Tchaikovsky - Suite No. 4, Op. 61 "Mozartiana" (1887)
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- Опубліковано 10 вер 2024
- Pyotr Ilyich Tchaikovsky (Russian: Пётр Ильи́ч Чайко́вский; tr. Pëtr Il'ič Čajkovskij; 25 April/7 May 1840 - 25 October/6 November 1893), often anglicized as Peter Ilyich Tchaikovsky, was a Russian composer of the late-Romantic period, some of whose works are among the most popular music in the classical repertoire. He was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Tchaikovsky was honored in 1884, by Emperor Alexander III, and awarded a lifetime pension.
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Orchestral Suite No. 4, Op. 6 "Mozartiana," (1887)
1. Gigue. Allegro
After the Little Gigue for piano, K. 574.
2. Menuet. Moderato (1:40)
After the Minuet for piano, K. 355.
3. Preghiera. Andante ma non tanto (6:13)
After Franz Liszt's piano transcription of the Ave verum corpus, K. 618. (In 1862 Liszt wrote a piano transcription combining Gregorio Allegri's Miserere and Mozart's Ave verum corpus, published as "À la Chapelle Sixtine" (S.461). Tchaikovsky orchestrated only the part of this work that had been based on Mozart.)
4. Thème et variations. Allegro giusto (11:00)
After the piano Variations on a Theme by Gluck, K. 455. (The theme was the aria "Unser dummer Pöbel meint", from Gluck's opera La Rencontre imprévue, or Les Pèlerins de la Mecque).
Chamber Symphony of Philadelphia conducted by Anshel Brusilow
Tchaikovsky's treatment of Mozart's work here was both faithful and, as David Brown phrases it, "affectionate." He took the music as it stood and endeavoured to present it in the best possible light-this is, in late 19th-century guise. His intent was to win greater appreciation among his contemporaries for Mozart's lesser known works.
Tchaikovsky had always held Don Giovanni in the greatest awe, and regarded Mozart as his musical God. The great soprano Pauline Viardot-Garcia, who was the teacher of Tchaikovsky's one-time unofficial fiancée Désirée Artôt (and whom she may have persuaded not to go through with her plan to marry the composer), had purchased the manuscript of the opera in 1855 in London, and kept it in a shrine in her home, where it was visited by many people. Tchaikovsky visited her when he was in Paris in June 1886, and said that when looking at the manuscript, he was "in the presence of divinity". So it is not surprising that the centenary of the opera in 1887 would inspire him to write something honouring Mozart. (Curiously, the title role in the centenary production of Don Giovanni in Prague was sung by the man who replaced Tchaikovsky in Désirée Artôt's affections, her husband, the Spanish baritone Mariano Padilla y Ramos.) He wrote the work in the summer of 1887 at a spa town in the Caucasus, where he went to cure a supposed liver complaint.
Tchaikovsky had hoped in Mozartiana to recreate "the past in a contemporary world," as he wrote his publisher P. Jurgenson. However, he never did rework the music in his own style as did Stravinsky, or do anything to enhance Mozart's music. The one movement that posterity has viewed as falling short of Tchaikovsky's goal was the third, the Preghiera. Tchaikovsky was not working directly from a Mozart text but from Liszt's idiosyncratic treatment of Mozart's music in "À la Chapelle Sixtine." The result is generally regarded today as too sentimental and lush a treatment of Mozart's ethereal and tender original.
Also, while the gigue and minuet are effectively scored, Tchaikovsky's choice of them for his opening movements suggest that like many of his contemporaries he failed to make enough distinction between Mozart's lighter and more profound sides. The final variations are more successful, as he can indulge in colorful scoring which characterized in Tchaikovsky's manner some aspects Mozart explored with this theme. Even then, Mozart appears to represent the prettiness of the baroque rather than something deeper. Tchaikovsky's apparent inability to see the real power and variety of Mozart's music may have been part of his psychological need to regard the past with wistfulness and associate it with lost purity and felicity. This inevitably committed him to a view that proved merely sentimental.
I don't understand why everybody is riled up about this piece. I think it's beautiful what Tchaikovsky did with Mozart's music. I think it was a really fun idea to orchestrate Mozart's pieces with a late-romantic orchestra. I especially love his arrangement of the "Ave verum corpus" movement. Tchaikovsky accomplished what he wanted to accomplish with this piece, so why is everybody complaining about things that he never intended to put in the piece?
no one is riled up
@@Tal-wu9ss I'm referring to the comments at the bottom of the page, which are saying things like "This is not 'tRuE' Mozart because of X orchestration technique", and just generally insulting things about how Tchaikovsky treated Mozart's music or even just Tchaikovsky's skill as a composer (it seemed to me to be more prevalent here than in other Tchaikovsky videos). They used to be more visible a few years ago, but they're still there.
You can make a case that Tchaikovsky trivialises Mozart in this piece.
@@hb1338 And I can make the case that Tchaikovsky didn't trivialize any of these Mozart pieces, and that your view is totally subjective.
What a beautiful love letter from a genius composer to the greatest of all composers. Lovely, indeed! Thank you for posting it.
Tchaikovsky is the goat
Do you think you understand Mozart better than Tchaikovsky did?!? He respected M. far too much to modernize or tamper with his great works, and put together a divertimento of lighter fare -- and the opening Gigue is a lovely discovery worth promoting from its isolation as a solo piano work.
Balanchine created a lovely ballet, "Mozartiana," which you can see on UA-cam.
Lovely & Amazing music.... It conquers my heart ♥
この曲は初めて聴きました。こういう試みをしてたんですね。目を瞑って聴いているとモーツアルトですね。興味深い！！
Enjoyable..... 👍🏻👍🏻👍🏻🎶 ♥️ 🎼 ❤️🎼🎶❤️🎼🎶🎼🎶
i like the style
MAGNIFIQUE !!!
This suite is the best among the four suites Tchaikovsky has composed
so far!!!
I prefer the first one
Bravo brilliance music
Magnificent !
Grande Tchaikovsky!!!
Super! 😀 😀 😀
Not so much of Mozart's original expressive climate remains, but after all we are talking about an Age in which the capacity of paraphrasing material was emphasized over faithfulness to it, and I would say in original composition it's an understandable position (it's not a reconstruction or an edition of pre-existing Music!), as such we just take pleasure in listening to this Piece without worrying too much about what's not to be worried.
Tchaikovsky is faithful in transmitting his inner love for Mozart by means of a virtuoso arrangement, embellishing Mozart's facile side in a sunny and happy sound experience. What else does the spoiled 21st Century listener need or want?
Actually it brought up some very interesting elements of the compositions into focus. And this WAS far more about this, than about keeping the “expressive climate’.
I love the theme and variations, particularly the variation at 12:31.
I disagree with parts of the above commentary. The Gigue, K. 574 is, despite its brevity, an incredibly exciting and original composition by Mozart--not at all a minor work. The Minuet, K. 355 has a surprising amount of chromaticism, which also makes it stand out. In the variation movement, Tchaikovsky actually moves pretty far afield from Mozart, but I wouldn't hold that against him: his ideas are interesting in their own right. And while the "Ave verum" does seem a little bit over the top, it is also a tribute to Liszt's memory (a year after Liszt's death) and a 19th-c. period piece. We don't have any recordings of how Mozart was played in the 19th c., but from this we may get an idea.
When you roam to the piano room in siege 0:10
wow i just came here after shazaming the piece from kafe dostoyevsky, since i wanted to find it once and for all
swan lake
symphony 6
@@ClassicalDavid That map also has a room that plays the Russian folk tune "In the Field Stood a Birch Tree", which Tchaikovsky incorporates in the last movement of his Symphony No. 4
@@rokano Amazing, now it all makes sense as for the last piece i couldnt locate! Also theres a room on the first floor with a vinyl player that is playing Bach or something similar sounding I've never been able to find that one either haha!
A romantic composer in Classical style
11:50 clarinet 24:00 cadenza
0:07 why do they play accents at the 3rd beat? It took me a minute to get the rythm
I feel no need to dissect the work. I am just going to enjoy it.
The first movement sounds a lot like Stravinsky. Could this piece be a very early example of neo-classicism?
No, because this is a transcription of a Mozart piece and thereby fully tonal. I don't see how you could associate Stravinsky with this
RDVMusic You do know there is more to music than tonality? I was referring more to phrasing. If all you know of Stravinsky is Rite of Spring or Firebird then you wouldn’t understand what I was referring to. I was thinking more of Apollon Musagete.
Mozart wrote the gigue in Leipzig and it is clearly greatly influenced by Bach.
There’s nothing Stravinsky about it, this is pure Mozartian chromaticism.
To my ears, it sounds very much like the Overture to Nutcracker.
The gigue is absolutey fantastic and well interpreted, but the amazing menuet in D is by far too slow(sounds more like the tempo of a sarabande than a minuet). The Ave verum orchestral version is also really beautiful and celestial, and the finale really enjoyable. But tempos do tend to be a little too slow....
I would like to refer you to Mathhew King's videos about the Gigue and Menuet, a wonderfully refined musicological analysis of these musical pieces, and how linguistically advanced they are. Available on You tube (channel The Music Professor).
To be honest, I was quite disappointed by the Violin Solo. Yet, virtuostic and bravo technique, but I think it just lacks how Tchaikovsky intended it as a "Mozart Style troll". Like the violin solo in A Musical Joke. It now sounds like a part of the Tchaikovsky violin concerto instead of Mozart.
You have to keep in mind that this orchestra recorded without too many rehearsals and without the time for fancy cuts, edits and re-do's ((end 60's, early 70"s) It is as it is. For all I know there might have been 1 recording session in 1 take. The violinist also takes liberties with the written notes, especially the flow of the cadenza is hurried and often not breathing. There is a such a thing as rubato, but a good rubato still has a pulse. But then again, be happy this recording is out there as there is a lot of positive energy and drive in it and it holds up pretty good with my other recordings of the Suites by the Frankfurt RSO conducted by Sir Neville Marriner.
@@bartjebartmansThanks for replying! Yet the recording is "rough" in some ways, I am not commenting about this issue. The solo principal is definitely a good violinist, we can tell from his tone and up-bow staccato interpretation. It is just a bit "out of style" in my own opinion. Yet a fresh interpretation would have amazed us sometimes, like the up-bow staccato.
Sure! Another reason why I upload this orchestra is the fact that there are no copyright issues, plus Brusilow recorded some lesser known works like Brahms Serenade No. 1, which will be my next post and Haydn's Symphony No. 60.
I have test in school with this 👁👄👁
Rainbow six siege
と
EVANGELION
を
思い出す...😢
Var. VIII - 18:22
11:00
Yeah...sounds like Mozart, Tchaikovsky's favorite composer...
10:32 you feel the Tchaikovsky there a bit, haha, I'd say...and, of course, the harp, etc...a Romantic thing...
@@archangecamilien1879 This piece consists of transcriptions of Mozart pieces, so effectively 0% Tchaikovsky
Ah...I thought it was more like Prokofiev's 1st symphony, that it was written in the classical style...but, haha, if he orchestrated it, it could still have his style...I was talking about the way à passage was orchestrated, with the brass or something, not sure...I don't think Mozart would have done that (or see a harp with an orchestra, unless it was something like the flute and harp concerto...so, haha you don't have to have 0% Tchaikovsky here...unless it isn't even orchestrated by Tchaikovsky?...I don't know if that's what you mean...
Yes...I just relistened it...it could be due to the orchestration...the way that chord is done there...the way the ending is done...during the first movement, I did wonder if it was exactly a Mozart piece I had heard for a passage, I mean, the notes, but, the 2nd one didn't seem as much so...
18:23 Glock
Maravillosa, compleja...pero nqda que ver con Mozart...
Adan Ayup ¿Cómo que no? Por supuesto que sí.
Nada que ver talvez, pero tchaikovksy compuso esto en el estilon mozart
Estás 4 piezas son de Mozart, pero Tchaikovsky en honor a los 100 años de la Ópera Don Giovanni, hizo este homenaje arreglando estás de obras de Mozart para orquesta.
1: Gigue para piano en Sol mayor kv.574
2: Minueto para piano en Re mayor kv.355
3: Ave verum corpus kv.618
4: Variaciones para piano kv.455
Вы же представили Третью сюиту в гениальном исполнении Е. Ф. Светланова. Зачем этот исполнительский вариант очень низкого художественного качества?! А лучшая из сюит - именно Третья, по форме - симфония...
14:09
18:22
It’s more like Beethoven than Mozart
It's Mozart in Tchaikovsky vein.
All Tchaikovsky ...no Mozart.
no. 50-45-5 I would say. Mozart wrote it, and Tchaikovsky arranged it (with a bit of Liszt sentimentality in the Ave verum) Also in music we have to stick to the facts.
@@AdamCollinsComposer He mentioned Tchaikovsky and Mozart. That was the subject.
It was not intended as some kind of imitation Mozart. But rather as a loving tribute to Mozart, assimilating selected Mozart pieces with Tchaikovsky's own style and orchestration, and brilliantly so. Nothing wrong with that!
this music has no slavic style ,and so like beethoven and heyden
Exactly!!!! This is what Tchaikovsky wanted! Orchestra playing some of the best of Mozart’s piano works!
What kind of remark is that?
It is Mozart. Of course it has no slavic style...
Sorry but this only confirms what I've always thought of Tchaikovsky - He hasn't a clue how to link two themes together. I've never understood why his music is so popular with ordinary listeners.
Tchaikovsky will be around long after you are gone. You sound like a pompous ass.
Are u retarded? These pieces are 100% written by Mozart. Tchaikovsky only did the orchestration of those Mozart's pieces. So you are saying that Mozart cant link two themes... 0 iq moment
Think again. And by the way, Tchaikovsky is not just popular with "ordinary" listeners...
@@galanis38 I've thought about it for years and as try as I might my view is he couldn't ever link two themes together.
@grahamnancledra7036 you think so? Then I have the perfect composer for you, go listen to him right now, and see how HE "links 2 themes together", which by the way is a concept that I believe you wouldn't be able to explain.
The composer's name is Claude Debussy.
We always destroy loudspeakers in smoke room.