1. Trevyn Mace

2. Tchaikovsky was born in Votkinsk, Russia on May 7 th, 1840. Profound interest in music from a very young age. Studied at St. Petersburg Conservatory. Taught at Moscow Conservatory. Born into a middle-class family. A great amount of depression in his life. Biography

3. Being in a middle-class family, Tchaikovsky could not pursue his musical interests at a young age. As the time passed, he got more serious about music and composition. He loved to learn as much as he could about music. Eventually he went on to study music and to assure his future in that field. Though discouraged at times, he always remained faithful to his music. The Early Years

4. Tchaikovsky suffered greatly for his music and the stress from it induced great depression at times. He was indeed a perfectionist and would break down when something was not perfect. Undertones in his music reveals a depressiveness in him that influenced his actions. In fact, some believe his death was suicide, rather than cholera. He was often criticized for his music, which didn’t help his mental state. His Mental State

5. His first ever symphony, Winter Daydreams He struggled greatly with insomnia and depression at this point in his life because of the stress of composing. Romeo and Juliet 1812 Overture Marche Slave The Queen of Spades Eugene Onegin His Music

6. Tchaikovsky is renowned for his three greatest works, Swan Lake The Sleeping Beauty The Nutcracker The History of His Music

7. Swan Lake

8. The Sleeping Beauty

9. The Nutcracker

10. This ballet was commissioned in 1875 by the Directorate of the Bolshoi Theatre in Moscow. The original name was to be The Lake of Swans. Tchaikovsky started to lose touch with his music and become disappointed quickly by this composition. It was composed between 1875 and 1876. The ballet premiered at the Bolshoi Theatre in Moscow on March 4th of 1877. Swan Lake

11. This ballet was composed from October 1888 to around June 1889 at Frolovskoe. Some of the scenes were composed at Tiflis as well. Tchaikovsky focused greatly on The Sleeping Beauty and completed huge parts of the composition in consecutive periods of time. He was completed absorbed in his work at the time and was immensely pleased with how the work was being produced. The first production of The Sleeping Beauty was performed at the Mariinskii Theatre in Saint Petersburg on January 15th 1890. The Sleeping Beauty

12. This composition was composed at Frolovskoe, Rouen, and Maidanovo around February 1891 until July of the same year. It was orchestrated at Maidanovo from January to March 1892. This composition was written at request of Ivan Vsevolozhskii, Director of the Imperial Theatres. Tchaikovsky worked closely with the choreographer of this ballet, Marius Petipa, in order to better match the dancing with the music. Tchaikovsky wasn’t very pleased to using The Nutcracker as the setting for his ballet. The Nutcracker

13. The Nutcracker, Op. 71, Act 1, No. 2 – March (2:10) The Nutcracker, Op. 71, Act 2, No. 14c, Var. 2 – Dance of the Sugar Plum Fairy (1:59) The Sleeping Beauty, Op. 66, Act 1, No. 6 – Waltz (4:29) Swan Lake, Op. 20, Act 1, No. 2 – Waltz (5:25) Listening Guide

14. (0:00) This piece begins with the trumpets playing a march fanfare leading into the strings playing irregular rhythms as the loudness gradually increases. (0:24) Here the music changes tones and melodies in a different form while keeping the same pattern of trumpets and strings. (0:35) The piece returns to the original form and melody as started but louder than before. (0:58) The flutes begin at a much faster tempo while descending. Strings accompany. The Nutcracker, Op. 71, Act 1, No. 2 – March

15. (1:10) Again returns to the original melody but stronger than before and louder still with strings accompanying with more influence. (1:33) Same tone change as at 0:24 but stronger and louder than previously. (1:45) Back to the original melody as played at 1:10 until ending. The Nutcracker, Op. 71, Act 1, No. 2 – March – cont.

16. (0:00) Very subtle, quiet plucking (pizzicato) of strings introducing the setting. Gradual increase in loudness. (0:08) Celesta plays the main theme. (0:14) Bass clarinet descends as celesta melody continues. (0:29) Woodwinds introduced. (0:35) Strong influence from strings and woodwinds with celesta more in the background. The Nutcracker, Op. 71, Act 2, No. 14c, Var. 2 – Dance of the Sugar Plum Fairy

17. (0:57) Celesta soloing leading back into main theme. (1:04) Woodwinds begin main theme again. (1:33) Celesta along with pizzicato from the strings descending. (1:50) Celesta and pizzicato repeats the same note until end with loud chord. The Nutcracker, Op. 71, Act 2, No. 14c, Var. 2 – Dance of the Sugar Plum Fairy – cont.

18. (0:00) Introduction using crescendo of strings and brass increasing in loudness and complexity. (0:30) The piece starts off in the A stage with strings providing the melody and brass accompanying. (1:05) Moving into B form with focus completely on the strings with brass but more descending on this part. (1:38) Moves back to A form with woodwinds accompanying instead of brass. (1:59) Moves into C form with strings and brass. Woodwinds accompanying. The Sleeping Beauty, Op. 66, Act 1, No. 6 – Waltz

19. (2:39) Back into A form, strings and brass accompanying. (3:03) Transition into B form, strings and brass, same as before. (3:40) Again into A form, strings with woodwind accompanying rather than brass. (4:02) Strings performing coda with brass in background. Crescendos and repetition to finalize. The Sleeping Beauty, Op. 66, Act 1, No. 6 – Waltz - cont.

20. (0:00) Pizzicato with strings descending. (0:06) Brass and percussion changing the loudness greatly for 3 notes. (0:08) Brass very lightly in background. (0:21) Strings come in playing melody twice through in first form. Second time with woodwind accompanying. (0:56) Brass changing the tone into a faster tempo with the strings into second form, brass accompanying. (1:10) Woodwinds introducing new form, with brass accompanying. Swan Lake, Op. 20, Act 1, No. 2 – Waltz

21. (1:17) Strings join woodwinds. (1:24) Variation of woodwinds, strings accompanying. (1:41) Transition with loud brass back into the form at 1:10. (1:50) Back into the first form with strings. Light brass background. (2:07) Woodwinds join brass. Swan Lake, Op. 20, Act 1, No. 2 – Waltz – cont.

22. (2:23) Same as 0:56 with brass and faster tempo into different form. (2:37) Strings in a slower tempo and lighter sound go into new form alternating with quick woodwinds. (2:52) Brass slow accompanied by strings. (3:09) Back to same as 2:37. (3:22) Strings flowing with woodwind accompaniment. (3:37) Much stronger sounding strings with strong bass strings behind it transitioning into brass accompaniment. Swan Lake, Op. 20, Act 1, No. 2 – Waltz – cont.

23. (3:51) Same as 3:22. (4:05) Crescendo into faster tempo with strings and woodwinds accompanying. (4:21) Brass added to strings. Much louder and faster. (4:30) Same melody but an octave increasing each repetition. (4:36) Everything descending. (4:44) Brass taking control with everything else behind it as crescendo. (4:58) Coda with repetitions from full orchestra with brass and drumming finishing the piece. Swan Lake, Op. 20, Act 1, No. 2 – Waltz – cont.

24. Biography.com: http://www.biography.com/people/piotr-ilyich-tchaikovsky- or-tschaikovsky-9503375 ClassicCat.net: http://www.classiccat.net/tchaikovsky_pi/biography.php Langston, B. (2006). Retrieved from TchaikovskyResearch.net: http://www.tchaikovsky-research.net/en/Works/Ballets/index.html Wiley. (2001). The New Grove Dictionary of Music and Musicians. Wisc.edu: http://pages.cs.wisc.edu/~boris/maha/music/tchaikovsky.html Bibliography