Richard Wagner and Complete Collected Works: Difference between pages

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{{picture|file=RichardWagner.jpg|caption='''Richard Wagner''' (1813-1883)}}
The Soviet critical edition of Tchaikovsky's '''''[[Bibliography (1940/207)|Complete Collected Works]]''''' (Полное собрание сочинений) was published in 107 volumes between 1940 and 1990, and covered the composer's compositions, writings and correspondence, except for his religious choral works and diaries.
German composer (b. 22 May 1813 in [[Leipzig]]; d. 13 February 1883 in [[Venice]]), born '''''Wilhelm Richard Wagner'''.


==Tchaikovsky and Wagner==
The inclusion of fragments from the Tsarist Russian anthem in works such as ''[[The Year 1812]]'' and the ''[[Slavonic March]]'' was deemed unacceptable for most of the Soviet era, and in the printed scores such passages were either replaced by other music or excised altogether. The texts of some vocal works were also rewritten on ideological grounds, and Tchaikovsky's liturgical music was entirely ignored until 1990 when it was included in a supplemental volume.
Before 1862, the year that he enrolled in the newly established [[Saint Petersburg]] Conservatory, Tchaikovsky could only have heard very few, if any, excerpts from Wagner's operas, either at concerts of the Russian Musical Society (RMS) or during the summer season in [[Pavlovsk]] directed by Johann Strauss <ref name="note1"/>. Some thirty years later, in January 1893, Tchaikovsky would write an open letter to a Parisian newspaper protesting at an article which had appeared in ''Le Figaro'' and described the French conductor Lamoureux's recent concerts in [[Moscow]] and [[Saint Petersburg]] as a long-awaited opportunity for Russian audiences to hear Wagner's music because, as the author of the article insinuated, [[Anton Rubinstein]] had been so jealous of the German composer that, while he was at the helm of music life in his country, he had made sure that all doors were closed to Wagner in Russia! <ref name="note2"/> Tchaikovsky refuted this gross misrepresentation and jumped to the defence of his former teacher:


{{quote|Wagner's music is anything but unknown in Russia. Not only is it a fact that [[Anton Rubinstein]] never prevented its dissemination in our country, but it was actually he who, as the founder of the Imperial Russian Musical Society in 1859, acquainted our public with it. Wagner himself came to Russia in 1863 and organized in both capitals a long series of concerts which were very much epoch-making. Since then the music of this great German master has taken root in our country <ref name="note3"/>.}}
Although many works were published for the first time in this series, others were arbitrarily omitted: for example, the full scores of ''[[Vakula the Smith]]'' and the suite from ''[[The Nutcracker (suite)|The Nutcracker]]'', the piano version of the ''Mazurka'' from the play ''[[Dmitry the Pretender and Vasily Shuysky]]'', the composer's vocal-piano reduction of the music for ''[[Hamlet (incidental music)|Hamlet]]'', the familiar 1889 version of the [[Piano Concerto No. 1]], and the ''Anastasie-Valse''. The edition was also criticized for a failure to apply uniform editorial standards to the text or music, and the absence of detailed critical reports, comprehensive descriptions of sources, or thorough evaluations of the manuscripts and alternative readings.  


Although [[Anton Rubinstein]] was in fact not so keen on Wagner, it is fair to say that he did not actively prevent its entry into Russia, and, moreover, his younger brother [[Nikolay]], once he became director of the RMS branch in [[Moscow]], did regularly programme orchestral excerpts from Wagner's works into the concerts he conducted there <ref name="note4"/>. Thanks to this, many of Tchaikovsky's review articles of the 1870s (which he wrote at the same time as he was teaching at the [[Moscow]] Conservatory) contain very interesting comments on Wagner and his music (see the detailed list below). Indeed, Rosamund Bartlett has convincingly argued that "Tchaikovsky's reviews represent some of the most important and professional writing on Wagner in Russia in the nineteenth century" <ref name="note5"/>.
In the 1970s, the musical series was reprinted in the United States by Edwin F. Kalmus, with the original volumes being divided or combined for this reprint. The Soviet editorial prefaces were omitted, and the Russian title pages were replaced with English versions (not always reliably).


To return, though, to another fact mentioned in this open letter, the "epoch-making" series of concerts which Wagner gave in Russia between February and April 1863 was one of the most memorable musical experiences of Tchaikovsky's life — perhaps not quite on a par with the revelation of [[Mozart]]'s ''Don Giovanni'' when he was 16, or his impressions of [[Glinka]]'s ''A Life for the Tsar'', or the overwhelming effect produced on him by [[Bizet]]'s ''Carmen'' in 1876, but certainly equally unforgettable. For the young Tchaikovsky, then in the first year of his studies at the Conservatory, attended all six of the concerts which Wagner gave in [[Saint Petersburg]]. At these Wagner, one of the most important conductors of the nineteenth century, had featured not just excerpts from his own operas but also conducted several symphonies by [[Beethoven]] (Nos. 3 and 5–8). In a letter of February 1879 to [[Nadezhda von Meck]] (quoted below), Tchaikovsky emphasized that only those who had heard these [[Beethoven]] symphonies in Wagner's interpretation could fully appreciate their greatness. Wagner would always remain one of the conductors Tchaikovsky most admired, alongside [[Nikolay Rubinstein]], [[Eduard Nápravník]], and [[Hans von Bülow]], even if in an article of 1875 he observed that in order to get a full picture of Wagner's talent in that respect it would have been necessary to hear him also conduct works by other composers ([[TH 306]]).
The volumes covering Tchaikovsky's letters were purged of references to homosexuality, intimate relationships or even illnesses (whether his own, or those of his relatives and servants). Profanities and abusive vocabulary were also removed, as were passages considered to be ideologically unacceptable in Soviet times. The most substantial cuts were made in Tchaikovsky's letters to his brothers from the 1870s, particularly those concerning his marriage to [[Antonina Milyukova]] in 1877.


As for his own music, Wagner at his six concerts in [[Saint Petersburg]] conducted the following excerpts (without any singers in all cases, it seems): the Sailors' Chorus and Senta's Ballad from ''Der fliegende Holländer'' (score completed in 1843); the Overture, the Act II March and chorus, Wolfram's Song to the Evening Star, and Elisabeth's aria from ''Tannhäuser'' (1845); the Preludes to Acts I and III, as well as Elsa's lament from ''Lohengrin'' (1848); the Prelude and "Liebestod" music from ''Tristan und Isolde'' (1859); the Overture, the Guild Meeting and Pogner's address from ''Die Meistersinger'' (not completed until 1867); Siegmund's Spring Song, the Ride of the Valkyries, and Wotan's Farewell and Magic Fire music from ''Die Walküre'' (1856); the Forging Song and Hammer Song from ''Siegfried'' (not fully completed until 1871); as well as the ''Faust'' overture (1855) <ref name="note6"/>.
==Musical Works==
As of April 2019, these volumes may all be viewed freely online at https://www.tchaikovsky.pro/complete-set-of-works (in Russian).


Of these, three purely orchestral pieces would be praised in glowing terms by Tchaikovsky in later years: the ''Lohengrin'' prelude, the Ride of the Valkyries, and the ''Faust'' overture (see the references listed at the end). The music of Isolde's "Liebestod" as performed under Wagner's baton at one of these concerts also caused a strong impression on him, as we can see from an article he wrote in 1872 ([[TH 270]]), but when he heard a production of the whole opera for the first time in [[Berlin]] in January 1883 he was terribly disappointed — evidently because the development of the beautiful "Liebestod" theme was now combined with the singers' voices in a way that Tchaikovsky found wholly unsatisfactory (see letter 2184 to [[Nadezhda von Meck]] quoted below).
===Operas===
'''[[Bibliography (1953/50)|Том 1А]]'''. Edited by Pavel Lamm (1953). xiv, 325 pages. Plate M. 18361 Г.
:*''[[The Voyevoda (opera)|The Voyevoda]]'', Op. 3 : Full score of Overture & Act I.
::Kalmus edition No. 542.
'''[[Bibliography (1953/48)|Том 1Б]]'''. Edited by Pavel Lamm (1953). 186 pages. Plate M. 23088 Г.
:*''[[The Voyevoda (opera)|The Voyevoda]]'', Op. 3 : Full score of Act II.
::Kalmus edition No. 542.
'''[[Bibliography (1953/49)|Том 1В]]'''. Edited by Pavel Lamm (1953). v, 213 pages. M. 23122 Г.
:*''[[The Voyevoda (opera)|The Voyevoda]]'', Op. 3 : Full score of Act III.
::Kalmus edition No. 542.
'''[[Bibliography (1953/51)|Том 1 (доп.)]]'''. Edited by Pavel Lamm (1953). xiv, 433 pages. Plate M. 23221 Г.
:*''[[The Voyevoda (opera)|The Voyevoda]]'', Op. 3 : Vocal-piano score (p. 7-398).
:*''[[The Voyevoda (opera)|The Voyevoda]]'', Op. 3 : Transcription of ''Entr'acte and Dances of the Chambermaids'' (Act II, No. 4) for piano four hands by Tchaikovsky (p. 403-431).
::Kalmus edition No. 542.
'''[[Bibliography (1950/45)|Том 2]]'''. Edited by Rostislav Berberov (1950). xiii, 225 pages.
:*''[[Undina]]'' : Full score of Undina's Song and Act I Finale (p. 3-90).
:*''[[Mandragora]]'' : Full score of ''[[Chorus of Flowers and Insects]]'' (p. 92-158).
:*''[[Undina]]'' : Vocal-piano score of Undina's Song and Act I Finale (p. 161-187).
:*''[[Mandragora]]'' : Vocal-piano score of ''[[Chorus of Flowers and Insects]]'' (p. 191-217).
::Kalmus edition No. 543 (p. 3-90, 161-187); No. 544 (p. 92-158, 191-217).
'''[[Bibliography (1959/51)|Том 3А]]'''. Edited by Anatoly Dmitriyev (1959). xix, 315 pages. Plate M. 27036 Г.
:* ''[[The Oprichnik]]'' : Full score of Acts I and II.
::Kalmus edition No. 546.
'''[[Bibliography (1959/52)|Том 3Б]]'''. Edited by Anatoly Dmitriyev (1959). ix, 384 pages. Plate M. 27036-a Г.
:* ''[[The Oprichnik]]'' : Full score of Acts III and IV.
::Kalmus edition No. 546.
'''[[Bibliography (1948/35)|Том 4]]'''. Edited by Ivan Shishov (1948). xiv, 537 pages. Plate M. 18652 Г.
:*''[[Yevgeny Onegin]]'', Op. 24 : Full score.
::Kalmus edition No. 545.
'''[[Bibliography (1964/41)|Том 5А]]'''. Edited by V. D. Vasilyev (1964). xviii, 519 pages. Plate M. 30898-a Г.
:*''[[The Maid of Orleans]]'' : Full score of Acts I and II.
::Kalmus edition No. 547.
'''[[Bibliography (1964/42)|Том 5Б]]'''. Edited by V. D. Vasilyev (1964). 450 pages. Plate M. 30898-б Г.
:*''[[The Maid of Orleans]]'' : Full score of Acts III and IV.
::Kalmus edition No. 547.
'''[[Bibliography (1969/51)|Том 6А]]'''. Edited by V. D. Vasilyev (1969). xx, 337 pages. Plate 5853.
:*''[[Mazepa]]'' : Full score of Act I.
::Kalmus edition No. 548.
'''[[Bibliography (1969/52)|Том 6Б]]'''. Edited by V. D. Vasilyev (1969). xii, 484 pages. Plate 5853-a.
:*''[[Mazepa]]'' : Full score of Acts II and III.
::Kalmus edition No. 548.
'''[[Bibliography (1951/41)|Том 7А]]'''. Edited by V. D. Vasilyev (1951). xiv, 426 pages.
:*''[[Cherevichki]]'' : Full score of Acts I and II.
::Kalmus edition No. 549.
'''[[Bibliography (1951/40)|Том 7Б]]'''. Edited by V. D. Vasilyev (1951). ix, 282 pages.
:*''[[Cherevichki]]''  : Full score of Acts III and IV.
::Kalmus edition No. 549.
'''[[Bibliography (1948/36)|Том 8А]]'''. Edited by Ivan Shishov (1948). xiii, 525 pages.
:*''[[The Enchantress]]'' : Full score of Acts I and II.
::Kalmus edition No. 550.
'''[[Bibliography (1949/36)|Том 8Б]]'''. Edited by Ivan Shishov (1949). xii, 511 pages.
:*''[[The Enchantress]]'' : Full score of Acts III and IV.
::Kalmus edition No. 550.
'''[[Bibliography (1950/47)|Том 9А]]'''. Edited by Anatoly Dmitriyev (1950). xix, 299 pages. Plate M. 20727-a Г.
:*''[[The Queen of Spades]]'', Op. 68 : Full score of Act I.
::Kalmus edition No. 551.
'''[[Bibliography (1950/46)|Том 9Б]]'''. Edited by Anatoly Dmitriyev (1950). ix, 281 pages. Plate M. 20727-б Г.
:*''[[The Queen of Spades]]'', Op. 68 : Full score of Act II.
::Kalmus edition No. 551.
'''[[Bibliography (1950/48)|Том 9В]]'''. Edited by Anatoly Dmitriyev (1950). ix, 279 pages. Plate M. 20727-в Г.
:*''[[The Queen of Spades]]'', Op. 68 : Full score of Act III.
::Kalmus edition No. 551.
'''[[Bibliography (1953/53)|Том 10]]'''. Edited by V. D. Vasilyev (1953). xiv, 361 pages. Plate M. 23202 Г.
:*''[[Iolanta]]'', Op. 69 : Full score.
::Kalmus edition No. 552.


Indeed, the only operas by Wagner which Tchaikovsky would acknowledge as successful stage works were these two from his early period: ''Tannhäuser'' and ''Lohengrin''. Despite some reservations about the use of choruses in the latter (see [[TH 270]], which pokes fun at the cries of the townsfolk of Brabant as ''Lohengrin'' appears in his boat drawn by the swan!) — reservations which Tchaikovsky shared with [[Vladimir Stasov]] and the members of the "Mighty Handful", who attacked Wagner, amongst other things, for what they saw as his disdainful attitude towards the people — we know that he went to see ''Lohengrin'' on at least five occasions: in [[Saint Petersburg]] at some point between 1868 (when the opera was first produced in Russia) and 1872 <ref name="note7"/>, in [[Berlin]] (1883), [[Saint Petersburg]] (1886), [[Kiev]] (1890), and [[Paris]] (1892). ''Tannhäuser'' he heard on the stage at least three times, in [[Saint Petersburg]] (1876), [[Magdeburg]] (1888), and [[Hamburg]] (1892), the latter performance being particularly memorable because it was directed by the young [[Gustav Mahler]], whose genius as a conductor Tchaikovsky immediately recognized. In these two operas, where the orchestra part, in contrast to the later music dramas, may still be described as an accompaniment for traditional vocal numbers, there was clearly much that appealed to Tchaikovsky.
===Ballets===
'''[[Bibliography (1957/27)|Том 11А]]'''. Edited by Irina Iordan & Georgy Kirkor (1957). xvi, 402 pages. Plate M. 26458-a Г.
:*''[[Swan Lake]]'', Op. 20 : Full score of Acts I and II.
::Kalmus edition No. 553.
'''[[Bibliography (1957/28)|Том 11Б]]'''. Edited by Irina Iordan & Georgy Kirkor (1957). ix, 412 pages. Plate M. 26458-б Г.
:*''[[Swan Lake]]'', Op. 20 : Full score of Acts III and IV.
::Kalmus edition No. 553.
'''[[Bibliography (1952/50)|Том 12А]]'''. ''The Sleeping Beauty'', Op. 66. Edited by Anatoly Dmitriyev (1952). xix, 217 pages. Plate M. 22760-a Г
:*''[[The Sleeping Beauty]]'', Op. 66 : Full score of Introduction and Prologue.
::Kalmus edition No. 554.
'''[[Bibliography (1952/49)|Том 12Б]]'''. Edited by Anatoly Dmitriyev (1952). ix, 275 pages. Plate M. 22760-б Г.
:*''[[The Sleeping Beauty]]'', Op. 66 : Full score of Act I.
::Kalmus edition No. 554.
'''[[Bibliography (1952/48)|Том 12В]]'''. Edited by Anatoly Dmitriyev (1952). ix, 259 pages. Plate M. 22932-a Г.
:*''[[The Sleeping Beauty]]'', Op. 66 : Full score of Act II.
::Kalmus edition No. 554.
'''[[Bibliography (1952/51)|Том 12Г]]'''. Edited by Anatoly Dmitriyev (1952). ix, 377 pages. Plate M. 22932-б Г.
:*''[[The Sleeping Beauty]]'', Op. 66 : Full score of Act III.
::Kalmus edition No. 554.
'''[[Bibliography (1955/36)|Том 13А]]'''. Edited by V. D. Vasilyev (1955). xvi, 311 pages. Plate M. 24757-a Г.
:*''[[The Nutcracker]]'', Op. 71 : Full score of Act I.
::Kalmus edition No. 555.
'''[[Bibliography (1955/35)|Том 13Б]]'''. Edited by V. D. Vasilyev (1955). ix, 302 pages. Plate M. 24757-б Г.
:*''[[The Nutcracker]]'', Op. 71 : Full score of Act II.
::Kalmus edition No. 555.


As for Wagner's central idea of redemption through love, which is already present in these early works and would later underpin ''The Ring'' and '' Parsifal'' in particular, Thomas Kohlhase has rightly observed that Tchaikovsky never seems to have taken any notice of this <ref name="note8"/>. Tchaikovsky's fascination with Wagner was very much a response to his music, especially the splendid orchestration, rather than to the ideas expressed in his works. Between January and March 1878, we know from several letters exchanged with [[Nadezhda von Meck]] that Tchaikovsky was reading about Schopenhauer's philosophy, and although he found the latter quite interesting in some respects, he was not at all convinced by the German thinker's arguments in favour of renouncing the world altogether <ref name="note9"/>. Tchaikovsky may not have been aware of the connection between Schopenhauer's ideas and ''Tristan'' or ''The Ring'', but his instinctive rejection of a philosopher to whom Wagner repeatedly paid tribute in his works does suggest why the Russian composer judged the latter solely by the criteria of musical beauty and emotional credibility, rather than seeking in them any sort of enlightenment.
===Music for Dramatic Productions===
'''[[Bibliography (1962/103)|Том 14]]'''. Edited by Irina Iordan (1962). xix, 398 pages. Plate M. 29924 Г.
:*''[[Dmitry the Pretender and Vasily Shuysky]]'': Full score of Introduction & Mazurka (p. 3-15).
:*''[[The Barber of Seville]]'' : Full score of Count Almaviva's couplets (p. 19).
:*''[[The Snow Maiden]]'', Op. 12 : Full score (p. 23-274).
:*''[[The Voyevoda (melodrama)|The Voyevoda]]'', melodrama : Full score of Domovoy's Monologue (p. 277-282).
:*''[[Hamlet (incidental music)|Hamlet]]'', incidental music, Op. 67b : Full score (p. 285-395).
::Kalmus edition Nos. 556 (p. 3-274), 557 (p. 277-395).


If we return, however, to Wagner's concerts in Russia in 1863, when Tchaikovsky first heard some orchestral numbers from ''Lohengrin'', it is worth noting that his initial reaction to the famous prelude was quite atypical. In contrast to all the other Conservatory students and professional musicians in Saint Petersburg, Tchaikovsky had remained "cold and sceptical" about Wagner's music, according to [[Herman Laroche]], and even the ''Lohengrin'' prelude had failed to make an impression on him <ref name="note10"/>. Looking back on their student years, [[Laroche]] observed more generally that "Wagner's music produced very little effect on Pyotr Ilyich back then or, rather, he didn't even like it. But his orchestration was quite another matter" <ref name="note11"/>. Now amongst the scores which Tchaikovsky and [[Laroche]] played through in arrangement for piano duet during their first year at the Conservatory (1862–63) was also that of ''Lohengrin'' (which was probably readily available after the sensational effect caused by the prelude at Wagner's concerts), but it seems that of all the composers whose music they studied in this way, "Tchaikovsky least of all liked Richard Wagner. He even openly criticized the famous prelude to ''Lohengrin'', and only many years later did he reconcile himself to the whole opera" <ref name="note12"/>. One reason for the young Tchaikovsky's indifference towards this overture, which just eight years later he would describe as "perhaps the most successful and inspired composition by the celebrated German composer" ([[TH 259]]), may well have been that the musical style of ''Lohengrin'' was so different to the Italian operas for which he still had a weakness. It may also have been due to Tchaikovsky's reluctance to fall under the sway of sudden new fashions. As [[Laroche]] remarks in his memoirs, both he and Tchaikovsky had maintained an ironical stance towards such concepts as the "organically unified work of art" (''Gesamtkunstwerk'') and the "artwork of the future" (''Kunstwerk der Zukunft''), which even before 1863 had been zealously preached in Russia by the Wagnerian [[Aleksandr Serov]]. Thus, "in spite of Wagner and [[Serov]]" they had both continued to take delight in the Grand Opera settings of [[Meyerbeer]]! <ref name="note13"/>
===Works for Orchestra===
'''[[Bibliography (1957/26)|Том 15А]]'''. Edited by Semyon Bogatyrov (1957). xiii, 187 pages. Plate M. 26268 Г.
:*[[Symphony No. 1]], ''Winter Daydreams'', Op. 13 : Full score.
::Kalmus edition No. 558.
'''[[Bibliography (1954/72)|Том 15Б]]'''. Edited by Semyon Bogatyrov (1954). ix, 305 pages. Plate M. 23819 Г.
:*[[Symphony No. 2]], Op. 17 : Full score of 1879 version (p. 3-165).
:*[[Symphony No. 2]], Op. 17 : Full score of 1872 version, extracts (p. 167-298).
::Kalmus edition No. 559.
'''[[Bibliography (1949/30)|Том 16А]]'''. Edited by Pavel Berlinsky (1949). xi, 211 pages. Plate M. 19886 Г.
:*[[Symphony No. 3]], Op. 29 : Full score.
::Kalmus edition No. 560.
'''[[Bibliography (1949/31)|Том 16Б]]'''. Edited by Pavel Berlinsky (1949). xi, 221 pages. Plate M. 19937 Г.
:*[[Symphony No. 4]], Op. 36 : Full score.
::Kalmus edition No. 561.
'''[[Bibliography (1963/44)|Том 17А]]'''. Edited by Georgy Kirkor (1963). xvi, 228 pages. Plate M. 30170 Г.
:*[[Symphony No. 5]], Op. 64 : Full score.
::Kalmus edition No. 562.
'''[[Bibliography (1963/43)|Том 17Б]]'''. Edited by Irina Iordan (1963). xx, 244 pages. Plate M. 30830 Г.
:*[[Symphony No. 6]], ''Pathétique'', Op. 74 : Full score.
::Kalmus edition No. 563.
'''[[Bibliography (1949/33)|Том 18]]'''. Edited by Yevgeny Makarov (1949). xv, 320 pages. Plate M. 19779 Г.
:*''[[Manfred]]'', Op. 58 : Full score.
::Kalmus edition No. 564.
'''[[Bibliography (1948/34)|Том 19А]]'''. Edited by Boris Karpov (1948). xiii, 201 pages. Plate M. 19017-a Г.
:*[[Suite No. 1]], Op. 43 : Full score.
::Kalmus edition No. 565.
'''[[Bibliography (1948/33)|Том 19Б]]'''. Edited by Boris Karpov (1948). v, 293 pages. Plate M. 19017-б Г.
:*[[Suite No. 2]], ''Suite caractéristique'', Op. 53 : Full score.
::Kalmus edition No. 566.
'''[[Bibliography (1946/36)|Том 20]]'''. Edited by Ivan Shishov (1946). xi, 366 pages. Plate M. 18330 Г.
:*[[Suite No. 3]], Op. 55 : Full score (p. 2-222).
:*[[Suite No. 4]], ''Mozartiana'', Op. 61 : Full score (p. 224-298).
:*[[Serenade for String Orchestra]], Op. 48 : Full score (p. 301-366).
::Kalmus edition Nos. 567 (p. 2-222), 568 (p. 224-298), 569 (p. 301-366).
'''[[Bibliography (1952/54)|Том 21]]'''. Edited by Pavel Lamm (1952). xi, 301 pages. Plate M. 22413 Г.
:*''[[The Storm]]'' : Full score (p. 3-82).
:*[[Overture in F major]] : Full score of 1865 version (p. 85-117).
:*[[Overture in F major]] : Full score of 1866 version (p. 121-210).
:*[[Overture in C minor]] : Full score (p. 213-300).
::Kalmus edition Nos. 570 (p. 3-82), 571 (p. 85-210), 572 (p. 213-300).
'''[[Bibliography (1960/53)|Том 22]]'''. Edited by Irina Iordan (1960). xvi, 185 pages. Plate M. 27269 Г.
:*[[Festival Overture on the Danish National Anthem]], Op. 15 : Full score (p. 1-79).
:*''[[Fatum]]'', Op. 77 : Full score (p. 85-171).
:*Appendix (p. 175-184).
::Kalmus edition Nos. 573 (p. 1-79), 607 (p. 85-184).
'''[[Bibliography (1950/44)|Том 23]]'''. Edited by Anatoly Drozdov & Igor Belza (1950). xiii, 227 pages. Plate M. 20556 Г.
:*''[[Romeo and Juliet]]'' : Full score of 1869 version (p. 3-86).
:*''[[Romeo and Juliet]]'' : Full score of 1880 version (p. 89-195).
:*''[[Romeo and Juliet]]'' : Full score of 1870 version, fragment (p. 199-223).
::Kalmus edition Nos. 574 (p. 3-86), 575 (p. 89-223).
'''[[Bibliography (1961/35)|Том 24]]'''. Edited by Irina Iordan (1961). xix, 337 pages. Plate M. 28912 Г.
:*[[Serenade for Nikolay Rubinstein's Name-Day]] : Full score (p. 3-8).
:*''[[The Tempest]]'', Op. 18 : Full score (p. 13-114).
:*[[Slavonic March]], Op. 31 : Full score (p. 117-181).
:*''[[Francesca da Rimini]]'', Op. 32 : Full score (p. 187-326).
:*Appendix (p. 329-336).
::Kalmus edition Nos. 576 (p. 3-114), 577 (p. 117-181), 578 (p. 187-336).
'''[[Bibliography (1961/37)|Том 25]]'''. Edited by Aleksandr Nikolayev (1961). xviii, (1), 239 pages. Plate M. 28816 Г.
:*''[[Italian Capriccio]]'', Op. 45 : Full score (p. 3-96).
:*''[[The Year 1812]]'', Op. 49 : Full score (p. 97-186).
:*[[Coronation March]] : Full score (p. 187-232).
:*Appendix (p. 235-238).
::Kalmus edition Nos. 579 (p. 3-96), 580 (p. 97-186), 581 (p. 187-232).
'''[[Bibliography (1961/36)|Том 26]]'''. Edited by Irina Iordan (1961). xvii, 246 pages. Plate M. 29301 Г.
:*[[Elegy]] for string orchestra : Full score (p. 5-11).
:*[[Jurisprudence March]] : Full score (p. 15-41).
:*''[[Hamlet (overture-fantasia)|Hamlet]]'' (overture-fantasia), Op. 67 : Full score (p. 47-150).
:*''[[The Voyevoda (symphonic ballad)|The Voyevoda]]'', symphonic ballad, Op. 78 : Full score (p. 155-239).
:*Appendix (p. 241-245).
::Kalmus edition Nos. 582 (p. 5-41), 583 (p. 47-150), 584 (p. 155-245).


Full-scale productions of ''Lohengrin'' and ''Tannhäuser'' were mounted at the Mariinsky Theatre in [[Saint Petersburg]] in 1868 and 1874 respectively, but these operas were not staged at the Bolshoi Theatre in [[Moscow]] until the 1880s <ref name="note14"/>. In an article of 1875, Tchaikovsky laments the fact that [[Moscow]]'s principal stage was dominated by the standard Italian repertoire, in contrast to the situation in [[Saint Petersburg]], where theatre-goers had the chance to see more varied and interesting operas, including those two by Wagner ([[TH 301]]). It seems that before his visit to [[Bayreuth]] in the summer of 1876 to report on the inauguration of the new festival theatre with the first complete performance of the ''Ring'' cycle, the only operas by Wagner which Tchaikovsky had been able to hear on the stage were ''Lohengrin'' and ''Tannhäuser'' (and just once in each case). Now although the 'symphonic' use of recurring themes is not as pronounced in these two operas as in the later 'music dramas', it is significant that in those articles from the first half of the 1870s in which he discusses Wagner at length, Tchaikovsky already writes critically of his strong reliance on the orchestra, to which the vocal lines were wholly subordinated. This indicates, as Rosamund Bartlett has pointed out, that Tchaikovsky had been thinking a lot about Wagner's theories for the reform of opera, which he had probably read about not in the original essays as such, but in articles in the Russian and German press that referred to them <ref name="note15"/>.
===Vocal Works with Orchestra===
'''[[Bibliography (1960/52)|Том 27]]'''. Edited by Irina Iordan (1960). xv, 519 pages. Plate M. 18604 Г.
:*''[[Ode to Joy]]'' : Full score (p. 3-185).
:*[[Cantata for the Opening of the Polytechnic Exhibition]] : Full score (p. 189-337).
:*''[[Chorus for the Jubilee of Osip Petrov]]'' : Full score (p. 341-357).
:*''[[Moscow (cantata)|Moscow]]'' : Full score (p. 361-451).
:*''[[At Bedtime]]'' : Arrangement for chorus with orchestra by Tchaikovsky. Full score (p. 455-470).
:*''Dawn'' (No. 6 of [[Six Duets, Op. 46]]) : Arrangement for voices with orchestra by Tchaikovsky. Full score (p. 473-485).
:*''Was I Not a Little Blade of Grass?'' (No. 7 of [[Seven Romances, Op. 47]]) : Arrangement for voice with orchestra by Tchaikovsky. Full score (p. 489-500).
:*''[[Legend]]'' (No. 5 of [[Sixteen Songs for Children, Op. 54]]) : Arrangement for voice with orchestra by Tchaikovsky. Full score (p. 501-505).
:*Appendix (p. 507-517).
::Kalmus edition Nos. 585 (p. 3-185), 586 (p. 189-337), 587 (p. 341-451), 588 (p. 455-517).


For example, in 1872, before reviewing a performance in [[Moscow]] of the ''Faust'' overture — which in his view was comparable to [[Beethoven]] and [[Schumann]]'s finest symphonic works — Tchaikovsky devotes several paragraphs to a discussion of Wagner's leitmotif technique and its use in the characterization of personages ([[TH 270]]). His criticism in this article of the way in which Wagner assigned most of the expressive burden to the orchestra, to the detriment of the singers, was not based on much direct evidence, though. Referring to the only opera of Wagner's which he had heard on the stage so far, Tchaikovsky describes the choral groups in ''Lohengrin'' as "a characterless mass of voices echoing the orchestra as they sing". He also cites the way in which the love-duet from ''Tristan'' (with its announcement of the "Liebestod" theme) had been played without any singers at Wagner's concerts in 1863 as proof of how Wagner was at heart a symphonist who had no interest in writing for the voice! This notion of Wagner as a composer who had been led astray from his true symphonic vocation by a mixture of misguided theories and inordinate ambition is one that Tchaikovsky repeated in many subsequent articles and letters. He would formulate it most pithily perhaps in a statement he wrote down for an American newspaper in 1891 — ''[[Wagner and His Music]]'' (TH 319).
===Works for Piano with Orchestra===
'''[[Bibliography (1955/34)|Том 28]]'''. Edited by Aleksandr Goldenweiser (1955). xvi, 351 pages. Plate M. 24321. Г.
:*[[Piano Concerto No. 1]], Op. 23 : Full score (p. 5-161).
:*[[Piano Concerto No. 2]], Op. 44 : Full score (p. 167-347).
::Kalmus edition Nos. 590 (p. 5-161), 591 (p. 167-347).
'''[[Bibliography (1954/25)|Том 29]]'''. Edited by Aleksandr Goldenweiser (1954). xiv, 255 pages. Plate M. 24341 Г.
:*[[Concert Fantasia]], Op. 56 : Full score (p. 5-155).
:*[[Piano Concerto No. 3]], Op. 75 : Full score (p. 161-254).
::Kalmus edition Nos. 592 (p. 5-155), 593 (p. 161-254).


But Tchaikovsky's criticisms of Wagner as an opera composer in the articles he wrote in the first half of the 1870s were of course based more on hearsay than on first-hand impressions, and this was in fact probably one of the main reasons why he accepted one last assignment as a music critic and agreed to report on the inaugural [[Bayreuth]] Festival in the summer of 1876. In spite of all his misgivings about Wagner's approach to opera, which, it must be stressed again, were until then informed mainly by an acquaintance with the German composer's theories rather than their practical realisation, Tchaikovsky had some reason to look forward to this notable event in the musical life of Europe. After all, at an RMS concert in [[Moscow]] in April 1875 he had been greatly impressed by a performance of the Ride of the Valkyries (see [[TH 306]]), and in the autumn of that year, together with [[Laroche]], [[Nikolay Rubinstein]], [[Karl Albrecht]], and the singing teacher Berta Walseck, Tchaikovsky had regularly attended the soirées at [[Karl Klindworth]]'s flat to hear him play through, act by act, his piano-vocal transcriptions of the four operas of the ''Ring'' cycle (which [[Klindworth]] was working on at the request of Wagner himself) <ref name="note16"/>.
===Works for Violin with Orchestra===
'''[[Bibliography (1949/35)|Том 30А]]'''. Edited by Valentina Rachkovskaya (1949). xii, 173 pages. Plate M. 19836 Г.
:*''[[Sérénade mélancolique]]'', Op. 26 : Full score (p. 3-16).
:*''[[Valse-Scherzo, Op. 34|Valse-Scherzo]]'', Op. 34 : Full score (p. 19-46).
:*[[Violin Concerto]], Op. 35 : Full score (p. 49-170).
::Kalmus edition Nos. 594 (p. 3-46), 595 (p. 49-170).


As Tchaikovsky wrote in a letter to [[Hans von Bülow]], [[Klindworth]] had amazed them all with "his masterly interpretation of this complicated and difficult music" <ref name="note17"/>. Now Tchaikovsky felt himself greatly indebted to [[Klindworth]], his colleague at the Conservatory, because, through his contacts in his native Germany, [[Klindworth]] had done a lot to promote his music in the West (e.g. in 1871 he had made a piano arrangement of the overture-fantasia ''[[Romeo and Juliet]]'', which soon became very popular in Germany). [[Laroche]] would later suggest that it was out of a sense of gratitude to [[Klindworth]], who happened to be a fanatic Wagnerian, that Tchaikovsky had not dared to criticize ''The Ring'' as openly as he might have wished in the concluding chapters of his article on the first [[Bayreuth]] Festival: "Pyotr Ilyich trembled before him [i.e. [[Klindworth]]] like an aspen leaf, so he never dared to disclose his true feelings about the creator of the ''Nibelungen'', and, to my extreme surprise, even in his feuilleton articles he sugared the pill as far as he could, out of fear of angering [[Klindworth]]" <ref name="note18"/>. For there is no doubt that the experience of hearing the complete ''Ring'' cycle in August 1876 really did turn out to be a disappointment for Tchaikovsky. Or perhaps not so much a disappointment as a confirmation of his worst fears, since by the start of the summer of 1876 it seems that Tchaikovsky was no longer very keen on travelling to [[Bayreuth]]. Moreover, as he would himself admit at the end of his article ''[[The Bayreuth Music Festival]]'' (TH 314), he had failed to prepare himself adequately beforehand by studying Wagner's text for the four operas of ''The Ring ''<ref name="note19"/>.
===Works for Cello with Orchestra===
'''[[Bibliography (1956/24)|Том 30Б]]'''. Edited by Viktor Kubatsky (1956). xiii, 95 pages. Plate M. 25739 Г.
:*''[[Variations on a Rococo Theme]]'', Op. 33 : Full score (p. 5-46).
:*''[[Pezzo capriccioso]]'', Op. 62 : Full score (p. 47-69).
:*''Andante Cantabile'' (from [[String Quartet No. 1]], Op. 11) : Tchaikovsky's arrangement for cello and strings. Full score (p. 71-79).
:*''Nocturne'' (No. 4 of [[Six Pieces, Op. 19]]) : Tchaikovsky's arrangement for cello and orchestra. Full score (p. 83-89).
:* Appendix (p. 93-94).
::Kalmus edition No. 596.


Tchaikovsky arrived in [[Bayreuth]] on 12 August 1876 {{NS}}, just in time for the first performance of ''Das Rheingold'' the following day, which opened the inaugural ''Ring'' cycle. Already waiting for him in this picturesque Bavarian town were [[Laroche]], who had also been commissioned to report on the festival for a Russian newspaper, and [[Klindworth]], who had tried in vain to persuade Tchaikovsky to come earlier so as not to miss the dress rehearsals <ref name="note20"/>. It was probably armed with a letter of recommendation from [[Klindworth]] that Tchaikovsky later that day made his way to Wagner's house, perhaps hoping to obtain an exclusive interview (!) for the journal which was paying his travel expenses, but it is understandable that Wagner on the eve of the realisation of his boldest dreams was refusing to receive any callers. Tchaikovsky just seems to have caught a glimpse of the great German composer from afar, whilst watching the reception for Emperor Wilhelm I at the railway station (see Chapter IV of [[TH 314]]).
===Chamber Ensembles===
'''[[Bibliography (1955/33)|Том 31]]'''. Edited by Anatoly Aleksandrov (1955). xiii, 162 pages. Plate M. 24691 Г.
:*[[String Quartet in B-flat major]] in B-flat major : Score (p. 3-19) and parts.
:*[[String Quartet No. 1]], Op. 11 : Score (p. 25-60) and parts.
:*[[String Quartet No. 2]], Op. 22 : Score (p. 63-109) and parts.
:*[[String Quartet No. 3]], Op. 30 : Score (p. 115-161) and parts.
::Kalmus edition No. 598 (score only).
'''[[Bibliography (1951/39)|Том 32А]]'''. Edited by Aleksandr Goldenweiser (1951). xii, 151 pages. Plate M. 18396 Г.
:*[[Piano Trio]], Op. 50 : Score and Parts (p. 5-124).
:* Appendix (p. 127-150).
::Kalmus edition No. 599 (score only).
'''[[Bibliography (1952/52)|Том 32Б]]'''. Edited by Aleksandr Goldenweiser (1952). xii, 108 pages. Plate M. 22452 Г.
:*''[[Souvenir de Florence]]'', Op. 70 : Score and Parts.
:* Appendix (p. 89-108).
::Kalmus edition No. 600 (score only).


In two letters to his brother [[Modest]] quoted below and Chapters IV and V of ''[[The Bayreuth Music Festival]]'' (TH 314), Tchaikovsky gives a vivid account of his impressions of the festival, as well as of the inconveniences which he and the many other visitors had to endure in [[Bayreuth]], a small town that seems to have been quite unprepared for such an influx of tourists! According to some comments later made by [[Laroche]] for [[Modest Tchaikovsky]]'s biography of the composer, in private conversations with him at the time Tchaikovsky had made no secret of his dislike for ''The Ring'', but whenever [[Klindworth]] was present he had been careful not to say anything against Wagner. On the whole, though, "listening to and watching the never-ending acts of Wagner's tetralogy (especially ''Das Rheingold'' and Act I of ''Götterdämmerung'', both of which dragged on for some two hours without any interval); having to sit there locked up in the dark and tropically hot amphitheatre; the futile attempts to make sense of anything in the verbose libretto, which was, moreover, written in an archaic language that even the Germans themselves had trouble understanding — all this had a dispiriting effect on Pyotr Ilyich, and he literally only came to life again after the last notes had rung out and he was sitting in front of a tankard of beer waiting for dinner to be served, though the latter was in most cases quite unpalatable" <ref name="note21"/>.
===Arrangements for Voices with Piano===
'''[[Bibliography (1965/83)|Том 33]]'''. Edited by Georgy Kirkor (1965). xviii, 315 pages. Plate 977.
:*''[[Ode to Joy]]'' : Vocal-piano score (p. 3-81).
:*[[Cantata for the Opening of the Polytechnic Exhibition]] : Vocal-piano score, arranged by Yury Pomerantsev (p. 85-148).
:*[[Chorus for the Jubilee of Osip Petrov]] : Vocal-piano score (p. 151-158).
:*''[[Moscow (cantata)|Moscow]]'' : Vocal-piano score, arranged by Tchaikovsky (p. 161-198).
:*''[[At Bedtime]]'' : Arrangement for chorus with orchestra by Tchaikovsky. Vocal-piano score (p. 201-208).
:*''[[The Snow Maiden]]'', Op. 12 : Vocal-piano score, arranged by Tchaikovsky (p. 211-310).
:* Appendix [fragment from the Polytechnic Exhibition cantata] (p. 313-314)
::Kalmus editions 6768 (p. 3-81), 6769 (p. 85-148), 6770 (p. 151-208), 6749 (p. 211-314).
'''[[Bibliography (1959/53)|Том 34]]'''. Edited by Anatoly Dmitriyev (1959). xix, 379 pages. Plate M. 27037 Г.
:* ''[[The Oprichnik]]'' : Vocal-piano score, arranged by Tchaikovsky.
::Kalmus edition 6750.
'''[[Bibliography (1956/27)|Том 35]]'''. Edited by V. D. Vasilyev (1956). xviii, 423 pages. Plate M. 25858 Г.
:*''[[Vakula the Smith]]'', Op. 14 : Vocal-piano score, arranged by Tchaikovsky. Also includes orchestral extracts not re-used in Cherevichki.
::Kalmus edition 6751.
'''[[Bibliography (1946/35)|Том 36]]'''. Edited by Ivan Shishov (1946). xiii, 395 pages. Plate M. 18444 Г.
:*''[[Yevgeny Onegin]]'', Op. 24 : Vocal-piano score, arranged by Tchaikovsky.
::Kalmus edition 6456.
'''[[Bibliography (1963/45)|Том 37]]'''. Edited by V. D. Vasilyev (1963). xviii, 513 pages. Plate M. 30576 Г.
:*''[[The Maid of Orleans]]'' : Vocal-piano score, arranged by Yu. Messer and I. Kotek.
::Kalmus edition 6753.
'''[[Bibliography (1968/43)|Том 38]]'''. Edited by V. D. Vasilyev (1968). xx, 399 pages. Plate 5766.
:*''[[Mazepa]]'' : Vocal-piano score, arranged by Tchaikovsky.
::Kalmus edition 6754.
'''[[Bibliography (1951/42)|Том 39]]'''. Edited by V. D. Vasilyev (1951). xiv, 384 pages. Plate M. 21674 Г.
:*''[[Cherevichki]]'' : Vocal-piano score, arranged by Tchaikovsky.
::Kalmus edition 6755.
'''[[Bibliography (1949/37)|Том 40А]]'''. Edited by Ivan Shishov (1949). xii, 267 pages. Plate M. 18632-a Г.
:*''[[The Enchantress]]'' : Vocal-piano score of Acts I and II, arranged by Tchaikovsky.
::Kalmus edition 6756.
'''[[Bibliography (1949/38)|Том 40Б]]'''. Edited by Ivan Shishov (1949). xii, 221 pages. Plate M. 18632-б Г.
:*''[[The Enchantress]]'' : Vocal-piano score of Acts III and IV, arranged by Tchaikovsky.
::Kalmus edition 6756.
'''[[Bibliography (1950/49)|Том 41]]'''. Edited by Anatoly Dmitriyev (1950). xiii, 425 pages. Plate M. 20727 Г.
:*''[[The Queen of Spades]]'', Op. 68 : Vocal-piano score, arranged by Tchaikovsky.
::Kalmus edition 6757.
'''[[Bibliography (1953/52)|Том 42]]'''. Edited by V. D. Vasilyev (1953). x, 233 pages. Plate M. 23723 Г.
:*''[[Iolanta]]'', Op. 69: Vocal-piano score, arranged by S. Taneyev.
::Kalmus edition 6758.


Despite [[Laroche]]'s suggestion that Tchaikovsky had not dared to voice in public his true opinion of ''The Ring'', for fear of offending [[Klindworth]], the concluding paragraphs of his article for the ''Russian Register'' ([[TH 314]]) are remarkably frank and, taking into account all the observations about Wagner that Tchaikovsky made in the course of his life, there is no way that one could accuse him of inconsistency:
===Choruses and Ensembles===
'''[[Bibliography (1941/31)|Том 43]]'''. Edited by Ivan Shishov & Nikolay Shemanin (1941). xi, 157 pages.
:*''[[At Bedtime]]'' [1st version] : Score (p. 5-8).
:*''[[Evening]]'' : Score (p. 9-11).
:*''[[The Golden Cloud Did Sleep]]'' : Score (p. 12-13)
:*''[[Blessed is He Who Smiles]]'' : Score (p. 14-17).
:*''[[A Greeting to Anton Rubinstein]]'' : Score (p. 18-22).
:*''[[The Nightingale]]'' : Score (p. 23-25).
:*[[Three Choruses (1891)|Three Choruses]] : Score (p. 26-42).
:*''[[Night]]'', quartet : Score (p. 43-55).
:*''[[Nature and Love]]'' : Score (p. 59-82).
:*[[Six Duets, Op. 46]] : Score (p. 85-149).
::Kalmus edition Nos. 6759 (p. 5-82), 6760 (p. 85-149).


{{quote|And so, by way of conclusion, I should like to say something about the overall impression which this performance of ''Der Ring des Nibelungen'' has left me with. Firstly, it has left me with a vague recollection of many strikingly beautiful musical features, especially of a symphonic kind, which is very strange, given that Wagner least of all intended to write operas in a symphonic style. Secondly, it has left me with respectful admiration for the author's tremendous talent and his incredibly rich technique. Thirdly, it has left me with misgivings as to whether Wagner's view of opera is correct. Fourthly, it has left me greatly exhausted, but at the same time it has also left me with the wish to continue my study of this most complicated work of music ever written.}}
===Romances and Songs===
'''[[Bibliography (1940/208)|Том 44]]'''. Edited by Ivan Shishov & Nikolay Shemanin (1940). xvi, 304 pages. Plate M. 16971 Г.
:*''[[My Genius, My Angel, My Friend]]'' : Score (p. 3-4).
:*''[[Zemfira's Song]]'' : Score, edited by K. Albrecht (p. 5-7).
:*''[[Mezza notte]]'' : Score (p. 8-11).
:*[[Six Romances, Op. 6]] : Score (p. 15-42).
:*''[[To Forget So Soon]]'' : Score (p. 45-49).
:*[[Six Romances, Op. 16]] : Score (p. 53-86).
:*[[Two Songs (1873)]] : Score (p. 89-99).
:*[[Six Romances, Op. 25]] : Score (p. 103-132).
:*[[Two Songs (1875)]] : Score (p. 135-142).
:*[[Six Romances and Songs, Op. 27]] : Score (p. 145-177).
:*[[Six Romances, Op. 28]] : Score (p. 181-209).
:*[[Six Romances, Op. 38]] : Score (p. 213-245).
:*[[Seven Romances, Op. 47]]: Score (p. 249-295).
::Kalmus edition Nos. 6761 (p. 3-99), 6752 (p. 103-177), 6762 (p. 181-295).
'''[[Bibliography (1940/209)|Том 45]]'''. Edited by Ivan Shishov & Nikolay Shemanin (1940). xi, 239 pages. Plate M. 16980 Г.
:*[[Sixteen Songs for Children, Op. 54]] : Score (p. 3-68).
:*[[Six Romances, Op. 57]] : Score (p. 71-97).
:*[[Twelve Romances, Op. 60]] : Score (p. 101-158).
:*[[Six Romances, Op. 63]] : Score (p. 163-186).
:*[[Six French Songs, Op. 65 ]] : Score (p. 189-211).
:*[[Six Romances, Op. 73]] : Score (p. 215-236).
::Kalmus edition Nos. 6763 (p. 3-97), 6764 (p. 101-186), 6765 (p. 189-236).


Although Tchaikovsky does not seem to have subsequently studied the scores of the four operas of ''The Ring'' in the same way that he went over the score of ''Lohengrin'' when working on the orchestration of ''[[The Maid of Orleans]]'' in 1879, hoping to learn something from Wagner's techniques (as he explained in letter 1171 to [[Nadezhda von Meck]]), or that of ''Parsifal'' in the summers of 1884 and 1886, towards the end of 1877 he did attend a performance of ''Die Walküre'' in [[Vienna]], mainly with a view to checking his first impressions from [[Bayreuth]] the year before. This renewed experience of ''Die Walküre'' resulted in a fascinating letter to [[Nadezhda von Meck]] (letter 661, also quoted below) in which Tchaikovsky re-iterated his view of Wagner as a symphonist of genius who had unfortunately strayed into the genre of opera. Written at a time when he was working on ''[[Yevgeny Onegin]]'', Tchaikovsky's letter recording his thoughts about ''Die Walküre'' also contains an interesting remark about how it was impossible to feel any sympathy for "all those Wotans and Brünnhildes" because they were "so impossible and un-human" as characters. This criticism of Wagner's use of Nordic mythological figures in his operas, which ties in with his rejection at around the same time of the "Egyptian princesses and pharaohs" depicted by [[Verdi]] in ''Aida'', shows how it was indeed partly in reaction to Wagner that Tchaikovsky "developed and articulated his own views about the composition of opera" <ref name="note22"/>. Indirectly perhaps, the negative experience of [[Bayreuth]] and the dense mythical narration of ''The Ring'' with its gods, giants, dragons, and dwarves, caused Tchaikovsky to take up with such enthusiasm [[Yelizaveta Lavrovskaya]]'s suggestion in May 1877 that he should write an opera based on [[Pushkin]]'s ''[[Yevgeny Onegin]]'' — an opera which he entitled "lyrical scenes", and in which, significantly, he set out to depict the emotions of "real people, not puppets"! <ref name="note23"/>
===Arrangements for Piano===
'''[[Bibliography (1954/73)|Том 46А]]'''. Edited by Aleksandr Goldenweiser (1954). xvi, 245 pages. Plate M. 24360 Г.
:*[[Piano Concerto No. 1]], Op. 23 : Transcription for two pianos by Tchaikovsky (p. 5-125).
:*[[Piano Concerto No. 2]], Op. 44 : Transcription for two pianos by Tchaikovsky (p. 131-244).
::Kalmus edition Nos. 4047 (p. 5-125), 4048 (p. 131-244).
'''[[Bibliography (1954/74)|Том 46Б]]'''. Edited by Aleksandr Goldenweiser (1954). x, 123 pages. Plate M. 24361 Г.
:*[[Concert Fantasia]], Op. 56 : Transcription for two pianos by Tchaikovsky (p. 5-67).
:*[[Piano Concerto No. 3]], Op. 75 : Transcription for two pianos by Tchaikovsky (p. 73-122).
::Kalmus edition Nos. 4049 (p. 5-67), 4050 (p. 73-122).
'''[[Bibliography (1961/34)|Том 47]]'''. Edited by Semyon Bogatyrov (1961). ix, 163 pages. Plate M. 25274 Г.
:*[[Symphony No. 2]], Op. 17 : Transcription for piano four hands by Tchaikovsky. 1879 version (p. 7-90).
:*[[Symphony No. 2]], Op. 17 : Transcription for piano four hands by Tchaikovsky. 1872 version, extracts (p. 93-156).
::Kalmus edition No. 4051.
'''[[Bibliography (1964/40)|Том 48]]'''. Edited by Irina Iordan (1964). xvi, 215 pages. Plate 950.
:*''[[Manfred]]'', Op. 58 : Transcription for piano four hands by Tchaikovsky and A. Hubert (p. 5-126).
:*[[Symphony No. 6]], Op. 74 : Transcription for piano four hands by Tchaikovsky (p. 131-214).
::Kalmus edition Nos. 4052 (p. 5-126), 4053 (p. 131-214).
'''[[Bibliography (1952/53)|Том 49]]'''. Edited by Boris Karpov (1952). xix, 296 pages. Plate M. 25196 Г.
:*[[Suite No. 1]], Op. 43 : Transcription for piano four hands by Tchaikovsky (p. 5-79).
:*[[Suite No. 2]], Op. 53 : Transcription for piano four hands by Tchaikovsky and [[Aleksandra Hubert]] (p. 85-169).
:*[[Suite No. 3]], Op. 55 : Transcription for piano four hands by Tchaikovsky (p. 175-266).
:*Appendix (p. 269-295).
::Kalmus edition Nos. 4054 (p. 5-79), 4055 (p. 85-169), 4056 (p. 175-266).
'''[[Bibliography (1965/81)|Том 50А]]'''. Edited by Irina Iordan (1965). xii, 99 pages. Plate 1050.
:*[[Festival Overture on the Danish National Anthem]], Op. 15 : Transcription for piano four hands by Tchaikovsky (p. 1-40).
:*''[[Italian Capriccio]]'', Op. 45 : Transcription for piano four hands by Tchaikovsky (p. 45-90).
:*Appendix (p. 93-97).
::Kalmus edition No. 4057.
'''[[Bibliography (1965/82)|Том 50Б]]'''. Edited by Irina Iordan (1965). xii, 103 pages. Plate 1051.
:*[[Serenade for String Orchestra]], Op. 48 : Transcription for piano four hands by Tchaikovsky (p. 3-68).
:*[[Slavonic March]], Op. 31 : Transcription for solo piano by Tchaikovsky (p. 71-86).
:*[[Coronation March]] : Transcription for solo piano by Tchaikovsky (p. 89-96).
:*Appendix (p. 99-101).
::Kalmus edition No. 4058.


Tchaikovsky, unlike [[Laroche]], did not stay on at [[Bayreuth]] for further performances of the ''Ring'' cycle but rushed off (via [[Nuremberg]] and [[Vienna]]) to [[Verbovka]] in the Ukraine, to spend the rest of the summer with his sister [[Aleksandra Davydova|Aleksandra]]'s family. It is worth emphasizing, though, that in spite of the feeling of "exhaustion" which the tetralogy had left him with, in his review of the festival he sincerely praised the "tremendous artistic endeavour" which Wagner had accomplished in creating a whole new theatre and festival out of nothing. For Tchaikovsky, this notable event was a vindication of the value of art against the utilitarians, both in Russia and the West, who believed only in technical progress (see Chapter V of [[TH 314]]). Ironically, the unprofitability of this first festival at [[ Bayreuth]] almost scuppered Wagner's ambitious project, as the ticket sales failed to cover the huge expenses, leaving a debt of some 148,000 marks and preventing a repeat of the festival until 1882, when ''Parsifal'' was premiered. Tchaikovsky did not travel to [[Bayreuth]] on that occasion…
===Works for Piano===
'''[[Bibliography (1945/35)|Том 51А]]'''. Edited by Ivan Shishov (1945). vii, 123 pages.
:*[[Theme with Variations|Theme with Variations]] in A minor : Score (p. 3-24).
:*[[Piano Sonata in C-sharp minor]], Op. 80 : Score (p. 27-77).
:* ''[[Scherzo à la russe]]'', Op. 1, No. 1 : Score (p. 81-93).
:* ''[[Impromptu in E-flat minor|Impromptu]]'' in E-flat minor, Op. 1, No. 2 : Score (p. 94-102).
:*''[[Souvenir de Hapsal]]'', Op. 2 : Score (p. 105-120).
::Kalmus edition No. 4059.
'''[[Bibliography (1946/37)|Том 51Б]]'''. Edited by Ivan Shishov (1946). xi, 219 pages. Plate M. 18380 Г.
:*''[[Valse-Caprice]]'', Op. 4 : Score (p. 3-20).
:*''[[Romance]]'', Op. 5 : Score (p. 23-28).
:*''[[Valse-Scherzo, Op. 7|Valse-Scherzo]]'' : Score (p. 31-40).
:*''[[Capriccio]]'' : Score (p. 43-53).
:*[[Three Pieces, Op. 9]] : Score (p. 57-77).
:*[[Two Pieces, Op. 10]] : Score (p. 81-88).
:*[[Six Pieces, Op. 19]] : Score (p. 91-135).
:*[[Six Pieces on a Single Theme, Op. 21]] : Score (p. 139-177).
:*3 Transcriptions (from [[Six Romances, Op. 16]]) : Score (p. 181-193).
:*[[Potpourri on Themes from the Opera 'The Voyevoda']] : Score (p. 197-215).
::Kalmus edition Nos. 4060 (p. 3-88), 4061 (p. 91-215).
'''[[Bibliography (1948/32)|Том 52]]'''. Edited by Anatoly Drozdov (1948). xi, 245 pages. Plate M. 18608 Г.
:*''[[The Seasons]]'', Op. 37a : Score (p. 3-62).
:*''[[The Volunteer Fleet]]'' : Score (p. 65-70).
:*[[Twelve Pieces, Op. 40]] : Score (p. 73-136).
:*''[[Children's Album]]'', Op. 39 : Score (p. 139-170).
:*''[[Grand Sonata]]'', Op. 37 : Score (p. 173-241).
::Kalmus edition Nos. 4062 (p. 3-70), 4063 (p. 73-136), 4064 (p. 139-241).
'''[[Bibliography (1949/32)|Том 53]]'''. Edited by Anatoly Drozdov (1949). xi, 239 pages. Plate M. 18919 Г.
:*[[Six Pieces, Op. 51]] : Score (p. 3-53).
:*''[[Impromptu-Caprice]]'' : Score (p. 57-60).
:*''[[Dumka]]'', Op. 59 : Score (p. 63-74).
:*''[[Valse-Scherzo (1889)|Valse-Scherzo]]'' : Score (p. 77-82).
:*''[[Impromptu in A-flat major|Impromptu]]'' in A-flat major : Score (p. 85-88).
:*[[Military March]] : Score (p. 91-94).
:*[[Eighteen Pieces, Op. 72]] : Score (p. 97-225).
:*''[[Aveu passionné]]'' : Score (p. 229-231).
:*Appendix (p. 235).
::Kalmus edition Nos. 4065 (p. 3-94), 4066 (p. 97-235).


However, it was not just with a sense of "liberation from captivity" (as he put it in a letter to his brother [[Modest]]) that Tchaikovsky boarded the train from [[Bayreuth]] on 18 August 1876 {{NS}}, but also with plenty of impressions in his musical baggage. This much is clear from a conversation which he had with [[Nikolay Kashkin]] once he was back in [[Moscow]] for the start of the new academic year at the Conservatory: "With regard to ''[[The Tempest]]'' [1873] Tchaikovsky and I had the following conversation shortly after his return from [[Bayreuth]], in 1876. When he set off there he was not a very ardent Wagnerian, and he was even less so on his return. After listening to ''Der Ring der Nibelungen'' he was dissatisfied not so much with the music as with the overall nature of the subject and its pomposity. In the music, on the other hand, there was a lot that he considered to be touched by genius. Recalling the introduction to ''Das Rheingold'', which is based entirely on a figuration of a very simple chord, he once said: 'Now that is a true genius who has the courage to carry out his conception in all its purity. I had exactly the same idea for the opening of ''[[The Tempest]]'', but was afraid that it might appear as far too monotonous, and that's why I added some small phrases for the wind instruments, which I didn't really need at all'" <ref name="note24"/>.
===Ballet Transcriptions for Solo Piano===
'''[[Bibliography (1956/28)|Том 54]]'''. Edited by V. D. Vasilyev (1956). xvi, 167 pages. Plate M. 25109 Г.
:*''[[The Nutcracker]]'', Op. 71 : Simplified transcription for solo piano by Tchaikovsky.
::Kalmus edition No. 4067.
'''[[Bibliography (1958/58)|Том 56]]'''. Edited by Irina Iordan & Georgy Kirkor (1958). xvi, 277 pages. Plate M. 26493 Г.
:*''[[Swan Lake]]'', Op. 20 : Transcription for solo piano by [[Nikolay Kashkin]].
::Kalmus edition No. 4068.
'''[[Bibliography (1954/75)|Том 57]]'''. Edited by Anatoly Dmitriyev (1954). x, 271 pages. Plate M. 24186 Г.
:*''[[The Sleeping Beauty]]'', Op. 66 : Transcription for solo piano by [[Aleksandr Ziloti]].
::Kalmus edition No. 4069.


A number of works by Tchaikovsky have been described as showing signs of Wagner's influence — indeed, already in his lifetime some Russian critics argued that he was moving closer to Wagnerian practice in his later operas, such as '' [[The Enchantress]]'' (1885–87) <ref name="note25"/>. However, Thomas Kohlhase has called for caution in this respect, pointing out that many of the associations that have been made (e.g. between ''Tristan'' and Tchaikovsky's last opera ''[[Iolanta]]'') are speculative or even downright subjective <ref name="note26"/>. There is one work, though, in which Tchaikovsky did openly recognize that he had been influenced by what he had heard in [[Bayreuth]] in August 1876, namely the fantasia ''[[Francesca da Rimini]]''.
===Works for Violin with Piano===
'''[[Bibliography (1946/33)|Том 55А]]'''. Edited by Ivan Shishov & Nikolay Shemanin (1946). vii, 161 pages + violin part (63 pages). Plate M. 17607 Г.
:*''[[Sérénade mélancolique]]'', Op. 26 : Transcription for violin with piano by Tchaikovsky (p. 3-12).
:*''[[Valse-Scherzo, Op. 34|Valse-Scherzo]]'', Op. 34 : Transcription for violin with piano by Tchaikovsky (p. 15-36).
:*[[Violin Concerto]], Op. 35 : Transcription for violin with piano by Tchaikovsky (p. 39-101).
:*''[[Souvenir d'un lieu cher]]'', Op. 42 : Score (p. 105-134).
:*''Humoresque'' from [[Two Pieces, Op. 10]] : Transcription for violin with piano by Tchaikovsky (p. 137-142).
:* Andante funebre from [[String Quartet No. 3]] : Transcription for violin with piano by Tchaikovsky (p. 143-153).
::Kalmus edition Nos. 4070 (p. 3-101), 4071 (p. 105-153).


It is interesting that Tchaikovsky's original plan had been to write an opera on the tragic story of Francesca and Paolo from [[Dante]]'s ''Inferno''. In February 1876, he received a libretto on this subject from [[Konstantin Zvantsev]], who was a fanatical Wagnerian and had translated into Russian the librettos of ''Lohengrin'' and ''Tannhäuser ''<ref name="note27"/>. However, [[Zvantsev]] seems to have demanded that the opera should be written according to Wagnerian principles, and since Tchaikovsky would not accept any such interference in his creative work, nothing came of this projected opera (see [[TH 212]]). Still, the idea so appealed to Tchaikovsky that one of the first tasks he applied himself to upon his return to Russia in the autumn of 1876 was to write ''[[Francesca da Rimini]]'' as a symphonic fantasia. It was completed by November that year and premiered in [[Moscow]] on 25 February/9 March 1877. When the fantasia received its first performance in [[Saint Petersburg]] the following year (on 11/23 March 1878), Tchaikovsky, who was then living abroad, was informed of its great success by his relatives and friends in Russia, including [[Sergey Taneyev]], who passed on to him some observations made by [[César Cui]] after the concert. [[Cui]], the only member of the "Mighty Handful" who had attended the [[Bayreuth]] festival in 1876, had pointed out that ''[[Francesca da Rimini]]'' betrayed the influence of ''The Ring'' (this was apparently not meant as a criticism). In his reply to [[Taneyev]] (letter 799 quoted below) Tchaikovsky agreed completely with [[Cui]]'s observation and added that he himself had felt this influence when working on his fantasia! Tchaikovsky was clearly not at all embarrassed to recognize such a 'debt' to Wagner, for earlier in 1878 he had admitted in another letter to [[Taneyev]], this time concerning ''[[Yevgeny Onegin]]'', that "my music, in spite of myself, is suffused with Schumannism, Wagnerism, Chopinism, Glinkaism, Berliozism, and all the other 'isms' of our time" <ref name="note28"/>. Besides, if even Maestro [[Verdi]] had learnt a thing or two from his great German contemporary and decided to write a 'Wagnerian' opera, ''Aida'' (as Tchaikovsky had argued in an article of 1872 — see [[TH 266]]), Tchaikovsky realised that it was impossible to escape the spell of Wagner's mastery of the orchestra. In an interview of 1892 ([[TH 324]]) he would again emphasise the debt which all European composers of the second half of the nineteenth century, himself included, owed to Wagner (see the relevant extract from this interview below).
===Works for Cello with Piano===
'''[[Bibliography (1956/25)|Том 55Б]]'''. Edited by Viktor Kubatsky (1956). xiii, 64 pages + cello part (17 pages). Plate M. 25740 Г.
:*''[[Variations on a Rococo Theme]]'', Op. 33 : Transcription for cello with piano by Tchaikovsky (p. 5-38).
:*''[[Pezzo capriccioso]]'', Op. 62 : Transcription for cello with piano by Tchaikovsky (p. 43-53).
::Kalmus edition No. 4072.


Thus, it seems that by 1878 the negative impressions of the [[Bayreuth]] festival in 1876 and of that performance of ''Die Walküre'' in [[Vienna]] at the end of 1877 — that is exhaustion at having to listen to "endless symphonies" on subjects which were not close to Tchaikovsky's heart, and where the singers, however much they were prominent on the stage, had a merely peripheral role in the musical development of the 'drama' — had given way to a more objective appraisal of Wagner's merits by Tchaikovsky. Certainly, his love for Wagner's early operas, ''Tannhäuser'' and ''Lohengrin'', would always remain unabated, especially the second of these. While studying the score of ''Lohengrin'' in May 1879, he wrote to [[Nadezhda von Meck]] (letter 1171 quoted below) that no matter how loathsome he found Wagner's personality and Wagnerism as a principle, he could not but admire his "tremendous musical gift", which had nowhere manifested itself so brightly as in ''Lohengrin'', "the crown in Wagner's oeuvre"! It was probably his view of ''Lohengrin'' as the pinnacle of Wagner's achievement that led him to have rather high expectations of another early opera, ''Der fliegende Holländer''. On 16 March 1880 {{NS}}, Tchaikovsky informed his brother [[Modest]] that he had decided to stay in [[Berlin]] for an extra day because "I saw a bill-board advertising a performance this evening of ''Der fliegende Holländer'', which I have been yearning to hear for such a long time", and at the end of this letter he added: "How glad I am that tonight I shall get to hear ''The Dutchman''!" <ref name="note29"/>. However, as was to happen three years later when he heard ''Tristan'' for the first time (again in [[Berlin]]), this opera with its bleak atmosphere proved to be a disappointment for Tchaikovsky and he didn't even stay until the end.
===Student Works===
'''[[Bibliography (1967/33)|Том 58]]'''. Edited by Irina Iordan (1967). xii, 211 pages. Plate 3534.
:*[[Allegretto moderato in D major]] : Score (p. 3).
:*[[Allegretto in E major]] : Score (p. 4-5).
:*[[Allegro vivace in B-flat major]] : Score (p. 6-8).
:*[[Andante molto in G major]] : Score (p. 9).
:*[[Adagio in C major]] : Score (p. 10).
:*[[Andante ma non troppo in E minor]] : Score (p. 11-13).
:*[[Adagio molto in E-flat major]] : Score (p. 14-16).
:*[[Allegro in C minor]] : Score (p. 17-25).
:*[[Adagio in F major]] : Score (p. 26-28).
:*[[Allegro ma non tanto in G major]] : Score (p. 29-32).
:*[[Largo and Allegro in D major]] : Score (p. 33-39).
:*[[Agitato and Allegro in E minor]] : Score (p. 40-59).
:*[[Andante ma non troppo in A major]] : Score (p. 60-89).
:*[[Allegro vivo in C minor]] : Score (p. 90-118).
:*''[[Menuetto capriccioso (Weber)|Menuetto capriccioso]]'' ([[Weber]]) : Transcription for orchestra by Tchaikovsky (p. 121-135).
:*''[[Symphonic Studies (Schumann)|Symphonic Studies]]'' ([[Schumann]]) : Transcription for orchestra by Tchaikovsky (p. 136-176).
:*''[[Kreutzer Sonata (Beethoven)|Kreutzer Sonata]]'' ([[Beethoven]]) : Transcription for orchestra by Tchaikovsky (p. 177-201).
:*Appendix. [[Allegro in F minor]] : Score, fragment (p. 205-210).
::Kalmus edition Nos. 601 (p. 3-118), 602 (p. 121-201), 4061 (p. 205-210).


In the late summer of 1884, Tchaikovsky decided to study the score of Wagner's last work, the 'sacred festival drama' ''Parsifal'', and he recorded his impressions in another extensive letter to his benefactress: as on so many other occasions, he first paid tribute to Wagner's 'symphonic' mastery, in particular the richness of his chromatic texture, before proceeding to criticize in the harshest terms the way in which Wagner assigned a merely secondary role to the singers, as Tchaikovsky saw it, and also reproaching him for his choice of such an "incredibly stupid subject" teeming with various "fairy-tale figures" that were more suitable for a ballet than for a serious dramatic work (see letter 2545 quoted below) <ref name="note30"/>. Again, Tchaikovsky, for whatever reasons, seems to have been unable to respond to the philosophical and religious symbolism of Wagner's works. Nevertheless, ''Parsifal'' clearly interested Tchaikovsky from a musical point of view, since in the summers he spent at [[Maydanovo]] in 1886 and 1887 he studied and played through the score of the opera on several occasions <ref name="note31"/>. Indeed, [[Laroche]] emphasized in his memoirs of the composer that when Tchaikovsky resumed his study of ''Parsifal'' in 1886 he had been tremendously enthusiastic about the final scene of Act I, and that from then on his attitude to Wagner had changed, even to the extent of influencing some technical aspects of his own later works <ref name="note32"/>. [[Laroche]] does not specify what exactly so fascinated Tchaikovsky about the ending of Act I of ''Parsifal'', but it is very likely that it was the wonderful intonation of the Bell Motif as the knights of the Grail enter the hall of their castle, followed by the ethereal chorus announcing the Motif of Faith from the dome <ref name="note33"/>. Perhaps the Grail Motif (the so-called [[Dresden]] Amen), which resounds later in this scene, also appealed to Tchaikovsky as he would have remembered this rousing Lutheran theme from [[Mendelssohn]]'s ''Reformation'' symphony that he had heard in [[Paris]] in 1879 (see the entry on [[Mendelssohn]]). Since Tchaikovsky did not travel to [[Bayreuth]] again in 1882, or any of the subsequent years during which the festival was organized by Wagner's widow, he obviously had no chance of seeing an actual performance of ''Parsifal'', as Wagner had stipulated that it must not be staged anywhere other than [[Bayreuth]]. However, at a concert in [[Paris]] on 23 March 1889 {{NS}}, Tchaikovsky, who stayed in the French capital for a few weeks during his second conducting tour of Western Europe, did hear some orchestral excerpts from ''Parsifal ''<ref name="note34"/>.
===Versions of Works by Other Authors===
'''[[Bibliography (1970/84)|Том 59]]'''. Edited by Irina Iordan (1970). 328 p. Plate 6557.
:*''[[Le retour (Gungl)|Le retour]]'' ([[Gungl]]) : Transcription for orchestra by Tchaikovsky (p. 17-23).
:*''[[Marie-Dagmar Polka (Dubuque)|Marie-Dagmar]]'' ([[Dubuque]]) : Transcription for orchestra by Tchaikovsky (p. 24-34).
:*[[Gott Erhalte Franz den Kaiser (Haydn)|Gott Erhalte Franz den Kaiser]] ([[Haydn]]) : Transcription for orchestra by Tchaikovsky (p. 35-42).
:*''[[Ballade vom Haideknaben (Schumann)|Ballade von Heideknaben]]'' ([[Schumann]]) : Transcription for orchestra by Tchaikovsky (p. 43-59).
:*''[[Overture-Fantasia (Laroche)|Overture-Fantasia]]'' ([[Laroche]]) : Transcription for orchestra by Tchaikovsky (p. 60-178).
:*''[[Ungarische Zigeunerweisen (Menter)|Ungarische Zigeunerweisen]]'' ([[Menter]]) : Transcription for piano and orchestra by Tchaikovsky (p. 179-265).
:*''[[O, del mio dolce ardor (Gluck)|O, del mio dolce ardor]]'' ([[Gluck]]) : Transcription for voice and orchestra by Tchaikovsky (p. 269-275).
:* [[Le faccio un inchino (Cimarosa)|Trio from ''Il matrimonio segreto'']] (Cimarosa) : Transcription for voices and orchestra by Tchaikovsky (p. 276-304).
:*''[[Der König von Thule (Liszt)|Der König von Thule]]'' ([[Liszt]]) : Transcription for voice and orchestra by Tchaikovsky (p. 305-318).
:*''[[The Golden Cloud Did Sleep (Dargomyzhsky)|The Golden Cloud Did Sleep]]'' ([[Dargomyzhsky]]) : Transcription for voices and orchestra by Tchaikovsky (p. 319-327).
::Kalmus edition Nos. 603 (p. 17-59), 604 (p. 60-178), 605 (p. 179-265), 606 (p. 269-327).
'''[[Bibliography (1971/88)|Том 60]]'''. Edited by Georgy Kirkor (1971). xvi, 273 p. Plate 6634.
:*''[[Little-Russian Kazachok (Dargomyzhsky)|Little-Russian Kazachok]]'' ([[Dargomyzhsky]]) : Transcription for solo piano by Tchaikovsky (p. 3-13).
:*''[[Perpetuum mobile (Weber)|Perpetuum Mobile]]'' ([[Weber]]) : Transcription for solo piano by Tchaikovsky (p. 14-28).
:*''[[I Remember All (Tarnovskaya)|I Remember All]]'' (Tarnovskaya) : Transcription for piano four hands by Tchaikovsky (p. 31-38).
:*''[[Ivan the Terrible (Rubinstein)|Ivan the Terrible]]'' ([[A. Rubinstein]]) : Transcription for piano four hands by Tchaikovsky (p. 39-92).
:*''[[Don Quixote (Rubinstein)|Don Quixote]]'' ([[A. Rubinstein]]) : Transcription for piano four hands by Tchaikovsky (p. 93-148).
:*''[[Le Domino noir (Auber)|Le Domino noir]]'' ([[Auber]]) : Arrangement of recitatives and chorus by Tchaikovsky. Vocal-piano score (p. 151-187).
:*''[[Gaudeamus Igitur]]'' : Transcription for voices with piano by Tchaikovsky (p. 188-189).
:*''[[The Marriage of Figaro (Mozart)|The Marriage of Figaro]]'' ([[Mozart]]) : Edited by Tchaikovsky. Vocal-piano score (p. 191-271).
::Kalmus edition Nos. 4073 (p. 3-13), 4074 (p. 93-148), 4075 (p. 151-271).
'''[[Bibliography (1949/34)|Том 61]]'''. Edited by Sofya Ziv (1949). vii, 233 pages. Plate M. 19996 Г.
:*[[Fifty Russian Folksongs]] : Transcription for piano four hands by Tchaikovsky (p. 3-57).
:*[[65 Russian Folksongs (Prokunin)|65 Russian Folksongs]] ([[Prokunin]]) : Edited by Tchaikovsky. Vocal-piano score (p. 61-166).
:*''[[Children's Songs on Russian and Ukrainian Tunes (Mamontova)|Children's Songs on Russian and Ukrainian Tunes]]'' ([[Mamontova]]) : Edited by Tchaikovsky. Vocal-piano score (p. 169-223).
::Kalmus edition Nos. 4076 (p. 3-57), 6767 (p. 169-223).


It was, however, in the context of his first concert tour to the west (December 1887–March 1888) that Tchaikovsky was able to attend some memorable stagings of Wagner operas. Thus, in [[Leipzig]] he heard performances of ''Das Rheingold'' on 4 January {{NS}} and ''Die Meistersinger'' von Nürnberg on 10 February 1888 {{NS}}. Both operas were conducted by [[Arthur Nikisch]], and ''Die Meistersinger'' was in fact specially staged at Tchaikovsky's request, since he had never heard it before! <ref name="note35"/> In a letter to his brother [[Modest]] from [[Prague]] on 14 February {{NS}}, he just mentions the fact of this performance of ''Die Meistersinger'', adding briefly that it was "very interesting". In Chapter IX of his ''[[Autobiographical Account of a Tour Abroad in the Year 1888]]'' ([[TH 316]]), Tchaikovsky enthusiastically praises [[Nikisch]]'s ability in guiding the orchestra through the "difficult and intricate scores of Wagner's operas", but unfortunately says nothing about ''Die Meistersinger'' as such. It is also in this fascinating ''[[Autobiographical Account]]'' (TH 316) that Tchaikovsky reflects on how the idolization of [[Brahms]] by conservative concert-goers and critics in Germany was a reaction to Wagnerism. Significantly, despite all his respect for [[Brahms]]'s "proud refusal to make any concessions to triumphant Wagnerism", Tchaikovsky was never moved, let alone fascinated, by [[Brahms]]'s music, whereas he clearly was by Wagner's (see Chapter VI of [[TH 316]]).
===Works Completed by Sergey Taneyev===
'''[[Bibliography (1948/37)|Том 62]]'''. Edited by Ivan Shishov (1948). xiii, 298, (7) pages. Plate M. 19604 Г.
:*[[Andante and Finale]], Op. 79 : Full score (p. 3-133).
:*[[Andante and Finale]], Op. 79 : Transcription for two pianos (p. 137-207).
:*''[[Romeo and Juliet (projected opera)|Romeo and Juliet]]'', duet scene : Full score (p. 211-263).
:*''[[Romeo and Juliet (projected opera)|Romeo and Juliet]]'', duet scene : Vocal-piano score (p. 267-292).
:*''[[Moment lyrique|Momento lirico]]'' : Score (p. 295-298).
:* Appendix (facsimile of Tchaikovsky's sketches for the ''[[Moment lyrique|Momento lirico]]'') (p. 301-304).
::Kalmus edition Nos. 597 (p. 3-133), 4077 (p. 137-207), 589 (p. 211-292), 4062 (p. 295-298).


In March 1889, when Tchaikovsky was abroad on his second major concert tour, Angelo Neumann's travelling Wagner company put on several performances of the complete ''Ring'' cycle at the Mariinsky Theatre in [[Saint Petersburg]]. In an interesting letter from [[Hannover]] to his nephew [[Vladimir Davydov]] (letter 3814 quoted below), Tchaikovsky notes with some frustration that his own tour wasn't receiving any attention back home, whereas the German newspapers were awash with reports about the triumphant first performances of ''The Ring'' in Russia. In this letter he also expresses his fears that very soon Russia, too, would have her own fanatic Wagnerians. (Tchaikovsky was certainly right about this, and the Wagner craze in Russia was such that Neumann's company returned there again two years later, in 1891, this time staging ''The Ring'' in [[Moscow]]). However, it was not just fanatic devotees who rallied to this first performance of ''The Ring'' in [[Saint Petersburg]]: serious musicians such as [[Nikolay Rimsky-Korsakov]], [[Sergey Taneyev]], and [[Aleksandr Glazunov]] were, like Tchaikovsky, profoundly impressed by Wagner's orchestration <ref name="note36"/>. A diary entry for 13/25 March 1889, made while Tchaikovsky was in [[Paris]], testifies to his surprise, and perhaps even alarm, when he found out that [[Glazunov]] was a Wagnerian!
===Sacred Choral Works===
'''[[Bibliography (1990/190)|Том 63]]'''. Edited by Lyudmila Korabelnikova & Marina Rakhmanova (1990). 279 pages. Plate 14447.
:*[[Liturgy of Saint John Chrysostom]], Op. 41 : Score (p. 19-66).
:*[[All-Night Vigil]], Op. 52 : Score (p. 69-202).
:*[[Nine Church Pieces]] : Score (p. 205-254).
:*''[[The Angel Cried Out]]'' : Score (p. 257-260).
:*[[Hymn in Honour of Saints Cyril and Methodius]] : Score (p. 263-264).
:*[[Jurists' Song]] : Score (p. 265-266)
:*''[[Legend]]'' (No. 5 from the [[Sixteen Songs for Children, Op. 54]]) : Arrangement for mixed chorus by Tchaikovsky (p. 267-269).
:* Appendix (p. 270-275).


Citing the fact that in the autumn of 1889 Tchaikovsky attended RMS concerts in [[Moscow]] and [[Saint Petersburg]] which included excerpts from ''Tristan und Isolde'' (thereby allowing him to refresh his earlier impressions of the opera), David Brown and Arkady Klimovitsky have made a strong case for the influence of ''Tristan'', with its novel harmony, dissonances, and chromatic texture, on Tchaikovsky's last opera ''[[Iolanta]]'' (composed between July and December 1891) <ref name="note37"/>. However, as mentioned above, Thomas Kohlhase has recommended some caution in making such comparisons, and for many listeners it would surely be difficult to hear any direct echoes of Wagner in Vaudémont's Romance, for example, or even in the sombre overture to this one-act opera?
==Literary Works and Correspondence==
Volumes I and IV, comprising Tchaikovsky's diaries and notebooks, were prepared for publication but not produced.


The last two performances of Wagner operas attended by Tchaikovsky happened to be stagings of his two life-long favourites: ''Tannhäuser'' in [[Hamburg]], in January 1892 (conducted by [[Gustav Mahler]]) and ''Lohengrin'' in [[Paris]], in June of that year <ref name="note38"/>.
===Music-Critical Articles===
'''[[Bibliography (1953/58)|Том II]]'''. Edited by [[Vasily Yakovlev]] (1953). xi, 438 pages.
:* {{bib|1953/63|Tchaikovsky the Critic}} (introductory article by [[Vasily Yakovlev]]) (p. 1-22).
:* [[Articles|Music-Critical Articles 1868-1876]] (p. 25-328).
:* [[Wagner and His Music]] (p. 329-332).
:* [[Autobiographical Account of a Tour Abroad in the Year 1888]] (p. 333-364).
:* [[A Conversation with P. I. Tchaikovsky|A Conversation with Tchaikovsky in November 1892 in Petersburg]] (p. 367-373).
:* Letter to the editor of ''The Voice'' (p. 374).
:* Notes and Commentary (p. 375-438).


It is interesting that in most of the memoirs of Tchaikovsky written after his death which deal with the question of his musical sympathies, the Russian composer's distance to Wagner is stressed. Thus, [[Glazunov]], for example, who first became acquainted with Tchaikovsky in the autumn of 1884, later wrote: "Pyotr Ilyich was rather indifferent to the music of the composers of the new Russian school, and likewise to the works of [[Liszt]] and Wagner, since by his very nature he was alien to their tendency and principles" <ref name="note39"/>. Tchaikovsky, however, in an interview he gave to a [[Saint Petersburg]] newspaper in 1892 ([[TH 324]]) protested that it was wrong to speak of his estrangement from the "new Russian school", and, similarly, he paid tribute to Wagner's overwhelming influence on all European composers, including of course himself and his Russian contemporaries! It might be argued that [[Glazunov]] did not know Tchaikovsky so well, but even such a close friend as [[Kashkin]] still emphasized the negative side of Tchaikovsky's attitude to Wagner: "Pyotr Ilyich could not stand bombast in music, and that is why he did not rate [[Liszt]] particularly highly. As for Wagner, he valued him immeasurably more, but the ultra-Romantic sub-text of the plots in Wagner's last operas, their strained symbolism, and the no-less strained solemnity of the action were profoundly antipathetic to him, so that he did not even [try to] hear ''Parsifal'', even though he knew the work from excerpts which had been performed at concerts, as well as from the piano reduction" <ref name="note40"/>.
===Literary Works===
'''[[Bibliography (1957/30)|Том III-А]]'''. Edited by Vladimir Protopopov (1957). 256 pages.
:* ''[[Guide to the Practical Study of Harmony]]'' (p. 1-162).
:* ''[[A Short Manual of Harmony]]'' (p. 164-216).
:* Appendix (p. 219-253).


A certain understandable patriotism may have induced these memoirists to stress Tchaikovsky's independence from the most famous composer of the nineteenth century after [[Beethoven]], but, from the evidence presented here, it would clearly be wrong to describe Tchaikovsky's attitude to Wagner as aloof in any way. As Rosamund Bartlett rightly points out, Tchaikovsky "wrote a great deal about Wagner during his lifetime, and certainly more than any other Russian composer" <ref name="note41"/>. Likewise, we have seen how Tchaikovsky himself was not ashamed to admit to having been influenced by Wagner (notably in the case of ''[[Francesca da Rimini]]''). Of all his contemporaries, [[Herman Laroche]] was probably closest to the mark when he remarked that the influence of Wagner was "undeniable and very palpable" in his final years. One reason why, despite his veneration of [[Mozart]] and love of Italian opera, Tchaikovsky responded so intensely to Wagner (even when disagreeing with him) was perhaps the following trait in his character, as described by [[Laroche]]: "Having been initially received by our critics as a product of Conservatory routine and backwardness, he, on the contrary, showed a keen sympathy for the advances of our century in everything that concerned music, and, just as he searched for 'new paths' himself in many cases, so he also appreciated and liked this striving in others" <ref name="note42"/>. Wagner, as one of the greatest pioneers in music, could not fail to awaken Tchaikovsky's sympathy!
===Translations===
'''[[Bibliography (1961/39)|Том III-Б]]'''. Edited by Vladimir Protopopov (1961). 524 pages.
:* ''[[Handbook for Instrumentation (Gevaert)|Handbook for Instrumentation]]'' ([[Gevaert]]) (p. 11-359).
:* ''[[Rulebook for Young Musicians (Schumann)|Rulebook for Young Musicians]]'' ([[Schumann]]) (p. 361-370).
:* [[Notes to the "Studies" (Schumann)|Notes to the ''Studies'', Op. 3]] ([[Schumann]]) (p. 371-376).
:* ''[[Musical Catechism (Lobe)|Musical Catechism]]'' (Lobe) (p. 37-482).
:* ''[[Beethoven and His Time]]'' (p. 485-520).


==General Reflections on Wagner==  
===Letters===
Bold references indicate particularly detailed or interesting references.
'''[[Bibliography (1959/50)|Том V]]'''. Edited by Yefim Gershovsky, Kseniya Davydova and Lyudmila Korabelnikova (1959). xi, 518 pages.
:* Letters 1848-1875.
'''[[Bibliography (1961/38)|Том VI]]'''. Edited by Nina Viktorova and Boleslav Rabinovich (1961). 396 pages.
:* Letters 1876-1877.
'''[[Bibliography (1962/102)|Том VII]]'''. Edited by Yefim Gershovsky and Irina Sokolinskaya (1962). 644 pages.
:* Letters 1878.
'''[[Bibliography (1963/6)|Том VIII]]'''. Edited by Kseniya Davydova, Galina Labutina and Natalya Sinkovskaya (1963). 551 pages.
:* Letters 1879.
'''[[Bibliography (1965/80)|Том IX]]'''. Edited by Nina Viktorova, Nikolay Gorlov and E. A. Pustovit (1965). 407 pages.
:* Letters 1880.
'''[[Bibliography (1966/44)|Том X]]'''. Edited by Natalya Sinkovskaya and Irina Sokolinskaya (1966). 359 pages.
:* Letters 1881.
'''[[Bibliography (1966/43)|Том XI]]'''. Edited by Kseniya Davydova and Galina Labutina (1966). 359 pages.
:* Letters 1882.
'''[[Bibliography (1970/86)|Том XII]]'''. Edited by Lidya Muzyleva and Svetlana Muravich (1970). 595 pages.
:* Letters 1883-1884.
'''[[Bibliography (1971/89)|Том XIII]]'''. Edited by Nina Viktorova and I. S. Polyakova (1971). 635 pages.
:* Letters 1885-1886.
'''[[Bibliography (1974/53)|Том XIV]]'''. Edited by Natalya Sinkovskaya and Irina Sokolinskaya (1974). 717 pages.
:* Letters 1887-1888.
'''[[Bibliography (1976/64)|Том XV-А]]'''. Edited by Kseniya Davydova and Galina Labutina (1976). 296 pages.
:* Letters 1889.
'''[[Bibliography (1977/40)|Том XV-Б]]'''. Edited by Kseniya Davydova and Galina Labutina (1977). 384 pages.
:* Letters 1890.
'''[[Bibliography (1978/54)|Том XVI-А]]'''. Edited by Yevgeny Kotomin, Svetlana Kotomina and Natalya Sinkovskaya (1978). 375 pages.
:* Letters 1891.
'''[[Bibliography (1979/112)|Том XVI-Б]]'''. Edited by Yevgeny Kotomin, Svetlana Kotomina and Natalya Sinkovskaya (1979). 278 pages.
:* Letters 1892.
'''[[Bibliography (1981/80)|Том XVII]]'''. Edited by Kseniya Davydova and Galina Labutina (1981). 358 pages.
:* Letters 1893.


===In Tchaikovsky's Music Review Articles===
==Bibliography==
* [[TH 266]] — deals with what Tchaikovsky sees as Wagnerian influences in [[ Verdi]]'s ''Aida''.
====Prospectus====
* '''[[TH 270]]''' — Tchaikovsky describes Wagner as "undoubtedly the most prominent personality in European music"; observes ironically that one of Wagner's chief aims had been to draw attention to himself and achieve fame at all costs, in contrast to such composers as "[[Bach]], [[Haydn]], [[Mozart]], [[ Beethoven]], [[Mendelssohn]], [[Schumann]], and [[Glinka]]" who just concentrated on their music; refers critically to Wagner's "delusions and self-aggrandizement"; states briefly but categorically that Wagner's goal of introducing ''truth'' into opera, whose effect was after all based on "conventional, but beautiful lies", was a quixotic endeavour; discuses the leitmotif technique; points out that Wagner's obsession with the orchestra meant that the singers were very much relegated to the periphery, and that this prevented any convincing individual characterization of his heroes; speaks admiringly of Wagner's technical mastery, but asks whether his "tremendous symphonic talent" was not perhaps out of place in the operatic genre; concludes that Wagner had been led astray from his true vocation as a symphonist by "preconceived theories" and "misguided ambition"; praises enthusiastically the ''Faust'' overture; and makes some ironic remarks about Wagner's anti-Semitic barbs at [[Mendelssohn]].
* {{bib|1946/50}} (1946)
* [[TH 284]] — defends [[Mozart]]'s ''Don Giovanni'' from those who denied its historical significance, in particular Wagner; observes ironically how Wagner had succeeded in "subordinating the singers to a whole orchestral regiment" which drowned out their voices!
* '''[[TH 285]]''' — while referring enthusiastically to the ''Lohengrin'' prelude, Tchaikovsky stresses again that Wagner was "first and foremost a symphonist" who had been led astray by "false aesthetic theories"; criticizes his "bulky operas" in which the feelings of the characters were expressed by "a huge orchestral barrage whose roaring completely drowns out the colourless and unwieldy recitative"!
* [[TH 286]] — emphasizes how [[Karl Klindworth]] was regarded very highly for his piano arrangements of orchestral works by pointing out that Wagner, "the most renowned composer of our times", always entrusted to him the task of making piano transcriptions of his operas.
* [[TH 306]] — enthusiastically praises the "astonishing vividness" of the ''Ride of the Valkyries'' and remarks with a sigh of regret that the "symphonist" Wagner had decided to concentrate his efforts on 'music drama' rather than pure orchestral music!
* '''[[TH 314]]''' ("The Bayreuth Music Festival") — in this series of articles Tchaikovsky first discusses the genesis of '' The Ring'' and how the [[Bayreuth]] Festival Theatre was built according to Wagner's specifications; gives a synopsis of all four operas which make up the ''Ring'' cycle; shares his impressions of [[Bayreuth]] during the bustle of the inaugural Festival in 1876 and recounts various humorous anecdotes, as well as giving a fascinating snap-shot of Wagner with his "aquiline nose" and "mocking lips"; Tchaikovsky begs his readers' forgiveness for not being sufficiently well prepared and qualified to give a detailed analysis of ''the Ring'', but still makes some very interesting general observations: on the one hand he praises Wagner for having succeeded in such a tremendous artistic enterprise as creating from nothing a whole new theatre and festival, but criticizes the "principles" Wagner adhered to in his music; the latter was "astonishingly rich" technically and "equipped with an instrumentation of unprecedented beauty", but unfortunately it was entrusted exclusively to the orchestra, the singers being utterly neglected; Tchaikovsky also points out that Wagner's lavish palette of orchestral sound and chromatic subtleties produced in the end a sensation of "fatigue"; makes ironical remarks about the "dwarves, dragons, and swimming maidens" which riveted the attention of those in the audience who were perhaps not so musical, as well as about certain Wagnerians!; Tchaikovsky ends, though, on a positive note by stressing the historical significance of this Festival and saying that he was eager to continue his study of "this most complicated work of music ever written".
* [[TH 316]] — in Chapter V of this account of his first tour of Western Europe as a conductor, Tchaikovsky speaks highly of [[Brahms]]'s character, praising in particular his modesty, which he illustrates by an anecdote concerning one of Wagner's spiteful sallies against [[Brahms]]; also emphasizes [[Brahms]]'s "firmness and proud refusal to make any concessions to Wagnerism"; Tchaikovsky seems to retract his earlier observations about [[Verdi]] having been influenced by Wagner in ''Aida''; reflects on how the [[Brahms]] cult in Germany was a reaction against the "triumphant onslaught of Wagner in the field of opera".
* '''[[TH 319]]''' ("Wagner and His Music") — at the request of an American journalist during his stay in [[New York]] in 1891, Tchaikovsky sets down his views on Wagner in a few pithy statements; professes his admiration for Wagner as a composer, but unequivocally rejects Wagnerian theories; stresses that Wagner's influence on music in the second half of the 19th century had been "enormous", but that unfortunately he was "a genius who followed a wrong path"; Tchaikovsky asserts that "Wagner was a great symphonist, but not a composer of opera".
 
===In Tchaikovsky's Letters===
* [[Letter 490]] to [[Modest Tchaikovsky]], 2/14 August 1876, from [[Bayreuth]]:
{{quote|I only got here the day before the performance, that is on Saturday 12 [August]/31 [July]. [[Klindworth]] was waiting for me at the station; I met a whole bunch of acquaintances and immediately found myself plunged into the midst of a whirlpool in which I've been spinning all day long like a madman. I've made the acquaintance of masses of new people; I called on [[Liszt]], who received me exceptionally kindly; I went to see Wagner, but he isn't receiving anyone now, etc. As for people whom you know, there's [[Nikolay Rubinstein|Rubinstein]], with whom I'm sharing lodgings and who also arrived on Saturday in the evening; [[Laroche]], who's tipsy the whole day long; [[Cui]], whom I brought together with [[Laroche]], only for them to quarrel again two hours later, etc.}}
 
{{quote|Yesterday was the performance of ''Das Rheingold''; as a theatre production this thing captivated my interest thanks to the ''astonishing'' staging; but as music it's an incredible chaos, through which there occasionally flash some extraordinarily beautiful and striking details" <ref name="note43"/>.}}
 
* [[Letter 491]] to [[Modest Tchaikovsky]], 8/20 August 1876, from [[Vienna]]:
{{quote|[[Bayreuth]] has left me with unpleasant recollections, although many things happened there that were flattering to my artistic pride. It turned out that I am not at all so unknown in Germany and other foreign lands as I had thought. The unpleasant recollections have to do with the fact that there was an incredible bustle all the time. Finally, on Thursday [17 August 1876 {{NS}}] everything was over, and with the last notes of ''Götterdämmerung'' I felt as if I had been released from captivity. Perhaps the ''Nibelungen'' is a very great work, but what I do know for sure is that never before has there been anything as boring and tedious as this spun-out yarn. An accumulation of the most complicated and refined harmonies, the colourlessness of everything that is sung on the stage, endlessly long dialogues, the pitch darkness in the theatre, the absence of anything interesting and poetic in the plot — all this exhausts one's nerves to the utmost degree. So this is what Wagner's opera reform is striving after? Composers in the past sought to delight people with their music; now what they do instead is to torment and exhaust them. Of course, there are wondrous details, but everything taken together is frightfully boring!!! [footnote by Tchaikovsky]: How many thousand times dearer to me is ''Sylvia''!!!}}
 
* [[Letter 661]] to [[Nadezhda von Meck]], 26 November/8 December 1877, from [[Vienna]]:
{{quote|I've heard Wagner's ''Die Walküre''. The performance was splendid. The orchestra managed to surpass even itself; the outstanding singers did everything they could to show it to good effect, and yet it was boring. What a Don Quixote this Wagner is! Why does he wear himself out in this way, chasing after something impossible, when right under his very nose he has a tremendous gift, from which, if he were to give himself up to it fully and submit to its natural thrust, he would be able to draw forth a whole ocean of musical beauty?! In my view Wagner is a symphonist by nature. This man is endowed with a talent of genius, but he is being ruined by his tendency; his inspiration is paralyzed by the theory which he devised, and which at all costs he is determined to put into practice. By chasing after ''reality'', ''truthfulness'', and ''rationality'' in opera he has wholly neglected the music, which for the greater part is conspicuous for its complete absence in his last four operas. For I cannot describe as music these kaleidoscopic, parti-coloured musical pieces which keep following on from one another non-stop, never leading to anything and not once allowing you to rest on a musical form that can be easily assimilated. There is not one broad and well-rounded melody; not once is the singer given full scope. Rather, he must all the time chase after the orchestra and take care not to miss his note, which in the score is of no more significance than some small note assigned, say, to the fourth French horn. But that he is a marvellous symphonist — of that there can be no doubt whatsoever. Let me give you an example of the extent to which the symphonist in him predominates over the vocal and indeed the operatic composer. You will probably have heard at concerts his famous "''Walkürenritt''" [Ride of the Valkyries] — what a grandiose, wonderful picture! One literally sees before one's eyes these wild gigantic figures, flying with roaring thunder across the clouds on their magic steeds. In concerts this piece always produces a tremendous impression. In the theatre, when one sees all these cardboard rocks, clouds made out of rags, soldiers galloping very clumsily across the stage in the background, and this unimposing painted sky, which is meant to illustrate the tremendous heavenly vaults beyond the clouds, the music loses all its graphic vividness. Thus, the theatre doesn't serve to intensify one's impression here, but acts instead like a glass of cold water. Finally, I do not understand and have never understood why the ''Nibelungen'' is supposed to constitute a literary masterpiece. As a national epic poem perhaps, but as a libretto no. All these Wotans, Brünnhildes, Frickas etc are so impossible, so un-human — it's just so difficult to feel keen sympathy with them. And, besides, there's so little life in all this! Wotan spends a good three quarters of an hour scolding Brünnhilde for her disobedience. How boring! And yet there are lots of amazingly striking and beautiful individual episodes of a purely symphonic nature" <ref name="note44"/>.}}
 
* [[Letter 660]] to [[Nikolay Kashkin]], 26 November/8 December 1877:
{{quote|I've been to the theatre a few times and heard Wagner's ''Walküre'', from which I carried away memories of two or three glorious minutes and a whole ocean of boredom and utter emptiness <ref name="note45"/>.}}
 
* [[Letter 681]] to [[Sergey Taneyev]], 7/19 December 1877:
{{quote|In [[Vienna]] I heard Wagner's ''Die Walküre'' and was able to confirm my first impression from [[Bayreuth]]. If music really is fated to have in Wagner its principal and greatest exponent, then that is enough to cause one to despair. Can this really be the last word in music?! Will future generations really enjoy this pretentious, cumbersome, and unsightly nonsense, as we now take delight in [Beethoven's] Ninth Symphony, which in its time was also regarded as nonsense? If yes, then that's terrible.}}
 
* [[Letter 1111]] to [[Nadezhda von Meck]], 16/28 February 1879:
{{quote|By the way, in all my life I have only seen one true conductor — and that was Wagner, when in 1863 he came to [[Saint Petersburg]] to give some concerts, at which he also conducted a number of symphonies by [[Beethoven]] [Nos. 3 and 5–8]. Those who haven't heard these symphonies in Wagner's interpretation cannot appreciate them fully and understand all their unattainable greatness.}}
 
* [[Letter 1171]] to [[Nadezhda von Meck]], 5/17 May 1879, from [[Brailov]]:
{{quote|This is how I spent the day yesterday. After writing letters to you and my brother [[Anatoly]] I sat down to study the score of ''Lohengrin'', which I had brought with me. I know that you are not overly fond of Wagner, and I myself am far from being a fanatic Wagnerian. Wagnerism as a principle appeals to me very little, and Wagner's personality awakens feelings of aversion within me, but I cannot fail to do justice to his tremendous musical gift. This gift nowhere manifested itself so brightly as in ''Lohengrin''. This opera will always be the crown in Wagner's oeuvre. For it was after ''Lohengrin'' that the decline of his talent started — a talent that was ruined by this man's satanic pride. He lost his sense of measure and started to overreach himself, so that everything which is written after ''Lohengrin'' can serve as a model of music that is unintelligible, impossible, and has no future. I am actually interested in ''Lohengrin'' now from the point of view of orchestration. In view of the task which lies ahead of me [completing the orchestration of ''[[The Maid of Orleans]]''], I wanted to study thoroughly the score of ''Lohengrin'' in order to find out if I needed to adopt one or two of his orchestral techniques. His mastery is exceptional, but, for reasons that would require technical explanations, I nevertheless do not intend to borrow anything from him. All I should like to point out to you is that Wagner's orchestra is far too symphonic, far too plump and heavy-going for vocal music, and the older I get, the more I become convinced that these two genres, i.e. symphony and opera, are in all respects diametrically opposed. And so, my acquaintance with ''Lohengrin'' will not force me to change my manner, but it was at any rate an interesting and, in the negative sense, useful acquaintance.}}
 
* [[Letter 1544]] to [[Sergey Taneyev]], 21 July/2 August 1880 (one of the various letters which Tchaikovsky wrote that summer reflecting on the significance of [[Bizet]]'s ''Carmen'' in an age of 'decadence' in music):
{{quote|[I] could prove that [[Mendelssohn]], [[Chopin]], [[Schumann]], [[Glinka]], and [[Meyerbeer]] were epigones of the Golden Age of music, but that already they (together with [[Berlioz]]) represent a phase of transition leading to a period of ''savoury'', but not good music. Now it is only savoury music which is written, and essentially even Wagner and [[Liszt]] are just high priests of ''savoury'' music…}}
 
* [[Letter 2184]] to [[Nadezhda von Meck]], 31 December 1882/12 January 1883, from [[Berlin]]:
{{quote|I've been in [[Berlin]] two days now. The journey so far has gone very well, and I decided to stop here for a day to get some rest. However, yesterday's performance at the opera-house (it was a staging of Wagner's ''Tristan und Isolde'', which I had never seen before) induced me to stay an extra day. I did not like this opera at all, but I am still glad that I saw it, since this performance helped me to clarify further my views on Wagner. For although I have long since formed a definite opinion on him, I was afraid that, not having heard all of his operas on the stage, this opinion might not be entirely well-founded. Here is my opinion in brief: Wagner, in spite of his huge creative gifts, his intelligence, poetic talent, and erudition, has rendered merely negative services to art in general and to opera in particular. He has taught us that the earlier conventional forms of opera music have no aesthetic or logical raisons d'être. But if one shouldn't write operas as in the past, does this, however, mean that one has to write them as Wagner does? My unhesitating reply to this is 'No!'. Forcing us to listen for four hours in one go to an endless symphony, which is rich in the most luxurious orchestral beauties but poor in clearly and simply presented thoughts; forcing the singers in the course of these four hours to sing not independent melodies, but various little notes which have been grafted onto this symphony, whereby very often these notes, no matter how high they may be, are utterly drowned out by the thundering of the orchestra — all that is of course in no way the ideal which contemporary composers ought to strive towards. Wagner has shifted the centre of gravity from the stage into the orchestra, and, since this is an evident absurdity, that means that, unless one takes into account the aforementioned negative result [the rejection of earlier operatic forms], his celebrated reform of opera comes to nought. As for the dramatic interest of his operas, I consider them all to be very insignificant and sometimes childishly naïve, but I must say that nowhere and never before have I experienced such boredom as at this performance of ''Tristan und Isolde''. It is the most exhausting and empty drawn-out yarn, without action, without life, and truly incapable of awakening the spectator's interest and eliciting warm sympathy for the protagonists. It was quite clear that the audience (even though it was a German one) was terribly bored, and yet at the end of each act there was a burst of stormy applause. I am at a loss as to how to explain this. Most likely it was out of patriotic sympathy for an artist, who has indeed devoted all his life to poeticizing the Germanic spirit.}}
 
* [[Letter 2227]] to [[Nadezhda von Meck]], 24 February/8 March 1883, from [[Paris]]:
{{quote|As a consequence of his death Wagner has suddenly become the idol of the Parisian public. All three Sunday concerts (Pasdeloup, [[Colonne]], Lamoureux) are dedicating their whole programme to Wagner, and they are having a tremendous success. What curious people! It's imperative that one should die in order to win their attention.}}
 
* [[Letter 2228]] to [[Anatoly Tchaikovsky]], 25 February/9 March 1883, from [[Paris]]:
{{quote|How funny the French are! When Wagner was alive they didn't want to know anything about him; now all [[Paris]] is crazy about Wagner. All the concerts here are packed with his works, and the furore they cause is indescribable. One has to be dead in order to be deemed worthy of the attention of [[Paris]].}}
 
* [[Letter 2285]] to [[Nadezhda von Meck]], 3/15 May 1883, in which Tchaikovsky says that he is not entirely happy with an article about him recently published in a [[ Leipzig]] periodical, ''Musikalisches Wochenblatt'', by the Russian music critic Osip Levenson:
{{quote|I do not like it when people repeat that long-established verdict about me: namely, that I am supposedly incapable of writing dramatic music or that I want to worm myself into the favour of the public. Besides, what does it mean to have an aptitude for drama? Evidently Mr Levenson is a Wagnerian and he probably considers Wagner to be a great master in that realm. I on the other hand maintain quite the opposite. Wagner's was a talent of genius, but he utterly lacked the ability to write for the stage, that is with breadth and simplicity, and without the orchestra predominating. For in his works the latter has taken everything upon itself, leaving to the singers merely the role of talking mannequins.}}
 
* [[Letter 2448]] to [[Nadezhda von Meck]], 27 February/10 March 1884, from [[Paris]]:
{{quote|You are quite right that the French have become Wagnerians. But in this enthusiasm for Wagner — which has reached a point where they are now even indifferent to [[Berlioz]], who a few years ago was the idol of the Parisian concert-going public — there is something false, put on, and lacking any serious foundation. For I refuse to believe that ''Tristan und Isolde'', an opera which even on the stage is unbearably boring and consists of an uninterrupted whining, the monotony of which is enough to depress one — I refuse to believe, I say, that this opera could ever actually fascinate the French public. In my view this is all some comedy — I mean that for the Parisians (who are essentially keen on operettas by Lecocq and salacious ''chansonettes'') it is flattering and agreeable to pretend that they relish the music of Wagner's late period, which is so difficult to appreciate. There would be nothing surprising in such a magnificent opera as ''Lohengrin'', or ''Tannhäuser'' or ''Der fliegende Holländer'', entering the repertoire of opera-houses here. For gradually these operas, which were written by a first-rate master and are full of originality and inspiration, must necessarily become the property of all. But the operas of the final period, which are stuffed with lies, which are false by their very principle and are quite devoid of artistic simplicity and truth, can only maintain themselves in Germany, where Wagner's name has become a rallying-cry for German patriotism. Of course, even in these one constantly senses a mighty talent, but still they are no more than the works of a sick German, who has lapsed into monomania. Never will a Frenchman, who by his very nature seeks simplicity and clarity in art, be able to become an extreme Wagnerian}}
 
* [[Letter 2545]] to [[Nadezhda von Meck]], 8/20–10/22 September 1884, in which Tchaikovsky says that he had finally got round to do two things that had been on his agenda for a long time, namely to study the scores of [[Musorgsky]]'s ''Khovanshchina'' and Wagner's ''Parsifal'' (see the entry on [[Musorgsky]] for his comments on the former):
{{quote|''Parsifal'' produces a totally different impression [to ''Khovanshchina'']: here you are dealing with a great master, with an artist of genius, albeit one who has lost his bearings. The richness of its harmony is astonishing, extraordinary, but far too luxurious, and eventually it ends up wearying even the specialist — I wonder what mere mortals must feel like after having been regaled for three hours with this never-ending stream of the most intricate harmonic tricks? I have always had the impression that those Wagnerians who are not professional musicians affect an enthusiasm which in their heart of hearts they do not really feel. Wagner, as I see it, killed his tremendous creative power through theory. Every preconceived theory cools one's spontaneous creative feeling. Could Wagner give himself up to such a feeling any longer after he had grasped through reason some sort of peculiar theory of music drama and musical truth, and after he had voluntarily renounced, for the sake of this alleged truth, all that constituted the strength and beauty of his predecessors' music?! If in an opera the singers don't sing, but merely utter, accompanied by deafening thunder from the orchestra, various hastily grafted-on, colourless successions of notes against a background of a splendid, but incoherent and formless symphony, what kind of opera can that possibly be?! However, what really astonishes me is the earnestness with which this over-philosophizing German illustrates by means of music the most incredibly stupid subjects. I mean, who could possibly be moved by the plot of ''Parsifal'', where, instead of people with temperaments and feelings that we are familiar with, we are shown various fairytale figures who might perhaps be suitable for embellishing the content of a ballet, but never that of a drama? I am surprised that anyone can listen, without succumbing to laughter, or rather to boredom, to these figures' endlessly long monologues about the various spells from which all these Kundrys, Parsifals, etc. are suffering!!! I mean, is it possible to ''empathize'' with them, to be filled with heartfelt sympathy for them, to love and hate them? Of course not — because their sufferings, feelings, triumphs or failures are utterly alien to us. And what is alien to the human heart cannot be the source of musical inspiration.}}


* [[Letter 3675]] to [[Grand Duke Konstantin Konstantinovich]], 21 September/3 October 1888, in which Tchaikovsky discusses mainly [[Beethoven]]:
====Previews====
{{quote|In the realm of music [[Beethoven]]'s style has often been copied to the point of excess, and it still is. I mean, isn't [[Brahms]], at bottom, just a caricature of [[Beethoven]]? Isn't all this pretension to depth, power, and strength loathsome when the content he pours into the Beethovenian mould is lamentable and insignificant? Even in Wagner (whose genius, by the way, is indisputable), wherever he overreaches himself, that is essentially a product of [[Beethoven]]'s spirit.}}
* {{bib|1936/31|Академическое издание произведений П. И. Чайковского}} (1936)
 
* {{bib|1938/51|К столетию со дня рождения П. И. Чайковского}} (1938)
* [[Letter 3814]] to [[Vladimir Davydov]], 5/17 March 1889, from [[Hannover]], in which Tchaikovsky complains about the lack of coverage his second conducting tour to Western Europe (January–March 1889) was receiving in the Russian press:
* {{bib|1941/38|Академическое издание сочинений П. И. Чайковского}} (1941) [on preparation of vol. 62]
{{quote|Unfortunately, in Russia, judging from letters [I've received], the newspapers in the two capitals are continuing to ignore me, and apart from people close to me nobody seems to care anything about my successes. In contrast, the local newspapers here every day publish long telegrams with all the details about how Wagner's operas are being staged in [[Saint Petersburg]] [during February–March 1889, Angelo Neumann's touring opera company put on ''the Ring'' cycle at the Mariinsky Theatre — its first performance in Russia]. Of course, I am no Wagner, but still it is desirable that people in our country should know how cordially I'm being welcomed by the Germans.}}
 
{{quote|I would be interested to know what you made of the tetralogy [i.e. '' The Ring'']. I can foresee that now we, too, will have our own Russian Wagnerians. I do not like that breed. Having been bored to death the whole evening, but enticed by some captivating, effective moment, they imagine that they have come to appreciate Wagner and will plume themselves on their exquisite sensitivity, thereby merely deluding themselves and others. When all is said and done, ''[[Wagner]]'' (I am speaking of the author of the tetralogy, not about the composer of "Lohengrin") cannot appeal to a Russian person. These German gods with their Valhallaesque squabbles and impossibly long-winded dramatic gibberish must inevitably just seem ridiculous to a Frenchman, an Italian, or a Russian. As for the music, in which wondrous symphonic episodes cannot make up for the monstrosity and artificiality of the vocal aspect of these musical freaks, that can surely only depress people. But just as is happening in France and in Italy, I am sure that the vile breed of Wagnerians will also make headway in our country, too. If all these attacks on [[Wagner]] surprise you, I should like to make it clear to you that I think very highly of [[Wagner]]'s creative genius, but detest ''Wagnerism'' as a principle and cannot overcome my disgust at [[Wagner]]'s manner in his late works…" <ref name="note46"/>.}}
 
* [[Letter 4302]] to [[Sergey Taneyev]], 14/26 January 1891:
{{quote|The question as to ''how one should write operas'' I have always resolved, continue to resolve, and will always resolve extremely simply. They should be written (and everything else, too, by the way) ''just as they occur to one''. Through my music I have always striven to express as ''truthfully'' and ''sincerely'' as possible what was in the text. Now ''truthfulness'' and ''sincerity'' are not the result of theorizing, but rather a spontaneous product of one's inner feeling. In order for this feeling to be alive and warm, I have always tried to choose subjects which were capable of stirring me. However, I can only be stirred by subjects which involve real living people, who feel just as I do. That is why I cannot stand Wagnerian subjects, in which there is nothing ''human''; likewise, I would not pick a subject like yours [''Oresteia''], which contains monstrous acts of evil and has the Furies and Fate as actual characters on the stage. And so, after choosing a subject and setting about writing the opera I would always give free rein to my feeling, resorting neither to Wagner's recipe, nor to imitation of classical models, nor even striving to be original. In all this, however, I did not by any means try to prevent the spirit of the age from influencing me. I confess that if it weren't for Wagner, I would have composed differently; I admit that even ''kuchkism'' [the ideas of the "Mighty Handful"] shows through in my operatic compositions; and probably both Italian music, which I passionately loved as a child, and ''[[Glinka]]'', whom I worshipped in my youth, have had a strong effect on me, not to mention [[Mozart]] of course. But I never consciously invoked any of these idols — rather, I allowed them to act on my musical intuition just as they pleased.}}
 
===In Tchaikovsky's Diaries===
* Diary entry for 13/25 March 1889, [[Paris]]:
{{quote|A letter from ''[[Glazunov]]''. (He's a ''Wagnerian''!!) <ref name="note47"/>.}}
 
===In Interviews with Tchaikovsky===
* ''[[A Conversation with P. I. Tchaikovsky]]'', TH 324 (1892):
{{quote|''Q. — What do you think about the contemporary state of music in the West and its future?''}}
 
{{quote|A. — It seems to me that music in Western Europe is going through a sort of phase of transition. For a long time Wagner was the only major composer of the German school. This man of genius, from whose overwhelming influence not one of the European composers of the second half of our century has been able to escape, stood there in splendid isolation, so to speak. And just as was the case during his life-time, now, too, there is nobody who could replace him. True, there is in Germany one highly respected and esteemed composer: [[Brahms]], but the cult of [[Brahms]] is more like a way of protesting against the excesses and extremes of Wagnerism. For all his mastery, for all the purity and earnestness of his endeavours, [[Brahms]] can hardly be said to have made an eternal and precious contribution to the treasure-house of German music. Of course we can also point to two or three other outstanding German composers: Goldmark, Bruckner, the young Richard Strauss; indeed, here one should also mention Moritz Moszkowski, who, in spite of his Slavic name, is based in Germany; but, on the whole in the classical land of music one can sense a certain scarcity of talents, a certain lack of life and stagnation. The only place where there is true life is in [[Bayreuth]], in this centre of the Wagner cult, and whatever our attitude may be to the music of Wagner, it is impossible to deny its power, its fundamental significance and influence on all contemporary music.}}
 
:Later on in this interview Tchaikovsky talks about the composers of the "Mighty Handful" and argues that it was unfair to call them radicals and revolutionaries:
 
{{quote|Never did this circle [the [[Balakirev]] circle] break all links with the past, as Wagner and the Wagnerians did. The most outstanding members of this circle never disdained old and traditional forms.}}
 
==Views on Specific Works by Wagner==
Bold references indicate particularly detailed or interesting references.
 
===In Tchaikovsky's Music Review Articles===
* ''Das Rheingold'', opera (1869) — [[TH 314]]
* Prelude — [[TH 319]]
* ''Der fliegende Holländer'', opera (1843):
* Overture — '''[[TH 276]]'''
* ''Der Ring des Nibelungen'', tetralogy (1876; see also the individual operas) — '''[[TH 314]]''', [[TH 319]]
* ''Die Walküre'', opera (1870) — [[TH 314]]
* Ride of the Valkyries — '''[[TH 306]]''', [[TH 319]]
* ''Faust'', overture (1855) — '''[[TH 270]]''', [[TH 319]]
* ''Götterdämmerung'', opera (1876) — [[TH 314]]
* Siegfried's Death and Funeral March — [[TH 319]]
* ''Lohengrin'', opera (1850) — [[TH 270]]
* Prelude to Act I — '''[[TH 259]]''', [[TH 285]], '''[[TH 319]]'''
* ''Parsifal'', opera (1882) — [[TH 319]]
* ''Siegfried'', opera (1876) — [[TH 314]]
* Siegfried's Forging Song — [[TH 314]]
* ''Tannhäuser'', opera (1845/1861):
* Overture — [[TH 304]]
* ''Tristan und Isolde'', opera (1865):
* Liebestod scene — [[TH 270]]
 
===In Tchaikovsky's Letters===
* ''Das Rheingold'', opera (1869) — [[Letter 490]] to [[Modest Tchaikovsky]], 2/14 August 1876 (quoted above)
* ''Der fliegende Holländer'', opera (1843) — [[Letter 2448]] to [[Nadezhda von Meck]], 27 February/10 March 1884 (quoted above) ; [[Letter 1441]] to [[Modest Tchaikovsky]], 5/17 March 1880, from [[Berlin]]:
{{quote|I found ''The Dutchman'' terribly noisy and boring. The singers were very bad, the'' prima donna ''(Mallinger <ref name="note48"/>) had lost her voice, and overall this was very much a below average performance. I didn't even stay until the end.}}
 
* ''Der Ring des Nibelungen'', tetralogy (1876; see also the individual operas) — [[Letter 490]] to [[Modest Tchaikovsky]], 8/20 August 1876 (quoted above); [[Letter 3814]] to [[Vladimir Davydov]], 5/17 March 1889 (quoted above); [[Letter 799]] to [[Sergey Taneyev]], 27 March/8 April 1878, in which Tchaikovsky thanks [[Taneyev]] for telling him how ''[[Francesca da Rimini]]'' had fared at its recent premiere in [[Moscow]]:
{{quote|It was very interesting for me to read these opinions about ''[[Francesca da Rimini]]''. But it wasn't [[Cui]]'s own idea when he says that the first theme resembles a Russian song. I told him that myself last year. If I hadn't told him, he wouldn't have noticed! [Cui]]'s] observation that I wrote this work under the impression of the ''Nibelungen'' is very accurate. I felt this myself when I was working on it. If I am not mistaken, this is particularly noticeable in the introduction. Isn't it strange that I submitted to the influence of an artistic work which I generally dislike?" <ref name="note49"/>.}}
 
: [[Letter 862]] to [[Nadezhda von Meck]], 24 June/6 July 1878, in which Tchaikovsky discusses his method of composition and then observes how there was no danger of diatonic melodies ever running out:
{{quote|In the music of [[Beethoven]], [[Weber]], [[Mendelssohn]], [[Schumann]], and especially Wagner one constantly comes across melodies based on notes of a triad, and a gifted musician will always be able to come up with a new and beautiful fanfare-like melody. Don't you remember how beautiful the 'sword' melody in the ''Nibelungen'' is?}}
 
* ''Die Meistersinger von Nürnberg'', opera (1868) — [[Letter 3490]] to [[Modest Tchaikovsky]], 2/14 February 1888, from [[Prague]] (where Tchaikovsky arrived on 12 February {{NS}} after leaving [[Leipzig]] that very day):
{{quote|[In [[Leipzig]]] in the evening [of 10 February {{NS}}] I was at the opera-house, where they were putting on ''Die Meistersinger''. Very interesting.}}
 
* ''Die Walküre'', opera (1870): Ride of the Valkyries — [[Letter 661]] to [[Nadezhda von Meck]], 26 November/8 December 1877 (quoted above); [[Letter 681]] to [[Sergey Taneyev]], 7/19 December 1877 (quoted above)
 
* ''Lohengrin'', opera (1850) — [[Letter 1171]] to [[Nadezhda von Meck]], 5/17 May 1879 (quoted above); [[Letter 2448]] to [[Nadezhda von Meck]], 27 February/10 March 1884 (quoted above); [[Letter 3814]] to [[Vladimir Davydov]], 5/17 March 1889 (quoted above); [[Letter 2292]] to [[Nadezhda von Meck]], 12/24 May 1883, from [[Berlin]]:
{{quote|Today at the opera-house they're putting on ''Lohengrin'', which I consider to be the best of all of Wagner's works, and I'll probably go and listen to it.}}
 
* ''Parsifal'', opera (1882) — [[Letter 2545]] to [[Nadezhda von Meck]], 8/20–10/22 September 1884 (quoted above); [[Letter 2544]] to [[Modest Tchaikovsky]], 7/19–11/23 September 1884, from [[Pleshcheyevo]]:
{{quote|I think I've already told you in an earlier letter that in the evenings I am studying ''Parsifal''. Lord, how tedious it is, and, in spite of the mastery of genius which it shows, what falseness and nonsense there is in this whole monstrous thing!}}
 
* ''Siegfried Idyll'', symphonic poem for chamber orchestra (1870) — [[Letter 2173]] to [[Nadezhda von Meck]], 12/24–13/25 December 1882, in which Tchaikovsky discusses [[Max Erdmannsdörfer]]'s conducting at a recent concert in [[Moscow]]:
{{quote|He is too much of a German. The programmes for his concerts are far too German, and, for example, he doesn't include any French music at all and is disdainful of Russian music (except mine). Thus, for example, yesterday [[Taneyev]]'s overture [on a Russian theme in C major] was played in a very slovenly manner, whereas Wagner's inferior piece [''Siegfried Idyll''] was given a splendid performance. The first of these two works he had barely even rehearsed with the orchestra, whilst the second was clearly a labour of love for him.}}
 
* ''Tannhäuser'', opera (1845/1861) — [[Letter 2448]] to [[Nadezhda von Meck]], 27 February/10 March 1884 (quoted above); Letter 4593 to [[Vladimir Davydov]], 7/19 January 1892, from [[Hamburg]], where that very day the first performance in Germany of ''[[Yevgeny Onegin]]'' was due to take place:
{{quote|By the way, the conductor here is not some medium-quality fellow, but positively a ''genius'', and he is burning with eagerness to conduct the first performance [of ''[[Onegin]]'']. Yesterday I heard him conduct an ''astonishing'' performance of ''Tannhäuser''. The singers, the orchestra, [[Pollini]], the stage directors, the conductor (his name is [[Mahler]]) are all in love with ''[[Yevgeny Onegin]]''.}}
 
* ''Tristan und Isolde'', opera (1865) — [[Letter 2184]] to [[Nadezhda von Meck]], 31 December 1882/12 January 1883 (quoted above); [[Letter 2448]] to [[Nadezhda von Meck]], 27 February/10 March 1884 (quoted above); [[Letter 2183]] to [[Modest Tchaikovsky]], 30 December 1882/11 January 1883, from [[Berlin]]:
{{quote|Tonight at the opera-house they're putting on ''Tristan und Isolde''. At last I'm in luck! Of course I'll go and see it.}}
 
===In Tchaikovsky's Diaries===
* ''Tannhäuser'', opera (1845/1861) — Diary entry for 12/24 January 1888, [[Magdeburg]]:
{{quote|Performance at the ''Stadtstheater''. ''Tannhäuser''. A boring opera. Atrocious singers, but the staging was good.}}
 
==Bibliography==
* {{bib|1873/16}} (1873)
* {{bib|1873/20}} (1873)
* {{bib|1891/13}} (1891)
* {{bib|1891/54}} (1891)
* {{bib|1893/72}} (1893)
* {{bib|1900/20}} (1900)
* {{bib|1938/4}} (1938)
* {{bib|1943/12}} (1943)
* {{bib|1949/29}} (1949)
* {{bib|1969/24}} (1969)
* {{bib|1969/25}} (1969)
* {{bib|1975/101}} (1975)
* {{bib|1986/51}} (1986)
* {{bib|1986/59}} (1986)
* {{bib|1986/62}} (1986)
* {{bib|1997/45}} (1997)
* {{bib|1998/35}} (1998)
* {{bib|1998/40}} (1998)
* {{bib|1999/5}} (1999)
* {{bib|2000/47}} (2000)
* {{bib|2013/25}} (2013)


==External Links==
====Reviews====
* [[wikipedia:Richard_Wagner|Wikipedia]]  
* V. Avgust, {{bib|1940/12|Почему не издают произведений Чайковского?}} (1940)
* {{IMSLP|Wagner,_Richard}}
* {{bib|1940/350|Собрание сочинений Чайковского}} (1940)
* {{bib|1941/37|Академическое издание сочинений П. И. Чайковского}} (1941) [on vols. 43-45]
* {{bib|1945/43|137 томов. Новые издания музыкальной классики}} (1945)
* {{bib|1949/56|Нотография и библиография}} (1949) [on vol. 4]
* Aleksandr Nikolayev, {{bib|1950/31|Значительное событие в музыкальной жизни}} (1950) [on vols. 51A, 51B, 52, 53]


==Notes and References==
[[Category:Works]]
<references>
[[Category:Bibliography]]
<ref name="note1">[[Herman Laroche]]'s {{bibx|1898/15|Foreword}} to {{bib|1898/24|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898). Cited here with reference to {{bib|2000/42|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxxii.</ref>
<ref name="note2">This article of 1893, entitled "Un voyage musical en Russie", was penned by the journalist André Maurel (1863–1943) and also included various ironical remarks against the Germans, especially [[Hans von Bülow]], whose influence on music life in Russia, so Maurel argued, had long since been resented by the Russians themselves, and that was why they had now welcomed Lamoureux so enthusiastically! In his open letter Tchaikovsky indignantly emphasised [[Bülow]]'s great services to Russian music, as well as pointing out how many of Wagner's operas had been staged in Russia over the last twenty-five years, and that orchestral excerpts from these had been a staple of RMS concerts in both capitals long before the French were even aware of Wagner's existence! Both Maurel's article and Tchaikovsky's open letter are included in {{bib|1997/96|Жизнь Петра Ильича Чайковского ; том 3}} (1997), p. 523–526. They are also discussed by Rosamund Bartlett in {{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}} (1999), p. 111–112.</ref>
<ref name="note3">Quoted in {{bib|1997/96|Жизнь Петра Ильича Чайковского ; том 3}} (1997), p. 525.</ref>
<ref name="note4">{{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}} (1999), p. 97.</ref>
<ref name="note5">{{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}} (1999), p. 113.</ref>
<ref name="note6">See also {{bib|1998/40|Čajkovskijs Wagner-Rezeption. Daten und Texte}} (1998), p. 308–309.</ref>
<ref name="note7">Tchaikovsky's attendance of a performance of ''Lohengrin'' before 1883 is not actually recorded in any of his published letters or such comprehensive chronologies of his life as {{bib|1940/107|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940). However, from what he says about ''Lohengrin'' in the abovementioned article of 1872 ([[TH 270]]), it is clear that he was speaking from first-hand experience of the opera on the stage. Otherwise, the earliest documented reference to Tchaikovsky attending an opera by Wagner is during a brief stay in [[Saint Petersburg]] in January 1876 on his way back to [[Moscow]] from a trip abroad. From letter 439 to [[Modest Tchaikovsky]], 20 January/1 February 1876, we know that the previous day Tchaikovsky had seen ''Tannhäuser'' at the Mariinsky Theatre, although he says nothing about the performance.</ref>
<ref name="note8">{{bib|1998/40|Čajkovskijs Wagner-Rezeption. Daten und Texte}} (1998), p. 303.</ref>
<ref name="note9">See also the following remark in [[Letter 782]] to [[Nadezhda von Meck]], 10/22 March 1878: "In spite of Schopenhauer I am every minute of the day filled with a sense of love for life and Nature.</ref>
<ref name="note10">[[Herman Laroche]]'s {{bibx|1898/15|Foreword}} to {{bib|1898/24|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898). Quoted here from {{bib|2000/42|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxxii.</ref>
<ref name="note11">{{bib|1980/89|Воспоминания о П. И. Чайковском}} (1980), p. 52.</ref>
<ref name="note12">{{bib|1980/89|Воспоминания о П. И. Чайковском}} (1980), p. 54.</ref>
<ref name="note13">{{bib|1980/89|Воспоминания о П. И. Чайковском}} (1980), p. 57.</ref>
<ref name="note14">{{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}}  (1999), p. 97.</ref>
<ref name="note15">{{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}}  (1999), p. 99.</ref>
<ref name="note16">{{bib|1997/94|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 325.</ref>
<ref name="note17">[[Letter 418]] to [[Hans von Bülow]], 19 November/1 December 1875.</ref>
<ref name="note18">[[Herman Laroche]]'s observations are quoted in {{bib|1997/94|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 326.</ref>
<ref name="note19">While he was in [[Kiev]] in early June 1876 Tchaikovsky wrote to [[Karl Albrecht]] in [[Moscow]], asking his colleague at the Conservatory to send him "a small book dealing with ''The Nibelung's Ring''" ([[Letter 466]] to [[Karl Albrecht]], 2/14 June 1876), and it seems to have been with the help of this book that Tchaikovsky hastily drew up the synopses of the four operas of ''The Ring'' that he used for the second and third chapters of his article ''[[The Bayreuth Music Festival]]'' (TH 314).</ref>
<ref name="note20">{{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}}  (1999), p. 101.</ref>
<ref name="note21">[[Herman Laroche]] as quoted in {{bib|1997/94|Жизнь Петра Ильича Чайковского ; том 1}} (1997), p. 467.</ref>
<ref name="note22">{{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}}  (1999), p. 95.</ref>
<ref name="note23">See also [[Letter 716]] to [[Sergey Taneyev]], 2/14 January 1878, which is quoted in more detail in the work history for ''[[Yevgeny Onegin]]''.</ref>
<ref name="note24">{{bib|1954/50|Воспоминания о П. И. Чайковскoм}} (1954), p. 110–111. In his ''Chronicle of My Musical Life'' [Летопись моей музыкальной жизни] (1910) [[Rimsky-Korsakov]] also refers to a similar conversation with Tchaikovsky, but seems to have confused the facts. He recalls there how Tchaikovsky attended one of the gatherings of the "Mighty Handful" in [[Saint Petersburg]] in 1876 or 1877 and had informed them that he was working on an orchestral fantasia based on [[Shakespeare]]'s play ''[[The Tempest]]'', and that for the evocation of the sea "he intended to borrow, up to a certain point, from Wagner's prelude to ''Das Rheingold'', based on a triad figure". (The relevant section from [[Rimsky-Korsakov]]'s memoirs is included in {{bib|1994/85|Tschaikowsky aus der Nähe: Kritische Würdigungen und Erinnerungen von Zeitgenossen}} (1994), p. 81]. ''[[The Tempest]]'', however, was completed by Tchaikovsky in October 1873! It seems that [[Rimsky-Korsakov]], who had been greatly impressed by the fantasia at its premiere in December that year, later associated Tchaikovsky's admiration for the ''Rheingold'' prelude after his return from [[Bayreuth]] in 1876 (as described by [[Kashkin]] above) with the composition process of ''[[The Tempest]]'', but this is evidently a misunderstanding. The ''Rheingold'' prelude was not included by Wagner in the concerts he gave in [[Saint Petersburg]] in 1863, and Tchaikovsky, as far as we can tell, heard it for the first time at the [[Bayreuth]] festival in 1876, so it cannot have influenced the writing of ''[[The Tempest]]'' (1873) in any way.</ref>
<ref name="note25">See also a review of that opera quoted in {{bib|1940/107|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p. 424.</ref>
<ref name="note26">{{bib|1998/40|Čajkovskijs Wagner-Rezeption. Daten und Texte}} (1998), p. 301–302.</ref>
<ref name="note27">{{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}} (1999), p. 104.</ref>
<ref name="note28">[[Letter 716]] to [[Sergey Taneyev]], 2/14 January 1878.</ref>
<ref name="note29">[[Letter 1440]] to [[ Modest Tchaikovsky]], 4/16 March 1880.</ref>
<ref name="note30">Perhaps Klingsor's magic castle and garden reminded Tchaikovsky of the evil sorceress Naina and Chernomor in [[Glinka]]'s ''Ruslan and Lyudmila'', who also have their own Flower Maidens to beguile unwitting travellers! Like [[Serov]], Tchaikovsky refused to see in '' Ruslan'' an effective work for the opera stage, mainly because of these 'fairy-tale' elements and the excessive richness of the music (see [[TH 264]]).</ref>
<ref name="note31">This is recorded in diary entries for 1/13 July 1886 ("Tea. Read and played ''Parsifal''."), 26 August/7 September 1886 ("Dinner. Afterwards I played ''Parsifal''."), and 28 April/10 May 1887 ("Work. A wondrous, astonishing sunset! Work. ''Parsifal''."). See {{bib|1993/231|Дневники П. И. Чайковского, 1873–1891}} (1993), pp. 75, 90, 141 respectively.</ref>
<ref name="note32">{{bibx|1898/15|Foreword}} to {{bib|1898/24|Музыкальные фельетоны и заметки Петра Ильича Чайковского (1868-1876)}} (1898). Cited here with reference to {{bib|2000/42|Peter Tschaikowsky. Musikalische Essays und Erinnerungen}} (2000), xxxyi–xxxiv.</ref>
<ref name="note33">Gustav Kobbé (1857–1918) wrote of this chorus in his famous guide to the operas, ''The Complete Opera Book'' (1919): "When sung as it was at [[Bayreuth]], where I heard the first performance of ''Parsifal'' in 1882, this makes the most exquisite effect of the whole score. For spirituality it is unsurpassed, an absolutely perfect example of religious music — a beautiful melody without the slightest worldly taint".</ref>
<ref name="note34">See also {{bib|1940/107|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p. 468, where a diary entry for 11/23 March 1889 is quoted.</ref>
<ref name="note35">See also [[Letter 3488]] to [[Praskovya Tchaikovskaya]], 30 January/11 February 1888, where he does not actually say anything about the opera or the performance.</ref>
<ref name="note36">{{bib|1998/40|Čajkovskijs Wagner-Rezeption. Daten und Texte}} (1998), p. 306. See also also a letter from [[Sergey Taneyev]] to Tchaikovsky, 11/23 April 1889: "Wagner interests me enormously, especially with regard to his harmony and instrumentation. There is a lot one can learn from him — amongst other things, how one should not write operas. Some time I will talk to you in detail about him." See also {{bib|1951/48|П. И. Чайковский. С. И. Танеев. Письма}} (1951), p. 158.</ref>
<ref name="note37">David Brown is quoted on this point by Rosamund Bartlett in {{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}} (1999), p. 110. In his article {{bib|1995/69|Čajkovskij und das russische Silberne Zeitalter}} (1995), p. 155–164, Arkady Klimovitsky also discusses the similarities between ''Tristan'' and ''[[Iolanta]]'' (tonal vagueness, harmonic colour, chromaticism) but argues that Tchaikovsky was seeking to refute Wagner in a certain sense. He quotes a letter which Tchaikovsky wrote to an old friend I. V. Yakovlev when he started to work on ''[[Iolanta]]'': "I have found a subject with which I shall prove to the whole world that the lovers in the finales of operas can stay alive, and that this is completely true and authentic!" Klimovitsky makes the interesting conjecture that Tchaikovsky was thinking of ''Tristan'' in this letter, and that he intended the happy ending of ''[[Iolanta]]'', with the marriage of Vaudémont and Iolanta now cured of her blindness, as a refutation of the inevitable "Liebestod" of ''Tristan and Isolde''.</ref>
<ref name="note38">See also {{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}} (1999), p. 111.</ref>
<ref name="note39">{{bib|1980/51}} (1980), p. 208–211 (211). This passage is also included in {{bib|1993/33|Tchaikovsky Remembered}} (1993).</ref>
<ref name="note40">[[Nikolay Kashkin]]'s obituary {{bib|1893/23|Петрь Ильич Чайковский}}, reprinted as {{bib|1980/70|Воспоминания о П. И. Чайковском}} (1980), p. 361–362. This section is also included in {{bib|1993/33|Tchaikovsky Remembered}} (1993), p. 232.</ref>
<ref name="note41">{{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}} (1999), p. 96.</ref>
<ref name="note42">{{bib|1980/87|Воспоминания о П. И. Чайковском}} (1980), p. 44.</ref>
<ref name="note43">One phrase in this letter requires particular attention: «был у Вагнера, который теперь никого не принимает». Translated quite literally, this would be in English: "was at Wagner's, who doesn't receive anyone now". Since it is not attested elsewhere that Tchaikovsky actually met Wagner, what seems to have happened is that he knocked at the door of Villa Wahnfried (perhaps with a letter of recommendation from [[Liszt]] or [[Klindworth]]) but was told that the composer wasn't receiving visitors. However, Tchaikovsky does seem to have spoken to someone who had been inside Wagner's house, since he describes its opulent interior in some detail in Chapter IV of [[TH 314]].</ref>
<ref name="note44">It is worth comparing this with a very interesting letter which [[Sergey Taneyev]] wrote from [[Paris]] to [[Varvara Maslova]] and [[Fyodor Maslov]] on 3/15 March 1877, describing his meetings there with [[Ivan Turgenev]]. [[Taneyev]] discusses, in particular, his musical tastes. Apparently [[Turgenev]]'s favourite composer was now [[Schumann]] and he could not stand Wagner at all: "'His [Wagner's] music expresses various un-human feelings,' he [Turgenev]]] says, 'and his characters are not living people, so I can't empathize with them. How can I know what is going on in the heart of a young man who comes floating in on a swan (''Lohengrin'') or in that of a young girl who has the habit of riding through clouds on a horse at night-time (''Walküre'') — I mean, if I was also told that she sees through her mouth and listens with her nose, am I expected to believe that, too?! Anyway, whatever she does cannot move or touch me. And whenever in Wagner's operas there are supposed to be people on the stage, these aren't actually real people, just figures who are meant to illustrate some abstract idea'". Quoted by Abram Gozenpud in {{und|И. С. Тургенев. Исследование}} [I. S. Turgenev. A Study] (1994), p. 48. Also i Bernandt, G. {{und|С. И. Танеев}} [S. I. Taneyev] (1950), p. 42–43. See also Tchaikovsky's very similar remarks about the exotic setting of [[Verdi]]'s ''Aida'', with its "Egyptian princesses and pharaohs" in the work history for ''[[Yevgeny Onegin]]''.</ref>
<ref name="note45">Quoted in {{bib|1999/5|Tchaikovsky and Wagner. A Reassessment}}  (1999), p. 104.</ref>
<ref name="note46">It is worth comparing the conclusion of this letter with the almost identical ending of Tchaikovsky's 1891 article for the [[New York]] ''Morning Journal'': "[[Wagner and His Music]]" ([[TH 319]]).</ref>
<ref name="note47">See {{bib|1993/231|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 230.</ref>
<ref name="note48">Mathilde Mallinger (1847–1920), famous Austrian soprano. Tchaikovsky had heard her in a production of [[Meyerbeer]]'s ''Les Huguenots'' in [[Moscow]] in 1873 (see [[TH 273]]).</ref>
<ref name="note49">This passage from [[Letter 799]] to [[Sergey Taneyev]], 27 March/8 April 1878, is quoted in {{bib|1940/107|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p. 179. The passage in question was deleted by Soviet censorship from the text of this letter as presented in {{bib|1951/48|П. И. Чайковский. С. И. Танеев. Письма}} (1951), p. 33–35. No indication was given there that a part of the text had been excised. In {{bib|1962/102|П. И. Чайковский. Полное собрание сочинений ; том VII}} (1962), however, the full text of the letter is given. This censorial intervention has also been pointed out by Ernst Kuhn in {{bib|1994/85|Tschaikowsky aus der Nähe: Kritische Würdigungen und Erinnerungen von Zeitgenossen}} (1994), p. 99, note 235.</ref>
</references>
[[Category:People|Wagner, Richard]]
[[Category:Composers|Wagner, Richard]]

Revision as of 22:19, 15 March 2023

The Soviet critical edition of Tchaikovsky's Complete Collected Works (Полное собрание сочинений) was published in 107 volumes between 1940 and 1990, and covered the composer's compositions, writings and correspondence, except for his religious choral works and diaries.

The inclusion of fragments from the Tsarist Russian anthem in works such as The Year 1812 and the Slavonic March was deemed unacceptable for most of the Soviet era, and in the printed scores such passages were either replaced by other music or excised altogether. The texts of some vocal works were also rewritten on ideological grounds, and Tchaikovsky's liturgical music was entirely ignored until 1990 when it was included in a supplemental volume.

Although many works were published for the first time in this series, others were arbitrarily omitted: for example, the full scores of Vakula the Smith and the suite from The Nutcracker, the piano version of the Mazurka from the play Dmitry the Pretender and Vasily Shuysky, the composer's vocal-piano reduction of the music for Hamlet, the familiar 1889 version of the Piano Concerto No. 1, and the Anastasie-Valse. The edition was also criticized for a failure to apply uniform editorial standards to the text or music, and the absence of detailed critical reports, comprehensive descriptions of sources, or thorough evaluations of the manuscripts and alternative readings.

In the 1970s, the musical series was reprinted in the United States by Edwin F. Kalmus, with the original volumes being divided or combined for this reprint. The Soviet editorial prefaces were omitted, and the Russian title pages were replaced with English versions (not always reliably).

The volumes covering Tchaikovsky's letters were purged of references to homosexuality, intimate relationships or even illnesses (whether his own, or those of his relatives and servants). Profanities and abusive vocabulary were also removed, as were passages considered to be ideologically unacceptable in Soviet times. The most substantial cuts were made in Tchaikovsky's letters to his brothers from the 1870s, particularly those concerning his marriage to Antonina Milyukova in 1877.

Musical Works

As of April 2019, these volumes may all be viewed freely online at https://www.tchaikovsky.pro/complete-set-of-works (in Russian).

Operas

Том 1А. Edited by Pavel Lamm (1953). xiv, 325 pages. Plate M. 18361 Г.

Kalmus edition No. 542.

Том 1Б. Edited by Pavel Lamm (1953). 186 pages. Plate M. 23088 Г.

Kalmus edition No. 542.

Том 1В. Edited by Pavel Lamm (1953). v, 213 pages. M. 23122 Г.

Kalmus edition No. 542.

Том 1 (доп.). Edited by Pavel Lamm (1953). xiv, 433 pages. Plate M. 23221 Г.

  • The Voyevoda, Op. 3 : Vocal-piano score (p. 7-398).
  • The Voyevoda, Op. 3 : Transcription of Entr'acte and Dances of the Chambermaids (Act II, No. 4) for piano four hands by Tchaikovsky (p. 403-431).
Kalmus edition No. 542.

Том 2. Edited by Rostislav Berberov (1950). xiii, 225 pages.

Kalmus edition No. 543 (p. 3-90, 161-187); No. 544 (p. 92-158, 191-217).

Том 3А. Edited by Anatoly Dmitriyev (1959). xix, 315 pages. Plate M. 27036 Г.

Kalmus edition No. 546.

Том 3Б. Edited by Anatoly Dmitriyev (1959). ix, 384 pages. Plate M. 27036-a Г.

Kalmus edition No. 546.

Том 4. Edited by Ivan Shishov (1948). xiv, 537 pages. Plate M. 18652 Г.

Kalmus edition No. 545.

Том 5А. Edited by V. D. Vasilyev (1964). xviii, 519 pages. Plate M. 30898-a Г.

Kalmus edition No. 547.

Том 5Б. Edited by V. D. Vasilyev (1964). 450 pages. Plate M. 30898-б Г.

Kalmus edition No. 547.

Том 6А. Edited by V. D. Vasilyev (1969). xx, 337 pages. Plate 5853.

  • Mazepa : Full score of Act I.
Kalmus edition No. 548.

Том 6Б. Edited by V. D. Vasilyev (1969). xii, 484 pages. Plate 5853-a.

  • Mazepa : Full score of Acts II and III.
Kalmus edition No. 548.

Том 7А. Edited by V. D. Vasilyev (1951). xiv, 426 pages.

Kalmus edition No. 549.

Том 7Б. Edited by V. D. Vasilyev (1951). ix, 282 pages.

Kalmus edition No. 549.

Том 8А. Edited by Ivan Shishov (1948). xiii, 525 pages.

Kalmus edition No. 550.

Том 8Б. Edited by Ivan Shishov (1949). xii, 511 pages.

Kalmus edition No. 550.

Том 9А. Edited by Anatoly Dmitriyev (1950). xix, 299 pages. Plate M. 20727-a Г.

Kalmus edition No. 551.

Том 9Б. Edited by Anatoly Dmitriyev (1950). ix, 281 pages. Plate M. 20727-б Г.

Kalmus edition No. 551.

Том 9В. Edited by Anatoly Dmitriyev (1950). ix, 279 pages. Plate M. 20727-в Г.

Kalmus edition No. 551.

Том 10. Edited by V. D. Vasilyev (1953). xiv, 361 pages. Plate M. 23202 Г.

Kalmus edition No. 552.

Ballets

Том 11А. Edited by Irina Iordan & Georgy Kirkor (1957). xvi, 402 pages. Plate M. 26458-a Г.

  • Swan Lake, Op. 20 : Full score of Acts I and II.
Kalmus edition No. 553.

Том 11Б. Edited by Irina Iordan & Georgy Kirkor (1957). ix, 412 pages. Plate M. 26458-б Г.

  • Swan Lake, Op. 20 : Full score of Acts III and IV.
Kalmus edition No. 553.

Том 12А. The Sleeping Beauty, Op. 66. Edited by Anatoly Dmitriyev (1952). xix, 217 pages. Plate M. 22760-a Г

Kalmus edition No. 554.

Том 12Б. Edited by Anatoly Dmitriyev (1952). ix, 275 pages. Plate M. 22760-б Г.

Kalmus edition No. 554.

Том 12В. Edited by Anatoly Dmitriyev (1952). ix, 259 pages. Plate M. 22932-a Г.

Kalmus edition No. 554.

Том 12Г. Edited by Anatoly Dmitriyev (1952). ix, 377 pages. Plate M. 22932-б Г.

Kalmus edition No. 554.

Том 13А. Edited by V. D. Vasilyev (1955). xvi, 311 pages. Plate M. 24757-a Г.

Kalmus edition No. 555.

Том 13Б. Edited by V. D. Vasilyev (1955). ix, 302 pages. Plate M. 24757-б Г.

Kalmus edition No. 555.

Music for Dramatic Productions

Том 14. Edited by Irina Iordan (1962). xix, 398 pages. Plate M. 29924 Г.

Kalmus edition Nos. 556 (p. 3-274), 557 (p. 277-395).

Works for Orchestra

Том 15А. Edited by Semyon Bogatyrov (1957). xiii, 187 pages. Plate M. 26268 Г.

Kalmus edition No. 558.

Том 15Б. Edited by Semyon Bogatyrov (1954). ix, 305 pages. Plate M. 23819 Г.

  • Symphony No. 2, Op. 17 : Full score of 1879 version (p. 3-165).
  • Symphony No. 2, Op. 17 : Full score of 1872 version, extracts (p. 167-298).
Kalmus edition No. 559.

Том 16А. Edited by Pavel Berlinsky (1949). xi, 211 pages. Plate M. 19886 Г.

Kalmus edition No. 560.

Том 16Б. Edited by Pavel Berlinsky (1949). xi, 221 pages. Plate M. 19937 Г.

Kalmus edition No. 561.

Том 17А. Edited by Georgy Kirkor (1963). xvi, 228 pages. Plate M. 30170 Г.

Kalmus edition No. 562.

Том 17Б. Edited by Irina Iordan (1963). xx, 244 pages. Plate M. 30830 Г.

Kalmus edition No. 563.

Том 18. Edited by Yevgeny Makarov (1949). xv, 320 pages. Plate M. 19779 Г.

Kalmus edition No. 564.

Том 19А. Edited by Boris Karpov (1948). xiii, 201 pages. Plate M. 19017-a Г.

Kalmus edition No. 565.

Том 19Б. Edited by Boris Karpov (1948). v, 293 pages. Plate M. 19017-б Г.

  • Suite No. 2, Suite caractéristique, Op. 53 : Full score.
Kalmus edition No. 566.

Том 20. Edited by Ivan Shishov (1946). xi, 366 pages. Plate M. 18330 Г.

Kalmus edition Nos. 567 (p. 2-222), 568 (p. 224-298), 569 (p. 301-366).

Том 21. Edited by Pavel Lamm (1952). xi, 301 pages. Plate M. 22413 Г.

Kalmus edition Nos. 570 (p. 3-82), 571 (p. 85-210), 572 (p. 213-300).

Том 22. Edited by Irina Iordan (1960). xvi, 185 pages. Plate M. 27269 Г.

Kalmus edition Nos. 573 (p. 1-79), 607 (p. 85-184).

Том 23. Edited by Anatoly Drozdov & Igor Belza (1950). xiii, 227 pages. Plate M. 20556 Г.

Kalmus edition Nos. 574 (p. 3-86), 575 (p. 89-223).

Том 24. Edited by Irina Iordan (1961). xix, 337 pages. Plate M. 28912 Г.

Kalmus edition Nos. 576 (p. 3-114), 577 (p. 117-181), 578 (p. 187-336).

Том 25. Edited by Aleksandr Nikolayev (1961). xviii, (1), 239 pages. Plate M. 28816 Г.

Kalmus edition Nos. 579 (p. 3-96), 580 (p. 97-186), 581 (p. 187-232).

Том 26. Edited by Irina Iordan (1961). xvii, 246 pages. Plate M. 29301 Г.

  • Elegy for string orchestra : Full score (p. 5-11).
  • Jurisprudence March : Full score (p. 15-41).
  • Hamlet (overture-fantasia), Op. 67 : Full score (p. 47-150).
  • The Voyevoda, symphonic ballad, Op. 78 : Full score (p. 155-239).
  • Appendix (p. 241-245).
Kalmus edition Nos. 582 (p. 5-41), 583 (p. 47-150), 584 (p. 155-245).

Vocal Works with Orchestra

Том 27. Edited by Irina Iordan (1960). xv, 519 pages. Plate M. 18604 Г.

Kalmus edition Nos. 585 (p. 3-185), 586 (p. 189-337), 587 (p. 341-451), 588 (p. 455-517).

Works for Piano with Orchestra

Том 28. Edited by Aleksandr Goldenweiser (1955). xvi, 351 pages. Plate M. 24321. Г.

Kalmus edition Nos. 590 (p. 5-161), 591 (p. 167-347).

Том 29. Edited by Aleksandr Goldenweiser (1954). xiv, 255 pages. Plate M. 24341 Г.

Kalmus edition Nos. 592 (p. 5-155), 593 (p. 161-254).

Works for Violin with Orchestra

Том 30А. Edited by Valentina Rachkovskaya (1949). xii, 173 pages. Plate M. 19836 Г.

Kalmus edition Nos. 594 (p. 3-46), 595 (p. 49-170).

Works for Cello with Orchestra

Том 30Б. Edited by Viktor Kubatsky (1956). xiii, 95 pages. Plate M. 25739 Г.

Kalmus edition No. 596.

Chamber Ensembles

Том 31. Edited by Anatoly Aleksandrov (1955). xiii, 162 pages. Plate M. 24691 Г.

Kalmus edition No. 598 (score only).

Том 32А. Edited by Aleksandr Goldenweiser (1951). xii, 151 pages. Plate M. 18396 Г.

  • Piano Trio, Op. 50 : Score and Parts (p. 5-124).
  • Appendix (p. 127-150).
Kalmus edition No. 599 (score only).

Том 32Б. Edited by Aleksandr Goldenweiser (1952). xii, 108 pages. Plate M. 22452 Г.

Kalmus edition No. 600 (score only).

Arrangements for Voices with Piano

Том 33. Edited by Georgy Kirkor (1965). xviii, 315 pages. Plate 977.

Kalmus editions 6768 (p. 3-81), 6769 (p. 85-148), 6770 (p. 151-208), 6749 (p. 211-314).

Том 34. Edited by Anatoly Dmitriyev (1959). xix, 379 pages. Plate M. 27037 Г.

Kalmus edition 6750.

Том 35. Edited by V. D. Vasilyev (1956). xviii, 423 pages. Plate M. 25858 Г.

  • Vakula the Smith, Op. 14 : Vocal-piano score, arranged by Tchaikovsky. Also includes orchestral extracts not re-used in Cherevichki.
Kalmus edition 6751.

Том 36. Edited by Ivan Shishov (1946). xiii, 395 pages. Plate M. 18444 Г.

Kalmus edition 6456.

Том 37. Edited by V. D. Vasilyev (1963). xviii, 513 pages. Plate M. 30576 Г.

Kalmus edition 6753.

Том 38. Edited by V. D. Vasilyev (1968). xx, 399 pages. Plate 5766.

  • Mazepa : Vocal-piano score, arranged by Tchaikovsky.
Kalmus edition 6754.

Том 39. Edited by V. D. Vasilyev (1951). xiv, 384 pages. Plate M. 21674 Г.

  • Cherevichki : Vocal-piano score, arranged by Tchaikovsky.
Kalmus edition 6755.

Том 40А. Edited by Ivan Shishov (1949). xii, 267 pages. Plate M. 18632-a Г.

  • The Enchantress : Vocal-piano score of Acts I and II, arranged by Tchaikovsky.
Kalmus edition 6756.

Том 40Б. Edited by Ivan Shishov (1949). xii, 221 pages. Plate M. 18632-б Г.

  • The Enchantress : Vocal-piano score of Acts III and IV, arranged by Tchaikovsky.
Kalmus edition 6756.

Том 41. Edited by Anatoly Dmitriyev (1950). xiii, 425 pages. Plate M. 20727 Г.

Kalmus edition 6757.

Том 42. Edited by V. D. Vasilyev (1953). x, 233 pages. Plate M. 23723 Г.

  • Iolanta, Op. 69: Vocal-piano score, arranged by S. Taneyev.
Kalmus edition 6758.

Choruses and Ensembles

Том 43. Edited by Ivan Shishov & Nikolay Shemanin (1941). xi, 157 pages.

Kalmus edition Nos. 6759 (p. 5-82), 6760 (p. 85-149).

Romances and Songs

Том 44. Edited by Ivan Shishov & Nikolay Shemanin (1940). xvi, 304 pages. Plate M. 16971 Г.

Kalmus edition Nos. 6761 (p. 3-99), 6752 (p. 103-177), 6762 (p. 181-295).

Том 45. Edited by Ivan Shishov & Nikolay Shemanin (1940). xi, 239 pages. Plate M. 16980 Г.

Kalmus edition Nos. 6763 (p. 3-97), 6764 (p. 101-186), 6765 (p. 189-236).

Arrangements for Piano

Том 46А. Edited by Aleksandr Goldenweiser (1954). xvi, 245 pages. Plate M. 24360 Г.

Kalmus edition Nos. 4047 (p. 5-125), 4048 (p. 131-244).

Том 46Б. Edited by Aleksandr Goldenweiser (1954). x, 123 pages. Plate M. 24361 Г.

Kalmus edition Nos. 4049 (p. 5-67), 4050 (p. 73-122).

Том 47. Edited by Semyon Bogatyrov (1961). ix, 163 pages. Plate M. 25274 Г.

  • Symphony No. 2, Op. 17 : Transcription for piano four hands by Tchaikovsky. 1879 version (p. 7-90).
  • Symphony No. 2, Op. 17 : Transcription for piano four hands by Tchaikovsky. 1872 version, extracts (p. 93-156).
Kalmus edition No. 4051.

Том 48. Edited by Irina Iordan (1964). xvi, 215 pages. Plate 950.

  • Manfred, Op. 58 : Transcription for piano four hands by Tchaikovsky and A. Hubert (p. 5-126).
  • Symphony No. 6, Op. 74 : Transcription for piano four hands by Tchaikovsky (p. 131-214).
Kalmus edition Nos. 4052 (p. 5-126), 4053 (p. 131-214).

Том 49. Edited by Boris Karpov (1952). xix, 296 pages. Plate M. 25196 Г.

  • Suite No. 1, Op. 43 : Transcription for piano four hands by Tchaikovsky (p. 5-79).
  • Suite No. 2, Op. 53 : Transcription for piano four hands by Tchaikovsky and Aleksandra Hubert (p. 85-169).
  • Suite No. 3, Op. 55 : Transcription for piano four hands by Tchaikovsky (p. 175-266).
  • Appendix (p. 269-295).
Kalmus edition Nos. 4054 (p. 5-79), 4055 (p. 85-169), 4056 (p. 175-266).

Том 50А. Edited by Irina Iordan (1965). xii, 99 pages. Plate 1050.

Kalmus edition No. 4057.

Том 50Б. Edited by Irina Iordan (1965). xii, 103 pages. Plate 1051.

Kalmus edition No. 4058.

Works for Piano

Том 51А. Edited by Ivan Shishov (1945). vii, 123 pages.

Kalmus edition No. 4059.

Том 51Б. Edited by Ivan Shishov (1946). xi, 219 pages. Plate M. 18380 Г.

Kalmus edition Nos. 4060 (p. 3-88), 4061 (p. 91-215).

Том 52. Edited by Anatoly Drozdov (1948). xi, 245 pages. Plate M. 18608 Г.

Kalmus edition Nos. 4062 (p. 3-70), 4063 (p. 73-136), 4064 (p. 139-241).

Том 53. Edited by Anatoly Drozdov (1949). xi, 239 pages. Plate M. 18919 Г.

Kalmus edition Nos. 4065 (p. 3-94), 4066 (p. 97-235).

Ballet Transcriptions for Solo Piano

Том 54. Edited by V. D. Vasilyev (1956). xvi, 167 pages. Plate M. 25109 Г.

  • The Nutcracker, Op. 71 : Simplified transcription for solo piano by Tchaikovsky.
Kalmus edition No. 4067.

Том 56. Edited by Irina Iordan & Georgy Kirkor (1958). xvi, 277 pages. Plate M. 26493 Г.

Kalmus edition No. 4068.

Том 57. Edited by Anatoly Dmitriyev (1954). x, 271 pages. Plate M. 24186 Г.

Kalmus edition No. 4069.

Works for Violin with Piano

Том 55А. Edited by Ivan Shishov & Nikolay Shemanin (1946). vii, 161 pages + violin part (63 pages). Plate M. 17607 Г.

Kalmus edition Nos. 4070 (p. 3-101), 4071 (p. 105-153).

Works for Cello with Piano

Том 55Б. Edited by Viktor Kubatsky (1956). xiii, 64 pages + cello part (17 pages). Plate M. 25740 Г.

Kalmus edition No. 4072.

Student Works

Том 58. Edited by Irina Iordan (1967). xii, 211 pages. Plate 3534.

Kalmus edition Nos. 601 (p. 3-118), 602 (p. 121-201), 4061 (p. 205-210).

Versions of Works by Other Authors

Том 59. Edited by Irina Iordan (1970). 328 p. Plate 6557.

Kalmus edition Nos. 603 (p. 17-59), 604 (p. 60-178), 605 (p. 179-265), 606 (p. 269-327).

Том 60. Edited by Georgy Kirkor (1971). xvi, 273 p. Plate 6634.

Kalmus edition Nos. 4073 (p. 3-13), 4074 (p. 93-148), 4075 (p. 151-271).

Том 61. Edited by Sofya Ziv (1949). vii, 233 pages. Plate M. 19996 Г.

Kalmus edition Nos. 4076 (p. 3-57), 6767 (p. 169-223).

Works Completed by Sergey Taneyev

Том 62. Edited by Ivan Shishov (1948). xiii, 298, (7) pages. Plate M. 19604 Г.

Kalmus edition Nos. 597 (p. 3-133), 4077 (p. 137-207), 589 (p. 211-292), 4062 (p. 295-298).

Sacred Choral Works

Том 63. Edited by Lyudmila Korabelnikova & Marina Rakhmanova (1990). 279 pages. Plate 14447.

Literary Works and Correspondence

Volumes I and IV, comprising Tchaikovsky's diaries and notebooks, were prepared for publication but not produced.

Music-Critical Articles

Том II. Edited by Vasily Yakovlev (1953). xi, 438 pages.

Literary Works

Том III-А. Edited by Vladimir Protopopov (1957). 256 pages.

Translations

Том III-Б. Edited by Vladimir Protopopov (1961). 524 pages.

Letters

Том V. Edited by Yefim Gershovsky, Kseniya Davydova and Lyudmila Korabelnikova (1959). xi, 518 pages.

  • Letters 1848-1875.

Том VI. Edited by Nina Viktorova and Boleslav Rabinovich (1961). 396 pages.

  • Letters 1876-1877.

Том VII. Edited by Yefim Gershovsky and Irina Sokolinskaya (1962). 644 pages.

  • Letters 1878.

Том VIII. Edited by Kseniya Davydova, Galina Labutina and Natalya Sinkovskaya (1963). 551 pages.

  • Letters 1879.

Том IX. Edited by Nina Viktorova, Nikolay Gorlov and E. A. Pustovit (1965). 407 pages.

  • Letters 1880.

Том X. Edited by Natalya Sinkovskaya and Irina Sokolinskaya (1966). 359 pages.

  • Letters 1881.

Том XI. Edited by Kseniya Davydova and Galina Labutina (1966). 359 pages.

  • Letters 1882.

Том XII. Edited by Lidya Muzyleva and Svetlana Muravich (1970). 595 pages.

  • Letters 1883-1884.

Том XIII. Edited by Nina Viktorova and I. S. Polyakova (1971). 635 pages.

  • Letters 1885-1886.

Том XIV. Edited by Natalya Sinkovskaya and Irina Sokolinskaya (1974). 717 pages.

  • Letters 1887-1888.

Том XV-А. Edited by Kseniya Davydova and Galina Labutina (1976). 296 pages.

  • Letters 1889.

Том XV-Б. Edited by Kseniya Davydova and Galina Labutina (1977). 384 pages.

  • Letters 1890.

Том XVI-А. Edited by Yevgeny Kotomin, Svetlana Kotomina and Natalya Sinkovskaya (1978). 375 pages.

  • Letters 1891.

Том XVI-Б. Edited by Yevgeny Kotomin, Svetlana Kotomina and Natalya Sinkovskaya (1979). 278 pages.

  • Letters 1892.

Том XVII. Edited by Kseniya Davydova and Galina Labutina (1981). 358 pages.

  • Letters 1893.

Bibliography

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