Letter 4234 and Violin Concerto: Difference between pages

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{{letterhead
Tchaikovsky's '''''Violin Concerto''''' in D major, [[Opus]] 35 ([[TH]] 59 ; [[ČW]] 54) was written in March 1878.  
|Date=15/27 October 1890
|To=[[Pyotr Jurgenson]]
|Place=[[Tiflis]]
|Language=Russian
|Autograph=[[Klin]] (Russia): {{RUS-KLč}} (a{{sup|3}}, No. 2721)
|Publication={{bib|1902/25|Жизнь Петра Ильича Чайковского ; том 3}} (1902), p. 405 (abridged)<br/>{{bib|1952/58|П. И. Чайковский. Переписка с П. И. Юргенсоном ; том 2}} (1952), p. 186<br/>{{bib|1977/40|П. И. Чайковский. Полное собрание сочинений ; том XV-Б}} (1977), p. 277–278
}}
==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''15 октября 1890''<br/>''Тифлис''}}
Насчёт балета, ей-Богу, не могу ни на что решиться. Вообще, трудно в своём произведении выбрать, ''что лучше''. Для меня все одинаково хорошо или одинаково скверно, смотря по тому, нравится мне или не нравится сочинение. В настоящем случае скажу тебе, что мне «Спящая красавица» ''нравится'' вся от начала до конца. Самое простое решение вопроса — это награвированные полной партитуры. Но я знаю, что это слишком накладно. Остаётся печатать понемногу, номер за номером, руководствуясь тем, что больше публике нравится. Итак, прежде всего гравируй ''вальс''; потом ''панораму'', а затем по порядку, из пролога: 1) ''марш'', 2) ''танец фей'', 3) ''заключительную сцену''; из 1-го действия: 1) ''Pas d'action'', 2) варьяцию ''красавицы'' и т. д., и т. д.


Во всяком случае, я отказываюсь составить из балета ''сюиту''. То, что сделал ''Энгель'', есть попурри; этого я не хочу, а выбрать 4, 5 или 6 нумеров так, чтобы составилось самостоятельное симфоническое сочинение, — невозможно, или, по крайней мере, я этого не могу. Если ты хочешь именно ''сюиту'' то придётся опять-таки к ''Зилоти'' обратиться. Он в прошлом году сделал подбор нумеров для двух сюит, но я затерял бумажку, на коей это написано. Я положительно против ''сюиты'' и стою за издание отдельных нумеров. Под рукой у меня балета нет, и я не могу составить полного списка. Четвертую картину (лучшее по достоинству место партитуры) придётся напечатать целиком.
==Instrumentation==
The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets (in A, B-flat), 2 bassoons + 4 horns (in F), 2 trumpets (in D) + 2 timpani + violins I, violins II, violas, cellos, and double basses.


Я плакал, прочтя известие о ''Саше''. Боже, как жаль милого, симпатичного мальчика.
==Movements and Duration==
There are three movements:
<ol style="list-style-type: upper-roman;">
<li>Allegro moderato—Moderato assai (D major, 339 bars)</li>
<li>''Canzonetta''. Andante (G minor, 119 bars)</li>
<li>''Finale''. Allegro vivacissimo (D major, 639 bars)</li>
</ol>
The concerto lasts approximately 30 to 35 minutes in performance.


За замечание ''Алексею'' очень благодарен.
==Composition==
Early in 1878, Tchaikovsky was staying at [[Clarens]] as a guest, with his former student, the violinist [[Iosif Kotek]]. Together with [[Kotek]], he played through a large selection from the violin repertoire, and in particular the French composer [[Lalo]]'s ''Symphonie espagnole'' which it seems inspired him to write a violin concerto <ref name="note1"/>.


Обнимаю.
On 5/17 March Tchaikovsky wrote to [[Nadezhda von Meck]]: "...this morning I was overcome by that unfathomable burning inspiration I told you about... Besides small pieces, I am writing a sonata for piano and a violin concerto" <ref name="note2"/>. He set aside his [[Grand Sonata]], on which he had been working at the time, and began composition of the Violin Concerto <ref name="note3"/>. In a letter to [[Nadezhda von Meck]] of 7/19 March, Tchaikovsky noted that for the first time in the life he had begun a new composition before completing the previous one. "On this occasion I could not overcome my desire to make rough sketches for a concerto, and afterwards became so carried away that I abandoned work on the [[Grand Sonata|sonata]]" <ref name="note4"/>. In all his letters from this period, the composer remarks that he is carried away with work on the concerto, which, notwithstanding its novelty of form, came very easily to him. On 10/22 March, i.e. after five days, Tchaikovsky finished the first movement of the concerto; on 11/23 March he began the second movement (Andante), and on 14/26 March he told [[Nadezhda von Meck]] that he had "reached the finale" and the concerto would soon be ready <ref name="note5"/>. On 16/28 March 1878, Tchaikovsky wrote: "Today I finished the ''concerto''. It still has to be copied out and played through a few times... and then orchestrated. I shall start the copying out and add the finishing touches" <ref name="note6"/>. The following day he began to make the fair copy <ref name="note7"/>.
{{right|П. Чайковский}}


|Translated text={{right|''15 October 1890''<br/>''[[Tiflis]]''}}
After playing through the concerto with [[Iosif Kotek]], Tchaikovsky decided to write a new Andante, though the first movement and finale were considered satisfactory <ref name="note8"/>. On 24 March/5 April, Tchaikovsky wrote the new Andante, which in his words was: "better suited to the concerto's other two movements". He decided to add two other violin pieces to the original Andante (which was restyled ''Méditation'') to form the cycle ''[[Souvenir d'un lieu cher]]'', Op. 42) <ref name="note9"/>.
As for the ballet, my God I can't decide on anything. Generally, it's difficult to select ''the best'' from one's work. For me, everything is equally good or equally bad, depending on whether I like or dislike the composition. In the present instance, I'll tell you that I ''like'' "[[The Sleeping Beauty]]" from start to end. The most straightforward solution to this question is to engrave the complete score. But I know that this is too expensive. All that remains is to print it piecemeal, number by number, guided by what the public likes most. Therefore, first of all engrave the ''waltz''; then the ''panorama'', and then in order, from the prologue: 1) ''march'', 2) ''fairies' dance'', 3) ''closing scene''; from the 1st act:; 1) ''Pas d'action'', 2) ''beauty's'' variation, etc. etc.


In any case, I refuse to compile a ''suite'' from the ballet. What ''Engel'' did was a potpourri; I don't want this, but rather to select 4, 5 or 6 numbers that would constitute an independent symphonic work — this is impossible, or at least I cannot do it. If you indeed want a ''suite'' then you will have to turn to ''[[Ziloti]]'' again. Last year he selected numbers for two suites, but I've lost the paper it was written on. I am positively against a ''suite'', in favour of the publication of separate numbers. I don't have the ballet to hand, and I cannot compile a complete list. The fourth scene (the highest-quality part in the score) must be printed in its entirety.  
Therefore, by 24 March/5 April all the sketches were ready, including the new Andante, and the piano arrangement of the first movement. In a letter of 24 March/5 April, Tchaikovsky told [[Nadezhda von Meck]]: "Today my concerto might be called completely finished. Tomorrow I shall launch myself into the full score, and aim to finish this while the work is still fresh in my thoughts". On 30 March/11 April the full score was ready <ref name="note10"/>.


I cried when I read the news about ''Sasha''. God, it's so sad for this kind, sympathetic boy.
==Arrangements==
Tchaikovsky also arranged the concerto for violin with piano accompaniment, between 17/29 March <ref name="note11"/> and 24 March 1878 <ref name="note12"/>.


I'm most grateful to ''[[Aleksey]]'' for his comment.  
==Performances==
The first performance of the concerto was scheduled for 10/22 March 1879 at a concert of the Russian Musical Society in [[Saint Petersburg]], to be performed by [[Leopold Auer]] <ref name="note13"/>. But [[Auer]] and [[Karl Davydov]] declared that it was too difficult, and the performance of the concerto did not take place. Attempts by [[Iosif Kotek]] and Emile Sauret to play the concerto in [[Moscow]] were also unsuccessful. The concerto gained a reputation as unplayable, and no-one would perform it <ref name="note14"/>. The concerto was reportedly performed for the first time in 1879 (in the version for violin with piano) in [[New York]] by the violinist [[Leopold Damrosch]] <ref name="note15"/>.


I embrace you.
In Europe, and later in Russia, the foremost performer and advocate of the concerto was [[Adolph Brodsky]]. Enraptured by the concerto, [[Brodsky]] introduced it in [[Vienna]], at a special ''Novitätenprobe'' <ref name="note16"/>, conducted by Hans Richter. After the preliminary hearing, it was approved for performance at the third Philharmonic Society subscription concert on 22 November/4 December 1881. Its success was sensational, despite an unfavourable reception by parts of the audience. The critics behaved with hostility to the work, particularly the well-known critic Eduard Hanslick. Nevertheless, the concerto attracted considerable attention, and [[Brodsky]] received numerous offers for concerts in the following season <ref name="note17"/>.
{{right|P. Tchaikovsky}}
 
}}
Although [[Brodsky]]'s 1881 performance in [[Vienna]] was for many years presumed to have been the concerto's world premiere, evidence has recently been found to show that it was performed in [[Hannover]] on 1/13 March 1880, by the concertmaster of the city's Hopfkapelle, Georg Hänflein, conducted by Ernst Frank <ref name="note22"/>. It is unclear whether Tchaikovsky was aware of this performance, which seems to have attracted little attention outside [[Hannover]] itself.
 
In Russia, the Violin Concerto was performed for the first time on 8/20 August 1882 at the sixth concert in the Art and Industrial Exhibition in Moscow, by [[Adolph Brodsky]], conducted by [[Ippolit Altani]], where it had exceptional success <ref name="note18"/>. Other notable performances during the composer's lifetime were:
* [[London]], St. James's Hall, 26 April/8 May 1882, [[Adolph Brodsky]] (violin), conducted by Hans Richter
* Karlsruhe, 1st subscription concert, 16/28 October 1882, [[Adolph Brodsky]] (violin)
* [[Moscow]], 1st RMS symphony concert, 30 October/11 November 1882,  [[Iosif Kotek]] (violin), conducted by [[Max Erdmannsdörfer]]
* [[Berlin]], 2nd Varesi concert, 15/27 November 1882, [[Iosif Kotek]] (violin)
* [[Saint Petersburg]], 10th RMS symphony concert, 31 January/12 February 1887, [[Adolph Brodsky]] (violin), conducted by [[Anton Rubinstein]]
* [[Prague]], Rudolfinum, 7/19 February 1888, Karel Halíř (violin), conducted by Tchaikovsky
* [[Paris]], 17th Châtelet concert, 28 February/11 March 1888, [[Martin Pierre Marsick]] (violin), conducted by Tchaikovsky
* [[New York]], Chickering Hall, 25 March/6 April 1888, Maude Powell (violin), conducted by Anton Seidl
* [[Moscow]], 2nd RMS symphony concert, 28 October/9 November 1889, [[Adolph Brodsky]] (violin), conducted by Tchaikovsky
* [[Warsaw]], 2/14 January 1892, [[Stanisław Barcewicz]] (violin), conducted by Tchaikovsky.
* [[Saint Petersburg]], 10th RMS symphony concert, 30 January/11 February 1893, Leopold Auer (violin), conducted by Eduard Krushevsky
* [[Kharkov]], RMS symphony concert, 14/26 March 1893, Konstantin Gorsky (violin), conducted by Tchaikovsky (1st movement only)
* Amsterdam, Concertgebouw, special subscription concert, 14/26 October 1893, Felix Berber (violin), conducted by [[Willem Kes]]
 
==Publication==
The concerto was published by [[Pyotr Jurgenson]] in [[Moscow]]:
* Arrangement for violin with piano (plate 3339) — October 1879
* Orchestral parts (plate 3337) — August 1879
* Full score (plate 3338) — June 1888 <ref name="note19"/>.
In Tchaikovsky's ''[[Complete Collected Works]]'' the full score of the Concerto was published in volume 30A, edited by Valentina Rachkovskaya (1949), and the violin-piano arrangement in volume 55A, edited by Ivan Shishov and Nikolay Shemanin (1946).
 
Series 3, Volumes 5 and 6 of the ''[[Academic Edition of the Complete Works]]'', edited by Polina Vaidman and Ada Aynbinder (2019), include the full scores and violin-piano arrangements of the concerto.
 
: ''See also: [[{{PAGENAME}}: Scores]]''
 
==Autographs==
Tchaikovsky's manuscript full score of the concerto is now preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2|koncert-dlya-skripki-s-orkestrom|(ф. 88, No. 95)}}. The whereabouts of the manuscript of his arrangement for violin and piano are unknown.
 
==Recordings==
{{reclink}}
 
==Dedication==
After some vacillation over who the dedicatee of the concerto should be— [[Iosif Kotek]] or [[Leopold Auer]]—Tchaikovsky initially decided upon the latter <ref name="note20"/>. However, as a result of [[Auer]]'s persistent refusal to play the concerto, the composer withdrew the original dedication and replaced it with one to [[Adolph Brodsky]] <ref name="note21"/>, who had been impressed by the young violinist's enthusiasm for the work.
 
==External Links==
* {{imslpscore|Violin_Concerto,_Op.35_(Tchaikovsky,_Pyotr)|Violin Concerto}}
 
==Notes and References==
<references>
<ref name="note1">See [[Letter 777]] to [[Nadezhda von Meck]], 3/15 March 1878, and [[Letter 769]] to [[Anatoly Tchaikovsky]], 25 February/9 March 1878.</ref>
<ref name="note2">[[Letter 778]] to [[Nadezhda von Meck]], 5/17 March 1878.</ref>
<ref name="note3">See [[Letter 776]], 3/15 March 1879, and [[Letter 779]], 6/18 March 1878, to [[Anatoly Tchaikovsky]].</ref>
<ref name="note4">[[Letter 780]] to [[Nadezhda von Meck]], 7/19 March 1878.</ref>
<ref name="note5">See [[Letter 782]], 10/22 March 1878, and [[Letter 787]], 14/26 March 1878, to [[Nadezhda von Meck]]; also [[Letter 783]] to [[Anatoly Tchaikovsky]], 11/22 March 1878.</ref>
<ref name="note6">See [[Letter 790]] to [[Nadezhda von Meck]], 16/28 March 1878.</ref>
<ref name="note7">See [[Letter 791]] to [[Anatoly Tchaikovsky]], 16/28–18/30 March 1878.</ref>
<ref name="note8">See Letters [[Letter 795|795]] and [[Letter 797|797]] to [[Anatoly Tchaikovsky]], 20 March/1 April and 23 March/4 April 1878.</ref>
<ref name="note9">See [[Letter 798]] to [[Nadezhda von Meck]], 24 March/5 April 1878.</ref>
<ref name="note10">See [[Letter 803]] to [[Nadezhda von Meck]], 30 March/11 April 1878, and the author's date on the manuscript full score.</ref>
<ref name="note11">See [[Letter 790]] to [[Nadezhda von Meck]], 16/28 March 1878, and [[Letter 791]] to [[Anatoly Tchaikovsky]], 16/28–18/30 March 1878.</ref>
<ref name="note12">See [[Letter 798]] to [[Nadezhda von Meck]], 24 March/5 April 1878.</ref>
<ref name="note13">See [[Letter 1132]] to [[Nadezhda von Meck]], 6/18 March 1879.</ref>
<ref name="note14">See [[Letter 1916]] to [[Nadezhda von Meck]], 22 December 1881/3 January 1882–23 December 1881/4 January 1882.</ref>
<ref name="note15">See letter from [[Nadezhda von Meck]] to Tchaikovsky, 27 December 1881/8 January 1882, and "Ignotus" [i.e. [[Sergey Flerov]]], {{bib|1881/9|Музыкальная хроника}} (1881). The exact date of this supposed performance is unknown, and it has yet to be corroborated by contemporary accounts.</ref>
<ref name="note16">A preliminary hearing for new works.</ref>
<ref name="note17">See letters from [[Adolph Brodsky]] to Tchaikovsky, January–June 1882 — [[Klin]] House-Museum Archive.</ref>
<ref name="note18">See [[Letter 2028]] to [[Pyotr Jurgenson]], 24 May/5 June 1882; [[Letter 2071]] to [[Sergey Taneyev]], 28 July/9 August 1882; letters [[Letter 2073|2073]] and [[Letter 2076|2076]] to [[Nadezhda von Meck]], 3/15 and 11/23 August 1882.</ref>
<ref name="note19">See [[Letter 828]] to [[Pyotr Jurgenson]], 15/27 May 1878, and [[Pyotr Jurgenson]]'s letter to Tchaikovsky, 15/27 June 1879 — [[Klin]] House-Museum Archive.</ref>
<ref name="note20">See [[Letter 865]], 1/13 July 1878, and [[Letter 870]], 12/14 July 1878, to [[Pyotr Jurgenson]].</ref>
<ref name="note21">See [[Letter 1904]] to [[Lev Kupernik]], 1/13 December 1881; [[Letter 1914]] to [[Pyotr Jurgenson]], 15/27 December 1881; [[Letter 1916]] to [[Nadezhda von Meck]], 22 December 1881/3 January 1882–23 December 1881/4 January 1882; and [[Letter 1924]] to [[Adolph Brodsky]], 1/13 January 1882.</ref>
<ref name="note22">See {{bibx|2022/2|Tchaikovsky Research Bulletin No. 4}} (2022), and ''Signale für die Musikalische Welt'' (1880), No. 26, p. 409.</ref>
</references>
[[Category:Concertos]]

Revision as of 15:39, 25 August 2022

Tchaikovsky's Violin Concerto in D major, Opus 35 (TH 59 ; ČW 54) was written in March 1878.

Instrumentation

The concerto is scored for solo violin and an orchestra consisting of 2 flutes, 2 oboes, 2 clarinets (in A, B-flat), 2 bassoons + 4 horns (in F), 2 trumpets (in D) + 2 timpani + violins I, violins II, violas, cellos, and double basses.

Movements and Duration

There are three movements:

  1. Allegro moderato—Moderato assai (D major, 339 bars)
  2. Canzonetta. Andante (G minor, 119 bars)
  3. Finale. Allegro vivacissimo (D major, 639 bars)

The concerto lasts approximately 30 to 35 minutes in performance.

Composition

Early in 1878, Tchaikovsky was staying at Clarens as a guest, with his former student, the violinist Iosif Kotek. Together with Kotek, he played through a large selection from the violin repertoire, and in particular the French composer Lalo's Symphonie espagnole which it seems inspired him to write a violin concerto [1].

On 5/17 March Tchaikovsky wrote to Nadezhda von Meck: "...this morning I was overcome by that unfathomable burning inspiration I told you about... Besides small pieces, I am writing a sonata for piano and a violin concerto" [2]. He set aside his Grand Sonata, on which he had been working at the time, and began composition of the Violin Concerto [3]. In a letter to Nadezhda von Meck of 7/19 March, Tchaikovsky noted that for the first time in the life he had begun a new composition before completing the previous one. "On this occasion I could not overcome my desire to make rough sketches for a concerto, and afterwards became so carried away that I abandoned work on the sonata" [4]. In all his letters from this period, the composer remarks that he is carried away with work on the concerto, which, notwithstanding its novelty of form, came very easily to him. On 10/22 March, i.e. after five days, Tchaikovsky finished the first movement of the concerto; on 11/23 March he began the second movement (Andante), and on 14/26 March he told Nadezhda von Meck that he had "reached the finale" and the concerto would soon be ready [5]. On 16/28 March 1878, Tchaikovsky wrote: "Today I finished the concerto. It still has to be copied out and played through a few times... and then orchestrated. I shall start the copying out and add the finishing touches" [6]. The following day he began to make the fair copy [7].

After playing through the concerto with Iosif Kotek, Tchaikovsky decided to write a new Andante, though the first movement and finale were considered satisfactory [8]. On 24 March/5 April, Tchaikovsky wrote the new Andante, which in his words was: "better suited to the concerto's other two movements". He decided to add two other violin pieces to the original Andante (which was restyled Méditation) to form the cycle Souvenir d'un lieu cher, Op. 42) [9].

Therefore, by 24 March/5 April all the sketches were ready, including the new Andante, and the piano arrangement of the first movement. In a letter of 24 March/5 April, Tchaikovsky told Nadezhda von Meck: "Today my concerto might be called completely finished. Tomorrow I shall launch myself into the full score, and aim to finish this while the work is still fresh in my thoughts". On 30 March/11 April the full score was ready [10].

Arrangements

Tchaikovsky also arranged the concerto for violin with piano accompaniment, between 17/29 March [11] and 24 March 1878 [12].

Performances

The first performance of the concerto was scheduled for 10/22 March 1879 at a concert of the Russian Musical Society in Saint Petersburg, to be performed by Leopold Auer [13]. But Auer and Karl Davydov declared that it was too difficult, and the performance of the concerto did not take place. Attempts by Iosif Kotek and Emile Sauret to play the concerto in Moscow were also unsuccessful. The concerto gained a reputation as unplayable, and no-one would perform it [14]. The concerto was reportedly performed for the first time in 1879 (in the version for violin with piano) in New York by the violinist Leopold Damrosch [15].

In Europe, and later in Russia, the foremost performer and advocate of the concerto was Adolph Brodsky. Enraptured by the concerto, Brodsky introduced it in Vienna, at a special Novitätenprobe [16], conducted by Hans Richter. After the preliminary hearing, it was approved for performance at the third Philharmonic Society subscription concert on 22 November/4 December 1881. Its success was sensational, despite an unfavourable reception by parts of the audience. The critics behaved with hostility to the work, particularly the well-known critic Eduard Hanslick. Nevertheless, the concerto attracted considerable attention, and Brodsky received numerous offers for concerts in the following season [17].

Although Brodsky's 1881 performance in Vienna was for many years presumed to have been the concerto's world premiere, evidence has recently been found to show that it was performed in Hannover on 1/13 March 1880, by the concertmaster of the city's Hopfkapelle, Georg Hänflein, conducted by Ernst Frank [18]. It is unclear whether Tchaikovsky was aware of this performance, which seems to have attracted little attention outside Hannover itself.

In Russia, the Violin Concerto was performed for the first time on 8/20 August 1882 at the sixth concert in the Art and Industrial Exhibition in Moscow, by Adolph Brodsky, conducted by Ippolit Altani, where it had exceptional success [19]. Other notable performances during the composer's lifetime were:

  • London, St. James's Hall, 26 April/8 May 1882, Adolph Brodsky (violin), conducted by Hans Richter
  • Karlsruhe, 1st subscription concert, 16/28 October 1882, Adolph Brodsky (violin)
  • Moscow, 1st RMS symphony concert, 30 October/11 November 1882, Iosif Kotek (violin), conducted by Max Erdmannsdörfer
  • Berlin, 2nd Varesi concert, 15/27 November 1882, Iosif Kotek (violin)
  • Saint Petersburg, 10th RMS symphony concert, 31 January/12 February 1887, Adolph Brodsky (violin), conducted by Anton Rubinstein
  • Prague, Rudolfinum, 7/19 February 1888, Karel Halíř (violin), conducted by Tchaikovsky
  • Paris, 17th Châtelet concert, 28 February/11 March 1888, Martin Pierre Marsick (violin), conducted by Tchaikovsky
  • New York, Chickering Hall, 25 March/6 April 1888, Maude Powell (violin), conducted by Anton Seidl
  • Moscow, 2nd RMS symphony concert, 28 October/9 November 1889, Adolph Brodsky (violin), conducted by Tchaikovsky
  • Warsaw, 2/14 January 1892, Stanisław Barcewicz (violin), conducted by Tchaikovsky.
  • Saint Petersburg, 10th RMS symphony concert, 30 January/11 February 1893, Leopold Auer (violin), conducted by Eduard Krushevsky
  • Kharkov, RMS symphony concert, 14/26 March 1893, Konstantin Gorsky (violin), conducted by Tchaikovsky (1st movement only)
  • Amsterdam, Concertgebouw, special subscription concert, 14/26 October 1893, Felix Berber (violin), conducted by Willem Kes

Publication

The concerto was published by Pyotr Jurgenson in Moscow:

  • Arrangement for violin with piano (plate 3339) — October 1879
  • Orchestral parts (plate 3337) — August 1879
  • Full score (plate 3338) — June 1888 [20].

In Tchaikovsky's Complete Collected Works the full score of the Concerto was published in volume 30A, edited by Valentina Rachkovskaya (1949), and the violin-piano arrangement in volume 55A, edited by Ivan Shishov and Nikolay Shemanin (1946).

Series 3, Volumes 5 and 6 of the Academic Edition of the Complete Works, edited by Polina Vaidman and Ada Aynbinder (2019), include the full scores and violin-piano arrangements of the concerto.

See also: Violin Concerto: Scores

Autographs

Tchaikovsky's manuscript full score of the concerto is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 95) [view]. The whereabouts of the manuscript of his arrangement for violin and piano are unknown.

Recordings

See: Discography

Dedication

After some vacillation over who the dedicatee of the concerto should be— Iosif Kotek or Leopold Auer—Tchaikovsky initially decided upon the latter [21]. However, as a result of Auer's persistent refusal to play the concerto, the composer withdrew the original dedication and replaced it with one to Adolph Brodsky [22], who had been impressed by the young violinist's enthusiasm for the work.

External Links

Notes and References

  1. ↑ See Letter 777 to Nadezhda von Meck, 3/15 March 1878, and Letter 769 to Anatoly Tchaikovsky, 25 February/9 March 1878.
  2. ↑ Letter 778 to Nadezhda von Meck, 5/17 March 1878.
  3. ↑ See Letter 776, 3/15 March 1879, and Letter 779, 6/18 March 1878, to Anatoly Tchaikovsky.
  4. ↑ Letter 780 to Nadezhda von Meck, 7/19 March 1878.
  5. ↑ See Letter 782, 10/22 March 1878, and Letter 787, 14/26 March 1878, to Nadezhda von Meck; also Letter 783 to Anatoly Tchaikovsky, 11/22 March 1878.
  6. ↑ See Letter 790 to Nadezhda von Meck, 16/28 March 1878.
  7. ↑ See Letter 791 to Anatoly Tchaikovsky, 16/28–18/30 March 1878.
  8. ↑ See Letters 795 and 797 to Anatoly Tchaikovsky, 20 March/1 April and 23 March/4 April 1878.
  9. ↑ See Letter 798 to Nadezhda von Meck, 24 March/5 April 1878.
  10. ↑ See Letter 803 to Nadezhda von Meck, 30 March/11 April 1878, and the author's date on the manuscript full score.
  11. ↑ See Letter 790 to Nadezhda von Meck, 16/28 March 1878, and Letter 791 to Anatoly Tchaikovsky, 16/28–18/30 March 1878.
  12. ↑ See Letter 798 to Nadezhda von Meck, 24 March/5 April 1878.
  13. ↑ See Letter 1132 to Nadezhda von Meck, 6/18 March 1879.
  14. ↑ See Letter 1916 to Nadezhda von Meck, 22 December 1881/3 January 1882–23 December 1881/4 January 1882.
  15. ↑ See letter from Nadezhda von Meck to Tchaikovsky, 27 December 1881/8 January 1882, and "Ignotus" [i.e. Sergey Flerov], Музыкальная хроника (1881). The exact date of this supposed performance is unknown, and it has yet to be corroborated by contemporary accounts.
  16. ↑ A preliminary hearing for new works.
  17. ↑ See letters from Adolph Brodsky to Tchaikovsky, January–June 1882 — Klin House-Museum Archive.
  18. ↑ See Tchaikovsky Research Bulletin No. 4 (2022), and Signale für die Musikalische Welt (1880), No. 26, p. 409.
  19. ↑ See Letter 2028 to Pyotr Jurgenson, 24 May/5 June 1882; Letter 2071 to Sergey Taneyev, 28 July/9 August 1882; letters 2073 and 2076 to Nadezhda von Meck, 3/15 and 11/23 August 1882.
  20. ↑ See Letter 828 to Pyotr Jurgenson, 15/27 May 1878, and Pyotr Jurgenson's letter to Tchaikovsky, 15/27 June 1879 — Klin House-Museum Archive.
  21. ↑ See Letter 865, 1/13 July 1878, and Letter 870, 12/14 July 1878, to Pyotr Jurgenson.
  22. ↑ See Letter 1904 to Lev Kupernik, 1/13 December 1881; Letter 1914 to Pyotr Jurgenson, 15/27 December 1881; Letter 1916 to Nadezhda von Meck, 22 December 1881/3 January 1882–23 December 1881/4 January 1882; and Letter 1924 to Adolph Brodsky, 1/13 January 1882.
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