4 sinfonie tchaikovsky biography
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Symphonies by Pyotr Ilyich Tchaikovsky
Pyotr Ilyich Tchaikovsky struggled with sonata form, the primary Western principle for building large-scale musical structures since the middle of the 18th century. Traditional Russian treatment of melody, harmony and structure actually worked against sonata form's modus operandi of movement, growth and development. Russian music—the Russian creative mentality as a whole, in fact—functioned on the principle of stasis. Russian novels, plays and operas were written as collections of self-contained tableaux, with the plots proceeding from one set-piece to the next. Russian folk music operated along the same lines, with songs comprised as a series of self-contained melodic units repeated continually. Compared to this mindset, the precepts of sonata form probably seemed as alien as if they had arrived from the moon.[citation needed]
Sonata form also was not designed to accommodate the emotionally charged statements that Tchaikovsky wanted to make. In this, he was far from alone—it was a major preoccupation of the Romantic age, to the point that the validity of the symphony was questioned seriously and alternatives to it were actually devised. These alternatives, which included program music in general and
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Pyotr Ilyich Tchaikovsky was born at Kamsko-Votkinsk, Vyatka province, on May 7, 1840, and died in St. Petersburg on November 6, 1893. He began the Symphony No. 4 in May 1877 and completed the score on January 19, 1878. Nikolai Rubinstein conducted the first performance on March 4 that year, in Moscow.
The score of Tchaikovsky’s Symphony No. 4 calls for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, cymbals, bass drum, and strings. The symphony is about 44 minutes long.
For Tchaikovsky, the Symphony No. 4 was a breakthrough work, a bounding creative leap beyond his first three symphonies. In scale, control of form, intensity, and ambition it towers above any symphonies previously produced by other Russian composers, most of whom shunned the symphonic form in favor of operas and programmatic works. Here, in one of the masterpieces of late Romanticism, Tchaikovsky combines his strong sense of the theatrical (already demonstrated in Romeo and Juliet, Francesca da Rimini, and Swan Lake) with a heightened mastery of orchestration and thematic development.
The year of the composition of the Fourth Symphony—1877—has been called the most fateful year in the composer’s eventful and emotionally volatile life.
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Pyotr Ilyich Tchaikovsky
Biography
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