“In the first movement of the Concerto we cannot reconcile ourselves to the noisy, somewhat common-place, principal subject, nor to the frequent and violent interruptions of the musical flow of the work. On the other hand, the Andante, which is a delightful combination of poetry and humour, and the ebullient Finale, in the national style, offer only fresh and undisturbed enjoyment. A clever and animated Fugue from one of the Suites bore witness, by its admirable technical treatment, to the composer’s mastery of polyphonic forms.”
“Berliner Börsen-Courier,” No. 5
“February 9th, 1888.
“The concert—long awaited with great excitement—at which Tchaikovsky, the leading representative of the modern Russian school, was to conduct a series of his own works, took place yesterday.... Among the orchestral works the Solemn Overture, “1812,” was given for the first time. The Romeo and Juliet overture is already known here; it is a symphonic poem which describes more or less the tragic fate of the two lovers. The Introduction shows deep emotion, while the Fugue displays great contrapuntal skill (of which the modern Russian composers give astonishing evidence) and force of ideas. The Andante from op. 11, a charming cabinet picture, most tenderly elaborated, appeals directly to the heart, and is beautiful in its sonority.... The overture “1812” is a characteristic tone-picture of strife and victory, more ideally than realistically depicted, especially the former. But by far the most weighty and lasting impression was made by the Pianoforte Concerto, which Alexander Siloti played with taste and brilliant virtuosity upon a fine full-toned Blüthner. It is one of Tchaikovsky’s best works, fresh in invention, glowing with passion, beautiful as regards its themes and admirable in its development....”
“O. E.”
“Kölnische Zeitung,” No. 45
“THE EIGHTH GÜRZENICH CONCERT.
“February 14th, 1889.
“Tchaikovsky’s Third Suite made a striking impression upon all who heard it. Although the German public do not possess the key to many incidents in this work—because we know so little of Russia and its people, and what we know is not founded upon accurate observation—yet the music is so inspired, masterly and original, that it cannot fail to make a lasting impression upon any educated and progressive audience....
“It is a question whether Tchaikovsky would not have done well to further elucidate the titles of the various movements—Elégie, Valse mélancolique, Scherzo, etc.—by the addition of a programme. But however desirable this may sometimes seem to listeners who are not Russians, it is doubtful whether the pleasant and stirring character of this work, which we may best define as a play of moods, would not have suffered in being tied down by any precise definition....