70904 for PDF 11/05 - Ivory Classics

7 - 10 Tchaikovsky:
Grand Sonata in G Major, Op. 37
Piano works composed over a period of
26 years (1867-1893) comprise a by no
means insignificant part of Tchaikovsky’s
chamber music. True, his compositions for
the piano cannot claim a leading place in his
musical legacy, nevertheless against the
background of the post-Lisztian piano literature
of Western Europe, his works for the
piano are distinguished by their variety and
originality. Tchaikovsky was an excellent
pianist from his youth. When he graduated
in 1859 he played Liszt’s extremely difficult
fantasia on theme’s from “Lucia di
Lammermoor,” and when the Moscow
Conservatory opened in 1866 he gave a brilliant
performance of a piano transcription
of the overture to “Russlan and Ludmila.”
His personal tastes in piano music caused
Tchaikovsky to single out Robert
Pyotr Il’yich Tchaikovsky
Schumann as his favorite composer for the
piano. Schumann’s restless lyricism, the
range of his ideas and even his exposition with its ingenious rhythms exercised a tremendous
influence on Tchaikovsky. Considerable too was the influence of Chopin. On the other
hand, he was indifferent to Liszt’s radical reforms in piano execution, subtle, dazzling virtuosity
and effervescence of design, although he had the greatest respect for Liszt as a composer.
It is not difficult to trace these diverse influences in Tchaikovsky’s piano music. As always,
they were transmuted in the crucible of his genius and bore the unmistakable stamp of his
creative individuality. It is this individuality that makes Tchaikovsky’s piano compositions so
difficult to perform: the pianist must project himself into the images expressed in the music
before he can reveal the profound essence that is sometimes concealed behind some simple
salon dance or elegant concert showpiece.
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