Orchestral Suite No. 4 (Tchaikovsky)

"For the ballet "Mozartiana" by George Balanchine, click here"

Pyotr Ilyich Tchaikovsky wrote Mozartiana, Op. 61, in 1887 as a tribute to Wolfgang Amadeus Mozart on the 100th anniversary of that composer's opera "Don Giovanni". Because this suite consists of four orchestrations of piano pieces by (or in one case, based on) Mozart. Tchaikovsky did not number this suite with his previous three suites for orchestra. Instead, he considered it a separate work entitled "Mozartiana"

Orchestration

This suite is scored for pairs of flutes, oboes, clarinets, bassoons and trumpets, four horns, timpani, cymbals, glockenspiel, harp and strings.

Structure

"Mozartiana" is in four movements and lasts approximately 20 minutes.

#"Gigue". Allegro (G major)
#:After the Little Gigue for piano, K. 574.
#"Menuet". Moderato (D major)
#:After the Minuet for piano, K. 355.
#"Preghiera". Andante ma non tanto (B flat major)
#:After 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.)
#"Thème et variations". Allegro giusto (G major)
#:After the piano Variations on a Theme by Gluck, K. 455. (The theme was the aria "Unser dummer Pöbel meint", from his opera "La Rencontre imprévue, or Les Pèlerins de la Mecque").

Overview

Tchaikovsky's treatment of Mozart's work here was both faithful and, as David Brown phrases it, "affectionate." [Brown, David, "Tchaikovsky: The Man and His Music" (New York: Pegasus Books, 2007), 323.] 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. [Composer's note in score, as quoted in Warrack, 202.]

Tchaikovsky had hoped in "Mozartiana" to recreate "the past in a contemporary world," as he wrote his publisher Jürgenson. However, he neither reworks the music in his own style as Stravinsky later would nor do anything to enhance Mozart's music. The one movement which 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. [Warrack, 202.]

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 anough 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. [Warrack, 202-203.]

References

Bibliography

*Brown, David, "Tchaikovsky: The Man and His Music" (New York: Pegasus Books, 2007). ISBN 978-1-933648-30-9.
*Warrack, John, "Tchaikovsky" (New York: Charles Schirmer's Sons, 1973). SBN 684-13558-2.

External links

* [http://www.tchaikovsky-research.org/en/Works/Suites/TH034/index.html Article on "Mozartiana."]
* [http://www.tchaikovsky-research.org Tchaikovsky-Research.org]