Tchaikovsky [Chaykovsky], Pyotr (Ilyich) (b Votkinsk, 1840; d St Petersburg, 1893). Russ. composer and conductor. Studied law in St Petersburg. Worked as civil servant and studied 1863-5 at mus. coll. instituted by A. Rubinstein which became St Petersburg Cons. Went to Moscow 1866, becoming prof. of harmony at new Cons. under directorship of N. Rubinstein. During first 2 years there wrote 1st Sym. and opera Voyevoda. In 1868 met nationalist group of young Russ. composers headed by Rimsky-Korsakov and was stirred by their enthusiasm, as is shown by his 2nd Sym., but later came to be regarded by them as cosmopolitan rather than truly Russ. From 1869 to 1875 wrote 3 more operas and first pf. conc. and was mus. critic of Russkiye vedomosti 1872-6, going to first Bayreuth Fest. 1876. In 1877 married one of his pupils, separating from her 9 weeks later, attempting suicide, and coming near to mental collapse, psychological result of fatal step for a man of homosexual tendencies. At this time was taken under patronage of wealthy widow, Nadezhda von Meck, who out of admiration gave him yearly allowance which enabled him to abandon teaching and devote himself wholly to comp. She and Tchaikovsky never spoke to each other, though they corresponded voluminously. Fourth Sym. is ded. to her. Went to Switz. and It., composing opera Eugene Onegin, prod. by students of Moscow Cons. 1879, with moderate success. By 1880, his works were popular in Russia (thanks to advocacy of N. Rubinstein), and in Brit. and USA but still met with hostility in Paris and Vienna. In 1885 bought country house, first of several, at Klin, living in hermit-like isolation. There, wrote Manfred and in 1887 made début in Moscow as cond. of rev. version of opera Vakula the Smith under title Cherevichki (The Slippers). In 1888 toured Ger., Fr., and London as cond., returning to Ger. and Eng. in 1889. Ballet Sleeping Beauty prod. 1890, after which Tchaikovsky went to Florence to work on opera Queen of Spades, prod. St Petersburg 1890. Year ended with sudden rupture of relationship with Mme von Meck; illness (or the disapproval by her family of her patronage of Tchaikovsky) had dictated her decision, which wounded Tchaikovsky deeply. Visited USA with great success 1891, and in Jan. 1892 heard Mahler conduct Eugene Onegin at Hamburg. Ballet Nutcracker comp. 1891-2, as double bill with opera Yolanta, and work started on a 6th Sym. In that year, again visited Vienna and in 1893 went to Eng., where hon. doctorate of mus. was conferred on him by Cambridge Univ. During 1893 wrote 6th Sym., having abandoned sym. begun in 1891-2 and re-worked it as a 3rd pf. conc., eventually retaining only one movt. (2nd and 3rd orch. from the surviving sketches by Taneyev after Tchaikovsky's death). F.p. of the sym. was only moderately successful, though Tchaikovsky was convinced it was his best work. It is usually stated that 4 days later he felt ill and drank a large glassful of unboiled water (possibly with deliberate intent) and developed cholera, which led to his death. But in 1979 the Russian scholar Alexandra Orlova published a theory that the composer's death was suicide by poison, ordered by a private court of his former law-student colleagues to prevent revelation of a homosexual scandal involving the aristocracy. This theory is violently opposed by some scholars and the matter remains controversial and unresolved.

Few composers are more popular with audiences than Tchaikovsky; the reasons are several and understandable. His music is extremely tuneful, luxuriously and colourfully scored, and filled with emotional fervour directed to the heart rather than to the head (though the notion that Tchaikovsky's syms. are lacking in symphonic thinking and structure does not bear serious consideration). Undoubtedly the emotional temperature of the mus. reflected the man's nature. He was doubly afflicted: by repressed homosexuality (hence his disastrous attempt at marriage) and by the tendency to extreme fluctuations between elation and depression, each success being followed by a period of introspective gloom and melancholy which stemmed from psychological defects rather than from ‘typical Russian melancholy’. This showed itself also in his attitude to his visits abroad. As soon as he left Russia he was ill with homesickness; once back, he was restlessly planning to be off again.

In 19th-cent. Russ. mus., Tchaikovsky stands alone. His Romeo and Juliet was ded. to Balakirev, one of the ‘Five’, but he never identified himself with out-and-out nationalism. He succumbed to the influence of neither Brahms nor Wagner, but greatly admired the Fr. mus. of Bizet and Saint-Saëns. This can be linked with his lifelong passion for Mozart, and many passages in Tchaikovsky's mus. are as delicately detailed and coloured as works by Bizet and Mozart. The other element of his nature, the fate-laden, Byronic, emotional impact of the last 3 syms., is traceable in many episodes in the operas, notably Eugene Onegin. None of his operas was a success on its first appearance, but Onegin and Queen of Spades are now widely perf. and admired, and adventurous cos. have explored the others. The true theatrical Tchaikovsky is to be found in the ballets, a supreme combination of melodic inventiveness, grand sweep, and constant freshness. Nor should the superb songs be forgotten: in them, in miniature, the soul of Tchaikovsky is enshrined as surely as in the great syms., concs., and orch. masterpieces. Prin. works:

OPERAS: Voyevoda, Op.3 (Dream on the Volga) (1867-8); Undine (destroyed) (1869); Oprichnik (The Life Guardsman) (1870-2); Vakula the Smith, Op.14 (Kuznets Vakula) (1874, rev. 1885 and 1886 as Cherevichki (The Slippers) or Oxana's Caprice); Eugene Onegin (Evgeny Onyegin), Op.24 (1877-8); The Maid of Orleans (Orleanskaya Deva) (1878-9, rev. 1882); Mazeppa (1881-3); The Sorceress (Charodeyka) (1885-7); Queen of Spades (Pikovaya Dama), Op.68 (1890); Yolanta, Op.69 (1891).

BALLETS: Swan Lake (Lebedinoye ozero), Op.20 (1875-6); The Sleeping Beauty (Spyashchaya krasavitsa), Op.66 (1888-9); Nutcracker (Shchelkunchik), Op.71 (1891-2).

ORCH.: syms.: No.1 in G minor, Op.13 (Winter Daydreams) (1866, rev. 1874), No.2 in C minor, Op.17 (Ukrainian or Little Russian) (1872, rev. 1879-80), No.3 in D, Op.29 (Polish) (1875), No.4 in F minor, Op.36 (1877-8), No.5 in E minor, Op.64 (1888), No.6 in B minor, Op.74 (Pathetic) (1893); concertos, etc.: pf.: No.1 in Bb minor, Op.23 (1874-5), No.2 in G, Op.44 (1879-80, rev. 1893 Ziloti), Concert Fantasy, Op.56 (1884); vn. conc. in D, Op.35 (1878), Sérénade mélancolique, vn., Op.26 (1875), Valse-Scherzo, vn., Op.34 (1877); Variations on a Rococo Theme, vc., Op.33 (1876), Pezzo capriccioso, vc., Op.62 (1887); symphonic fantasies: The Tempest, Op.18 (1873), Francesca da Rimini, Op.32 (1876); Slavonic March, Op.31 (1876); Serenade, str., Op.48 (1880); 1812, Ceremonial Overture, Op.49 (1880); Manfred Symphony, Op.58 (1885); ov., The Storm, Op.76 (1864); sym.-poem Fate, Op.77 (1868); fantasy ovs.: Hamlet, Op.67a (1888), Romeo and Juliet (1869, rev. 1870 and 1880); Italian Caprice, Op.45 (1880); symphonic ballad, Voyevoda, Op.78 (1891); Suites: No.1 in D, Op.43 (1878-9), No.2 in C, Op.53 (1883), No.3 in G, Op.55 (1884, Theme and Variations movt. often perf. separately), No.4 Mozartiana, Op.61 (1887), Nutcracker, Op.71a (1892). (N.B. The ‘Sym. No.7 in Eb’ and the ‘Pf. Conc. No.3 in Eb’ are compilations by other hands. The sym. was begun by Tchaikovsky in 1891-2, but abandoned. He scored 1st movt. as pf. conc., Taneyev later adding andante and finale from sketches of the sym. S. Bogatyryov (1890-1960) prod. perf. version of orig. sym. from same sketches. Taneyev also completed vocal duet version (1893) of part of Romeo and Juliet ov. for sop., ten., and orch.)

CHAMBER MUSIC: str. qts.: No.1 in D, Op.11 (contains Andante cantabile often played separately) (1871), No.2 in F, Op.22 (1874), No.3 in Eb minor, Op.30 (1876); pf. trio in A minor (in memory of a great artist), Op.50 (1881-2); Souvenir de Florence, str. sextet, Op.70 (1887-90, rev. 1891-2).

PIANO: Valse Caprice, Op.4 (1868); Capriccio, Op.8 (1870); 3 Pieces, Op.9 (1870); Nocturne and Humoreske, Op.10 (1871); 6 Pieces, Op.19 (1873); 6 Pieces on One Theme, Op.21 (1873); sonata in G, Op.37 (1878); The Seasons, 12 characteristic pieces (1875-6); Children's Album: 24 Pieces, Op.39 (1878); 12 Pieces, Op.40 (1878); 6 Pieces, Op.51 (1882); Dumka, Op.59 (1886); 18 Pieces, Op.72 (1893; the 10th of these, Scherzo-Fantaisie in Eb minor, exists in orch. sketch of 1891-2 and is presumed to have been intended as scherzo of projected sym. Incorporated by Bogatyryov in ‘7th Sym.’, see above); Sonata in C# minor (posth.).

CHORAL: Liturgy of St John Chrysostom, Op.41 (1878); Russian Vesper Service, unacc., Op.52 (1881-2).

SONGS: Tchaikovsky's songs were pubd. in the following groups (no. of songs, Op.no. and date): 6, Op.6, 1869; 6, Op.16, 1872; 6, Op.25, 1874; 6, Op.27, 1874; 6, Op.28, 1874; 6, Op.38, 1877; 7, Op.47, 1879; 16 for children, Op.54, 1883; 6, Op.57, 1883; 12, Op.60, 1886; 6, Op.63, 1888; 6, Op.65, 1888; 6, Op.73, 1893. Among the best-known are: Again as before; As they kept on saying; At the ball; Behind the window; Cradle Song; Deception; Don Juan's Serenade; Evening; Exploit; In the early Spring; My spoiled darling; Night; No, only he who has known (None but the lonely heart) (Op.6 No.6); Not a word, my friend; Over the golden cornfields; Reconciliation; To forget so soon; Wait; Why did I dream of you?