Peter Ilitsch Tschaikowsky, all things considered, was the most important and artistically satisfactory composer of the Russian school. He was born December 25, 1840, and died November 5, 1893, at St. Petersburg. He studied law and entered the Government service, but, showing a marked inclination for music, at the advice of Rubinstein he entered the conservatory as a pupil when he was already eighteen or nineteen years of age. Such was his success in his new field that within a few years he was made professor of harmony in the school, a position which he retained for eleven years. From that time he devoted himself entirely to composition. In his earliest tendencies he was extremely Italian, with a fondness for sweet and sensuous melodies with simple harmonies. Later on he developed a more virile vein, and Riemann well says of him that he "was a highly gifted, true musician, but at the same time a good Russian; hence are found in his works thoughts of almost maidenly delicacy and sentiment and of the most refined construction; yet, side by side with them, others of semi-Asiatic roughness and brutality."
Owing to his having resided at times in Switzerland, Italy, etc., his works were quite soon recognized and played, and the University of Cambridge in 1893 conferred on him the honorary degree of Doctor of Music.
Tschaikowsky was the composer of eleven operas, the first having been produced in 1869 and the last in 1893. All of these, as I understand, were performed, and several of them are standard favorites in the Russian repertory, the most important, perhaps, being "Eugen Onegin," which was also produced at Hamburg in 1892. He wrote six symphonies, of which the last, the so-called "Pathetique," was completed shortly before his death. The Fifth Symphony is a more popular and commanding musical work than any other of its class written since Beethoven. According to the idea of Mr. Theodore Thomas, it is too emotional and dramatic for a symphony; but it is extremely powerful and beautiful music, and the world has recognized it and takes pleasure in paying it honor. Among the most satisfactory of the Tschaikowsky compositions are the songs, which are among the most impassioned and beautiful of recent years; the melodies are flowing and thoroughly vocal, while the harmonies have that singular originality and heart-searching fervor of which Tschaikowsky was the greatest exponent. Many of his orchestral works have been cut for the Aeolian, and persons possessing that convenient instrument can easily explore the treasures of them.
His piano compositions present a very curious contradiction; while the composer produced in one instance a concerto for piano and orchestra, in B-flat minor, which contains extremely strongly marked and productive themes worked out exquisitely for the piano and for the orchestra, his works for piano solo are generally not altogether satisfactory. Possibly this may be due to innovations of style and technic which later will become easy to the players; but at present an easy piece by Tschaikowsky requires more or less preparation. The following program, on the whole, seems to represent his peculiarities with some success:
PROGRAM FROM RUBINSTEIN AND TSCHAIKOWSKY.
Rubinstein:
Tarantelle in B minor.
"Kamennoi-Ostrow," No. 22.
Valse Caprice, in E-flat.
Barcarolle in G major.
"La Melancholic."
"Polka Boheme."
Melodie in F.
Staccato Study in C major.
Tschaikowsky:
Scherzo from Opus 2.
Barcarolle in G minor. Opus 37. No. 6.
Song without Words. In F major. Opus 12.
"Weihnachten" Waltz. Opus 37, No. 1.
Songs (_ad lib._).
Polonaise from "Eugen Onegin," arranged by Liszt. Or
Waltz from "Eugen Onegin," arranged by Pabst.
Excellent four-hand arrangements are to be had of all the orchestral works by Rubinstein and Tschaikowsky. Address the publishers of this work for particulars.
CHAPTER V.
THE LATER ROMANTICISTS.
Among the numerous composers of Germany in recent times, of whom there are a very large number worthy of special notice, there are four who, by reason of their personal qualities and the general directions in which they have expressed their talent, demand special attention. Their names are Adolf Jensen, Xaver Scharwenka, Moritz Moszkowski, and I. J. Paderewski. As will be noticed from the names, three of these artists are Polish in nationality and stock.