the queen of spades tchaikovsky

In the sketches at the end of the 2nd scene he wrote: "Started 29 Jan[uary] in the morning, finished in the morning on 4 February 1890 in Florence". The 4th scene was completed on 11/23 February, and on the same day composition of the intermezzo in the 3rd scene was begun: "It was initially difficult, then went quite well" [35]. The governess chides the girls for making noise and sends them home. With her three secret cards she won back all the money she had lost. Act III, No. A lot of room can be given here to imagination. The only established fact is that towards the end of 1886 Kandaurov offered his scenario to a Petersburg socialite composer Aleksandr Villamov (1838-1917). It will be produced in a small number of copies, and, God willing the third edition with amendments can be printed by this winter. [70]. In the end I was not just tired, I was completely worn out … On the other hand I have gradually begun to feel the urge to set about my true calling, i.e. The Countess's recollections of her youth open with a reference to the French song 'Vive Henri Quatre' (bars 205–211), followed by the aria 'Je crains de lui parler la nuit' (bars 212–237), from André-Ernest-Modeste Grétry's opera. He bets on the three and the seven, winning both times. In a letter to Eduard Nápravník of 5/17 August 1890, Tchaikovsky wrote: "At present I am undertaking a substantial review of the piano score for the second edition, which is to be published in the autumn (the first was published in a small number of copies, almost exclusively for the theatre), and I am adding metronomic markings. The soloists were: Nikolay Figner (Herman), Ivan Melnikov (Tomsky), Leonid Yakovlev (Yeletsky), Vasily Vasilyev II (Chekalinsky), Yalmar Frey (Surin), Konstantin Kondaraki (Chaplitsky), Vladimir Sobolev (Narumov), Vasily Yefimov (Stage Manager), Mariya Slavina (Countess), Medea Figner (Liza), Mariya Dolina (Polina), Mariya Pilz (Governess), Yuliya Yunosova (Masha), Olga Olgina (Prilepa), Nina Friede (Milovzor), Aleksandr Klimov II (Zlatogor). International Music Score Library Project (IMSLP), The Tchaikovsky Handbook. The story is set in late eighteenth-century Saint Petersburg. The Empress arrives. I have finished composing the opera, begun on 19(31) Jan[uary] at 6.30 in the morning, 3(15) March". He also did the scenario, but with assistance and support from I. When he tries to double again, only the Prince will bet against him. Tchaikovsky chose the latter: "I started right away with the Intermezzo, because it presented the biggest difficulty for me. On 25 February/9 March the composer finished the 6th scene, and not having yet the libretto for the 7th scene, began to compose the introduction. 88, No. Your Queen of Spades would beat the 'jacks' [11] that are causing you troubles right now" [12]. I don't know, but right now I am confident that the opera has a brilliant future" [54]. And The Queen of Spades was written with particular love. Act I. A. Vsevolozhsky is urging me to compose an opera, based on the subject of The Queen of Spades. In August 1890, Tchaikovsky agreed to a request by Eduard Nápravník to simplify the piano part (see below), although it appears that this was never done. The last preserved letter from Nikolay Klenovsky is dated 20 March/1 April 1889. It might be supposed that Vsevolozhsky did not like this idea of a half-musical, half-dramatic staging of Pushkin's novel. 88, No. So far no additional documents have been discovered. When I come to Petersburg, I will immediately undertake a careful review of the score" [66]. In the letter he reports: "Now I am going to put the finishing touches on the opera. The remainder of the opera was orchestrated at Frolovskoye between 3/15 May and 8/20 June. I am reflecting on a successfully completed large work. Besides, the audience must know has happened to Liza. Florence" . In the same letter Tchaikovsky gave a number of detailed instructions for the staging of the opera. At the gaming house (Scene 3), Tomsky, Chekalinsky and Surin are all at the gambling table when Prince Yeletsky arrives, intent on revenge after learning that Liza loves another, and has broken off the engagement. in composition, in order to boost my spirits. I'd leave things out". The libretto has already been done by none other than my brother Modest for a certain Mr Klenovsky (who by the way has not written a thing). The ghost of the Countess appears, mocking him, and Herman takes out his pistol and shoots himself. Herman has received a letter from Liza asking him to meet her later. Poems by Pushkin can be used as well" [1]. In the first letter, dated 6/18 May 1885, Vsevolozhsky wrote to Pchelnikov: "Advise Klenovsky that Vyelgorsky has an opera based on the subject of The Gypsy ... Would you be able to ask Kandaurov to put together a libretto, based on The Queen of Spades, which under the circumstances could be very successful? Afterwards I had realised why this has occurred (for never before it happened to me that I cried because of the fate of my hero, and I tried to comprehend as to why I have such an urge to cry). On 20 February/4 March having received the libretto of the 5th scene, Tchaikovsky set about its composition straight away. Feeling bitter about the failure of The Enchantress, the composer was inclined to accept the proposal but, arriving at Maydanovo, changed his mind. Throughout the whole opera the composer referred to materials that were reminiscent of a characteristic way of life of the period. On 3/15 March, on the day when the opera was finished, Tchaikovsky told Modest Tchaikovsky: "Laroche wrote to me that he and Nápravník grumble that I have finished so quickly. The Chorus 'Lord My Terrible Dream' (Господи мой страшный сон) is based on the Russian funeral chant 'My Prayer Flows Out to the Lord' (Модитву пролью ко господу). In Act II: a children's ball—1) some kind of character dances, 2) a girl's song "What wonders there are in nature", 3) a waltz for grown-ups, where Herman is introduced to Liza, 4) Herman's aria, 5) a duet for Liza and Herman, and 6) a mazurka. A letter from Villamov to Kandaurov has been preserved; it provides an insight on how Kandaurov envisaged the opera. Tchaikovsky's manuscript full score is the Central Music Library of the Mariinsky Theatre in Saint Petersburg (VII.1.4.154), while his vocal-piano reduction is preserved in the Russian National Museum of Music in Moscow (ф. This tour is very necessary. I chose the pastorale … It came out, I believe, very much in the style of that period, it is very short and interesting", Tchaikovsky wrote to Modest on 13/25 February [37]. In Soviet performances at the Bolshoi Theatre these bars were omitted from Herman's part. Бедняжка! It does not differ from the second, except for the finale of the 7th scene. On 12/24 September 1887 Klenovsky wrote to Modest Tchaikovsky: "A week ago the Director of the Imperial Theatres Mr Vsevolozhsky, Ivan Aleksandrovich, visited Moscow. Instead of the ace he was expecting, Herman draws the Queen of Spades. Ii is most fortunate that my present situation precludes me from commencing a new large-scale work" [10]. Maybe this is because I'm tired, or perhaps it is good indeed". Personally I am sure that Pyotr Ilyich would decline to discuss the opera any further, as soon as he learns all the facts of the matter" [8].

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