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Pyotr Ilyich Tchaikovsky's Trio in A minor, Op. 50, was written in Rome between December 1881 and late January 1882. It is subtitled À la mémoire d’un grand artiste [In memory of a great artist], in reference to Nikolai Rubinstein, his close friend and mentor, who had died on 23 March 1881. It is scored for piano, violin, and cello.
Op. 79 Andante and Finale, for piano and orchestra (1893; this was Sergei Taneyev's idea of what Tchaikovsky might have written had he used three of the movements of the abandoned Symphony in E ♭, rather than just the first movement Allegro brillante, when rescoring the symphony as the Piano Concerto No. 3 in E ♭)
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Souvenir de Hapsal consists of three pieces for the piano: [3] Ruines d'un château, E minor; Scherzo, F major; Chant sans paroles, F major. The Scherzo was first performed by Nikolai Rubinstein on 27 February 1868. The conductor Max Erdmannsdörfer orchestrated Chant sans paroles, which pleased Tchaikovsky so much that he conducted it himself. [4]
Texture rather than form was Tchaikovsky's concern when composing the Second Orchestral Suite, making it very different from its predecessor. [1] One interesting point about the opening movement, Jeu de sons (Play of sounds), according to scholars is that the names of Tchaikovsky's brother Anatoly, his wife and daughter are encrypted in
The Piano Sonata in C-sharp minor, Op. posth. 80, was written by Russian composer Pyotr Ilyich Tchaikovsky in 1865, his last year as a student at the St Petersburg Conservatory. The sonata in its original form was not published in Tchaikovsky's lifetime; it was published in 1900 by P. Jurgenson, and given the posthumous opus number 80. [1]
Pyotr Ilyich Tchaikovsky composed his Orchestral Suite No. 3 in G, Op. 55 in 1884, writing it concurrently with his Concert Fantasia in G, Op. 56, for piano and orchestra. The originally intended opening movement of the suite, Contrastes, instead became the closing movement of the fantasia. Both works were also intended initially as more ...