Biography

Early Years

Pyotr Ilyich Tchaikovsky was born in 1840 to an upper class family in Votkinsk, Russia.
Pyotr was a precocious youth, being very sensitive to words and music from an early age. He
could read both French and German by the age six, and by age seven, he was writing on topics
of metaphysics and histories of Joan of Arc.
His fathers occupationmining engineerrequired that the family uprooted frequently.
He moved from Votkinsk to Moscow, Moscow to Alapayevsk, then Alapayevsk to St. Petersburg.
It was in St. Petersburg where he began his training as a civil servant, a profession expected of
him in his upper class lifestyle. At this point in time, not too many people in Pyotrs social circle
saw much talent or future promise in him. His family, being literate in music themselves,
continued to support his pursuits, albeit reluctantly at first, but more so as he became more
developed.
During Pyotrs professional studies, his mother died of cholera. His aunt took him and his
siblings in, and it was with this aunt that he studied Mozarts opera Don Giovanni, and took
music lessons from various teachers in his area. He also graduated from his civil servant
program and began touring abroad as a translator for his fathers clients. It was in these travels
that he nurtured his love for European culture.

Midlife
While maintaining his position as a public servant, Tchaikovsky applied and was
accepted in the brand new Music Conservatory of St. Petersburg (pictured in the background on
this slide) in 1862. During his stay at the conservatory, he studied theory, composition, flute,
organ, and piano. His teacher was Nikolay Zaremba, who taught Tchaikovsky discipline and to
treat musical composition like a spiritual treatise.
Tchaikovsky developed as a composer rather quickly during his stay at the conservatory.
He ended up composing his first symphony, his first opera, and Johann Strauss conducted one
of his works. Within these early compositions, he already began a philosophical shift away from
nationalism towards a more cosmopolitan approach. Because of this, he was often scorned
from the Russians (especially the Big 5) for being to European and from the Europeans for
being too Russian.
After the conservatory in St. Petersburg, Tchaikovsky acquired a music theory teaching
position at the Moscow conservatory. He enjoyed the status of a celebrity and acquired many
notable friends during this time that would stick with him to the end of his life. It was also during
this time that Tchaikovsky began to find conflict with his sexuality, being a homosexual in a
society that prosecuted heavily those that were. It was because of this conflict that
Tchaikovskys inspiration began to falter, and he even attempted to marry Dsire Artt, which
ended poorly and did not make it past the engagement. Even during this tumultuous time, he
still composed many works, including Romeo and Juliet (based on the movements in
Shakespeare's drama).

Fame - Final Years

In 1877, Tchaikovsky attempted and succeeded in marrying Antonina Ivanovna

Milyukova but ended in a separation just months after they were married. The two never
divorced, but the separation had took a toll on Tchaikovskys creativity and a sense of being lost.
He instead embraced his cosmopolitan nature and toured around the globe as a
conductor and also served his local society (Moscow) as the director of the Russian Music
Society. The latter profession came at an inconvenience towards Tchaikovsky's ever growing
misanthropic views towards public. He was increasingly withdrawn from people, and he would
often spend his time withdrawn to the Russian countryside, where he found a profound sense of
peace that was otherwise not present in art.
Towards the end of life, his compositions reached an ever higher standard. It was in
these final years that Tchaikovsky grew more aware of his mortality, and he aimed to establish
his legacy with his current projects. Great theatrical pieces such as Sleeping Beauty and The
Nutcracker arose from this period of his life.
Tchaikovsky's death is shrouded in mystery. Some stipulate that he succumbed to
disease, or that his misanthropic nature got the best of him and he committed suicide. Others
claim that since homosexuality was punishable by death, he was sentenced by the Russian
government to death. Whatever the circumstance may be, his family offered him posthumous
immunity from the perceptions of the public, enshrouding his final moments in mystery, in order
to protect his legacy.

Timed Listening Guides

Swan Lake

The specific piece we will be listening to from this long ballet is the end of Act 1: the Finale, No.
9.

Swan Lake History

What originally began as a small scale ballet for his nieces and nephews in 1871, later
became one of Tchaikovskys most memorable ballets: Swan Lake. He began working on this
ballet in spring of 1875, completed it in 1876, and then it was first performed in 1877.
This referential ballet is based on the story of the same title. The story itself is based on
early European folk tales where the mother of Prince Siegfried hosts a ball in order for Siegfried
to find a bride. Before the ball is held, Siegfried encounters a group of swans during a hunt and
discovers they are peopleone being the beautiful Odettetrapped under a spell of an evil
sorcerer; by day they are swans, and by night they are their original selves. Only true love can
break this spell. Well, this is just perfect since his mother is hosting a marriage ball the next
evening. However, the evil sorcerer shows up at the ball with his daughter that looks very much
like Odette. The prince mistakenly falls for her thinking she is Odette and chooses to marry her.
Realizing he has been tricked, he runs away to Odette and confesses the sorcerers trickery.
Odette forgives Seigfreid, however the evil sorcerer does not forgive so easily and threatens
their lives. The two lovers decide they would rather die together in love thus, breaking the evil
spell, Odette becomes free and overcomes the evil sorcerer.
The entire orchestration for this ballet was truly a piece ahead of its time.
Choreographers and ballet dancers found the piece to much of a struggle to dance to and
eventually substituted other composers works into Tchaikovskys piece in order to ease the
dancing routines it required. Unfortunately for Tchaikovsky, he was unable to see his original
work displayed in its difficult glory when it was originally published. It was not until 1889 that
Tchaikovsky had one brief moment of unalloyed happiness when he saw Act II of his original
work performed in Prague.
Since its original release, the ballet has undergone many alterations and what is
commonly performed today are the best excerpts that vaguely follow the original storyline of the
original, lengthy ballet.
 The following composition is an excerpt from the start of Act II, but is heard intermittently
through the ballet. It typically accompanies the swans, Odettes solo dancing, and the
appearance of the evil sorcerer.

Swan Lake Listening Guide

0:00 - Setting the Scene, Introduction of Swan Minor Theme A

A harp quietly arpeggiated up and down a scale, then up-changes scale-then goes up
again. At 0:13 seconds, allow your ears to be treated with the delightful glissandos into
the next section.
The strings all work together and tremolo through entire measures at first before they are
broken into smaller tremolos. In tandem with the harp, these instruments place the
listener into a tranquil, watery scenescape.
After the first measure, the Oboe softly expresses the Swans theme that is revisited
throughout the entire ballet.
0:16 - Repeat of Minor Theme A
The oboe restates the previous theme, ending on a lower note than before.
The harp is no longer present, but we hear the tremolo of the strings imitating the
undulating ripples in the lake.
0:28 - Major Theme B
The oboes theme changes into a conjunct ascension, with repetitive rhythms. It reaches
its high point and holds it before it quickly falls back to where it started.
The harp returns to arpeggiate up the scales, but listen to how it never completes a
measure and there are breaks between its arpeggios.
The strings continue to tremolo and climb up and intensify in s crescendo when the oboe
is about to reach its high point.
0:43 - Major Theme B and its Transition
Here the oboe restates the previous Theme B but only for the first half, The second half
reaches even higher grounds than it previously did right before the rest of the orchestra
comes in at the 1:00 mark.
The harp continues as it did in the prior phrase.
Again the strings build up alongside the oboe and crescendo in a swell when the oboe
reaches its high points.
1:00 - Minor Theme A (x2): The Foreboding Orchestra
The entire orchestra (excluding the piccolo, he saves that ear-piercer for the intense
moments) comes in all at once, a common technique of Tchaikovskys.
The oboe is no longer present as well, in its place, the flutes, clarinet, and trumpet
restate Theme A creating a darkened tone to the piece by adding more instrumentation
to darker the color if the tone..
The strings still tremolo, but are more loud and agitated as they transition more quickly
between notes.
1:25 - Major Theme D (x2)
Theres a connection, which is a blend of the reeded woodwinds, that links the previous
theme to the next. This connection allows an open space, an aural cleansing, to take
place before the keys switch back to major. The oboe will rise and fall with this held note
throughout this segment.
The flutes and the high strings act in accordance as they homophonically play a new
theme three times.
If you listen real close and deep, you will hear the return of the harp quickly arpeggiating
up its scales.
1:40 - Major/Minor Theme E (x2)
What appears to be the repeat of the same previous theme, suddenly alters direction
and the strings slowly descend in a minor mode to a resting note.
The woodwinds can be heard accompanying the strings in elongated and full notes.
Towards the end of this segment, all instruments (excluding the clarinets and oboe)
cease and allow the harps glissando to be heard by all.
1:52 - Major Theme D (x2)
Tchaikovsky revisits the theme expressed at 1:25.
2:05 - Major/Minor Theme E (x2) with a drawn out ending
Very similar to the statements made after 1:40 but does not end with n opening for the
harps glissando. Instead, the notes final notes stretch out in time to land the tonic in the
next section.
2:17 - Minor Theme F (x2)
Now the full orchestra is in play to assist in concluding this piece. The lower instruments
(bassoons, trombones, cellos, and contrabasses) each assist in descending in a disjunct
fashion.
The instruments with higher registers all loudly, and homophonically, play quarter notes
on the first and third note of the measures.
Assisting the woodwinds and the strings on the first beat is the cymbal crashes, and on
the second beat, the timpani hits with a loud rumble.
2:26 - Outro
In typical Tchaikovskian fashion, he has the orchestra work homophonically in loud
bursts slow at first, then faster, then slowing back down to a crawlall the while the
timpani is rumbling over every chord. The last burst is only between the lower
instruments that end up fading away as the timpani rumbles on.
 Slavonic March

Of the many records of this song, I specifically chose the recording with Leonard
Bernstein as the conductor. It is a superb rendition of the feelings evoked of song, and has all
the right pacing to drive this song forward into battle. It also captured the sound of the
instruments in a balanced way that doesnt diminish important parts, or let others supercede
another too easily.

Slavonic March History

Late in the year of 1876, the Sebians were at war with Turkey,known then as the
Ottoman Empire. The Russians took it on themselves to assist their neighborly Slavs with
military and moral support. To assist in boosting morale, Tchaikovsky was asked to compose a
piece of music for a benefit concert for the Serbian veterans. Tchaikovsky completed the work
on October 17th, 1876 and it was played at the benefit a month and a half later. Tchaikovsky
referred to this piece as his 'Russo-Serbian March' which later transitioned into 'Marche Slave'
for French audiences and then 'Slavonic March' for English speaking audience.
The piece itself is a mix-mash of various themes, tunes, and anthems from both Russia
and Serbia. He uses Serbian folk tunes, including funeral dirges, to represent the sorrowful state
of Serbians during the war. Then, when the Russians come to aid, he brings in the militaristic
and bombastic representation of Russias anthem, God Save the Tsar.
This musical piece also represents a turning point for Tchaikovsky. Prior to the Serbian
benefit concert, he was not into conducting as he was into composing. The benefit concert
marks his first appearance as a conductor in Moscow and from then on he took every
opportunity he could to focus on his conducting. As a conductor, he would use this Slavonic
March to vigorously end his concerts, including his concert that took him to America at the
Carnegie Hall in New York City.

Slavonic March Listening Guide

0:00 - Rhythmic March Intro

Song starts off in B-flat minor where the lowest instruments--Timpani Cello, Contrabass--
quietly set the song into a march-like feel in simple meter.

0:12 - A Gloomy Beginning

The violas take the prominent lead as they relate the Serbian folk song in a conjunct,
sad, and doleful way--you can really feel the minor key being expressed in this melody.
The timpani, cello, and contrabass continue to carry on the subdued march,
emphasizing every down beat.
In the background, we hear the bassoon, french horn, and trombone creating an
ethereal background with their spatial use of polyphony. It is almost as if they cloud the
piece with the subdued gunsmoke of a lost battle.
00:33 - Repeat, Added Percussion
The previous section phrase is repeated but with more embellishments. The viola is now
exchanged for homophonic violins, flutes, oboe, and clarinet, providing the melody with a
brighter, more pronounced, quality.
The violas and cellos arpeggiate throughout this phrase playing pizzicato. The violas are
also playing what is to come later in the music in the next section of this piece.
The french horn continues to add polyphonic texture as it plays rapid notes through the
drawn-out main melody.
 The percussion also gets a brighter lift with the addition of the cymbal alternating the
march beats with the timpani and military drum.
00:53 - Repeat, Flutes take melody, Strings build up anxiety underneath.
The march feel has been lost in this section as the percussion section and timpani are
no longer emphasizing every down beat. Instead, the violins, contrabass, and brass
sections emphasize the second and fourth beat of every measure as they ascend and
fall back down their scales together.
The main melody is now comprised of the flutes, oboes, and clarinets. The melody is
achieved its highest peak before breaking away into the next section.
The violas and cellos begin to emphasize the offbeats with blended and slurred triads
that crescendo as they crawl up their registers.

1:13 - A Unified Force

We shift drastically from the minor to a major feel and there is now a hopeful feeling
overriding the previous anxiety from the violas.
All the higher instruments (flutes, oboes, and violins) take a disjunct, yet triumphant
melody in simple time and repeat it twice.
The trumpets and trombones really let their presence be known as they blitz through a
homophonic melody played staccato. What is unique here is they are played in a
compounded time, which contrast the simple metered melody.
If you listen very closely you can hear the bassoon and the french horn assisting the
melody on the down beats. They in turn are being emphasized by the lower strings
playing pizzicato.

1:28 - Building Tension - The Turks Are Coming

Every instrument that has played up to this point, emphasizes the downbeat to start this
off this section. In this section, a compound meter is to represent the Turks (in contrast
to the Slavs simple time).The instruments build up, with the brass maintaining a simple
meter in the background. This juxtaposition of meters brings in a sensation of chaos and
conflict.
Of the high and mid-range instruments, there seems we have two parts alternating in a
call and response manner. The first part, the violins, flutes and oboes, quickly ascend
the scales then alternate with the clarinets, and low-playing violins. These two parts will
alternate, ascend, and build the tension throughout this section.
There is another phrasing that is being passed around the orchestra. It starts off with the
trombone assertively ascending a measure, then the french horns descending the
rhythm, then the trombone ascending again, then a part of the violins descending, then
the french horn descending, then the oboes descending.
In the background, the timpani rumbles along throughout this section.
1:45 - Alternating Build Up, Snare Drum
A simple, quick, and counter-melodic theme is alternated between the woodwinds and
strings. It is played high first by the flutes and oboes, then a lower ascending from the
strings, then back to the woodwinds but a little lower than before, and continues in this
manner six more times
The timpani still rumbles on in this section, but the percussion adds in a snare drum
rapidly, but quietly, strikes before and on the first and third beat.
1:53 - Tumultuous Panic
Whereas in the previous section, the woodwinds and strings alternated in their build up,
in this brief section they coalesce to heighten the state of panic. They do this by
 emphasizing the off-beat in quick and ascending, gasping-like trills before extending
their trills in an expression of terror.
As for the brass, they are all over the place melodically. It is difficult to ascertain which
instrument is where, contributing the increased sense of panic.
The timpani still rumbles on as before as well as the snare continuing on the first and
third beat. It is not until the last measure, before the next section, that the the snare
drum and timpani rumble together in a crescendo, building up to what is next to come.
2:06 - String Anxiety Build
Again, all instruments hit on the downbeat to start this seciton off with a bang
Here the the strings work together to scale upwards and higher in their scales. Talk
about being on the edge of your seat; these strings act as the crux to all the anxiety built
up in the previous sections.

2:18 - Bombastic Attack

Main Melody - The trumpets are most pronounced in the return of the Serbian folk
theme. Backing up the trumpets in this melody are the oboes, trombones, and cellos.
But really, the trumpets own the sound here.
As for the woodwinds, allow me to introduce the new addition of the piccolo, previously
unheard. Leave it to Tchaikovsky to bring forth the most ear-shattering instrument to be
played at the most intense moment of the piece. As for the melody, the piccolos, flutes,
and clarinets loosely return to the theme expressed previously around 1:53, allowing the
background to be tainted in panic.
The percussion is interesting here. They hit so hard and march-like that you would think
they are playing the downbeat. However, they are playing on the off beats, leaving the
listener trying to determine which section is really setting the pulse: the steady
percussion or the domineering melody? Like I said, the percussion is on the off beat so it
is the melody here.
2:37 - Reinforced Vigor
Here we have the entire orchestra bringing out the most of this serbian theme.
Along with the woodwinds, the strings have joined in to reinforce the melody with an
enormous sound.
Underneath the melody, the brass, and percussion homorhythmically attack the second
beats with triplets and a brief eighth note on the fourth beat.
2:57 - An Intense Finish
Here the entire orchestra culminates into a intense finish of this section by each
instrument wrapping their melodies around the downbeat in simple time.

3:01 - Retreat
This part sounds as if the opposing forces are retreating off into the distance as the
brass, losing instrumentation, fades out in a decrescendo.

3:21 - Victory
3:21 - A Timid, Yet Joyful Realization
This section begins with the cello playing pizzicato, quietly and steadily. Emphasizing the
down beats is the contrabass played pizzicato as well.
At 3:26, the clarinet and the bassoon play a jaunty theme. To me, this theme sounds as
if the Serbian troops begin to realize the full retreat of the Turkish forces and begin to
test their victory with the clarinets and bassoons .
3:35 - A Confident Declaration
 Here is when the victory is in its full confidence. The trumpets and trombones now have
the melody previously stated by the reeded woodwinds. The brass has a more forceful
exertion, especially when the emphasize the two quarter notes halfway through the
phrase.
The percussion softly lets their presence be represented by the soft and continuous
rolling of the snare drum.
Because of the boisterous nature of the brass, you may not be able to distinguish the
violins and violas playing pizzicato in the background. Towards the end of the phrase,
they crescendo and ascend upwards in pitch. Meanwhile, the cello and contrabass are
still chugging along quietly in their steady rhythms.
3:44 - Elated Celebration
Now the same phrasing is passed onto the flutes and piccolo. It brightens and sweetens
the tone of the phrase, elating the sense of the overall feeling of this victory.
You will also hear the french horn playing a disjunct melody alongside the fairly conjunct
melody played by the flutes.
Still, the cello and contra chug along, ever so slightly louder than before.
3:53 - Bombastic Celebration
Whoa, what a force! Now we have the entire orchestra homophonically (with a few
breaks from certain midrange instruments) playing the previous phrasing. The main
difference is that the rhythm is more spaced out, making it more forceful on its emphasis
of the beat.
The snare drum is also back to help emphasize those beats alongside the orchestra.
4:02 - Intense Joy
Here we have the orchestra acting in near unison to repeat a theme three times. In each
presentation, the orchestra is homorhythmic excluding the trumpets, flutes and violins
(only to connect the repeats). The trumpets add quick bursts at the end of each measure
in this theme. As mentioned before, the flutes and violins connect each repeat with an
upward glissando, quick in the first, slower in the second, and then quick again in the
third repeat.
What would appear to be the fourth repeat turns into a misdirection as the last half of the
first phrase is repeated as it ascends in pitch. The orchestra then punches through four
quarter notes and then again but broken into eighth notes. Pay special attention to the
trumpets in this section as they follow along with the excitement of the rest of the
orchestra. Towards the end, they are playing notes in such quick succession that it
would seem to be impossible to intensify this statement any further.
4:24 - Elated Celebration Returns (3:44)
We now are relieved of the previous intensity by revisiting the theme expressed by the
flutes and the french horn at 3:44.
4:32 - Entire Orchestra Playing Melody
It then continues on, as before, through the entire orchestra playing the theme as in
3:53.

4:40 - The Turks Return

Instead of taking us in the direction of Intense Joy (as experience at 4:02), Tchaikovsky
adheres to the adage, All good things must come to an end for this next phrase. We
now encounter phrases reminiscent of the tension earlier in 1:28.
Tchaikovsky also contrasts the woodwinds and strings against the brass, with
interjections of the cymbals crashing. He builds up in us an unexpected uncertainty as to
what is going to come next.
4:47 - God Save the Tsar - The Russians Are Here
Tchaikovsky lifts the theme out of the Russian National Anthem, God Save the Tsar, to
state that the Russians are now present to assist the Serbians in their fight against the
Turks.
The trombones take the melody here, giving the Russians a low, yet strong, presence to
the music. Trombones and stringsinfused with the trumpetsoverpower the other
instruments which are taking on a distant presence of the Turks as they revisit the
themes heard in 1:53 where the Turks incite a sense of tumultuous panic.

5:07 - The Turks in Full Force

To Illustrate the Turks coming back, Tchaikovsky revisits the same anxiety-inducing
themes heard from 1:31 through 2:18.
5:20 - Orchestra passes around small ascending theme (Same as 1:31)
5:29 - Strings anxious ascension (Same as 1:53)
5:42 - Strings aggressive ascension (Same as 2:06)

5:53 - All out War

A return to what was heard from 2:18 to 2:57.

6:30 - Unified Forces

Tchaikovsky revisits the theme heard from 1:13 to 1:28. At this moment, it represents the
unification of both the Serbians and the Russians, and carries a triumphant weight not
heard in the prior use of this theme.

6:45 - Defeat of the Turks

Tchaikovsky now returns to the same theme heard earlier after 1:28. However, where
this represented the arrival of the Turks, it now represent their demise. Also, after the
previous battle, we heard the sounding call of retreat (3:01) and the gradual fade away
of their forces. Now we hear their own theme fade out as the strings lose their
instrumentation. It ends with the contrabass losing more and more elements of a
descending theme. To me, it sounds like the last breaths of life are leaving the Turkish
victory until there is nothing left of them.

7:16 - Total Victory

Whoa, how about that jolt from the timpanis? We didnt experience that when the Turks
first left. After that sudden outburst, Tchaikovsky takes us back to the feelings expressed
after the first victory in 3:21. One difference is that the cello and contrabass are not
rhythmically playing pizzicato, but rather the timpani is displaying a confident march.
7:28 - Celebration
The Serbian celebration continues on in the background with the woodwinds, but the
french horn is laid over top now to represent the Russians. The french horn is loosely
borrowing themes heard in the previously mentioned anthem, God Save the Tsar.
7:35 - Transition
The flute section now takes a snippet of the previous them and ascends downwards
along with the cellos and the contrabass, allowing the next section to be more forceful.
7:43 - Full Orchestra with Brass Melody
 Here the brass section, with Trumpets on full display, restate the french horn theme
heard at 7:28. The woodwinds and the strings all assist to bring out as much of the
jaunty melody of the Serbs as they can express alongside the trumpeting Russians.
The timpani marches us along and the snare drum keeps our pacing for our lead foot.
7:50 - God Save the Tsar
Here the trombones declare the Russian National Anthem. The strings and flutes still
carry on the Serbian celebration.
In the background we hear the rolling of the snare drum, before it starts to demarcate a
change in the upcoming section.
8:06 - Full-On Russian Fanfare
Here we have the trumpets taking front and center with the entire orchestra backing
them up as they all play another theme lifted out of God Save the Tsar. The pacing is
slowed down as well, allowing the melody to really sink into your listening experience.

8:17 - A Fantastic Homecoming Extravaganza

8:17 - A Glorious Transition
Here the high pitched instruments ascend upwards, where the midrange instruments
and lower counters the melody to deep depths. Notice the trumpets giving short bursts
during the long-held notes of the orchestra. They then reunite with the last two notes
before the next section.
8:27 - Brass and Percussive Theme
Tchaikovsky swirls us into a whirlwind of sound with the steady and ascending brass and
the constant, shrill tremolos of the strings. I really enjoy the upward shriek the violins rip
into this section twice.
8:33 - Punchy Brass, Ascending High Strings
Tchaikovsky may as well be punching your ears with this ultimate fanfare from the brass,
snare, and piccolos. Absolutely riveting. Then towards the end of this theme, the
trumpets build, the snare rolls, and the piccolos swirl up and down there scales. Its
almost as if Tchaikovsky stands upon his podium, yelling Are you ready for this?!
entirely through the sounds he orchestrated here.
8:44 - Repeats Brass and Percussive Theme
He returns back to the swirling whirlwind he started off in 8:27
8:51 - Repeats Punchy Brass
Back to being punched by the brass from 8:33.
9:02 - Rhythmic Bridge into a carnivalesque descending of piccolos, punch with brass and
snare, and wound down with a descending strings
Here he transitions out of the brass punches and into the outro with a carnivalesque
descension of the piccolos, hits with the snare and, bursts of trumpets. The strings then
take the soundscape and wind down their scales in a triplet, compound feel. They rem
9:13 - Percussive Outro
Every instrument in the orchestra plays in unison to strike out the final, powerful chords
as they rhythmically slow down into one last amazing punch in the gut. Every instrument
is a contributing member to leaving you breathless.