“This music is of the kind which is pre-eminently calculated to stir our feelings by its richness of colour, its peculiarities of tonality—in one variation the Phrygian mode is successfully employed—and by its clever workmanship, which betokens an unusual skill in the working out of the parts. If an ingenious development of a theme, or an unusual effect of orchestration, occasionally predominates over the rest, on the whole it is the voice of the heart which is heard throughout the work, lending even an undertone to the glitter and hum of the Scherzo. The composer attains to this highest of all qualities by means of the wealth and charm of his melodic inspiration, the simplicity of his musical idiom, and the freshness of his invention.... Tchaikovsky not only possesses the gift of melodic invention, he pays due honour to Melody itself, and makes all the other elements of music hold their breath when Melody is speaking.... Simplicity is still the sign of profound truth, and of the promptings of inspiration. Tchaikovsky’s creative power prevents this quality from degenerating into superficiality.”
“General-Anzeiger”
“Frankfort, February 16th, 1889.
“A novelty headed the programme: the Third Suite, op. 55, by Peter Tchaikovsky, who is generally spoken of as the head of the young Russian school of musicians.... As the last notes of the Suite died away, there followed a burst of applause so hearty and so continuous, that nothing equal to it has been accorded to any novelty during recent years, except perhaps when Richard Strauss conducted his First Symphony.... The impression made by Tchaikovsky’s work was dazzling rather than profound; strictly speaking, it was not so much the Suite as a whole that won this recognition, as the bright, fresh, brilliantly orchestrated Polonaise with which it comes to an end. The second and third movements, Valse mélancolique and Scherzo, only evoked moderate applause: both numbers are in the minor, and seem to be stamped with a peculiar, national, Sarmatian character, they are so strange and gloomy. After the Valse mélancolique, which is quite in keeping with its title, a real Scherzo would have followed better; a Scherzo in the sense of the classical symphonists, rather than a number of this kind, which is rich in rhythmic devices, but poor in that true gaiety which we expect to find in a piece entitled Scherzo. In this number the combination of 6/8 and 2/4 has an unfortunate effect, for the wind instruments always seem to come in a little too late. The variations are most of them very interesting, and one or two appeal direct to the heart. The Fugue is strong, effective, and most skilfully worked out.”
“Dresdner Nachrichten”
“February 22nd, 1889.
“ ... The first number on the programme—Tchaikovsky’s Fourth Symphony in F minor—acted like some magic spell upon the audience, somewhat disappointed at the non-appearance of the singer Frl. Leisinger. The Russian master—now undoubtedly the first composer of his nation—not only impressed us as a personality, but proved himself to be such in his Symphony, then given for the first time in Dresden. The work is planned upon large and bold lines and carried out in the same spirit. The ideas are clear-cut and concise; the melody and harmony distinctive and strikingly characteristic. Occasionally, as in the first and last movements, the composer indulges in an orgy of sound, for which he evokes all the resources of the modern orchestra. At these moments he produces with true orchestral virtuosity the most piquant and unusual effects, while always remaining master of the situation; saying precisely what he has to say, and avoiding all empty phrases and rambling statements. What he expresses, however, is spirited, and full of elemental strength and weight. With all this, Tchaikovsky knows how to strike a note of tenderness. The third movement of his Symphony—the Scherzo ‘pizzicato ostinato’—is a masterly invention, which stands alone in musical literature. The vein of national feeling which runs throughout the work accords admirably with its style and beauty. Here and there it echoes the melancholy and sadness of some solemn, wailing folksong, but so inspired and perfect is the treatment that both heart and intellect are completely satisfied.
“An equally fine impression was made by his Pianoforte Concerto (op. 23). This impression would have been still more profound if the Symphony had not come first; it was a case in which le mieux est l’ennemi du bien. The Concerto is symphonic in structure, and the piano part is indissolubly welded with the orchestration. Nor for a moment can we fail to recognise great mastery of form, inspiration, and emotion; but these qualities do not impress the hearer so strongly as in the Fourth Symphony....
“Dresdner-Anzeiger”
“February 22nd, 1889.