“Tchaikovsky may congratulate himself upon the complete success of his Fourth Symphony (F minor), which opened the programme of the Fifth Philharmonic Concert. This Symphony proved to be irreproachable as regards form: a virtue not to be underrated in a modern production. This original work is not lacking in vital and stirring material which corresponds to its nobility of form, although it is so saturated with national colour that it affects us strangely at first. These melodies, harmonies, and rhythms, derived from the spirit of the Russian folksongs and dances, unlike other attempts of the kind, possess sufficient weight and character to be used as symphonic material.... Equally good and artistic is his Pianoforte Concerto in B♭ minor, which is more of the new German school. This Concerto is a gigantic work of its kind, which demands for its execution the most perfect technique and extraordinary physical strength....
“Ferdinand Gleich.”
“Vossiche Zeitung”
“February 27th, 1889.
“The interest of yesterday’s Popular Concert given by the Philharmonic Orchestra was enhanced by the presence of Herr Tchaikovsky, who conducted two of his own works: a Serenade for strings and the symphonic poem, Francesco da Rimini. The Serenade is a cheerful composition, fluent, pleasing, and not without a touch of humour. It is not remarkable for originality, so much as for a skilful and artistic treatment of the thematic material, particularly noticeable in the last movement of the work. The valse section, which is especially full of charm and graceful in the elaboration of the melodies, had to be repeated. We had already heard the symphonic poem at Bilse’s concerts. This time the work did not impress us more favourably. Sometimes it repels by its violence; sometimes it wearies by the constant repetition of an insignificant subject. A few clever episodes and occasional moments in which it keeps within the limits of the beautiful make the general effect of this work not too intolerable....”
“Berliner Tageblatt”
“February 27, 1889.
“ ... Tchaikovsky’s Serenade for strings consists of a series of charming little pieces, in the subjects of which we seem to recognise now and again a well-known face from some operetta. But these reminiscences are so delightfully decked out that we are very pleased to meet them again.... Musically speaking, the last movement is the most important. Here the composer has evolved a number of clever variations from a Russian theme. The symphonic poem, Francesca da Rimini, displays much interesting, but glaring, tone-colour. What Dante has described in ten lines is reproduced with effort in innumerable bars of music; we are endlessly wallowing in the harshest discords, until the attentive hearer undergoes a martyrdom scarcely less painful than the poor souls who are blown hither and thither in Dante’s Whirlwind. Tchaikovsky is a gifted tone-poet, whom we have often recognised as such; but this symphonic poem exceeds all limits of what is acceptable....”