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254:, the rejected first movement of the suite, as the second movement of the Fantasia. This was surprising considering the amount of grief its writing had caused him when he originally conceived it for the Third Suite. Though Tchaikovsky apparently could not keep his hands off this music, he still harboured doubts about it. At the end of the
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The middle section, which begins with a long, elaborate solo passage, is episodic. It employs two new melodic ideas, expansive in themselves and even more luxuriantly developed. The orchestra stays silent during this long interlude. When it enters for the recapitulation, the music proceeds much as it
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appears only once then returns at the end, after a single episode. The playful character of the two themes presented may have justified in the composer's mind an affinity with the sparkling character classical rondo finales. Other than this, there is nothing connecting them with usual rondo practice.
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is both an attractive and characteristic piece — so much so that it is hard for some critics to believe
Tchaikovsky did not like this piece and offered an alternative to it. Two main themes predominate, one fast, the other slow. They are shown as contrasts not just one by one in the order of sonata
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during the 1883/84 season, his thoughts turned to a new piano concerto. Nonetheless, he wrote in his diary for 13 April 1884, "I stopped playing around and came up with something new. Hit upon an idea for a concerto for piano, but it still sounded too poor and unoriginal". Progress, at least in the
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might have proved a more fitting title, what actually matters here is that the music is a manner of charm, elegant craftsmanship and a high entertainment value. The main theme is developed playfully, almost in the vein of a fairy-tale ballet. The solo part is written into the music so that it uses
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Tchaikovsky, who attended the concert, wrote to Modest on 25 February, "I heard a superb performance of the
Fantasia by Taneyev and the orchestra, with which I was delighted. It had great success with the public." In St. Petersburg, the Concert Fantasia was performed for the first time on 4 April
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for piano solo, the movement contrasts a slow, melodic opening theme (quickly counterpointed by a solo cello) and a quicker, dance-like second theme alternate, contrast and compete against one another, with very lively results, leading into the final section without a break. These very extensive
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During
October and November the Concert Fantasia was rapidly engraved, since it had to be ready for a concert of the Russian Musical Society in December, where Taneyev would premiere it. This performance, scheduled for 15 December 1884, was delayed owing to the indisposition of the conductor,
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first and second subjects, but often simultaneously and in varying ways. The piece could be considered a classic solution in thematic telescoping. The only qualm is that the quick theme can seem to lack spontaneity, as though it had been over-engineered for its role in this movement.
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Tchaikovsky biographer and music writer David Brown has commented, " crippling weakness is that it contains not one really strong idea, yet its very original structure suffices to show that
Tchaikovsky was concerned to fashion something more than a mere showpiece to gratify a
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conducting. The
Concert Fantasia received many performances in the first 20 years of its existence. It then disappeared from the repertoire and lay virtually unperformed for many years, but underwent a revival in the latter part of the 20th century.
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of the
Fantasia, written for piano solo, "was the logical goal toward which this precedent had pointed". This gives the section the appearance of a cadenza while actually being based on new material. This cadenza substitutes for the
389:. Follow these is a cleverly contrived transition where the arpeggios act as though mutual friends, introducing the two different rhythmic elements to each other in a passage where these patterns not meet but overlap.
290:. Arrangements for four pianos and two hands were brought out in December 1884, the orchestral parts in January 1885, and the full score in March 1893. The arrangement of the Fantasia was printed with a dedication to
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or inflame a lionizing audience". He adds, "For all its melodic shortcomings, the
Concert Fantasia has some engaging qualities and a structural freshness which should win it the occasional hearing".
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added to the slow tune being played by the piano is not the contrasting idea to which the title of the piece refers. It is merely an episode, Neither is the quiet melody that follows over an
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which are a characteristic trick of
Tchaikovsky's musical style. (The trick being mentioned is that of two alternating notes which go on for some time while the corresponding
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from St. Petersburg on 13 March 1884, "I am feeling a surge of energy, and an impatience to set about something new " But
Tchaikovsky did not manage to start any new work in
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275:. The concert took place on 22 February 1885 at the tenth symphony concert of the Russian Musical Society in Moscow. Taneyev was soloist, with Erdmannsdörfer conducting.
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opening movement, he added an optional coda for the soloist which was both technically showy and rhetorically empty. This alternative cadenza was to be used in case
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composer's view, did not improve over time. On 17 and 18 April, Tchaikovsky wandered in the
Trostianka woods and noted down, in his own words: "wretched ideas."
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virtuosity for musical purposes without conspicuous display. With the second theme, it is the piano and not the orchestra that carries and develops it.
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The first hint that something in a new, quick rhythm is going to be contrasted with the slow theme is when the soloist plays rapid ascending
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with his isolating the soloist from the orchestra as much as possible. Tchaikovsky scholar David Brown notes that the middle section of the
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did before, except for a new transition so the second subject can remain in the tonic and allow the movement to close on the tonic.
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Like the opening movement, this one poses a formal problem, albeit an uncommon one, then solves it simply and well. Beginning as a
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Tchaikovsky returned from abroad at the beginning of March 1884, determined to spend the spring months with his sister at
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Tchaikovsky was uncertain initially what type of composition he would write. Captivated by the playing of the famed
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Andante Cantabile - Molto Vivace - Vivacissimo - Allegro Moderato - Vivacissimo - Molto Piu Tranquillo - Vivace
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sections take the place of slow movement and finale for a conventional concerto. Tempo indications are
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while staying at Grankino, Tchaikovsky returned to composing the Concert Fantasia. He now included
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Nevertheless, Tchaikovsky succeeds in developing his ideas originally within the demands of piano
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part of the title for this movement describes a formal layout in which musical material for a
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Tchaikovsky had voiced his dislike for the sound of piano and orchestra while writing his
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In June, after completing the sketches and piano arrangement of what would become the
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1886 in the tenth symphony concert of the Russian Musical Society, conducted by
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This work is written in two movements and lasts approximately 30 minutes.
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The Fantasia is scored for piano solo plus the following:
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International Tchaikovsky Competition for Young Musicians
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785:(New York: W.W. Norton & Company, 1946) ISBN n/a.
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One important note is that the counterpoint for solo
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with the London Philharmonic Orchestra conducted by
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27:between June and October 1884. It was premiered in
23:, Op. 56, for piano and orchestra, was written by
1304:Festival Overture on the Danish National Anthem
826:(Seattle: University of Washington Press, 1969)
1710:Piano compositions by Pyotr Ilyich Tchaikovsky
1680:Concertante works by Pyotr Ilyich Tchaikovsky
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413:One of its earliest modern-day champions was
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802:(New York: Simon & Schuster, 1987, 1963)
792:(New York: W.W. Norton & Company, 1986)
370:changes. This happens in the finale of the
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841:International Music Score Library Project
819:(New York: Charles Scribner's Sons, 1973)
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459:Polish National Radio Symphony Orchestra
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812:(Oxford: Oxford University Press, 1998)
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35:22 February] 1885, with
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321:; the second time, it appears in the
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1690:Compositions for piano and orchestra
824:Tchaikovsky Symphonies and Concertos
472:Monte Carlo National Opera Orchestra
313:The first movement of the fantasia,
790:Tchaikovsky: The Years of Wandering
600:Piano Concerto No. 3 (Tchaikovsky)
595:Piano Concerto No. 2 (Tchaikovsky)
590:Piano Concerto No. 1 (Tchaikovsky)
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1332:Orchestral Suite No. 4 in G major
1327:Orchestral Suite No. 3 in G major
1322:Orchestral Suite No. 2 in C major
1317:Orchestral Suite No. 1 in D minor
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1414:String Quartet No. 2 in F major
1409:String Quartet No. 1 in D major
1152:Piano Concerto No. 2 in G major
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573:Tchaikovsky Symphony Orchestra
550:Russian Philharmonic Orchestra
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1483:Grand Piano Sonata in G major
1359:Liturgy of St John Chrysostom
385:. These develop into quicker
362:embodying one of those inner
283:and with Taneyev as soloist.
76:and orchestral accompaniment.
16:Piano concerto by Tchaikovsky
1202:Variations on a Rococo Theme
262:was omitted in performance.
238:, who had given concerts in
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1442:String Sextet in D minor (
1196:Violin Concerto in D major
424:Later recordings include:
381:to its restatement by the
57:Quasi rondo: Andante mosso
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1537:Modest Ilyich Tchaikovsky
1419:String Quartet No. 3 in E
1311:Festival Coronation March
1157:Piano Concerto No. 3 in E
1141:Piano Concerto No. 1 in B
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25:Pyotr Ilyich Tchaikovsky
1700:Compositions in G major
1488:Piano Sonata No. 2 in C
1431:Souvenir d'un lieu cher
498:USSR Symphony Orchestra
219:. Tchaikovsky wrote to
1705:Music with dedications
524:Philharmonia Orchestra
248:Third Orchestral Suite
1437:Piano Trio in A minor
1398:Quartet Movement in B
1183:Sérénade mélancolique
546:Konstantin Scherbakov
205:Two works, one source
103:Second Piano Concerto
31:on 6 March [
21:Concert Fantasia in G
1597:Chaikovskij (crater)
1444:Souvenir de Florence
1342:Serenade for Strings
893:List of compositions
846:Tchaikovsky Research
796:Schonberg, Harold C.
783:Music of Tchaikovsky
1260:Francesca da Rimini
1091:Symphony in B minor
1032:The Sleeping Beauty
1000:The Queen of Spades
979:Mazepa (or Mazeppa)
972:The Maid of Orleans
485:Minnesota Orchestra
112:development section
1549:Antonina Miliukova
1470:Souvenir de Hapsal
1463:Scherzo à la russe
1176:Andante and Finale
806:Steinberg, Michael
800:The Great Pianists
577:Vladimir Fedoseyev
528:Vladimir Fedoseyev
494:Tatiana Nikolayeva
273:Max Erdmannsdörfer
41:Max Erdmannsdörfer
1695:Fantasias (music)
1685:1884 compositions
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1555:Nadezhda von Meck
1253:Capriccio Italien
1209:Pezzo capriccioso
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747:"Classics online"
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266:First performance
221:Nadezhda von Meck
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1101:No. 5 in E minor
1086:No. 4 in F minor
1076:No. 3 in D major
1066:No. 2 in C minor
1060:Winter Daydreams
1056:No. 1 in G minor
958:Vakula the Smith
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839:: Scores at the
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1125:(unfinished)
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755:. Retrieved
751:the original
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541:Richard Kapp
476:Eliahu Inbal
429:Igor Ardašev
423:
419:Walter Goehr
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396:
393:Why neglect?
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364:pedal points
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330:Quasi sonata
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288:P. Jurgenson
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173:Glockenspiel
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154:4 horns in F
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1522:(1971 film)
1514:(1970 film)
1511:Tchaikovsky
1477:The Seasons
1455:Piano music
1351:Vocal music
1239:The Tempest
1134:Concertante
986:Cherevichki
817:Tchaikovsky
635:Warrack, 48
489:Osmo Vänskä
468:Werner Haas
315:Quasi Rondo
308:Quasi Rondo
256:Quasi rondo
160:3 trombones
116:sonata form
107:quasi Rondo
1674:Categories
1503:Portrayals
1336:Mozartiana
1110:Pathétique
1049:Symphonies
903:Symphonies
775:Blom, Eric
769:References
757:2008-11-26
736:Brown, 281
727:Brown, 278
706:Blom, 62-3
685:Brown, 262
621:Brown, 279
571:with the
463:Antoni Wit
409:Recordings
348:Contrastes
342:Contrastes
260:Contrastes
252:Contrastes
176:Tambourine
165:Percussion
144:2 bassoons
82:Contrastes
74:virtuosity
1539:(brother)
1267:The Storm
1025:Swan Lake
535:with the
522:with the
509:with the
496:with the
483:with the
470:with the
457:with the
444:with the
431:with the
387:arpeggios
130:Woodwinds
48:Structure
1627:Category
1557:(patron)
1545:(nephew)
1491:♯
1422:♭
1401:♭
1383:(Op. 38)
1160:♭
1144:♭
1119:♭
910:The Five
718:Blom, 63
697:Blom, 61
649:Blom, 62
584:See also
400:virtuoso
319:dominant
302:Analysis
200:Overview
135:3 flutes
1565:Related
1095:Manfred
1017:Ballets
1007:Iolanta
403:pianist
368:harmony
216:Mazeppa
211:Kamenka
186:Violins
181:Strings
170:Timpani
138:2 oboes
88:cadenza
1650:Portal
1551:(wife)
1530:People
1373:Moscow
1246:Hamlet
1080:Polish
944:Undina
929:Operas
777:, ed.
379:scales
328:While
240:Moscow
234:pupil
192:Cellos
189:Violas
29:Moscow
1637:Audio
1494:minor
1425:minor
1404:major
1275:Fatum
1163:major
1147:minor
1122:major
920:Death
606:Notes
548:with
356:cello
323:tonic
232:Liszt
149:Brass
68:rondo
63:quasi
383:oboe
61:The
33:O.S.
19:The
374:.)
114:in
1676::
808:,
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