Page:A Dictionary of Music and Musicians vol 4.djvu/199

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are false or entirely wanting in the ordinary Slide Trumpet (including even the low Ab and Eb when playing on the higher crooks), but greatly facilitates transposition and rapid passages, while comparatively little practice is required to become familiar with its use. [W.H.S.]

TSCHAIKOWSKY, PETBB ILTITSOH, one of the most remarkable Kussian composers of the day, was born April 25, 1840, at Wotkinsk in the government of Wiatka (Ural District), where his father was engineer to the Imperial mines. In 1850 the father was appointed Director of the Technological Institute at St. Petersburgh, and there the boy entered the School of Jurisprudence, into which only the sons of high-class government officials are admitted. Having completed the prescribed course in 1859, ^ e was appointed to a post in the ministry of Justice. In 1862, however, when the Conservatoire of Music was founded at St. Petersburg, he left the service of the state, and entered the new school as a student of music. He remained there till 1865, studying harmony and counterpoint under Prof. Zaremba, and composition under Anton Rubinstein. In 1865 he took his diploma as a musician, together with a prize medal for the composition of a can- tata on Schiller's ode, ' An die Freude.' In 1866 Nicholas Rubinstein invited him to take the post of Professor of Harmony, Composition, and the History of Music at the new Conservatoire of Moscow ; he held this post, doing good service as a teacher, for twelve years. Since 1878 he has devoted himself entirely to composition, and has been living in St. Petersburg, Italy, Switzerland, and Kiew. M. Tschaikowsky makes frequent use of the rhythm and tunes of Russian People's- songs and dances, occasionally also of certain quaint harmonic sequences peculiar to Russian church music. His compositions, more or less, bear the impress of the Slavonic temperament fiery ex- altation on a basis of languid melancholy. He is fond of huge and fantastic outlines, of bold modu- lations and strongly marked rhythms, of subtle melodic turns and exuberant figuration, and he delights in gorgeous effects of orchestration. His music everywhere makes the impression of genu- ine spontaneous originality. [E.D.]

The following is a list * of his works :



��Op. 31. Marche Slave for Orchestra.

�53. Suite for Orchestra, No. 2.

�32. Symphonic Poem, ' Fran-

�54. 16 Kinderlieder.

�cesca von .Rimini.'

�55. Suite for Orchestra No. 3.

�33. Variations on a Thlme ro-

�56. Fantaisie, PF. and Orch.

�coco for Violoncello and

� �Orchestra. 34. Scherzo, Violin and Or-

�Operas and Ballets :


�1. Voievode. Represented 1869.

�35. Concerto for Violin and

�2. Oprltschnik. Represented 1874.

�Orchestra in D.

�3. Wakula the Smith. 1876.

�86. Symphony for Orchestra,

�4. Schwanensee. Ballet.

�No. 4, in F minor.

�5. Snegourotska. Drama with In*

�87. Sonata for PF. In G.

�cidental Music.

�38. 6 Lieder.

�6. Eugeny Onegin.

�39. Album d'enfants, 24 little

�7. The Maid of Orleans. 1881.

�pieces for PF. solo.

�8. Mazeppa. 1884.

�40. 12 Stvicke. PF. solo.

� �41. Kussian Liturgy for four

�Works without opus number :

�42. 3 Pieces for Violin, with PF. accompaniment. 43. Suite for Orchestra, No. 1. 44. Concerto for PF. and Or- chestra, No. 2, in G. 45. Caprice Italien for Or-

�Overture to Romeo and Juliet. 50 Bussian Volksmelodien, ar- ranged for PF. 4 hands. Die Jahreszeiten,' 12 PF. pieces. Weber's Perpetuum mobile, lor left hand only. Coronation march for Orcli .

�46. 6 Vocal Duets.

�Coronation Cantata, soli, chorus

�47. 7 Lieder.

�and Orch.

�48. Serenade for Stringf-Or- chestra.

�Literary worki s

�49. '1812,' Ouverture solennelle


�for Orchestra.

�Do. for Schools.

�00. Trio for PF., Violin, and

�Gevaert's Instrumentations-Lehre.

�Violoncello in A minor.

�translated and edited.

�61. 6 Morceaux. PF. solo.

�jobe's Catechism, etc., translated

�52. Vesper service, 4 voices.

�into Bussian.


��Op.l. Scherzo Busse and Im- promptu, for PF. solo.

2. Souvenir de Hapsal. 3 mor-

ceaux. PF. solo.

3. Overture and Ballet airs

from Opera 'Voievode.'

4. Valse Caprice in D. PF.


5. Romance, F minor. PF.


6. 6 Lieder for one voice with

PF. accompaniment.

7. Valse Scherzo in A. PF.


8. Capricclo, Gk PF. solo.

9. 3 Morceaux, Reverie, Polka,

Mazurka. PF.solo.

10. Nocturne in F, and Hu-

moreske in G. PF. solo.

11. String-Quartet in D. 12.

13. Symphony for Orchestra, No.l.


16. Ouverture Triomphale (sur 1'hymne national Danois). 16. 6 Lieder (with Bussian text). 17.

18. Fantasia for Orchestra,

' The Tempest.'

19. 6 Morceaux. PF. solo. 20.

21. 6 Clavierstucke uber eln


22. String-Quartet in F.

23. Concerto Pianoforte and

Orchestra, in Bb minor. 24.

25. 6 Lieder.

26. Serenade melancolique for

Violin and Orchestra.

27. 6 Lieder.

28. 6 Lieder.

29. Symphony for Orchestra,

No. 3 in D.

30. String-Quartet in Eb minor.

��The vacant Nos. are reserved for the Operas.

��TSCHUDI, BUEKHARDT, founder of the house of Broadwood. [See SHUDI.]

TUA, MARIA FELICITA, known as TERESINA, was born May 22, 1867, at Turin. She com- pleted her musical education at the Paris ' Con- servatoire,' where she received instruction on the violin from M. Massart, and obtained in 1880 a ' premium ' or first prize. She afterwards played with brilliant success in concert tours over the greater part of the continent. On May 5, 1883, she made her first appearance in England at the Crystal Palace, and played with so much success that she was re-engaged for the concert of the following week. She played at the Philharmonic on May 9 and 30 ; at the Floral Hall Concerts June 9 ; at Mr. Cusins's concert, with whom she was heard in Beethoven's ' Kreutzer ' Sonata ; and at other concerts. She returned to the continent, and did not re-appear for the season of 1884 as was expected. Apropos to her first appearance in London, May 9, the critic of the 'Daily Telegraph' mentioned that 'she was heard under more favourable circumstances. Yet even St. James's Hall is too large for an artist whose delicacy of style and small volume of tone suit the narrow limits of a "chamber." Her playing was marked by very high qualities, such as exquisite phrasing, refinement, with power of expression and executive skill equal to almost every call upon it.' It was also marked by an obvious tendency to caricature the style of a great living artist, which though amusing, hardly added to the artistic qualities of Signora Tua's performances. [A.C.]

TUBA. A generic and somewhat vague title given to the Bass instruments of the Saxhorn family, also termed Bombardons. All of them are furnished with valves, and are liable to the usual defects inherent in this mode of construction.

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