Later that month, Yevgeniya Mravina repeated Nina Fride's request, and told Tchaikovsky that the concert had been postponed until December" <ref name="note15"/>.
: ''See also: [[{{PAGENAME}}: Scores]]''


The concerto was published by [[Pyotr Jurgenson]] in 1875 (orchestral parts in October; the arrangement for two pianos in May). The full score was not published until four years later, in August 1879, when it included revisions to the piano part in the first movement, thereby comprising the second version of the concerto.  
On the manuscript of the orchestration, the composer added the notes "Ye. K. Mravina" and "N. A. Fride" to the vocal lines <ref name="note16"/>.


A new edition "reviewed and corrected by the author" was published in late 1889 by [[Daniel Rahter]] in [[Hamburg]], simultaneously with a "3e édition, revue et corrigée" by [[Jurgenson]] in [[Moscow]]. The fact that [[Jurgenson]]'s editions of the score retained the same plate numbers for the various (undated) versions led to some uncertainty regarding their date of publication <ref name="note19"/>. However, there is now conclusive evidence that the score published in 1889 is the version that we know today (see [[Talk:Piano Concerto No. 1|'The Authenticity of the "Third Version"']]).
In 1898, the duet ''In the Garden, By the Ford'' (No. 4) was orchestrated by [[Sergey Taneyev]] at the request of [[Modest Tchaikovsky]] for a concert in memory of the composer, which took place on 24 October/5 November 1898 <ref name="note17"/>. The score was published by Muzgiz in 1957.


The editors of Tchaikovsky's ''[[Complete Collected Works]]'' used Tchaikovsky's autograph score as the basis for their edition, noting differences with the edition published in 1879 in an appendix or as ''ossia'' . None of the revisions made after 1879, except for the cut in the finale, were taken into account, on the grounds that "they cannot be proved to originate from Tchaikovsky himself" <ref name="note20"/>.
==Publication==
The duets were published by [[Pyotr Jurgenson]] in April 1881 <ref name="note18"/>, and were included in volume 43 of Tchaikovsky's ''[[Complete Collected Works]]'' (1941), edited by Ivan Shishov and Nikolay Shemanin.


Series 3, Volumes 1 to 4 of the ''[[Academic Edition of the Complete Works]]'', edited by Polina Vaidman and Ada Aynbinder (2015), include the full scores and two-piano arrangements of the 1875 and 1879 versions of the concerto only.
The orchestral version of ''Dawn'' (No. 6) was published for the first time in 1960 in volume 27 of the ''[[Complete Collected Works]]'', edited by Irina Iordan.


==Autographs==
==Autographs==
Tchaikovsky's autograph full score {{TOW2|koncert-no-1-dlya-fortepiano-s-orkestrom-2017-08-17|(ф. 88, No. 89)}} and two-piano arrangement {{TOW2|koncert-no-1-dlya-fortepiano-s-orkestrom|(ф. 88, No. 90)}} of the concerto are now preserved in the {{RUS-Mcm}} in [[Moscow]]. The piano part in the full score was inserted by a copyist, and there are numerous alterations by Tchaikovsky and others.
Tchaikovsky's manuscript scores of all six duets are preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2|shest-duetov|(ф. 88, No. 129)}}. The composer's autograph of the orchestral version of ''Dawn'' (No. 6) is held at the Central Music Library of the Mariinsky Theatre in [[Saint Petersburg]].


==Recordings==
==Recordings==
Line 98: Line 234:


==Dedication==
==Dedication==
According to [[Nikolay Kashkin]] and [[Modest Tchaikovsky]], it was Tchaikovsky's original intention to dedicate the concerto to the "colossal virtuoso force" of [[Nikolay Rubinstein]], but the composer's feelings were wounded so deeply [by [[Nikolay Rubinstein|Rubinstein]]'s criticism] that Tchaikovsky subsequently changed his mind. The autograph full score carries a dedication to [[Sergey Taneyev]], whose name was later struck out by the author and replaced by that of [[Hans von Bülow]] (1830–1894)
All the duets are dedicated to the composer's niece, [[Tatyana Davydova]].
 
In 1880, Tchaikovsky decided to dedicate his [[Second Piano Concerto]] to [[Nikolay Rubinstein]], for his "magnificent" playing of the First Concerto <ref name="note21"/>.


==Related Works==
==Related Works==
The main theme of the first movement's Allegro con spirito comes from a Ukrainian folksong which Tchaikovsky heard from a street-singer in the Ukraine: "I heard a blind lyrical singer. He called himself 'lyrical' after the name of the accompanying instrument—a ''lyre'', which nevertheless had nothing in common with the traditional lyre. It's remarkable that all the blind singers in the Ukraine play one and the same folk-melody endlessly. I partly used this tune in the first movement of my Piano Concerto" <ref name="note22"/>.
''In the Garden, By the Ford'' (No. 4) sets the title to the tune of a Ukrainian folksong.
 
[[Modest Tchaikovsky]] wrote that the middle section of the concerto's second movement employed a French song: "... in the ''prestissimo'' of the second movement there is the chanson ''Il faut s'amuser, danser et rire''... which together with brother [[Anatoly]] we... sang constantly during the early [eighteen] seventies" <ref name="note23"/>. The text of this chanson stems from Scene X of the vaudeville ''La Corde sensible'', written by Lambert-Thiboust (pseudonyme for Pierre-Antoine-Auguste Thiboust, 1826-1867) and Louis Clairville (pseudonym for Louis-François Nicolaïe, 1811-1879), performed for the first time on 8 October 1851 {{NS}} at the Théâtre du Vaudeville in [[Paris]] <ref name="note24"/>. "M. Montaubry" is indicated as author of this "air nouveau" which is sung again in the final vaudeville of the play. He can be identified as Jean-Baрtiste-Edouard Montaubry (1824-1883) <ref name="note25"/>.
 
So far, the music of the air ''Faut s'amuser, danser et rire'' is only accessible in a contemporary Danish edition for piano and voice  <ref name="note26"/>.  Tchaikovsky used the refrain of the song and transformed it to a more pianistic idiom.
 
In the finale, Tchaikovsky uses the Ukrainian song "Go on, go on Ivan" (Выди, выди, Иваньку) for the main theme, while the second subject may have been derived from the Russian folksong 'I'm Coming to the Capital' (Пойду, пойду, во Царь-город), which Tchaikovsky had arranged in 1869 as No. 30 of [[Fifty Russian Folksongs]] <ref name="note27"/>.


==External Links==
==External Links==
* {{imslpscore|Piano_Concerto_No.1,_Op.23_(Tchaikovsky,_Pyotr)|Piano Concerto No. 1}}
* {{imslpscore|6_Duets,_Op.46_(Tchaikovsky,_Pyotr)|6 Duets, Op. 46}}


==Notes and References==
==Notes and References==
<references>
<references>
<ref name="note1">In Tchaikovsky's arrangement for two pianos the opening tempo marking is "Andante non troppo e molto maestoso".</ref>
<ref name="note1">In the autograph score, the original title ''To the Mountains'' (Горе-горюшко) is struck out.</ref>  
<ref name="note2">313 bars in the early editions.</ref>
<ref name="note2">See Richard D. Sylvester, {{bib|2002/26|Tchaikovsky's complete songs. A companion with texts and translations}} (2002), p. 292.</ref>  
<ref name="note3">[[Letter 367]] to [[Modest Tchaikovsky]], 29 October/10 November 1874.</ref>  
<ref name="note3">See [[Letter 1508]] to [[Nadezhda von Meck]], 2/14 June 1880.</ref>  
<ref name="note4">[[Letter 369]] to [[Vasily Bessel]], 9/21 November 1874.</ref>  
<ref name="note4">[[Letter 1509]] to [[Nadezhda von Meck]], 5/17 June 1880. See also [[Letter 1510]] to [[Anatoly Tchaikovsky]] of the same date.</ref>  
<ref name="note5">[[Letter 372]] to [[Anatoly Tchaikovsky]], 21 November/3 December 1874.</ref>
<ref name="note5">See [[Letter 1518]] to [[Karl Albrecht]], 24 June/6 July 1880.</ref>  
<ref name="note6">[[Letter 373]] to [[Modest Tchaikovsky]], 26 November/8 December 1874.</ref>  
<ref name="note6">[[Ivan Surikov]], ''Стихотворения''. Moscow, 1875, and {{und|А. Н. Толстой. Полное собрание Стихотворении, 1855-1877 гг.}} (Saint Petersburg, 1877). The latter volume includes a pencil note "Duet?" against the poem ''We've Not Been Pursued by Malice'' (Нас не преследовала злоба), which was not ultimately used (see [[ČW]] 511).</ref>
<ref name="note7">[[Letter 375]] to [[Modest Tchaikovsky]], 16/28 December 1874. See also [[Letter 376]] to [[Vasily Bessel]], 17/29 December 1874.</ref>  
<ref name="note7">[[Letter 1533]] to [[Nadezhda von Meck]], 12/24–15/27 July 1880 — Tchaikovsky was at [[Kamenka]] until 30 June/12 July. See also [[Letter 1540]] to [[Pyotr Jurgenson]], 18/30 July, and [[Letter 1544]] to [[Sergey Taneyev]], 21 July/2 August 1880.</ref>  
<ref name="note8">See [[Letter 736]] to [[Nadezhda von Meck]], 21 January/2 February–22 January/3 February 1878; [[Letter 383]] to [[Nikolay Rimsky-Korsakov]], 4/16 January 1875; [[Letter 385]] to [[Anatoly Tchaikovsky]], 9/21 January 1875. See also [[Nikolay Kashkin]], {{bib|1896/17|Воспоминания о П. И. Чайковском}} (1896), p. 111–113.</ref>
<ref name="note8">See [[Letter 1565]] to [[Sergey Taneyev]], 15/27 August–24 August/5 September 1880, and [[Letter 1566]] from mid/late August to [[Pyotr Jurgenson]].</ref>  
<ref name="note9">Letter from [[Hans von Bülow]] to Tchaikovsky, 1/13 June 1875 (original in French) — [[Klin]] House-Museum Archive.</ref>  
<ref name="note9">See [[Letter 1572]] to [[Nadezhda von Meck]], 26–31 August/7–12 September 1880.</ref>  
<ref name="note10">[[Letter 408]] to [[Pyotr Jurgenson]], 8/20 July 1875. A manuscript copy of the full score dating from 1875 was found in autumn 2012 in the personal archive of [[Hans von Bülow]] in the Music department of the Deutsche Staatsbibliothek Preussischer Kulturbesitz ([[Berlin]]) — see L[ucinde] B[raun], 'Partiturabschrift des 1. Klavierkonzerts op. 23 aus dem Nachlass Hans von Bülows', ''Tschaikowsky-Gesellschaft Mitteilungen'' (2013), p. 204 (http://www.tschaikowsky-gesellschaft.de/index_htm_files/082-128%20Mitt%202016%20Besprechungen%20Mitteilungen.pdf). The copy ordered for the Tchaikovsky State Museum Klin is accessible in the digital archives of the Staatsbibliothek: http://digital.staatsbibliothek-berlin.de/werkansicht/?PPN=PPN733554849  </ref>
<ref name="note10">[[Letter 1804]] to [[Nadezhda von Meck]], 3/15–4/16 July 1881.</ref>  
<ref name="note11">Letter from [[Hans von Bülow]] to Tchaikovsky, 1/13 January 1876. Tchaikovsky's earlier letter proposing the changes has not survived.</ref>
<ref name="note11">Letter from [[Sergey Flerov]] to Tchaikovsky, 28 May/9 June 1881 — [[Klin]] House-Museum Archive.</ref>  
<ref name="note12">See [[Letter 455]] to [[Edward Dannreuther]], 18/30 March 1876.</ref>  
<ref name="note12">[[Letter 1774]] to [[Sergey Flerov]], 4/16 June 1881.</ref>  
<ref name="note13">"the accursed place".</ref>
<ref name="note13">See {{bib|1941/27|П. И. Чайковский на сцене Театра оперы и балета имени С. М. Кирова (б. Мариинский). Сборник статей}} (1940), p. 409.</ref>
<ref name="note14">[[Letter 3751]] to [[Aleksandr Ziloti]], 27 December 1888/8 January 1889. See also correspondence with [[Aleksandr Ziloti]] from January, February and March 1889 — [[Klin]] House-Museum Archive.</ref>  
<ref name="note14">Letter from Nina Fride to Tchaikovsky, 11/23 November 1889 — State Central Archive for Literature and the Arts.</ref>  
<ref name="note15">See letter from [[Hans von Bülow]] to Tchaikovsky, 1/13 June 1875 — [[Klin]] House-Museum Archive.</ref>  
<ref name="note15">Bars 136–149 of the original duet were omitted from the arrangement, which is scored for soprano and mezzo-soprano soloists, and an orchestra comprising 2 flutes, 2 oboes, 2 clarinets (in A), 2 bassoons, 4 horns (in F), violins I, violins II, violas, cellos, and double basses.</ref>  
<ref name="note16">See [[Letter 418]] to [[Hans von Bülow]], 19 November/1 December 1875.</ref>  
<ref name="note16">Undated letter from Yevgeniya Mravina to Tchaikovsky — State Central Archive for Literature and the Arts.</ref>  
<ref name="note17">See [[Letter 781]] to [[Karl Albrecht]], 9/21 March 1878.</ref>  
<ref name="note17">See letter from [[Modest Tchaikovsky]] to [[Pyotr Jurgenson]], 15/27 October 1898 — State Central Archive for Literature and the Arts.</ref>  
<ref name="note18">See [[Letter 2043]] to [[Pyotr Jurgenson]], 12/24 June 1882.</ref>  
<ref name="note18">Passed by the censor on 1/13 March 1881.</ref>  
<ref name="note19">Plate numbers 2590 for the full score, 2591 for the parts, and 2592 for the two-piano arrangement.</ref>
<ref name="note20">{{bib|1955/34|П. И. Чайковский. Полное собрание сочинений ; том 28}} (1955) and {{bibx|1954/73|том 46}} (1954).</ref>
<ref name="note21">See [[Letter 1337]] to [[Nadezhda von Meck]], 14/26–15/27 November 1879.</ref>  
<ref name="note22">See [[Letter 1174]] to [[Nadezhda von Meck]], 6/18–13/25 May 1879.</ref>
<ref name="note23">{{bib|1900/35|Жизнь Петра Ильича Чайковского ; том 1}} (1900), p. 466.</ref>
<ref name="note24">Lambert-Thiboust and Louis Clairville, ''La Corde sensible. Vaudeville en un acte'' (Paris : Magasin théâtral illustré, 1851) (http://www.mdz-nbn-resolving.de/urn/resolver.pl?urn=urn:nbn:de:bvb:12-bsb10056494-9). See {{bib|2014/3|La Terre promise. Frankreich im Leben und Schaffen Cajkovskijs}} (2014), p. 418-426, and {{bib|2015/22}} (2015), p. lii-lv.</ref>
<ref name="note25">See Arthur Pougin, ''Biographie universelle des musiciens de F.-J. Fétis. Supplément et complément'', tom 2-me (Paris: Mesniil 1880), p. 233–234, and Joël-Marie Fauquet, ''Dictionnaire de la musique en France au XIXe siècle'' (Paris, 2003), p. 814.</ref>
<ref name="note26">Published in: Lucinde Braun, {{bib|2014/3|La Terre promise. Frankreich im Leben und Schaffen Cajkovskijs}} (2014), p. 425.</ref>
<ref name="note27">See {{bib|1994/111}} (1994), p. 133-134. We are grateful to Mr Hans de Korver for bringing this to our attention.</ref>
</references>
</references>
[[Category:Concertos]]
[[Category:Duets]]

Latest revision as of 14:50, 10 April 2023

Tchaikovsky's Six Duets (Шесть дуэтов), Op. 46 (TH 102 ; ČW 312-317), were written between June and August 1880 at Kamenka and Simaki.

Instrumentation

Scored for soprano and mezzo-soprano (Nos. 1, 3, 4, 6), soprano and tenor (No. 5) or soprano and baritone (No. 2), with piano accompaniment.

Movements and Duration

  1. Evening (Вечер)
    Andante non troppo (A-flat major, 121 bars).
  2. Scottish Ballad: Edward (Шотландская баллада: Эдвард) [1]
    Allegro agitato, ma non troppo (A minor, 171 bars).
  3. Tears (Слёзы)
    Andante molto sostenuto (G minor, 57 bars).
  4. In the Garden, By the Ford (В огороде, возле броду)
    Allegro moderato (A major, 67 bars).
  5. Passion Spent (Минула страсть)
    Allegro agitato (F minor, 198 bars).
  6. Dawn (Рассвет)
    Allegro moderato (E major, 147 bars).

Texts

1. Ivan Surikov (1841–1880), from his poems The Sun Has Set (Солнце утомилось) and In the Still Air (В воздухе смолкает) (1864–66):

Солнце утомилось, ходя день деньской;
Тихо догорая, гаснет за рекой.

Край далёкий неба весь зарей облит,
Заревом пожара блещет и горит.

В воздухе смолкает шум дневных тревог;
Тишь ночную с неба шлёт на землю бог.

Ходят огневые полосы в реке;
Грустно где-то песня льётся вдалеке.

Тихо... Отчего же в сердце у меня
Не стихает горе прожитого дня?

Отчего ж так больно скорбь сжимает грудь?
Боже мой! Боже мой! дай мне отдохнуть!

2. Aleksey Tolstoy (1817–1875), from his poem Edward: A Scottish Folk-Ballad (Эдвард. Народная шотландская баллада) (1871) — a translation from the English of Edward from Thomas Percy's Reliques of Ancient English Poetry (1765) [2]:

«Чьей кровию меч свой ты так обагрил,
    Эдвард, Эдвард?
Чьей кровию меч свой ты так обагрил?
Зачем ты глядишь так сурово?»

«То сокола я, рассердяся, убил,
То сокола я, рассердяся, убил,
И негде добыть мне другого!»

«У сокола кровь так красна не бежит,
    Эдвард, Эдвард!
У сокола кровь так красна не бежит
Твой меч окровавлен краснее!»

«Мой конь краснобурый был мною убит,
Мой конь краснобурый был мною убит,
Тоскую по добром коне я!»

«Конь стар у тебя, эта кровь не его,
    Эдвард, Эдвард!
Конь стар у тебя, эта кровь не его,
Не то в твоём сумрачном взоре!»

«Отца я сейчас заколол моего,
Отца я сейчас заколол моего,
И лютое жжёт меня горе!»

«А грех чем тяжёлый искупишь ты свой,
    Эдвард, Эдвард!
А грех чем тяжёлый искупишь ты свой?
Чем сымешь ты с совести ношу?»

«Я сяду в ладью непогодой морской,
Я сяду в ладью непогодой морской,
И ветру все парусы брошу!»

«Что ж будет с твоими детьми и с женой,
    Эдвард, Эдвард?
Что ж будет с твоими детьми и с женой,
В их горькой, беспомощной доле?»

Пусть по миру ходят за хлебом с сумой,
Пусть по миру ходят за хлебом с сумой,
Я с ними не сви жуся боле!

«А матери что ты оставишь своей,
    Эдвард, Эдвард?
А матери что ты оставишь своей,
Тебя что у груди качала?»

«Проклятье тебе до скончания дней,
Проклятье тебе до скончания дней!
Тебе, что мне грех нашептала!»
    — «Эдвард, Эдвард?»

Five stanzas of Aleksey Tolstoy's poem were omitted by Tchaikovsky, as was the refrain "Mother, my mother" before each repeated word in Edward's retort.

3. Fyodor Tyutchev (1803–1873), after an untitled poem (1850):

Слёзы людские, о слёзы людские,
Льётесь вы ранней и поздней порой,
Льётесь безвестные, льётесь незримые,
Неистощимые, неисчислимые, —
Льётесь, как льются струи дождевые
В осень глухую порою ночной.

4. Ivan Surikov (1841–1880), from his poem Song—from T. Shevchenko (Песнь—из Т. Шевченко) (ca. 1869) — a translation from the Ukrainian poem In the Garden, By the Ford (Но вгородi коло броду) (1848) by Taras Shevchenko (1814–1861):

В огороде, возле броду,
  Маков цвет не всходит,
И до броду за водою
  Девица не ходит.

В огороде хмель зелёный
  Сохнет на тычине;
Черноброва, белолица
  Девица в кручине.

В огороде, возле броду,
  Верба наклонилась, —
Загрустилась черноброва,
  Тяжко загрустилась.

Она плачет, плачет и рыдает,
  Словно рыбка бьётся,
А над нею, молодою,
  Молодец смеётся.

5. Aleksey Tolstoy, after an untitled poem (1858):

Минула страсть, и пыл её тревожный
Уже не мучит сердца моего,
Но разлюбить тебя мне невозможно!
Всё, что не ты, — так суетно, так ложно,
Всё, что не ты, — бесцветно и мертво.

Без повода и права негодуя,
Уж не кипит бунтующая кровь, —
Но с пошлой жизнью слиться не могу я,
Моя любовь, о друг, и не ревнуя,
Осталась та же прежняя любовь.

6. Ivan Surikov, from an untitled poem (1864–65):

Занялась заря —
Скоро солнце взойдёт.
Слышишь... чу! соловей
Громко песни поёт.

Все ярчей и ярчей
Переливы зари;
Словно пар над рекой
Поднялся, посмотри.

От цветов на полях
Льётся запах кругом,
И сияет роса
На траве серебром.

И к воде наклонясь,
Что-то шепчет камыш;
А кругом, на полях,
Непробудная тишь... Ах!

Как отрадно, легко,
Широко дышит грудь!
Ну, молись же скорей!
Ну молись да и в путь!

Composition

While correcting proofs of the opera The Maid of Orleans in May and June 1880, Tchaikovsky considered writing a vocal work [3]. On 5/17 June he told Nadezhda von Meck: "Yesterday I started to compose some small vocal pieces, and began with a duet to words to A. K. Tolstoy's Passion Spent" [4]. In this same letter he wrote of his intention to use verses by the poet Ivan Surikov ("He was quite a talented man, and his pieces are shot through with genuine sentiment") for his future work. References to work on the duets is also found in a letter to Karl Albrecht of 21 June/3 July [5]. Notes and sketches for duets Nos. 1, 2 and 5 can be found in collections of poetry by Ivan Surikov and Aleksey Tolstoy in the composer's personal library at Klin [6].

On 10/22 July, Tchaikovsky wrote from Simaki to Nadezhda von Meck that he was making fair copies of "the romances for two voices written at Kamenka" [7]. Returning to Kamenka, the composer completed the fair copies of the duets, and also the fair copies of the Seven Romances, Op. 47, written at Brailov and Simaki. Duets Nos. 1 and 2 were written on separate sheets, but the remaining duets are together one after another. On 24 August/5 September, he told Pyotr Jurgenson and Sergey Taneyev that he had completed the duets and romances and would be sending them to Jurgenson via Anatoly Tchaikovsky [8] (who left Kamenka on 30 August/11 September).

Finally, in late August/early September, Tchaikovsky informed Nadezhda von Meck that he had completed the fair copies of the vocal pieces and sent them to Pyotr Jurgenson [9].

Out of all the duets, Tchaikovsky greatly favoured Tears (No. 3). In a letter of 3/15–4/16 July 1881, he wrote to Nadezhda von Meck: "The Scottish Ballad is also among my favourite offspring, but I am quite certain, alas, that it will never be performed as I imagined. It must not be sung, but declaimed quickly and with great passion" [10].

One further reference to the duets survives, in a letter of 4/16 June 1881 to Sergey Flerov. The latter approved of the duets, but criticised the "impossible words" of the Scottish Ballad (No. 2), and made remarks concerning the duet Dawn (No. 6): "in the second edition you need to change just one word in No. 6, namely: ‘Well, pray quickly'. This "well, pray" is terribly odd. It would be better to put "O, pray" [11]. Although he took exception to the first remark, the composer agreed with the second: "With regard to ‘well, pray', your comment is absolutely right, and I shall certainly attend to this matter, if and when the second edition is printed" [12]. However, in the next edition this passage remained unchanged.

Performances

Dawn (No. 6) was performed in Paris at the Salle Érard on 25 April/7 May 1889, with soloists Marie de Benardaky (soprano) and Juliette Conneau (mezzo-soprano).

Arrangements

The duet Dawn (No. 6) was orchestrated by Tchaikovsky at the request of Nina Fride and Yevgeniya Mravina for a royal command performance which took place in Saint Petersburg on 17/29 December 1889, conducted by Eduard Nápravník. According to Nina Fride, the duet was orchestrated by Tchaikovsky in just one night [13].

The request to orchestrate the duet was made to Tchaikovsky in a letter from Nina Fride of 11/23 November 1889: "I ask a big favour from you, which I hope you will not refuse. For our concert tour, Yevgeniya Konstantinovna Mravina and I have chosen your duet Dawn. Would you be so kind and obliging as to orchestrate it, if at all possible, without delay, i.e. the concert is due to take place very soon, on 20 November" [14]. Later that month, Yevgeniya Mravina repeated Nina Fride's request, and told Tchaikovsky that the concert had been postponed until December" [15].

On the manuscript of the orchestration, the composer added the notes "Ye. K. Mravina" and "N. A. Fride" to the vocal lines [16].

In 1898, the duet In the Garden, By the Ford (No. 4) was orchestrated by Sergey Taneyev at the request of Modest Tchaikovsky for a concert in memory of the composer, which took place on 24 October/5 November 1898 [17]. The score was published by Muzgiz in 1957.

Publication

The duets were published by Pyotr Jurgenson in April 1881 [18], and were included in volume 43 of Tchaikovsky's Complete Collected Works (1941), edited by Ivan Shishov and Nikolay Shemanin.

The orchestral version of Dawn (No. 6) was published for the first time in 1960 in volume 27 of the Complete Collected Works, edited by Irina Iordan.

Autographs

Tchaikovsky's manuscript scores of all six duets are preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 129) [view]. The composer's autograph of the orchestral version of Dawn (No. 6) is held at the Central Music Library of the Mariinsky Theatre in Saint Petersburg.

Recordings

See: Discography

Dedication

All the duets are dedicated to the composer's niece, Tatyana Davydova.

Related Works

In the Garden, By the Ford (No. 4) sets the title to the tune of a Ukrainian folksong.

External Links

Notes and References

  1. ↑ In the autograph score, the original title To the Mountains (Горе-горюшко) is struck out.
  2. ↑ See Richard D. Sylvester, Tchaikovsky's complete songs. A companion with texts and translations (2002), p. 292.
  3. ↑ See Letter 1508 to Nadezhda von Meck, 2/14 June 1880.
  4. ↑ Letter 1509 to Nadezhda von Meck, 5/17 June 1880. See also Letter 1510 to Anatoly Tchaikovsky of the same date.
  5. ↑ See Letter 1518 to Karl Albrecht, 24 June/6 July 1880.
  6. ↑ Ivan Surikov, Стихотворения. Moscow, 1875, and А. Н. Толстой. Полное собрание Стихотворении, 1855-1877 гг. (Saint Petersburg, 1877). The latter volume includes a pencil note "Duet?" against the poem We've Not Been Pursued by Malice (Нас не преследовала злоба), which was not ultimately used (see ČW 511).
  7. ↑ Letter 1533 to Nadezhda von Meck, 12/24–15/27 July 1880 — Tchaikovsky was at Kamenka until 30 June/12 July. See also Letter 1540 to Pyotr Jurgenson, 18/30 July, and Letter 1544 to Sergey Taneyev, 21 July/2 August 1880.
  8. ↑ See Letter 1565 to Sergey Taneyev, 15/27 August–24 August/5 September 1880, and Letter 1566 from mid/late August to Pyotr Jurgenson.
  9. ↑ See Letter 1572 to Nadezhda von Meck, 26–31 August/7–12 September 1880.
  10. ↑ Letter 1804 to Nadezhda von Meck, 3/15–4/16 July 1881.
  11. ↑ Letter from Sergey Flerov to Tchaikovsky, 28 May/9 June 1881 — Klin House-Museum Archive.
  12. ↑ Letter 1774 to Sergey Flerov, 4/16 June 1881.
  13. ↑ See П. И. Чайковский на сцене Театра оперы и балета имени С. М. Кирова (б. Мариинский). Сборник статей (1940), p. 409.
  14. ↑ Letter from Nina Fride to Tchaikovsky, 11/23 November 1889 — State Central Archive for Literature and the Arts.
  15. ↑ Bars 136–149 of the original duet were omitted from the arrangement, which is scored for soprano and mezzo-soprano soloists, and an orchestra comprising 2 flutes, 2 oboes, 2 clarinets (in A), 2 bassoons, 4 horns (in F), violins I, violins II, violas, cellos, and double basses.
  16. ↑ Undated letter from Yevgeniya Mravina to Tchaikovsky — State Central Archive for Literature and the Arts.
  17. ↑ See letter from Modest Tchaikovsky to Pyotr Jurgenson, 15/27 October 1898 — State Central Archive for Literature and the Arts.
  18. ↑ Passed by the censor on 1/13 March 1881.
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