First Thoughts - Revision history

Brett at 09:21, 4 October 2025

2025-10-04T09:21:32Z

← Older revision		Revision as of 11:21, 4 October 2025
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	* '''Introduction'''		* '''Introduction'''
	:- {{file\|TH067-1.mp3\|MP3 format}} (5.2 Mb, 5'34 minutes)		:- {{file\|TH067-1.mp3\|MP3 format}} (5.2 Mb, 5'34 minutes)

			==Souvenir de Florence (TH 118)==
			After hearing the [[Souvenir de Florence]] performed for the first time in late November/early December 1890, Tchaikovsky decided to revise the sextet, "which turned out to be remarkably bad in every respect" <ref name="note6"/>. These revisions were not made until the end of the following year, in December 1891, and this definitive version was played for the first time in [[Saint Petersburg]] on 28 November/10 December 1890.

			Amongst other changes, Tchaikovsky rewrote the second subject in the finale. The original version can be heard from 1'11 to 2'07 and 4'44 to 5'18 in this reconstruction. The original ending (from 6'33) was also slightly shorter than in the revised version.

			* '''4th movement'''
			:- {{file\|TH118-4A.mp3\|MP3 format}} (6.2Mb, 6'39 minutes)

	==Anastasie-valse (TH 119)==		==Anastasie-valse (TH 119)==
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	<ref name="note2B">The surviving manuscript sources show that Tchaikovsky rewrote the piccolo and flute parts in the trio's central section (from 1'59 and 4'16) at least once. In this recording, we have used the version preserved in the autograph score of his piano duet arrangement of the symphony, which was made as late as September 1873, and so presumably reflects his final thoughts on this passage before the symphony was completely revised in 1879.</ref>		<ref name="note2B">The surviving manuscript sources show that Tchaikovsky rewrote the piccolo and flute parts in the trio's central section (from 1'59 and 4'16) at least once. In this recording, we have used the version preserved in the autograph score of his piano duet arrangement of the symphony, which was made as late as September 1873, and so presumably reflects his final thoughts on this passage before the symphony was completely revised in 1879.</ref>
	<ref name="note3">The conductor John Lanchbery included his own orchestration of the ''Gigue'' in his 1982 recording of the ballet with the Philharmonia Orchestra.</ref>		<ref name="note3">The conductor John Lanchbery included his own orchestration of the ''Gigue'' in his 1982 recording of the ballet with the Philharmonia Orchestra.</ref>
			<ref name="note6">[[Letter 4394]] to [[Mikhail Ippolitov-Ivanov]], 3/15 June 1891.</ref>
	</references>		</references>

Brett: /* Suite No. 2 (TH 32) */

2025-05-03T17:44:29Z

Suite No. 2 (TH 32)

← Older revision		Revision as of 19:44, 3 May 2025
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	Tchaikovsky's metronome marks have been carefully observed in these virtual performances; the 4th movement in particular is normally played much more slowly than indicated.		Tchaikovsky's metronome marks have been carefully observed in these virtual performances; the 4th movement in particular is normally played much more slowly than indicated.

			==Suite No. 3 (TH 33)==
			Tchaikovsky's [[Suite No. 3]] (1884) was incredibly popular during his lifetime, with the ''Tema con variazioni'' finale often being performed separately. During his concert tours between 1888 and 1893, Tchaikovsky himself conducted the complete suite no fewer than nine times, and the finale seven times.

			In 1891, six years after the score was originally published, the composer prepared a revised edition of the score, containing cuts and changes to some of the tempo and metronome indications. The second movement, ''Valse mélancolique'', was most drastically affected, losing 108 of its original 434 bars, although these were almost entirely repeated sections.

			* '''2nd movement''' — The central section of the ''Valse mélancolique'' was shortened by 16 bars (3'13 to 3'27), and the following reprise of the main theme was altered to omit a repeated section from the movement's opening (4'04 to 5'31). At the climax of the central section, the melody is was passed back and forth between the 1st and 2nd violin sections, which in Tchaikovsky's time were conventionally placed on opposite sides of the conductor, producing a stereo-like effect.
			:- {{file\|TH033-2A.mp3\|MP3 format}} (6.5 Mb, 6'57 minutes)

	==Overture in F major (TH 39)==		==Overture in F major (TH 39)==

Brett at 19:31, 9 November 2023

2023-11-09T19:31:45Z

← Older revision		Revision as of 21:31, 9 November 2023
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	:- {{file\|TH160.mp3\|MP3 format}} (2.5 Mb, 2'39 minutes)		:- {{file\|TH160.mp3\|MP3 format}} (2.5 Mb, 2'39 minutes)

	==Allegro in C minor (TH 165)==		==Allegro vivo in C minor (TH 165)==
	The longest and most ambitious of Tchaikovsky's surviving exercises at the [[Saint Petersburg]] Conservatory, lasting almost six minutes, the [[Allegro in C minor]] is scored for a small symphony orchestra (strings and double woodwinds, with two horns and two trumpets).		The longest and most ambitious of Tchaikovsky's surviving exercises at the [[Saint Petersburg]] Conservatory, lasting almost six minutes, the [[Allegro vivo in C minor]] is scored for a small symphony orchestra (strings and double woodwinds, with two horns and two trumpets).

	* '''Complete Performance'''		* '''Complete Performance'''

Brett at 11:27, 9 November 2023

2023-11-09T11:27:53Z

← Older revision		Revision as of 13:27, 9 November 2023
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	:- {{file\|TH160.mp3\|MP3 format}} (2.5 Mb, 2'39 minutes)		:- {{file\|TH160.mp3\|MP3 format}} (2.5 Mb, 2'39 minutes)

	==Allegro in C minor (TH ~~156~~)==		==Allegro in C minor (TH 165)==
	The longest and most ambitious of Tchaikovsky's surviving exercises at the [[Saint Petersburg]] Conservatory, lasting almost six minutes, the [[Allegro in C minor]] is scored for a small symphony orchestra (strings and double woodwinds, with two horns and two trumpets).		The longest and most ambitious of Tchaikovsky's surviving exercises at the [[Saint Petersburg]] Conservatory, lasting almost six minutes, the [[Allegro in C minor]] is scored for a small symphony orchestra (strings and double woodwinds, with two horns and two trumpets).

Brett at 11:27, 9 November 2023

2023-11-09T11:27:19Z

← Older revision		Revision as of 13:27, 9 November 2023
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	Several of Tchaikovsky's compositions, including ''[[Romeo and Juliet]]'', his first two symphonies, and his [[Piano Concerto No. 1]], exist in more than one version, and many others underwent less fundamental changes when being prepared for performance or publication. Besides versions of works that were superseded, there are also many compositions and arrangements (especially from the 1860s and 1870s) which have either never been recorded at all or which can be extremely difficult to find. On this page we provide links to audio files of performances that have been specially created for our site.		Several of Tchaikovsky's compositions, including ''[[Romeo and Juliet]]'', his first two symphonies, and his [[Piano Concerto No. 1\|first piano concerto]], exist in more than one version, and many others underwent less fundamental changes when being prepared for performance or publication. Besides versions of works that were superseded, there are also many compositions and arrangements (especially from the 1860s and 1870s) which have either never been recorded at all or which can be extremely difficult to find. On this page we provide links to audio files of performances that have been specially created for our site.

	{{ybox\|'''Important Note'''<br/>All sound files are in MP3 format, specially produced for this website using Sibelius Software and Note Performer.<br/>		{{ybox\|'''Important Note'''<br/>All sound files are in MP3 format, specially produced for this website using Sibelius Software and Note Performer.<br/>
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	* '''Complete Performance'''		* '''Complete Performance'''
	:- {{file\|TH160.mp3\|MP3 format}} (2.5 Mb, 2'39 minutes)		:- {{file\|TH160.mp3\|MP3 format}} (2.5 Mb, 2'39 minutes)

			==Allegro in C minor (TH 156)==
			The longest and most ambitious of Tchaikovsky's surviving exercises at the [[Saint Petersburg]] Conservatory, lasting almost six minutes, the [[Allegro in C minor]] is scored for a small symphony orchestra (strings and double woodwinds, with two horns and two trumpets).

			* '''Complete Performance'''
			:- {{file\|TH165.mp3\|MP3 format}} (5.4 Mb, 5'44 minutes)

	==Gott Erhalte Franz den Kaiser (TH 185)==		==Gott Erhalte Franz den Kaiser (TH 185)==

Tony: /* Notes and References */

2023-04-16T10:37:24Z

Notes and References

← Older revision		Revision as of 12:37, 16 April 2023
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	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1A">Earlier sound files of the 1st, 2nd and 4th movements of the First Symphony were published on this website in 2006 as part of our "Unknown Tchaikovsky" series. However, the present versions are of much improved sound quality, and have also corrected significant errors in the original Soviet published source material.</ref>		<ref name="note1A">Earlier sound files of the 1st, 2nd and 4th movements of the First Symphony were published on this website in 2006 as part of our "Unknown Tchaikovsky" series. However, the present versions are of much improved sound quality, and have also corrected significant errors in the original Soviet-published source material.</ref>
	<ref name="note2A">Tchaikovsky's metronome marking for the 3rd movement is "♪ = 160", although this only appears in the printed edition of the revised full score, since the opening pages of the Scherzo are missing from the manuscript copy of the original version. At this tempo, the Scherzo would take longer to perform than the preceding Andante, and such a marking also deviates from Tchaikovsky's usual practice of using a dotted note when giving metronome marks at the start of waltz movements in triple time (for example, in the waltzes in the [[Suite No. 2]] and [[Suite No. 3]], although the marking for the waltz in the [[Symphony No. 5]] is "undotted"). The compiler of the present virtual performance has postulated that a rhythmical dot was accidentally omitted from the metronome marking in the published score, and so it is played here "♪. = 160", which is more in keeping with the "Allegro scherzando giocoso" marking; however, a performance using the alternative slower reading can also be heard here: {{file\|TH024-3A-slow.mp3\|MP3 format}} (9.6 Mb, 10'16 minutes).</ref>		<ref name="note2A">Tchaikovsky's metronome marking for the 3rd movement is "♪ = 160", although this only appears in the printed edition of the revised full score, since the opening pages of the Scherzo are missing from the manuscript copy of the original version. At this tempo, the Scherzo would take longer to perform than the preceding Andante, and such a marking also deviates from Tchaikovsky's usual practice of using a dotted note when giving metronome marks at the start of waltz movements in triple time (for example, in the waltzes in the [[Suite No. 2]] and [[Suite No. 3]], although the marking for the waltz in the [[Symphony No. 5]] is "undotted"). The compiler of the present virtual performance has postulated that a rhythmical dot was accidentally omitted from the metronome marking in the published score, and so it is played here "♪. = 160", which is more in keeping with the "Allegro scherzando giocoso" marking; however, a performance using the alternative slower reading can also be heard here: {{file\|TH024-3A-slow.mp3\|MP3 format}} (9.6 Mb, 10'16 minutes).</ref>
	<ref name="note1B">Earlier sound files of the 1st, 3rd and 4th movements were published on this website in 2006 as part of our "Unknown Tchaikovsky" series. However, the present versions are of improved sound quality, and minor errors have also been corrected.</ref>		<ref name="note1B">Earlier sound files of the 1st, 3rd and 4th movements were published on this website in 2006 as part of our "Unknown Tchaikovsky" series. However, the present versions are of improved sound quality, and minor errors have also been corrected.</ref>
	<ref name="note2B">The surviving manuscript sources show that Tchaikovsky rewrote the piccolo and flute parts in the trio's central section (from 1'59 and 4'16) at least once. In this recording we have used the version preserved in the autograph score his piano duet arrangement of the symphony, which was made as late as September 1873, and so presumably reflects his final thoughts on this passage before the symphony was completely revised in 1879.</ref>		<ref name="note2B">The surviving manuscript sources show that Tchaikovsky rewrote the piccolo and flute parts in the trio's central section (from 1'59 and 4'16) at least once. In this recording, we have used the version preserved in the autograph score of his piano duet arrangement of the symphony, which was made as late as September 1873, and so presumably reflects his final thoughts on this passage before the symphony was completely revised in 1879.</ref>
	<ref name="note3">The conductor John Lanchbery included his own orchestration of the ''Gigue'' in his 1982 recording of the ballet with the Philharmonia Orchestra.</ref>		<ref name="note3">The conductor John Lanchbery included his own orchestration of the ''Gigue'' in his 1982 recording of the ballet with the Philharmonia Orchestra.</ref>
	</references>		</references>

Tony: /* Second Version (1870) */ Added "in" for clarity of meaning

2023-04-16T10:31:58Z

Second Version (1870): Added "in" for clarity of meaning

← Older revision		Revision as of 12:31, 16 April 2023
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	While staying in Switzerland in the summer of 1870, Tchaikovsky fundamentally revised the overture in accordance with Balakirev's instructions, as he later wrote: "In my opinion the ending is now respectable; the introduction is new; the middle section almost entirely new, and the recapitulation of the second theme (in D major) has been completely reorchestrated".		While staying in Switzerland in the summer of 1870, Tchaikovsky fundamentally revised the overture in accordance with Balakirev's instructions, as he later wrote: "In my opinion the ending is now respectable; the introduction is new; the middle section almost entirely new, and the recapitulation of the second theme (in D major) has been completely reorchestrated".

	Although very similar to the definitive third version of the work, made in 1880, the autograph score reveals small differences dynamics, scoring and instrumentation. For example, the hairpin crescendo and "poco più ''f''" markings are missing from the opening statement of Friar Laurence's theme on the woodwinds, and the expected drums and cymbal clashes at 11'19 are also absent, while some of the woodwind parts were doubled in the later version, presumably to help balance the string parts.		Although very similar to the definitive third version of the work, made in 1880, the autograph score reveals small differences in dynamics, scoring and instrumentation. For example, the hairpin crescendo and "poco più ''f''" markings are missing from the opening statement of Friar Laurence's theme on the woodwinds, and the expected drums and cymbal clashes at 11'19 are also absent, while some of the woodwind parts were doubled in the later version, presumably to help balance the string parts.

	Tchaikovsky also told [[Balakirev]] that "Perhaps the ending is not entirely what you ordered, but in any case it is better than before", and was the main focus for his revisions in the 1880 version, when the music from 14'22 to 15'38 of the second version was completely discarded. He did, however, retain the section from 16'03 onwards, and inserted music heard earlier in the second version (from 15'38) just before the final chords. The woodwind chorale from 16'42 to 17'25 was reworked from the first version, as noted above.		Tchaikovsky also told [[Balakirev]] that "Perhaps the ending is not entirely what you ordered, but in any case it is better than before", and was the main focus for his revisions in the 1880 version, when the music from 14'22 to 15'38 of the second version was completely discarded. He did, however, retain the section from 16'03 onwards, and inserted music heard earlier in the second version (from 15'38) just before the final chords. The woodwind chorale from 16'42 to 17'25 was reworked from the first version, as noted above.
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	:- {{file\|TH042B.mp3\|MP3 format}} (16.8 Mb, 15'00 minutes)		:- {{file\|TH042B.mp3\|MP3 format}} (16.8 Mb, 15'00 minutes)

	The only other live recording of Tchaikovsky's 1870 version of the overture was made by the BBC Scottish Symphony Orchestra conducted by Baldur Bronnimann, and was broadcast in the United Kingdom on BBC Radio 3 on 14 February 2007. This performance has never been re-broadcast or made available on ~~disk~~.		The only other live recording of Tchaikovsky's 1870 version of the overture was made by the BBC Scottish Symphony Orchestra conducted by Baldur Bronnimann, and was broadcast in the United Kingdom on BBC Radio 3 on 14 February 2007. This performance has never been re-broadcast or made available on disc.

	==Festival Overture on the Danish National Anthem (TH 40)==		==Festival Overture on the Danish National Anthem (TH 40)==

Tony: /* First version (1869) */ Omitted "by a" for ease of reading

2023-04-16T10:26:51Z

First version (1869): Omitted "by a" for ease of reading

← Older revision		Revision as of 12:26, 16 April 2023
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	Balakirev replied that "The [introductory] theme is not at all to my taste. Perhaps when it's worked out it attains some degree of beauty, but when noted down plainly as you've sent it to me, it conveys neither beauty nor strength, and it does not even depict the character of Father Lawrence in the way required. Here there should be a sort of Lisztian chorale in an old Catholic style...".		Balakirev replied that "The [introductory] theme is not at all to my taste. Perhaps when it's worked out it attains some degree of beauty, but when noted down plainly as you've sent it to me, it conveys neither beauty nor strength, and it does not even depict the character of Father Lawrence in the way required. Here there should be a sort of Lisztian chorale in an old Catholic style...".

	The original Friar Laurence theme opens the first version of the overture, followed (from 3'10 in our recording) by a brief ~~by a~~ foreshadowing of the lovers' main theme. Tchaikovsky preserved the feud theme and the lovers' music which follows (from 3'55 to 8'23), but with some differences: the autograph manuscript shows that the woodwinds' final response to the strings (4'33) was originally absent, and the lovers' music was accompanied by harp glissandi (from 6'46), which he later crossed out in the score. It is unclear whether Tchaikovsky's extensive cuts in the harp and cymbal parts were made before the premiere, or afterwards when the work was being prepared for publication, but they are included in our specially-prepared recording below.		The original Friar Laurence theme opens the first version of the overture, followed (from 3'10 in our recording) by a brief foreshadowing of the lovers' main theme. Tchaikovsky preserved the feud theme and the lovers' music which follows (from 3'55 to 8'23), but with some differences: the autograph manuscript shows that the woodwinds' final response to the strings (4'33) was originally absent, and the lovers' music was accompanied by harp glissandi (from 6'46), which he later crossed out in the score. It is unclear whether Tchaikovsky's extensive cuts in the harp and cymbal parts were made before the premiere, or afterwards when the work was being prepared for publication, but they are included in our specially-prepared recording below.

	The original development section (from 8'24) opened with a lengthy fugato for woodwinds and strings, from which only a short passage (from 9'13 to 9'28) was preserved in the later versions. The autograph shows that the short timpani solo (from 10'02 to 10'12) which concludes the development originally ended with just four crotchet notes, but Tchaikovsky realised this was simply too weak, and replaced this with a crescendo drum roll (as in our recording).		The original development section (from 8'24) opened with a lengthy fugato for woodwinds and strings, from which only a short passage (from 9'13 to 9'28) was preserved in the later versions. The autograph shows that the short timpani solo (from 10'02 to 10'12) which concludes the development originally ended with just four crotchet notes, but Tchaikovsky realised this was simply too weak, and replaced this with a crescendo drum roll (as in our recording).

Tony: /* Gott Erhalte Franz den Kaiser (TH 185) */ Text replacement - "Russian" to "Russia" for clarity of meaning

2023-04-16T10:16:16Z

Gott Erhalte Franz den Kaiser (TH 185): Text replacement - "Russian" to "Russia" for clarity of meaning

← Older revision		Revision as of 12:16, 16 April 2023
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	==Gott Erhalte Franz den Kaiser (TH 185)==		==Gott Erhalte Franz den Kaiser (TH 185)==
	Tchaikovsky made an orchestral arrangement of the Austrian National Anthem, ''[[Gott Erhalte Franz den Kaiser (Haydn)\|Gott Erhalte Franz den Kaiser]]'', in 1874, probably in connection with a visit to ~~Russian~~ by the Austrian Emperor in that year. The music is probably now more familiar as the current national anthem of Germany.		Tchaikovsky made an orchestral arrangement of the Austrian National Anthem, ''[[Gott Erhalte Franz den Kaiser (Haydn)\|Gott Erhalte Franz den Kaiser]]'', in 1874, probably in connection with a visit to Russia by the Austrian Emperor in that year. The music is probably now more familiar as the current national anthem of Germany.

	* '''Complete Performance'''		* '''Complete Performance'''

Tony: /* Suite No. 2 (TH 32) */

2023-04-16T10:03:27Z

Suite No. 2 (TH 32)

← Older revision		Revision as of 12:03, 16 April 2023
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	:- {{file\|TH032-3A.mp3\|MP3 format}} (7.3Mb, 7'50 minutes)		:- {{file\|TH032-3A.mp3\|MP3 format}} (7.3Mb, 7'50 minutes)

	* '''4th movement''' — ''Rêves d'enfant'' ('Child's dreams') lost over two and a half-minutes of material near the beginning (from 0'43 to 2'57), which largely consisted of varied repetitions of music heard elsewhere in the movement.		* '''4th movement''' — ''Rêves d'enfant'' ('Child's dreams') lost over two and a half minutes of material near the beginning (from 0'43 to 2'57), which largely consisted of varied repetitions of music heard elsewhere in the movement.
	:- {{file\|TH032-4A.mp3\|MP3 format}} (10.1Mb, 10'49 minutes)		:- {{file\|TH032-4A.mp3\|MP3 format}} (10.1Mb, 10'49 minutes)