Piano Concerto No. 3 (Tchaikovsky)

The Piano Concerto No. 3 in E flat major, Op posth is a 1893 arisen, posthumous Piano Concerto by Pyotr Ilyich Tchaikovsky, which was released split because of the peculiarity of his history into two separate works, namely the Allegro Brillante Op 75 and the Andante & Finale op 79

Genesis

Already in October 1889 Pyotr Ilyich Tchaikovsky thought about writing a new symphony. His work diary According to he planned no later than the spring of 1891, a concertante work in E-flat major with a secret program: Under the motto " Why and for what? " Three sentences should treat the youth, the love and the final answer to the question. It initially was a symphony in E flat major (1892 ) entitled "Life ". Several sketches obtained to date back from April to June 1891. On 27 Maijul. / June 8 1892greg. Tchaikovsky began the short score of the first movement, Andante and Finale, on 23 Oktoberjul. / November 4 1892greg. was completed. This was followed by the orchestration of the first movement; However, the score breaks down after about 33 pages in the middle after 248 cycles from. The proposed Scherzo survived in the form of " fantasy Scherzo ," Op 72/10, ie the tenth of December in 1891 and January 1892 outlined 18 Piano Pieces, Op 72 ( completed in summer 1893). But in December 1892, Tchaikovsky to abandon the nascent Symphony and reworked into a piano concerto decided. , At the same time he began to collect ideas for a new symphony from which the later Symphony No. 6 should be B minor, Op 74 " Pathetique ", where he apparently programmatically drew on the ideas of 1891.

The Piano Concerto in E flat major was practically parallel to the " Pathetique ": The new Symphony was between the 4th Februarjul / February 16 1893greg. . and 24 Märzjul. / April 5 1893greg. outlined ( order of the sentences in the composition: I, III, IV, II)., 20 Julijul / August 1 1893greg. to 19 Augustjul. / August 31 1893greg. instrumented. Between Tchaikovsky composed the concerto, which he also took in February in attack and its complete, three-movement reduction for two pianos ( including numerous instrumentation instructions) until 10 Julijul. / July 22 1893greg. was completed. From the correspondence of the composer shows that he apparently already in February 1893 it thought to dedicate the " Pathetique " his " last great love ", so his 21-year- old nephew Vladimir Davydov (Letter to "Bob" Davidov of 11 Februarjul. / February 23 1893greg. ). The title " Simphonie Pathetique " ( original spelling of the MS is not French) already appeared in July 1893 on the title page of the manuscript; the source of the research Tchaikovsky Complete Edition ( so the original spelling of the institution ), according to the title actually comes from the composer and not by his brother Modest, as he claimed in his memoirs. The said letter describes the Symphony explicitly as a " program " Symphony, with the composer, who was considering this for some time even as the title, wanted to create " a mystery to everyone".

Apparently Tchaikovsky has its dramaturgical ideas of February, 1891, originally intended for the discarded E-flat major Symphony, the " Pathétique " transferred, but the system of this work is not solely explained by his tragic finale, especially since the 1891 explicitly mentioned, winning answer to the question of "why " is missing. The musicologist Eckhardt van den Hoogen therefore introduced in 1998 in his booklet to the first overall recording of the third piano concertos by Andrei Hoteev the thesis, symphony and concert were similar to the Symphonie Fantastique Op 14 and Lélio ou le retour à la vie op should have been 14b by Hector Berlioz, as two-piece double - program, the Piano Concerto Symphony follow and deliver the outstanding, affirmative " response " and " return to life ". Immediately after completion of the Symphony Tchaikovsky worked the score of the first movement of the Piano Concerto, which on 4 Oktoberjul. / October 16 1893greg. was terminated. To instrument of the second and third sets, however, he did not come. At the premiere of the " Pathetique " on 16 Oktoberjul. / October 28 1893greg. rang out in the second part including the Piano Concerto No. 1 in B flat minor. On 25 Oktoberjul. / November 6 1893greg. Tchaikovsky died. He could take no more decrees concerning the Piano Concerto in E flat major.

Tradition and Reception

The circumstances of the tradition of the third piano concerto prevented until now that the work is known in the intended shape by the composer and accepted. After Tchaikovsky's unexpected death from cholera infection with subsequent uremia itself the offspring raised the question of how to deal with the unfinished piano concerto orchestrated lies there. Sergei Taneyev had already in September 1893 met the work from the piano manuscript. He also played on 18 Septemberjul. / September 30 1893greg. with Lev Conus own four-hand arrangement of the " Pathetique ", which was released in November 1893 also in Tchaikovsky's publisher Jurgenson. Already this Taneyev had made ​​numerous changes, particularly regarding tempi and dynamics. After Tchaikovsky's death, he acted for his heirs, his brother Modest Tchaikovsky, as a consultant in matters of musical estate. Taneyev was of the opinion the concert as a whole was far too long, a total failure of the second and third sets. Arbitrarily, he decided to Tchaikovsky himself yet instrumented head movement of the concerto, the " Allegro Brillante ," to be published as an independent concert set at Jurgenson, where he again anbrachte numerous changes and idiosyncratic added metronome markings. Thus, the set was released in December 1894 misnamed " Piano Concerto No. 3 in E flat major ," Op 75 at Jurgenson. Any reference to the least ready composed and existent in the original piano score second and third set was missing. Modest set it then to task. Finally, Taneyev was obliged to conduct a publication, the Andante and Finale in the way. However, he instigated one of today's effective intrigue to (namely the exclusive validity of the first movement ) to preserve his view of the work. On 27 Apriljul. / May 9 1896greg. let him ask in a letter from the publisher Belajew: "What we do with the second and third set of Tchaikovsky's Piano Concerto, where but the first sentence is already run at Jurgenson " So it was that he finally commissioned by Belajew Andante and Finale instrumented, but under the misleading opus number 79, published separately, where the score finally appeared in 1897.

Mislabeling lasted 100 years - until the re-discovery and initial recording of the third piano concerto in E flat major, Op posth by Andrei Hoteev in 1997 but until today this relationship is not shown in the most popular dictionaries and is in the. community it is widely misunderstood. The available score editions of Op 75 and Op 79 have still not detailed on these relationships go. In a short note in the score for op 79 it says true, but misleading: " Tchaikovsky's Andante and Finale consists of two sets of planned symphony ( 1892), fashioned by himself for piano and orchestra. The manuscript from the estate Tchaikovsky orchestrated by Sergei Taneyev. " ( Spelling of the name quoted in the preface) to disguise such circumstances was especially the Russian musicologist and composer Semyon Bogatyrjew at which undertook 1950-1955, the abandoned Es- major Symphony to complete on the basis of which he discovered in the Tchaikovsky Museum Klin designs as well as the published op 72, 75 and 79 and orchestrating. This work is a symphony " No. 7 " E-flat major, Op posth the public and especially by a gramophone recording of the Philadelphia Orchestra under Eugene Ormandy in 1962 known. To date, there is occasionally performed and recorded in this form. Bogatyrjew had the connection between op 75 and 79 have noticed, but the reconstruction of a Tchaikovsky symphony, even if the composer had rejected them, seemed no doubt valuable and lucrative than a first complete edition of the three-movement concerto in E flat major. , When comparing this today in the music publishing Sikorski still available score with the instrumentation of Andante and Finale by Taneyev, it should be noted that Taneyev the orchestration had to have devoted very listless: In the instrumentation of Bogatyrjew both sets are far more effective. One only compare glaring out stabbing at Taneyev Majestoso - end of the finale, is in the melody played by only two trumpets and accompanied with a lot of drums, with the sound fuller version of Bogatyrjew ( melody in octaves in trumpet and trombone). A new publication of the complete piano concert in the Tchaikovsky new Urtext edition would also like to wish a new instrumentation of Andante and Finale by Tchaikovsky's original piano score.

Main sources

  • Handwriting on July 10, 1893 ended three sets in the extract for two pianos ( 1 = solo part, 2 = orchestral part; 270 pages ), now in Čajkovskij archive, Clinical
  • Manuscript of the score of the first set ended on October 4, 1893, now in the Glinka Museum, Moscow.

Only publications

  • 2nd and 3rd sentence: Piano score by Tchaikovsky, published by Belajew, 1896
  • 2nd and 3rd sentence: Instrumentation of Sergei Taneyev, published as " Andante and Finale ," op 79 in Belajew, 1897

Study Scores

  • " Allegro brillante Op 75 from Piano Concerto No.. 3 " Belwin & Mills / Kalmus Miniature Scores No. 593 (reprint of the first edition )
  • Andante and Finale, Op 79 MP Belajew, Frankfurt, Bel. # 386
  • Symphony No. 7 in E flat major, completed by Semyon Bogatyrjew, music publishers Hans Sikorski, Study Score No. HS 2328

Discography

  • Piano Concerto in E flat major op posth, vervollst. Taneyev Bernd Glemser, Polish Rasiosinfonieorchester, Antoni Wit, Naxos
  • Andrej Hoteev, Tchaikovsky Symphony Orchestra, Vladimir Fedosejew, CD Koch / Schwann 3-6489-2
  • Konstantin Scherbakov, Russian Philharmonic Orchestra, Dmitry Jablonski, Naxos
  • Emil Gilels, The New Philharmonia Orchestra, Lorin Maazel, EMI
Symphony No. 6 (Tchaikovsky) Piano Concerto No. 1 (Tchaikovsky) Piano Concerto No. 2 (Tchaikovsky)
13389
de