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Updated: May 5, 2025
He quite lacks the noble restraint of the masters who, in their symphonic lyrics, wonderfully suggest the still waters that run deep. Feeling with Tschaikowsky was frenzy, violent passion, so that with all abandon there is a touch of the mechanical in his method. Emotion as the content of highest art must be of greater depth and more quiet flow.
For the heavy chords in the Tschaikowsky Concerto my arms are absolutely limp from the shoulder; in fact, I am not conscious I have arms. That is why I can play for hours without the slightest fatigue. It is really mental relaxation, for one has to think it; it must be in the mind first before it can be worked out in arms and hands. We have to think it and then act it.
The score is dated August 81, 1893. On October twelfth, Tschaikowsky passed away in St. Petersburg, a victim of cholera. A couple of years before he passed away, Tschiakowsky came to America. In May, 1891, he conducted four concerts connected with the formal opening of Carnegie Hall, New York.
So exaltative yet so soothing, this opulent silence, this spacious solitude! And for an almost perfect hour she sat in her rear drawing-room, lightly, ever so cautiously, touching bits of Grieg and Tschaikowsky out of her Steinway Grand just dim whispers of music that did not breathe beyond the door. She played well, for she loved the piano and had a real gift for instrumentation.
The difference may be felt when you compare a Brahms and a Tschaikowsky symphony. Although in his later years Tschaikowsky acquired a mastery of the technique of music, and succeeded in keeping his scores clear and clean, he never arrived at anything approaching Brahms' certainty of touch, and neither his scoring nor his counterpoint has Brahms' perfection of workmanship.
Carreño had just finished Liszt's "Rhapsodic Hongroise" No. 2, and had followed it up with a mad Tschaikowsky fragment. I was so excited I was on the verge of tears when I heard the woman behind me catch her breath with a sob and exclaim: "My Lord! Ain't she got vinegar!" I repeated this to Madame Carreño at Jenbach, and she seized my hands and shouted with laughter. Such a grip as she has!
His orchestration is distinguished by its clarity, power and exquisite coloring. The orchestral music of Tschaikowsky, who died in 1893, symphonies and symphonic poems, are saturated with the glowing Russian spirit, are intensely dramatic, sometimes rising to tempestuous bursts of passion that are only held in check by the composer's scholarly control of his materials.
It is because Tschaikowsky has so successfully put his own native emotions, his own aspirations and hopes and fears and sorrows, into the "Pathetic," that I believe it has come to stay with us, while many of his other works will fade from the common remembrance.
She lustily played Tschaikowsky the virile chords an echo of the red laughing philosopher of the tar-paper shack. Oh yes. Fixes things. Kennicott had returned at midnight. At breakfast he said four several times that he had missed her every moment. On her way to market Sam Clark hailed her, "The top o' the mornin' to yez! Going to stop and pass the time of day mit Sam'l? Warmer, eh?
And there is a following frolic with a verse of the serene song. The end is in the first Allegro theme of the symphony, in transfigured major tone. We must be clear at least of the poet's intent. In the Fifth Symphony Tschaikowsky sang a brave song of struggle with Fate. For some mystic reason nowhere in modern music is the symphony so justified as in Russia.
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