Tchaikovsky: Suite No. 1, Op. 43 (with Score)

[@steveegallo3384]

ALWAYS Sensational....The Age of Gold.....BRAVO from Acapulco!

[@simonkawasaki4229]

19:53 Here is yet another example of Tchaikovsky’s true artistry, his signature triple/quadruple doubling of the melodic line in the strings.

[@simonkawasaki4229]

No one interprets Tchaikovsky quite as excellently as Svetlanov. No one could make 12:50 as dreamlike but him.

[@samuelariasramos6082]

The first part is totally incredible. The feeling is that you are listening to music from the 20th century. It does not sound like Tchaikovsky. Fragments like this, which abound in his work, give an idea of the immense creativity and originality of this musical genius. We will never know what he would have written if he had not died so young, although he, after finishing his sixth symphony, said that he feared repeating himself in the future.

[@manueljoseblancamolinos8582]

Very beautiful the beginning of the Divertimento, with the clarinet as if discovering its own theme.

[@cabersmith]

I love that you took the time to crop out excess markings and kept the borders white instead of black. It makes it look so much cleaner.

[@mrtchaikovsky]

I don't think that "the fugue form might be at odds with Tchaikovsky's passionate, rhapsodic style". He employed the form fairly often: There are fugatos in -the fourth and sixth movements of the "Ode to Joy" cantata -the second version of the overture in F -the finale of the first symphony -the finale of the third symphony -the finale of the Manfred symphony -the finale of the second string quartet -the finale of the string sextet (for six voices) -the first movement of the second orchestral suite, as well as full fledged fugues in -the second movement of the piano trio (Var. 8) -the second movement of the pieces Op.21 -the third orchestral suite (Var. 5). As a matter of fact, there is generally lots of contrapuntal writing in Tchaikovsky's development sections. By the way, you write very nice descriptions for your videos.

[@ChristianP06]

There are also fugues in the first movements of the 2nd, 5th, and 6th symphonies, and in the first movement of the 2nd orchestral suite. Perhaps in structure his pieces are ‘rhapsodic’, but Tchaikovsky does very often use dense contrapuntal textures in his pieces.

[@sauliniemi8872]

I have to agree with you. Also, I want to add that I don't consider the orchestra in this piece to be especially large, rather smaller than usually, hence the narrowed brass section. It's not necessarily a small orchestra either, but quite light.

[@mrtchaikovsky]

@@ChristianP06 I agree with your second sentence, but I don't see any fugues in the first three examples you mentioned (I did include the second suite in my list).

[@mrtchaikovsky]

@@sauliniemi8872 The publications issued during Tchaikovsky's lifetime say "for large orchestra" on the cover. I presume this is due to the third flute and the third and fourth horns. Indeed, the standard orchestra back in those days was much smaller than the usual orchestra nowadays. Although Berlioz and Wagner already experimented with the huge orchestras that became more common during the generation of Mahler and Strauss, the classical orchestral size was still the starting point for most composers. Incidentally, Brahms' first serenade from 1876 was also advertised as being a work for large orchestra, despite the fairly small orchestration of double woodwinds, 4 horns, 2 trumpets, timpani and strings.

[@sauliniemi8872]

@@mrtchaikovsky I see... I didn't know it was advertised that way. That said, Tchaikovsky never composed for a "medium" or "small" size orchestra (apart from concertos and such). Anyway, I understand we have a different perspective than what they had back in the day.

[@manueljoseblancamolinos8582]

There are similarities between the variations of the finale of the fourth symphony and the variations of the scherzo whose theme begins at 30:43.

[@jafartouzeau2461]

6:53

[@manueljoseblancamolinos8582]

A touch of Prokofiev in the final Gavotte..

[@girlfriday1299]

That's what I was thinking too.

[@karllieck9064]

Some parts of the Gavotte almost sound like Copeland!

[@manueljoseblancamolinos8582]

Another moment where Tchaikovsky's music sounds like Prokofiev is at the end of number 8 of Sleeping Beauty when a kind of distorted waltz sounds. kzbin.info/www/bejne/anTRd3xqh9N1i5o

[@Greenbug110]

12:50 Man this part looks extremely hard to Flute players lol