“January, 1888.
“So far we have only become acquainted with three or four works by Peter Tchaikovsky, a follower of the Neo, or young, Russian school of ‘storm and stress’ composers, and these works, to speak frankly, have not won our sympathies; not because the composer is lacking in talent and skill, but because the manner in which he employs his gifts is repellent to us. Equally frankly we are ready to confess that we went to hear the Suite (op. 43) included in this programme, somewhat in fear and trembling, being prepared for all kinds of monstrosities, distortions, and repulsiveness. But it turned out otherwise.... The Fugue and Introduction at the beginning of the Suite bore honourable witness to the composer’s contrapuntal science; of the other movements—the Divertimento, Intermezzo, Marche miniature, and Gavotte—the march seems least worthy of praise, for it merely recalls the tea-caddy-decoration style of art applied to music, and rather spoils than enhances the work.
“The composer, who conducted his Suite, must have been equally pleased with the way in which it was played and the reception accorded by the public. For the Gewandhaus audience, in recalling him twice, paid Herr Tchaikovsky a compliment rarely bestowed on any but a few of the most prominent composers of the day. He will carry away the impression that there is no question of Russophobia among musical people in Leipzig.
“E. Bernsdorf.”
“Musikalisches Wochenblatt,” No. 3, Jahrgang XIX
“January 12th, 1888.
“Leipzig. The first week of the New Year was really rich in interesting musical events. At the twelfth Subscription Concert Herr Tchaikovsky conducted his orchestral Suite (op. 43).... Undoubtedly the choice of this work was not calculated to display the composer to the Gewandhaus audience in his full creative strength. The Suite opens with a very promising Fugue, cleverly and effectively worked out, and continues very passably well with a Divertimento and an Intermezzo, two movements which are not profound, but possess much charm of sonority. The last two movements—Marche miniature and Gavotte—deteriorate so distinctly into a mere pattern of sounds, that it is impossible to derive from them any real artistic enjoyment. The sister work, of which Siloti gave several movements last season, is far stronger and more original. Still less can op. 43 be compared with the two chamber works played at the concert of the Liszt-Verein: the deeply reflective Trio dedicated to the memory of Nicholas Rubinstein, and the Quartet, delightful in every movement, but wonderful as regards the Andante.... The Liszt-Verein presented Herr Tchaikovsky with a splendid laurel-wreath.”
“Neue Zeitscrift fur Musik,” No. 2
“Leipzig, January 11th, 1888.