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.