The Music of Pyotr Ilyich Tchaikovsky

One example of this is Tchaikovsky piece titled 1 812 Festival Overture Pop. 49.

This piece starts very soft, and soothing with a string ensemble. Inwards, it switches between driving Brass/String movements, and back to lighter string ensembles. This continues throughout the piece until the Finale. This Finale is well know by many people, and may be the most recognizable in the world. Tchaikovsky even made it so that he could use live cannons (the heavy paean of choice in that time period) in his finale rhythmically in time.If you ask me, that’s a pretty awesome feat to accomplish. Contrary to popular belief, many think that Tchaikovsky was a part of “The Five” (The five were Russian composers all from SST.

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Petersburg during the same period as Tchaikovsky); but in fact was the opposite of the group. In mid- to late-19th- century Russia, Tchaikovsky and ‘ ‘The Five” had differing opinions on the nature of classical Russian music, specifically whether it should follow western or native compositional practices.

Some of his work includes a symphonic poem titled Romeo & Juliet, (Tchaikovsky was heavily inspired by Shakespearean work), The Festival Overture of 181 2 (my favorite), and three ballets; The Nutcracker, Swan Lake, and Marcher Slave. In total, Tchaikovsky wrote four concertos, six symphonies, and eight operas. He has written somewhere around 1 06 “songs”, and over a hundred piano works, covering the entire span of his creative life. Tchaikovsky used his own ideas of building tension within the music, and then releasing it in an explosion of emotion.The main way he did this was to use alternating harmonies and rhythms.

He incorporated German Augmented Sixth chords, minor triads with added major sixths, augmented triads, and everything in between. People saw that he lacked development all throughout his work. But Tchaikovsky was not trying to follow the style of all other composers that many had heard. He in fact was creating his own sub-genre of intensely energetic music that ignored seamless flow and intensified emotion created by momentous bursts of enormous harmonies.