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.