Chapter XXXI: Appendix: A

CHRONOLOGICAL LIST OF TCHAIKOVSKY’S COMPOSITIONS FROM 1866-1893

FIRST SEASON, 1866-1867

1. Op. 15. Festival Overture upon the Danish National Hymn; completed October, 1866. Published by Jurgenson.

2. Op. 13. Symphony in G minor, No. 1, “Winter Dreams.” Begun in March, completed in November, 1866. Jurgenson.

3. Op. 1. Russian Scherzo and Impromptu. Composed early in 1867. The first of these compositions was originally entitled “Capriccio.” It is based on the first theme of the Andante in the quartet in B major, which Tchaikovsky composed while still at the Conservatoire in 1865. The theme itself is a Malo-Russian folksong, heard at Kamenka. The Impromptu--a still earlier work--was never intended for publication. It chanced to be in the same manuscript-book as the Capriccio, which was given to Jurgenson by Rubinstein, without any intimation that the Impromptu was not to be published. The Russian Scherzo was performed at Rubinstein’s concert in 1867. Both these works--like the _First Symphony_--were dedicated to Nicholas Rubinstein, and published by Jurgenson.

4. Op. 2. _Souvenir de Hapsal_--three pianoforte pieces: (_a_) “The Ruin,” (_b_) “Scherzo,” (_c_) “Chant sans Paroles.” June and July, 1867. Hapsal. Only the first and third of these pieces were composed at Hapsal; the second dates back to the days of the Conservatoire. This _opus_ number is dedicated to Vera Davidov. Jurgenson. Besides these works, Tchaikovsky was engaged from the beginning of 1867 upon his opera, _The Voyevode_.

1867-1868

_The Voyevode_ was the sole work of this season.

In a letter dated November 25th (December 7th) Tchaikovsky speaks of having completed the third act, which is as good as saying that he had finished the whole opera, because he rarely broke through his custom of working straight through a composition. The instrumentation remained, and this was finished in Paris during the summer.

_The Voyevode_, or _A Dream on the Volga_, is a play in five acts, with a prologue, by A. N. Ostrovsky. The opera libretto is condensed into three acts, the prologue being omitted.

The chief beauty of the play, the scenes from national life, so charmingly depicted by Ostrovsky, had been ruthlessly cut out of the libretto, and only an insipid and uninteresting story left. The charm of national colour, the characteristic details of the secondary _dramatis personæ_, such as Nedviga, the apparition of the Domovoi, or “house spirit,” the gloomy figure of Mizgir--of all these things the libretto had been completely denuded.

But it was not so much Ostrovsky as Tchaikovsky who was to blame, for it is evident from the manuscript which the latter used while composing the music that he eliminated every episode which did not bear directly upon the tale. A few years later Tchaikovsky would not have missed so many good opportunities of effective musical illustration.

Ostrovsky’s collaboration was practically limited to Act I., which is also the best, and to a portion of Act II. The remainder is almost entirely of Tchaikovsky’s own writing.

Of this opera only the “Dances of the Serving Maids” and the “Entr’acte” were published as Op. 3. Jurgenson. The rest of the score was destroyed by the composer during the seventies. The orchestral and choral parts and some of the solos--unfortunately not the principal ones--are still preserved in the library of the Imperial Opera House in Moscow.

1868-1869

1. Op. 77. Symphonic Poem, _Fatum_. Begun about the middle of September, 1868. Sketch completed on October 21st. (November 2nd). Orchestrated in November and December. Produced for the first time by the Musical Society in Moscow, February 25th (March 9th), 1869, conducted by N. Rubinstein. This work is dedicated to M. A. Balakirev. During the seventies Tchaikovsky destroyed the score, but the orchestral parts remained intact, and the work was reconstructed from these, and published in 1896, by Belaiev, in Leipzig.

2. Op. 4. Valse Caprice for pianoforte. Composed in October, 1868. Dedicated to Anton Door. Jurgenson.

3. Op. 5. Romance for pianoforte. November, 1868. Dedicated to Désirée Artôt. Jurgenson.

4. Twenty-five Russian folksongs, arranged for pianoforte, four hands. These were probably finished during the autumn months, and printed in November, 1868.

5. Recitatives and choruses for _Le Domino Noir_, by Auber. This work has entirely disappeared; it cannot be found in the library of the Petersburg or Moscow Opera.

6. _Undine_, an opera in three acts, begun in January and completed in July, 1869. The text by Count Sollogoub.

The libretto of _Undine_ contained scenes more interesting and grateful for musical treatment than _The Voyevode_, but was so unskilfully put together and so lacking in logical sequence that it is even inferior to the dry, uninteresting, but literary verse of the latter. The music--judging from the fragments that have been preserved--seems to have possessed a certain vitality.

The composer destroyed the score of _Undine_ in 1873. All that remains of the music is Undine’s aria, “The spring is my brother,” which was afterwards utilised in _Sniegourochka_, and the Wedding March in the last act, which Tchaikovsky employed in the Andantino Marziale of his Second Symphony. Besides these two fragments, Kashkin says an Adagio in the ballet, “The Swan Lake,” was originally the love-duet between Gulbrand and Undine.

Part of this opera was produced at a concert given by the Capellmeister Merten, March 16th (28th), 1870. Laroche wrote:--

“Unfortunately, I was not able to attend the concert itself, but I
had heard these fragments from _Undine_ at the rehearsals, and
observed not only the careful and delicate orchestration for which
Tchaikovsky’s music is remarkable, but picturesque suggestions of
the fantastic realms of the water sprites. Other parts--notably the
finale--appeared to me lacking in spontaneity. On the whole,
however, the new score is worthy of attention.”

1869-1870

1. Twenty-five Russian folksongs, arranged for pianoforte, four hands. Completed September 25th, 1869. Published, together with the twenty-five of the previous year, by Jurgenson, Moscow.

2. _Romeo and Juliet._ Overture-Fantasia for orchestra, founded on Shakespeare’s tragedy. Begun September 25th (October 7th); sketch completed by October 7th (19th), and orchestrated by November 15th (27th), 1869. During the summer of 1870 the work was completely revised. According to Kashkin, the Introduction was entirely new; the funeral march at the close of the work was omitted and a fresh ending substituted for it, while many alterations were made in the orchestration as a whole. The overture is dedicated to Mily Alexandrovich Balakirev, and was performed for the first time at Moscow, under the bâton of N. Rubinstein, March 4th (16th), 1870. Published by Bote and Bock, Berlin, 1871.

3. Pianoforte arrangement for four hands of the overture _Ivan the Terrible_, by Anton Rubinstein. Bessel, St. Petersburg.

4. Op. 6. Six songs.[194] Written between November 15th (27th) and December 19th (31st), 1869. (1) “Glaub’ nicht mein Freund,” words by Count A. Tolstoi, dedicated to A. G. Menshikov. (2) “Nicht Worte,” words by Plestcheiev, dedicated to N. Kashkin. (3) “Wie wehe, wie süss,” words by Countess Rostopchin, dedicated to A. D. Kochetov. (4) “Die Thräne bebt,” words by Count A. Tolstoi, dedicated to P. Jurgenson. (5) “Warum,” words by Mey, dedicated to I. Klimenko. (6) “Nur wer die Sehnsucht kennt,” words by Mey (from Goethe), dedicated to Madame Khvostova. P. Jurgenson, Moscow.

5. “Chorus of Insects,” from the unfinished opera _Mandragora_, January 13th (25th), 1870. The score of this work has been entirely lost. The pianoforte arrangement is preserved by Jurgenson. In 1898 Glazounov orchestrated it.

6. Op. 7. Valse Scherzo (A major) for pianoforte, dedicated to Alexandra Ilinichna Davidov. P. Jurgenson.

7. Op. 8. Capriccio (G flat) for piano, dedicated to K. Klindworth. P. Jurgenson. Both these pieces were completed about February 3rd (15th), 1870.

Besides the above, Tchaikovsky began his opera, _The Oprichnik_, about the end of January, 1870.

1870-1871

1. Op. 9. Three pianoforte pieces, (1) “Rêverie,” dedicated to N. Murometz. (2) “Polka de Salon,” dedicated to A. Zograf. (3) “Mazurka de Salon,” dedicated to A. L. Dubuque.

2. Song, “So schnell vergessen,” words by Apukhtin. This and the above works were composed before October 26th (November 7th), 1870, and published by Jurgenson, Moscow.

3. “Nature and Love.” Trio for two sopranos and one contralto, with chorus and pianoforte accompaniment; dedicated to Madame Valzek. It was composed in December expressly for this lady’s pupils, and performed for the first time at Tchaikovsky’s concert on March 16th (28th), 1871. It was published by Jurgenson after the composer’s death.

4. Op. 11. Quartet No. 1 (D major), for two violins, viola, and violoncello. Dedicated to Serge Rachinsky. Composed during February, 1871, and first performed at the composer’s concert, March 16th (28th), 1871. The Andante of this quartet is based on a Russian folksong which Tchaikovsky wrote down at Kamenka in the summer of 1869. It was sung in Great Russian by a man who was working outside the room in which he was engaged in orchestrating his _Undine_.

5. A Course of Harmony, completed during the summer at Nizy. Jurgenson.

Besides the above, Tchaikovsky was working during the whole of this period on his opera, _The Oprichnik_.

1871-1872

1. Op. 10. Two pianoforte pieces: “Nocturne” and “Humoresque.” Probably composed in December, 1871, during his stay at Nice. Part of the second piece consists of a French popular song. These pieces are both dedicated to Vladimir Shilovsky.

2. Cantata for chorus, orchestra, and tenor solo. Text by Polonsky. Composed during February and March, 1872. Performed May 31st (June 12th), 1872, under the conductorship of K. Davidov. The manuscript of the score is in the library of the Imperial Opera House, Moscow.

3. _The Oprichnik_, an opera in four acts. Begun at the end of January, 1870, completed in April, 1872. Dedicated to His Imperial Highness the Grand Duke Constantine Nicholaevich. Published by Bessel, St. Petersburg.

Without entering into a detailed criticism of Lajetnikov’s tragedy, I must call attention to some of its features which are calculated to make it an easy subject for the librettist to handle; these special features lie in its admirable plot. The interest of the love-intrigue, which is well sustained, a whole series of effective situations, the dark yet poetic colouring of its sinister period (Ivan the Terrible), the variety of episodes well suited to musical illustration (such as the love-duet in the first act, the scenes with the populace, the picturesque figures of the Oprichniks, the pathos of the oath scene, “The Terrible” himself, and the death of Andrew), all contribute to make an effective and moving opera.

But it did not fulfil these expectations. The most serious hindrance came from the Censor. The striking figure of Ivan the Terrible, which seemed so well adapted to musical representation, was not permitted to appear. For an outline of the plot of this opera, see Appendix B.

1872-1873

1. Op. 17. Symphony No. 2 (C minor), composed during June, July, and August, 1872. Orchestrated in September and October of the same year, and completed early in November. Dedicated to the Moscow section of the Imperial Russian Musical Society. First performed, under N. Rubinstein, in Moscow, January 26th (February 7th), 1873. Published by V. Bessel, St. Petersburg. The second movement, Andantino Marziale, is taken from the opera _Undine_. Speaking of this work, Kashkin says, “It may be called ‘The Little Russian’ Symphony, because its chief themes are Little Russian folksongs.”[195] Later on the composer made considerable alterations, and entirely rewrote the first movement.

2. Op. 16. Six songs, (1) “Wiegenlied,” words by Maikov, dedicated to Frau N. N. Rimsky-Korsakov. (2) “Warte noch,” words by Grekov, dedicated to N. A. Rimsky-Korsakov. (3) “Erfass nur einmal,” words by Maikov, dedicated to G. A. Laroche. (4) “Oh, möchtest du einmal noch singen,” words by Plestcheiev, dedicated to N. A. Hubert. (5) “Was nun?” Words by the composer, dedicated to N. Rubinstein. (6) “Neugrie-chisches Lied,” words by Maikov, dedicated to K. Albrecht. The precise date of these songs is not known. Probably they were written in December, 1872. Published by V. Bessel, St. Petersburg.

3. Op. 12. Music to _Sniegourochka, a Legend of Springtide_, by A. N. Ostrovsky. Composed during March and April, 1873. First performed at the Opera, Moscow, May 11th (23rd), 1873. Jurgenson, Moscow. One or two numbers of this work are transferred from _Undine_.

4. “Perpetuum mobile,” from a sonata by Weber, arranged for the left hand only. Dedicated to Madame Zograf. Published 1873, by Jurgenson.

Besides the above, Tchaikovsky worked at the symphonic fantasia, _The Tempest_, between August 7th-17th (19th-29th), 1873.

His literary work comprised seventeen articles, in which he reviewed the chief musical events of the season in Moscow.

1873-1874

1. Op. 18. _The Tempest_, symphonic fantasia for full orchestra upon a Shakespearean programme. Composed between 7th (19th) and 17th (29th) August, 1873; orchestrated by October 10th (22nd). Dedicated to Vladimir Vassilievich Stassov. First performed December 7th (19th), 1873, under N. Rubinstein. Jurgenson.

2. Op. 21. Six pianoforte pieces upon a theme. (1) Prelude, (2) Fugue, (3) Impromptu, (4) Funeral March, (5) Mazurka, (6) Scherzo. Dedicated to Anton Rubinstein. Composed before October 30th (November 11th), 1873. Bessel.

3. Op. 22. Quartet No. 2 (F major), for two violins, viola, and violoncello. Dedicated to the Grand Duke Constantine. Commenced at the end of December, 1873, or early in January, 1874, and finished by the 26th of that month. Shortly afterwards it was played at a musical evening at N. Rubinstein’s, and probably Tchaikovsky afterwards made some changes in it, as he was still engaged upon the work in the middle of February. First public performance March 10th (22nd), 1874. Jurgenson.

4. Op. 14. _Vakoula the Smith_ (Kouznetz Vakoula, known also as _Cherevichek_ and _Les Caprices d’Oxane_), opera in three acts and seven scenes. The libretto is taken from a tale by Gogol and set to verse by J. Polonsky. Dedicated to the memory of the Grand Duchess Helena. Composed and orchestrated during the summer of 1874. Partially remodelled about 1885. Published by Jurgenson.

1874-1875

1. Op. 25. Six songs: (1) “Herz, o lass dich von Schlummer umfangen,” words by Scherbin, dedicated to A. P. Kroutikov. (2) “Wie hier die Schrift in Aschengluth,” words by Tioutchev, dedicated to D. Orlov. (3) “Mignon’s Lied,” words by Goethe, dedicated to M. Kamenskaya. (4) “Der Kanarienvogel,” words by Mey, dedicated to V. Raab. (5) “Mit ihr ein Wort gesprochen hab’ ich nie,” words by Mey, dedicated to I. Melnikov. (6) “Einst zum Narren Jemand spricht,” words by Mey. These songs were probably composed in September, 1874. Published by V. Bessel.

2. Op. 19. Six pianoforte pieces: (1) “Rêverie,” dedicated to N. D. Kondratiev. (2) “Scherzo-humoristique,” dedicated to Vera Timanov. (3) “Feuillet d’album,” dedicated to A. Abramov, (4) “Nocturne,” dedicated to Frau Terminsky. (5) “Capriccio”, dedicated to E. Langer. (6) “Thème avec Variations,” dedicated to H. Laroche. The manuscript is dated October 27th (November 8th), 1873. Jurgenson.

3. Op. 23. Concerto for pianoforte and orchestra (in B♭ minor). Composed in November and December, 1874. The orchestration was completed, according to a note on the score, February 9th (21st), 1875. Dedicated to Hans von Bülow. Published by Jurgenson. In a letter to Frau von Meck, Tchaikovsky says he took as the principal subject of the first movement a phrase sung by Malo-Russian blind beggars at a village fair at Kamenka.

Besides the example just quoted, he also borrowed another air, the chansonette, “IL faut s’amuser, danser, et rire,” which the twins used to hum early in the seventies, in remembrance of a certain charming singer.

4. Op. 26. Serenade for violin, with orchestral accompaniment (B minor). Composed January, 1875. Dedicated to L. Auer. Jurgenson.

5. Op. 27. Six songs: (1) “An den Schlaf,” words by Ogariev. (2) “Ob sich die Wolke dort,” words by Grekov. (3) “Geh’ nicht von mir,” words by Fet. (4) “Abend,” words by Chevchenko. (5) “Klage,” words by Mickiewicz. (6) “Dem Vöglein gleich,” words by Mickiewicz. All six dedicated to Madame Lavrovskaya. The date of composition not precisely known. Jurgenson.

6. Op. 28. Six songs: (1) “Nein, wenn ich liebe,” words from de Musset, dedicated to A. Nikholaev. (2) “Die rothe Perlenschnur,” words by Syrokomli, dedicated to D. Dodonov. (3) “Warum im Traume,” words by Mey, dedicated to Frau Ilina. (4) “Er liebte mich so sehr,” words by Apukhtin, dedicated to E. Marsini. (5) “Kein Wort von Dir,” words by Alexis Tolstoi, dedicated to B. Korsov. (6) “Ein einzig Wortchen,” text by P. Tchaikovsky, dedicated to Frau E. Kadmina. The date of completion is given on the manuscript as April 11th (23rd), 1875, in Moscow. Jurgenson.

7. Op. 29. Symphony No. 3 (in D major) in five movements. The score bears the following note in the composer’s own writing: “Commenced June 5th (17th) at Ussovo, completed August 1st (13th), 1875, at Verbovka.” Published by Jurgenson. Played for the first time in Moscow, November 7th (19th), 1875.

* * * * *

Besides the above works, Tchaikovsky was engaged during part of August, 1875, upon the Ballet, _The Swan Lake_.

His literary activity was very considerable. Between September, 1874, and April, 1875, he wrote not less than fifteen articles.

1875-1876

1. Op. 30. Quartet No. 3 in E flat major, for two violins, viola, and ‘cello, dedicated to the memory of F. Laub. The first sketch dates from the beginning of January, 1876, in Paris. Finished, according to date upon the manuscript, February 18th (March 1st), 1876. Performed for the first time March 18th (30th) of the same year at Grijimaly’s concert. Published by Jurgenson.

2. Op. 20. _The Swan Lake._ Ballet in four acts. Begun August, 1875, finished at the end of March, 1876. Published by Jurgenson. First performance at the Opera House, Moscow, February 20th (March 4th), 1877.

3. Op. 37. _The Seasons_, twelve pieces for piano. These were written in the course of the year, one piece each month, and were commissioned by the publisher of a St. Petersburg musical journal. Kashkin tells us that Tchaikovsky did not consider this a very important work, but in order not to miss sending each number at the right time, he ordered his servant to remind him when a certain date came round in each month. The man carried out his master’s order, coming at the right day with the reminder: “Peter Ilich, is it not time to send to St. Petersburg?” upon which Tchaikovsky would sit down at once and write the required piece without a pause. Later the pieces were collected and republished by Jurgenson.

4 The translation of the libretto and arrangement of the recitatives of Mozart’s _Figaro_, which Tchaikovsky undertook (at the desire of N. Rubinstein) for a performance of this opera by the students of the Conservatoire.

This season Peter Ilich brought his literary work to an end. His last criticisms dealt with Wagner’s Trilogy, and remained unfinished.

1876-1877

1. Op. 31. Slavonic March for full orchestra. First performance in November, 1877, under N. Rubinstein’s bâton, at a symphony concert in Moscow. Jurgenson.

2. Op. 32. _Francesca da Rimini_ (after Dante), symphonic fantasia for full orchestra. Dedicated to S. I. Taneiev. Tchaikovsky sketched the plan of this work during his visit to Paris in the summer of 1876. He did not actually work at the composition until the end of September. The sketch was finished October 14th (26th), the orchestration November 5th (17th). First performance, under N. Rubinstein, at a symphony concert, Moscow, February 26th (March 10th), 1877. Jurgenson.

3. Op. 33. _Variations on a Rococo Theme_, for violoncello and orchestra. Dedicated to G. Fitzenhagen. Composed December, 1876. Jurgenson.

4. Op. 34. Valse Scherzo, for violin and orchestra. Dedicated to Joseph Kotek. Composed early in January, 1877. Jurgenson.

During this season Tchaikovsky sketched out his Fourth Symphony and two-thirds of his opera, _Eugene Oniegin_.

1877-1878

1. Op. 36, Symphony No. 4 (F minor), in four movements. Dedicated to “My best friend.” The first sketch was finished in May, 1877. On August 11th (23rd) Tchaikovsky began the instrumentation of the work, and completed the first movement on September 12th (24th). After an interval of two months he returned to the Symphony, about the end of November. The Andante was finished on December 15th (27th), the Scherzo on the 20th (January 1st) 1878, and the Finale on the 26th (January 7th, 1878). The first performance of the Symphony took place February 10th (22nd), 1878, at a concert of the Russian Musical Society, conducted by N. Rubinstein.

2. Op. 24, _Eugene Oniegin_, lyric scenes, in three acts and seven scenes. The libretto is freely arranged from Poushkin by the composer himself and K. S. Shilovsky. The idea of this opera originated with the celebrated singer, Madame E. A. Lavrovsky.

On May 18th (30th), 1877, Tchaikovsky sketched the plan for a libretto.

On June 6th (18th) the second scene of the first act (the Letter Scene) was finished, and by June 15th (27th) the entire act was complete. By June 23rd (July 5th), two-thirds of the opera were ready. After a month’s respite, Tchaikovsky returned to the work at Kamenka, in August, and completed the opera. Here he also began the instrumentation. During September and the first half of October he did not work upon it at all; afterwards he continued the instrumentation, finishing the whole of the first act and despatching it to Moscow by the 23rd (November 4th). In November Tchaikovsky orchestrated the first scene of the second act. The whole of December, was devoted to the Fourth Symphony. On January 2nd (14th) he took up the opera once more, at San Remo, and, completed it by the 20th (February 1st) of this month. In the summer of 1880, at the request of the Director of the Imperial Opera, Tchaikovsky added an _écossaise_ to the first scene of Act II. and made some slight changes in the Finale.

The first performance of the opera took place on March 17th (29th), 1879, by the students of the Moscow Conservatoire, in the Small Theatre. For an account of the plot, see Appendix B.

3. Op. 38. Six songs, dedicated to A. Tchaikovsky. (1) “Don Juan’s Serenade,” words by Count A. Tolstoi; (2) “Das war im ersten Lenzesstrahl” (A. Tolstoi); (3) “Im erregenden Tanze” (A. Tolstoi); (4) “Ach wenn du könntest” (A. Tolstoi); (5) “Aus dem Jenseits” (Lermontov); (6) “Pimpinella” (Florentine song). Published by P. I. Jurgenson, Moscow.

4. Op. 40. Twelve pieces for pianoforte (medium difficulty), dedicated to M. Tchaikovsky, (1) “Etude,” (2) “Chanson triste,” (3) “Marche funèbre,” (4) “Mazurka in C major,” (5) “Mazurka in D major,” (6) “Chant sans paroles,” (7) “Au village,” (8) “Valse in A major,” (9) “Valse in A major,” (10) “Danse russe,” (11) “Scherzo in F major,” (12) “Rêverie interrompue.” Of these pieces, No. 12 was composed first. The middle section of this piece is a Venetian song, which was sung almost every evening under his window in Venice. The other pieces date from various times, the “Danse russe” from 1876, having been originally intended as a number for the Ballet, _The Swan Lake_. Jurgenson, Moscow.

5. Op. 37. Sonata for pianoforte (G major), in four movements. Dedicated to Carl Klindworth. Commenced early in March, 1878, at Clarens, and completed on April 30th (May 12th). First performed in public by Nicholas Rubinstein, in Moscow, October 21st (November 2nd), 1879.

6. Op. 35. Concerto for violin and orchestra. Originally dedicated to L. Auer. Tchaikovsky afterwards substituted the name of A. Brodsky. Begun early in March, 1878, at Clarens, and the sketch finished by the 16th (28th) of the same month. The original Andante did not satisfy the composer, who wrote a new one. The instrumentation was completed by the end of April. First performance by A. Brodsky, in Vienna (1879). Jurgenson.

7. Op. 42. “Souvenir d’un lieu cher,” three pieces for violin and pianoforte accompaniment. No. 1 is the original Andante of the Violin Concerto. The other two pieces were composed at Brailov about the end of May. Jurgenson.

8. Op. 41. The Liturgy of St. John Chrysostom, for four-part mixed chorus. Commenced May, 1878, at Kamenka, and finished on the 27th (June 8th) at Brailov. Jurgenson.

9. Op. 39. Kinderalbum, twenty-four easy pieces for pianoforte (_à la_ Schumann). Dedicated to Volodya Davidov. P. I. Jurgenson.

10. “Skobeliev March,” composed by “Sinopov.” Tchaikovsky concealed the authorship of this piece, because he considered it of no value. It was commissioned by Jurgenson at the end of April, and composed at Kamenka.

Besides these works, Tchaikovsky translated in December, 1877, the Italian words of six songs by Glinka, and wrote the text of a vocal quartet, also by Glinka.

The greater part of his First Suite was also completed during August, 1878.

1878-1879

1. Op. 43. First Suite, for full orchestra, in six movements.

The first sketches were made at Verbovka between August 15th and 25th, 1878. Originally the Suite was intended to have five movements only: Introduction and Fugue, Scherzo, Andante, Intermezzo (“Echo du bal”), and Rondo. Of these, three movements were completed, the fourth sketched out, and the fifth projected, when Tchaikovsky laid it aside, only to return to it in November while in Florence. On the 13th (25th) of this month it was finished. The last two movements, however, received different titles, “March Miniature” (4th) and “Giants’ Dance” (5th). In August, 1879, the composer added a sixth movement, Divertimento. The work was first performed in Moscow, under Nicholas Rubinstein. Published by Jurgenson.

2. The _Maid of Orleans_, an opera in four acts and six scenes, dedicated to E. Napravnik.

The libretto of this work was written by Tchaikovsky himself. It is chiefly based upon Joukovsky’s translation of Schiller’s _Maid of Orleans_, but some ideas were also derived from Wallon, Barbier’s play, and the libretto of Mermet’s opera on the same subject. It is a pity the composer did not confine himself to Schiller’s work, and more especially as regards the uninteresting and gloomy ending. Shortly before his death Tchaikovsky frequently spoke of altering the last scene and substituting Schiller’s close. With this intention, he purchased the works of the German poet, but unfortunately he was not destined to read the tragedy again. For the plot of _The Maid of Orleans_, see Appendix B.

1879-1880

1. Op. 44. Second Concerto, for pianoforte and orchestra, in three movements. Dedicated to N. Rubinstein. Played for the first time in public on May 22nd (June 3rd), 1882, by S. I. Taneiev. Jurgenson.

2. The revised edition of the Second Symphony. Published by Bessel.

3. The “Italian Capriccio,” for full orchestra. Dedicated to K. Davidov. The opening fanfare in this work is a bugle call of the Italian cavalry, which Tchaikovsky heard every evening while living in the Hôtel Constanzi, next to the barracks of the Royal Cuirassiers. Jurgenson.

4. Music for a _tableau vivant_: “Montenegro at the moment of receiving the news of war between Russia and Turkey. A village elder reading out the manifesto.” This music was never performed, as the projected entertainment fell through. The manuscript has entirely disappeared.

5. Six vocal duets, with pianoforte accompaniment. Dedicated to Tatiana Davidov: (_a_) “Der Abend,” (_b_) “Ballade,” (_c_) “Thränen,” (_d_) “Im Garten,” (_e_) “Leidenschaft,” (_f_) “Dämmerung.” Jurgenson.

6. Op. 47. Seven songs, with pianoforte accompaniment. Dedicated to A. V. Panaiev: (_a_) “Wenn ich das gewusst,” (_b_) “Durch die Gefilde des Himmels,” (_c_) “Der Dämmerung Schleier sank,” (_d_) “Schlaf ein, betrübtes Lieb,” (_e_) “Gesegnet sei mir Wald und Au,” (_f_) “Ob Heller Tag,” (_g_) “War ich nicht ein Halm.” Jurgenson.

Besides the above, Tchaikovsky revised the overture, _Romeo and Juliet_.

1880-1881

1. Serenade for string orchestra, in four movements. Dedicated to Carl Albrecht. First performance January 16th (28th), under the direction of Erdmannsdörfer. Published by Jurgenson.

2. Op. 49. _The Year 1812_, festival overture for full orchestra. Composed for the consecration of the Cathedral of the Saviour, Moscow. Jurgenson.

Besides the above, an attempt to harmonise the Vesper Service and the first sketch of the opera, _Mazeppa_.

1881-1882

1. Op. 50. Trio for pianoforte, violin, and violoncello. Dedicated to the memory of a great artist (N. G. Rubinstein). The variation theme of the second movement is a reminiscence of an excursion made in company with Nicholas Rubinstein, and other colleagues from the Moscow Conservatoire, shortly after the first performance of _Sniegourochka_ (_The Snow Maiden_), in the spring of 1873. The Trio was played for the first time in public on October 18th (30th), 1882, by Taneiev, Grijimaly, and Fitzenhagen. Published by Jurgenson.

2. An attempt to harmonise Divine Service. Setting for mixed chorus. Seventeen numbers. Jurgenson.

From June to October Tchaikovsky was occupied in editing the works of Bortniansky.

During this year he began the sketch of the opera, _Mazeppa_. By the middle of July two acts were completed.

1882-1883

1. Op. 51. Six pieces for pianoforte: (1) “Valse de Salon,” (2) “Polka peu dansante,” (3) “Menuetto scherzoso,” (4) “Natha--Valse,” (5) “Romance,” (6) “Valse sentimentale.”

These pieces were commissioned by the brothers Jurgenson and composed at Kamenka about the end of August.

2. Verses upon the theme of the “Slavsia,” from Glinka’s _A Life for the Tsar_, winding up with the Russian National Anthem, for chorus and orchestra.

This chorus was sung by 7,500 students in Moscow, May 10th (22nd), 1883, at the moment when the Emperor Alexander III appeared at the Red Staircase upon his solemn entry to the Kremlin. (Manuscript only.)

3. Festal Coronation March for orchestra. Commissioned by the city of Moscow, first performed at Sokolinky, on May 23rd (June 4th), at a fête in honour of the Coronation. Jurgenson.

4. _Mazeppa_, an opera, in three acts and six scenes. The subject is taken from Poushkin’s poem, _Poltava_, arranged by Bourenin and the composer himself.

The opera was first performed at the Imperial Opera, Moscow, February 3rd (15th), 1884. Jurgenson. For the plot, see Appendix B.

Besides the above, Tchaikovsky began his Second Suite for orchestra during the summer of 1883.

1883 TO JANUARY, 1885

1. Op. 53. Suite No. 2, in four movements, for full orchestra. Dedicated to Madame P. W. Tchaikovsky. First performed at an extra concert of the Russian Musical Society, February 4th (16th), 1884, in Moscow, under the direction of Max Erdmannsdörfer. Published by Jurgenson.

2. Op. 54. Sixteen Children’s Songs, with pianoforte accompaniment. Published by Jurgenson.

3. Op. 55. Suite No. 3, in four movements, for full orchestra. Dedicated to M. Erdmannsdörfer. First performance in Petersburg, in January, 1885, under the direction of Hans von Bülow. Published by Jurgenson.

4. Op. 56. Fantasia Concerto, in two movements, for pianoforte, with orchestral accompaniment. Originally dedicated to Madame A. Essipoff; afterwards to Madame Sophie Menter. Played for the first time by S. Taneiev, February 22nd (March 6th), 1885, in Moscow. Published by Jurgenson.

5. Impromptu Capriccio for pianoforte. Dedicated to Madame S. Jurgenson. Originally published in the “Subscribers’ Album” of Paris _Gaulois_. Was taken over later by Jurgenson.

6. Elegy for string orchestra. Composed in memory of the actor, I. Samarin. Published by Jurgenson.

7. Three church anthems. Published by Jurgenson.

8. Op. 57. Six songs, with pianoforte accompaniment, (1) “O, sprich, wovon die Nachtigall,” (2) “Auf’s bleiche Herbstgefild,” (3) “O, frage nicht,” (4) “Schlaf’ ein,” (5) “Der Tod,” (6) “Nur du allein.” Published by Jurgenson. Besides the above, Tchaikovsky had been working, in November, 1884, at the reconstruction of his opera, _Vakoula the Smith_.

FROM JANUARY 1ST TO SEPTEMBER 12TH, 1885

1. Remodelling the opera _Vakoula the Smith_ as _Les Caprices d’Oxane_. Besides simplifying the orchestration and harmony and cutting down the work, as he first proposed, Tchaikovsky also introduced some entirely new numbers: (1) the duet between Vakoula and Oxane and the Finale of the second scene in first act, (2) the Schoolmaster’s song, (3) the quintet in the first scene of the second act, (4) the couplets in third act. Published by Jurgenson.

2. Hymn in honour of Saints Cyril and Methodius. This hymn is an old Slavonic melody arranged for a choir:--

n[)e] ale ne zdlouha.

Published by Jurgenson.]

3. Five church hymns. Published by Jurgenson.

4. “Ecossaise,” for the sixth scene in the opera _Eugene Oniegin_. Tchaikovsky composed and orchestrated this piece in Maidanovo and sent it to St. Petersburg all in one day.

5. Op. 58. _Manfred_. A Symphony in four scenes for full orchestra, from a dramatic poem by Lord Byron. Dedicated to Mily Balakirev. The first sketches for this work were made in April, 1885. According to the note on the score, it was finished December 12th (24th), 1885, and played for the first time March 11th (23rd), 1886, under the direction of Erdmannsdörfer, in Moscow. Published by Jurgenson.

1885-1886

1. Text and music of a chorus for the fiftieth anniversary of the foundation of the Imperial School of Jurisprudence. Composed at Maidanovo, September, 1885. Manuscript.

2. “Jurists’ March,” for full orchestra. Composed at Kamenka, October, 1885. Published by Jurgenson.

3. The “Domovoi” (“House Spirit”), from a scene in Ostrovsky’s play, _The Voyevode_. Composed January, 1886. Manuscript.

4. Op. 59. “Dumka.” Russian village scene for the pianoforte. Dedicated to the Principal of the Paris Conservatoire, A. Marmontel. Composed at Maidanovo end of February. Published by Jurgenson. Besides these unimportant works, Tchaikovsky was engaged during the whole season upon his opera, _The Enchantress_.

1886-1887
(FROM SEPTEMBER 1ST, 1886, TO JANUARY 1ST, 1888)

1. Op. 60. Twelve songs, with pianoforte accompaniment. Dedicated to Her Majesty the Empress Maria Feodorovna. (1) “Die gestrige Nacht,” (2) “Verschwiegenheit,” (3) “O, wüsstest Du,” (4) “Die Nachtigall,” (5) “Schlichte Worte,” (6) “Die Schlaflose Nächte,” (7) “Lied der Zigeunerin,” (8) “Lebewohl,” (9) “Die Nacht,” (10) “Lockung,” (11) “Heldenmut,” (12) “Sternennacht.” Published by Jurgenson.

2. _The Enchantress_, opera in four acts. The libretto by I. V. Shpajinsky, author of the drama of the same name. First performed on October 20th (November 1st), 1887, at the Maryinsky Theatre, St. Petersburg, and conducted by the composer. Jurgenson. For plot, see Appendix B.

3. Op. 61. _Mozartiana._ Suite No. 4, in four movements, arranged from various works of Mozart and orchestrated for full orchestra. In his short preface to the score Tchaikovsky gives the following reasons which prompted this work: “A large number of the most beautiful of Mozart’s smaller works are, for some reason, little known, not only to the public, but to musicians. The composer’s object in arranging this Suite was to bring more frequently before the public works which, however modest in form, are gems of musical literature.” First performed at Moscow, November 14th (26th), 1887, under the direction of the composer. Jurgenson.

4. Op. 62. “Pezzo Capriccioso,” for violoncello, with orchestral accompaniment. Dedicated to A. Brandonkov. Played by him for the first time, November 25th (December 7th), 1889. Jurgenson.

5. Op. 63. Six songs. Dedicated to the Grand Duke Constantine Constantinovich. (1) “Nicht sogleich,” (2) “Am offenen Fenster,” (3) “Fahrt hin, ihr Träume,” (4) Wiedersehen,” (5) “Kein Lichtlein glänzt,” (6) “Serenade.” Jurgenson.

6. A chorus for men’s voices _a capella_. Dedicated to the Students’ Choir of the Moscow University. Published by Jurgenson.

1888 (FROM JANUARY 1ST TO SEPTEMBER 1ST)

1. Op. 64. Symphony No. 5 (E minor), in four movements, for full orchestra. Dedicated to Herr Theodor Ave-Lallemant of Hamburg. First performance in Petersburg, November, 1888, conducted by the composer. Published by Jurgenson.

2. Op. 65. Six songs to French words, with pianoforte accompaniment. Dedicated to Désirée Artôt. (1) “Où vas-tu souffle d’aurore?” (2) “Déception,” (3) “Sérénade,” (4) “Qu’importe que l’hiver,” (5) “Les larmes,” (6) “Rondel.” Composed in the course of the summer. Jurgenson.

3. “Die Nachtigall,” chorus _a capella_. Dedicated to the mixed choir of the Petersburg Imperial Opera House. Exact date of composition unknown. Jurgenson.

Besides the above, Tchaikovsky completed the sketches for the overture-fantasia, _Hamlet_.

1888-1889

1. Orchestration of an overture by Laroche. Manuscript.

2. Op. 67. _Hamlet_, overture-fantasia for full orchestra. Dedicated to Edvard Grieg. Jurgenson.

3. Valse Scherzo, for pianoforte. Jurgenson.

4. Op. 66. _Dornröschen_ (Sleeping Beauty). Ballet in three acts, with a prologue. Dedicated to I. A. Vsievolojsky. The subject is taken from Perrault’s fairy tale of the same name.

The first performance of the Ballet took place January 3rd (15th), 1890, in the Maryinsky Theatre, Petersburg. Jurgenson.

1889-1890

1. Impromptu for pianoforte. Dedicated to A. Rubinstein. Jurgenson.

2. “Greeting to A. G. Rubinstein,” chorus _a capella_. Jurgenson.

3. _Pique Dame._ Opera in three acts and seven scenes. Libretto by Modeste Tchaikovsky. The subject is taken from Poushkin’s novel of the same name. The first performance took place in the Maryinsky Theatre, in Petersburg, December 7th (19th), 1890. Published by Jurgenson. For plot, see Appendix B.

Besides the above, on June 13th Tchaikovsky began to compose a Sextet for Strings, of which the sketches were finished by June 30th.

1890-1891

1. Op. 67_a_. Music to Shakespeare’s _Hamlet_. Overture, melodramas, fanfares, marches, and entr’actes for small orchestra. Seventeen numbers in all, of which, however, some are transferred from earlier works. Jurgenson.

2. Three choruses _a capella_. Composed at Frolovskoe, and dedicated to I. A. Melnikov’s “Gratuitous Choral Class.” Published in Melnikov’s _Collection of Russian Choruses_.

Besides the above, Tchaikovsky finished the sketches of the _Nut-cracker_ Ballet and of the opera of _Iolanthe_.

1891-1892

1. Op. 78. _The Voyevode_, symphonic ballad, for full orchestra (after Poushkin). First performance under the direction of the composer, at a concert given by Siloti, November 6th (18th), 1891. The following day Tchaikovsky himself destroyed the score of this work, the band parts remaining in Siloti’s keeping. After the composer’s death the score was restored from the parts and published by Belaiev.

2. Op. 69. _Iolanthe._ Lyrical opera in one act. The subject founded on the drama, _King René’s Daughter_, by the Danish poet, Henrik Herz. The libretto by Modeste Tchaikovsky. First performed in Petersburg in the Maryinsky Theatre, December 6th (18th), 1892. Published by Jurgenson. See Appendix B.

3. Op. 70. “Souvenir de Florence.” Sextet for two violins, two violas, and two violoncellos, in four movements. Dedicated to the Petersburg Chamber Music Society. First performance by this society November 25th (December 7th), 1892. Published by Jurgenson.

4. Op. 71. _The Nut-cracker._ Fairy Ballet in two acts and three scenes. The subject is borrowed from A. Dumas’ version of Hoffman’s fairy tale. The following programme was suggested to Tchaikovsky by the gifted ballet-master, Petipa:--

No. 1. Soft music. Sixty-four bars.

No. 2. The tree is lit up. Sparkling music. Eight bars.

No. 3. Enter the children. Animated and joyous music. Twenty-four bars.

No. 4. A moment of surprise and admiration. A few bars of tremolo.

No. 5. A march. Sixty-four bars.

No. 6. Entrée des Incroyables. Sixteen bars, rococo (tempo menuet).

No. 7. Galop.

No. 8. Enter Drosselmeyer. Awe-inspiring but comic music. A broad movement, sixteen to twenty-four bars.

The music gradually changes character--twenty-four bars. It becomes less serious, lighter, and finally gay in tone.

Grave music for eight bars, then pause.

Repeat the eight bars--pause.

Four bars which express astonishment.

No. 9. Eight bars in mazurka rhythm. Eight more. Sixteen still in mazurka rhythm.

No. 10. A piquant, spicy valse, strongly rhythmic. Forty-eight bars.

1892-1893

1. Military march. Dedicated to the 98th Infantry Regiment.

Tchaikovsky’s cousin, Andrew Petrovich Tchaikovsky, colonel of this regiment, asked him in February, 1893, to compose this march.

2. Op. 72. Eighteen pieces for pianoforte. (1) “Impromptu,” (2) “Berceuse,” (3) “Tendres reproches,” (4) “Danse caractéristique,” (5) “Méditation,” (6) “Mazurque pour danser,” (7) “Polacca de Concert,” (8) “Dialogue,” (9) “Un poco di Schumann,” (10) “Scherzo-Fantaisie,” (11) “Valse-Bluette,” (12) “L’Espiègle,” (13) “Echo rustique,” (14) “Chant élégiaque,” (15) “Un poco di Chopin,” (16) “Valse à cinq temps,” (17) “Passé lointain,” (18) “Scène dansante. Invitation au trépak” Published by Jurgenson.

3. Op. 73. Six songs, with pianoforte accompaniment. Words by D. Rathaus. Dedicated to N. Figner. (1) “An den schlummernden Strom,” (2) “Nachts,” (3) “O, du mondhelle Nacht,” (4) “Sonne ging zur Ruhe,” (5) “In Trüber Stunde,” (6) “Weil ich wie einstmals.” Published by Jurgenson.

4. “Night.” Quartet for soprano, alto, tenor, and bass, with pianoforte accompaniment. Words by P. Tchaikovsky. The music is founded on Mozart’s Pianoforte Fantasia No. 4.

In 1892 Vladimir Napravnik, who was staying with Tchaikovsky at Maidanovo, played to him very frequently. This pleased his host, and on one occasion Napravnik’s clever rendering of Mozart’s fantasia roused him to so much enthusiasm that he resolved to make a quartet from the middle movement. He carried out this intention in May, 1893. Jurgenson.

5. Op. 74. Symphony No. 6, in four movements, for full orchestra. Dedicated to V. Davidov. Performed for the first time in Petersburg, October, 16th (28th), 1893. Conducted by the composer. Jurgenson.

6. Op. 75. Concerto No. 3, for pianoforte and orchestra. Dedicated to Louis Diemer. This Concerto was taken from a Symphony which Tchaikovsky began in May, 1892, and all but completed. He afterwards destroyed the Symphony. The Concerto was first played in Petersburg by Taneiev. Published by Jurgenson.

Besides the above, the following works were found at Klin after Tchaikovsky’s death:--

1. _Momento lirico._ A piece, nearly completed, for the pianoforte. Taneiev only pieced together the separate sketches. Published by Jurgenson.

2. Duet, “Romeo and Juliet.” In this work Taneiev had more to amplify, as he had to supply the entire accompaniments of the solo parts. He borrowed these from Tchaikovsky’s orchestral fantasia on the same subject.

3. Andante and Finale, for pianoforte and orchestra. Both movements were arranged by Tchaikovsky himself from sketches for the Symphony planned in 1892. The orchestration is by Taneiev, who was the first to play the work in public at Belaiev’s first Russian Symphony Concert, February 8th (20th), 1896. Thus Taneiev accomplished his rôle as the original interpreter of all Tchaikovsky’s pianoforte works (excepting the Concerto in B flat minor, which was played for the first time by Kross). Published by Belaiev.