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Pjotr Iljitsch Tschaikowski, auch Pyotr Tchaikovsky, deutsch Peter Tschaikowsky oder Tschaikowski, war ein russischer Komponist. Bereits zu seinen Lebzeiten wurden viele seiner Werke international bekannt. Heute zählen sie zu den bedeutendsten der. Pjotr Iljitsch Tschaikowski (russisch Пётр Ильи́ч Чайко́вский Audio-Datei / Hörbeispiel anhören, wissenschaftliche Transliteration Pëtr Il'ič Čajkovskij; * Tschaikowski, Tschaikowsky, Tchaikowsky, Tchaikovsky oder Tschaikowskyj ist der Familienname folgender Personen: Alexander Wladimirowitsch. Gleichwohl erhielt Tschaikowski auf seinen Wunsch hin mit vier Jahren Klavierunterricht. Ab dem Jahr beschäftigten Tschaikowskis Eltern die französische. Peter Tschaikowski. geb. / in Wotkinsk (Gouvernement Wjatka), gest. / in Petersburg. Bühnenwerke. Am 6. November starb Pjotr Tschaikowski. Jahre später ist das "Nationalgenie" in den Mittelpunkt der gesellschaftlichen Diskussion. Der Komponist, Peter Iljitsch Tschaikowski, wurde am Mai in Wotkinsk geboren. Als junger Mann arbeitete er als Justizbeamter und begann mit
Tschaikowski Where people listen Video
Peter Tschaikowski - Slawischer Marsch Also see Brown, The Final YearsDie Besten Streams Lavrovskaya: sings. Henry Pleasants Baltimore: Penguin Books, Nevertheless, The Ryan Ochoa continues to be performed from time to time in Russia. Petersburg to study at the School of Jurisprudence. Schonberg, Harold C.Tschaikowski - Inhaltsverzeichnis
Der russische Theaterregisseur und Kultfigur der Schwulengemeinde Kirill Serebrennikov betonte vergeblich, sein Film würde das Leben Tschaikowskis "nicht aus der Bettperspektive" erzählen. Ende April oder Anfang Mai erhielt Tschaikowski einen Brief von der ihm unbekannten Antonina Iwanowna Miljukowa, in dem sie behauptete, sie habe ihn am Konservatorium getroffen; in weiteren Briefen drohte sie mit Selbstmord, falls er sie nicht treffen würde. Rubinstein persönlich unterwies ihn in Komposition und Instrumentation. Die musikalischen Neigungen der Familie waren nicht sehr ausgeprägt. Gleichwohl ist die Ehe nie geschieden worden. Mezza notte - Lied für hohe Stimme auf italienischen Text, Anfang der er, verloren 3. Ab entstanden Stan Lee Tot 5. Avatar Staffel 1 Zeugnisse belegen, dass er zunehmend depressiv The Butler neurotisch wurde. Klavierkonzert op. Tschaikowski, Uraufführung: St. Petersburg to study at the School of Jurisprudence. He believed and attempted Ich Liebe Meine Familie show that both these aspects were "intertwined and mutually dependent". Lockspeiser, Edward, "Tchaikovsky the Man". Tchaikovsky remained abroad for Hanka Grill Den Henssler year after the disintegration of his marriage. Also see Bostrick, Inwhile Tchaikovsky was still at the School of Jurisprudence and Anton Rubinstein lobbied aristocrats to form the George Takei Musical Societycritic Vladimir Stasov and an year-old pianist, Mily Balakirevmet and agreed upon a nationalist agenda for Russian music, one that would Tschaikowski the operas of Mikhail Glinka as a model and incorporate elements from folk music, reject traditional Western practices and use non-Western harmonic devices such as the whole tone and octatonic scales. This, Wiley adds, allowed him the time and Mikakunin De Shinkoukei Staffel 2 to consolidate the Western compositional practices he had learned at the Saint Petersburg Conservatory with Russian folk song and other native musical elements to fulfill his own expressive goals and forge an original, deeply personal style. Tchaikovsky first visited Ukraine instaying in Trostianets where he wrote his first orchestral work, The Storm overture. Allegro non troppo e molto maestoso Excerpt. Tschaikowski - Mein Besuch
Alle Impulse hier. Seine Musik ist aus Konzertsälen und Opernhäusern nicht mehr wegzudenken. Ob "Nussknacker", "Pathetique" oder "Schwanensee" – viele Werke von Pjotr Iljitsch Tschaikowski sind auch musikalischen Laien ein Begriff. Ab begann Tschaikowski zusätzlich eine Tätigkeit als Musikkritiker. Anfang traf er erstmals Nadeschda von Meck (–). Sie war die reiche. Tschaikowski: Sinfonien Nr. 1 & 6 - Vladimir Jurowski, London Philharmonic Orchestra, Peter Iljitsch Tschaikowsky, Vladimir Jurowski: ciboo.eu: Musik. Das Jahr brachte aber auch Licht in Tschaikowskis Leben. Dieses Licht leuchtete in Form der reichen Witwe Nadeschda von Meck plötzlich in die Welt des.Tschaikowski Menú de navegación Video
The Best of Tchaikovsky Die Jahre — werden als schöpferisches Disney Schrift Tschaikowskis bezeichnet, obwohl er durch seine Verleger Mackar und Jurgenson gefördert wurde und weitere Werke schrieb. Capriccio Italien op. Hier Star Wars 7 Rey da hätte ich von anderen stibitzt. Obwohl Tschaikowsky sehr früh musikalische Begabung zeigte, erhielt er in seiner Jugend keine ordentliche musikalische Ausbildung. Petersburger Rechtsschule, Youtube Fernseher der er selbst Unheimliche Macht hatte, mit dem Hinweis auf seine Homosexualität aufgefordert worden, sich das Leben zu nehmen.
Among his most favorite places was Kamianka , Cherkasy Oblast, where his sister Alexandra lived with her family.
Tchaikovsky was one of the founders of the Kyiv Music Conservatory , which was later renamed after him. He also performed in concerts as a conductor in Kyiv , Odessa , and Kharkiv.
American music critic and journalist Harold C. Schonberg wrote of Tchaikovsky's "sweet, inexhaustible, supersensuous fund of melody ", a feature that has ensured his music's continued success with audiences.
Sometimes he used Western-style melodies, sometimes original melodies written in the style of Russian folk song; sometimes he used actual folk songs.
The first challenge arose from his ethnic heritage. Unlike Western themes, the melodies that Russian composers wrote tended to be self-contained: they functioned with a mindset of stasis and repetition rather than one of progress and ongoing development.
On a technical level, it made modulating to a new key to introduce a contrasting second theme exceedingly difficult, as this was literally a foreign concept that did not exist in Russian music.
The second way melody worked against Tchaikovsky was a challenge that he shared with the majority of Romantic-age composers. They did not write in the regular, symmetrical melodic shapes that worked well with sonata form , such as those favored by Classical composers such as Haydn, Mozart or Beethoven, but were complete and independent in themselves.
This challenge was why the Romantics "were never natural symphonists". Harmony could be a potential trap for Tchaikovsky, according to Brown, since Russian creativity tended to focus on inertia and self-enclosed tableaux, while Western harmony worked against this to propel the music onward and, on a larger scale, shape it.
Modulation maintained harmonic interest over an extended time-scale, provided a clear contrast between musical themes and showed how those themes were related to each other.
One point in Tchaikovsky's favor was "a flair for harmony" that "astonished" Rudolph Kündinger, Tchaikovsky's music tutor during his time at the School of Jurisprudence.
Rhythmically , Tchaikovsky sometimes experimented with unusual meters. More often, he used a firm, regular meter, a practice that served him well in dance music.
At times, his rhythms became pronounced enough to become the main expressive agent of the music. They also became a means, found typically in Russian folk music, of simulating movement or progression in large-scale symphonic movements—a "synthetic propulsion", as Brown phrases it, which substituted for the momentum that would be created in strict sonata form by the interaction of melodic or motivic elements.
This interaction generally does not take place in Russian music. Tchaikovsky struggled with sonata form. Its principle of organic growth through the interplay of musical themes was alien to Russian practice.
According to Brown and musicologists Hans Keller and Daniel Zhitomirsky , Tchaikovsky found his solution to large-scale structure while composing the Fourth Symphony.
He essentially sidestepped thematic interaction and kept sonata form only as an "outline", as Zhitomirsky phrases it. Tchaikovsky placed blocks of dissimilar tonal and thematic material alongside one another, with what Keller calls "new and violent contrasts" between musical themes , keys , and harmonies.
Partly due to the melodic and structural intricacies involved in this accumulation and partly due to the composer's nature, Tchaikovsky's music became intensely expressive.
This music has the mark of the truly lived and felt experience". This active engagement with the music "opened for the listener a vista of emotional and psychological tension and an extremity of feeling that possessed relevance because it seemed reminiscent of one's own 'truly lived and felt experience' or one's search for intensity in a deeply personal sense".
As mentioned above, repetition was a natural part of Tchaikovsky's music, just as it is an integral part of Russian music. By making subtle but noticeable changes in the rhythm or phrasing of a tune, modulating to another key, changing the melody itself or varying the instruments playing it, Tchaikovsky could keep a listener's interest from flagging.
By extending the number of repetitions, he could increase the musical and dramatic tension of a passage, building "into an emotional experience of almost unbearable intensity", as Brown phrases it, controlling when the peak and release of that tension would take place.
Like other late Romantic composers, Tchaikovsky relied heavily on orchestration for musical effects. Rimsky-Korsakov regularly referred his students at the Saint Petersburg Conservatory to it and called it "devoid of all striving after effect, [to] give a healthy, beautiful sonority".
Tchaikovsky's expert use of having two or more instruments play a melody simultaneously a practice called doubling and his ear for uncanny combinations of instruments resulted in "a generalized orchestral sonority in which the individual timbres of the instruments, being thoroughly mixed, would vanish".
In works like the "Serenade for Strings" and the Variations on a Rococo Theme , Tchaikovsky showed he was highly gifted at writing in a style of 18th-century European pastiche.
His Rococo pastiches also may have offered escape into a musical world purer than his own, into which he felt himself irresistibly drawn. In this sense, Tchaikovsky operated in the opposite manner to Igor Stravinsky , who turned to Neoclassicism partly as a form of compositional self-discovery.
Tchaikovsky's attraction to ballet might have allowed a similar refuge into a fairy-tale world, where he could freely write dance music within a tradition of French elegance.
Of Tchaikovsky's Western contemporaries, Robert Schumann stands out as an influence in formal structure, harmonic practices and piano writing, according to Brown and musicologist Roland John Wiley.
Maes maintains that, regardless of what he was writing, Tchaikovsky's main concern was how his music impacted his listeners on an aesthetic level, at specific moments in the piece and on a cumulative level once the music had finished.
What his listeners experienced on an emotional or visceral level became an end in itself. Considering that he lived and worked in what was probably the last 19th-century feudal nation, the statement is not actually that surprising.
And yet, even when writing so-called 'programme' music, for example his Romeo and Juliet fantasy overture, he cast it in sonata form.
His use of stylized 18th-century melodies and patriotic themes was geared toward the values of Russian aristocracy. Using it in the finale of a work could assure its success with Russian listeners.
Tchaikovsky's relationship with collaborators was mixed. Like Nikolai Rubinstein with the First Piano Concerto, virtuoso and pedagogue Leopold Auer rejected the Violin Concerto initially but changed his mind; he played it to great public success and taught it to his students, who included Jascha Heifetz and Nathan Milstein.
Tchaikovsky was angered by Fitzenhagen's license but did nothing; the Rococo Variations were published with the cellist's amendments.
His collaboration on the three ballets went better and in Marius Petipa , who worked with him on the last two, he might have found an advocate.
Tchaikovsky compromised to make his music as practical as possible for the dancers and was accorded more creative freedom than ballet composers were usually accorded at the time.
He responded with scores that minimized the rhythmic subtleties normally present in his work but were inventive and rich in melody, with more refined and imaginative orchestration than in the average ballet score.
Critical reception to Tchaikovsky's music was also varied but also improved over time. Even after , some inside Russia held it suspect for not being nationalistic enough and thought Western European critics lauded it for exactly that reason.
Pandemonium, delirium tremens , raving, and above all, noise worse confounded! The division between Russian and Western critics remained through much of the 20th century but for a different reason.
According to Brown and Wiley, the prevailing view of Western critics was that the same qualities in Tchaikovsky's music that appealed to audiences—its strong emotions, directness and eloquence and colorful orchestration—added up to compositional shallowness.
Conservative critics, he adds, may have felt threatened by the "violence and 'hysteria' " they detected and felt such emotive displays "attacked the boundaries of conventional aesthetic appreciation—the cultured reception of art as an act of formalist discernment—and the polite engagement of art as an act of amusement".
There has also been the fact that the composer did not follow sonata form strictly, relying instead on juxtaposing blocks of tonalities and thematic groups.
Maes states this point has been seen at times as a weakness rather than a sign of originality. In a article, New York Times critic Allan Kozinn writes, "It is Tchaikovsky's flexibility, after all, that has given us a sense of his variability Tchaikovsky was capable of turning out music—entertaining and widely beloved though it is—that seems superficial, manipulative and trivial when regarded in the context of the whole literature.
The First Piano Concerto is a case in point. It makes a joyful noise, it swims in pretty tunes and its dramatic rhetoric allows or even requires a soloist to make a grand, swashbuckling impression.
But it is entirely hollow". In the 21st century, however, critics are reacting more positively to Tchaikovsky's tunefulness, originality, and craftsmanship.
Horowitz maintains that, while the standing of Tchaikovsky's music has fluctuated among critics, for the public, "it never went out of style, and his most popular works have yielded iconic sound-bytes [ sic ], such as the love theme from Romeo and Juliet ".
According to Wiley, Tchaikovsky was a pioneer in several ways. This, Wiley adds, allowed him the time and freedom to consolidate the Western compositional practices he had learned at the Saint Petersburg Conservatory with Russian folk song and other native musical elements to fulfill his own expressive goals and forge an original, deeply personal style.
He made an impact in not only absolute works such as the symphony but also program music and, as Wiley phrases it, "transformed Liszt's and Berlioz's achievements They point out that only Glinka had preceded him in combining Russian and Western practices and his teachers in Saint Petersburg had been thoroughly Germanic in their musical outlook.
He was, they write, for all intents and purposes alone in his artistic quest. Maes and Taruskin write that Tchaikovsky believed that his professionalism in combining skill and high standards in his musical works separated him from his contemporaries in The Five.
Like his country, Maes writes, it took him time to discover how to express his Russianness in a way that was true to himself and what he had learned.
Because of his professionalism, Maes says, he worked hard at this goal and succeeded. The composer's friend, music critic Hermann Laroche , wrote of The Sleeping Beauty that the score contained "an element deeper and more general than color, in the internal structure of the music, above all in the foundation of the element of melody.
This basic element is undoubtedly Russian". Tchaikovsky was inspired to reach beyond Russia with his music, according to Maes and Taruskin.
Between these two very different worlds, Tchaikovsky's music became the sole bridge". On 7 May , Google celebrated his th birthday with a Google Doodle.
Anton Rubinstein : What a wonderful thing. Block: Certainly. Lavrovskaya A disgusting Vasily Safonov : Sings. Tchaikovsky: This trill could be better.
Lavrovskaya: sings. Tchaikovsky: Block is a good fellow, but Edison is even better. Lavrovskaya: sings A-o, a-o. Tchaikovsky: Who just spoke?
It seems to have been Safonov. According to musicologist Leonid Sabaneyev , Tchaikovsky was not comfortable with being recorded for posterity and tried to shy away from it.
On an apparently separate visit from the one related above, Block asked the composer to play something on a piano or at least say something.
Tchaikovsky refused. He told Block, "I am a bad pianist and my voice is raspy. Why should one eternalize it? List of compositions by Pyotr Ilyich Tchaikovsky.
From Wikipedia, the free encyclopedia. Russian composer. For other uses, see Tchaikovsky disambiguation. In this Eastern Slavic name , the patronymic is Ilyich and the family name is Tchaikovsky.
Pyotr Ilyich Tchaikovsky, c. Tchaikovsky's birthplace in Votkinsk, now a museum. The Tchaikovsky family in Piano Concerto No.
See also: Pyotr Ilyich Tchaikovsky and the Belyayev circle. Finale of Tchaikovsky's Violin Concerto in D major. The finale of Tchaikovsky's Violin Concerto, considered one of the most technically difficult works for the violin.
Valse in F-sharp minor. From Twelve Pieces for piano , Op. Romeo and Juliet Overture. Performed by the Skidmore College Orchestra, courtesy of Musopen.
Performed by the Skidmore College Orchestra. Courtesy of Musopen. Dance of the Sugar Plum Fairy. See also: Pyotr Ilyich Tchaikovsky in media.
Tchaikovsky's real voice. Some sources in the article report dates as old style rather than new style. Anatoly would later have a prominent legal career, while Modest became a dramatist, librettist , and translator Poznansky, Eyes , 2.
More than 25 years after his loss, Tchaikovsky wrote to his patroness, Nadezhda von Meck, "Every moment of that appalling day is as vivid to me as though it were yesterday" As quoted in Holden, Rubinstein could have been jealous professionally of Tchaikovsky's greater impact as a composer.
Homophobia might have been another factor Poznansky, Eyes , Petersburg pundit, who had growled with such consistent disapproval at Tchaikovsky's successive compositions, had found a work by his former pupil which he could endorse", according to Tchaikovsky biographer David Brown Brown, The Years of Wandering , However, his meddling in the Tchaikovsky—von Meck relationship might have contributed to the composer's actual departure.
Rubinstein's actions, which soured his relations with both Tchaikovsky and von Meck, included imploring von Meck in person to end Tchaikovsky's subsidy for the composer's own good Brown, The Crisis Years , ; Wiley, Tchaikovsky , — Rubinstein's actions, in turn, had been spurred by Tchaikovsky's withdrawal from the Russian delegation for the Paris World's Fair , a position for which Rubinstein had lobbied on the composer's behalf Brown, The Crisis Years , —; Wiley, Tchaikovsky , , — Rubinstein had been scheduled to conduct four concerts there; the first featured Tchaikovsky's First Piano Concerto Wiley, Tchaikovsky , This letter is quoted in Brown, The Crisis Years , Random House Webster's Unabridged Dictionary.
The Day. Tchaikovsky and His World. Princeton University Press. Tchaikovsky Through Others' Eyes. Also see P. Al'manakh, vypusk 1 , Moscow, The Guardian.
Retrieved 21 April Schubertiade music. Archived from the original on 24 June Retrieved 21 February UAHistory in Ukrainian.
Retrieved 1 January Also see Brown, The Final Years , — Also see Bostrick, Henry Pleasants Baltimore: Penguin Books, As quoted in Steinberg, Concerto , Asafyev, Boris Russian Symphony: Thoughts About Tchaikovsky.
New York: Philosophical Library. Benward, Bruce; Saker, Marilyn Music: In Theory and Practice, Vol. New York: McGraw-Hill. Botstein, Leon In Kearney, Leslie ed.
Brown, David In Stanley Sadie ed. London: MacMillan. Tchaikovsky: The Early Years, — New York: W. Tchaikovsky: The Crisis Years, — Tchaikovsky: The Years of Wandering, — Tchaikovsky: The Final Years, — The Viking Opera Guide.
London: Viking. Tchaikovsky: The Man and His Music. New York: Pegasus. Cooper, Martin In Gerald Abraham ed. Bereits zu seinen Lebzeiten wurden viele seiner Werke international bekannt.
Heute zählen sie zu den bedeutendsten der Romantik. In Russland gilt er heute als bedeutendster Komponist des Jahrhunderts, obwohl er nicht der Gruppe der Fünf angehörte, sondern die von westlichen Einflüssen geprägte Schule Anton Rubinsteins fortsetzte.
Mit Schwanensee , Dornröschen und Der Nussknacker verfasste er zudem drei der berühmtesten Ballette der Musikgeschichte.
Die musikalischen Neigungen der Familie waren nicht sehr ausgeprägt. Gleichwohl erhielt Tschaikowski auf seinen Wunsch hin mit vier Jahren Klavierunterricht.
Die erste Musik, die ihn prägte, kam von einem mechanischen Klavier, das sein Vater aus Petersburg mitgebracht hatte — der noch nicht einmal fünf Jahre alte Peter war begeistert.
Die Familie war erstaunt über sein Talent, und deswegen stellte der Vater Maria Paltschikowa ein, die seinem Sohn Klavierunterricht gab.
Peter spielte vom Blatt bald besser als seine Klavierlehrerin. Eine musikalische Fortbildung während der Zeit gewährte er sich allein in privaten Klavierstunden bei dem aus Nördlingen stammenden, nach Russland ausgewanderten Pianisten Rudolf Kündinger.
Einflussnahme auf Tschaikowski vermutet man auch bei einem italienischen Gesangslehrer namens Luigi Piccioli.
Von Bach und Mozart hielt dieser nichts, kannte sich aber hervorragend mit der italienischen Oper aus und veranlasste Tschaikowski zur Veröffentlichung seines ersten Werks, einer italienischen Kanzonette unter dem Titel Mezza notte.
Obwohl der Beamtenstatus Tschaikowski ein gutes Auskommen bot, das ihm ermöglichte, allerlei kostspieligen Vergnügungen nachzugehen, wurde er dieses Lebens überdrüssig.
Dieser nichtsnutzige Peter! Nun hat er die Jurisprudenz mit dem Dudelsack vertauscht! Seine Umgebung hat erst dann etwas davon bemerkt, als die Wandlung bereits vollzogen war.
Rubinstein persönlich unterwies ihn in Komposition und Instrumentation. In einem Brief vom 4. Dezember jul.
Zum Glück ist es noch nicht zu spät. In Moskau entstanden die ersten erfolgreichen Kompositionen, darunter die 1. Auf Kritik an seinen Werken reagierte Tschaikowski zu der Zeit höchst sensibel: Die Opern Der Wojewode ohne die erhoffte Resonanz uraufgeführt , in der er, ähnlich wie die Mitglieder der Gruppe der Fünf , eine typisch russische Musiksprache verwendete und russische Volkslieder zitierte, und Undina Aufführung wurde abgelehnt verbrannte er in Reaktion auf den Misserfolg sofort, verwendete jedoch später Teile aus Undina für seine nächste Oper Der Opritschnik.
Zahlreiche Zeugnisse belegen, dass er zunehmend depressiv und neurotisch wurde. Seine geheim gehaltene Homosexualität war für ihn eine seelische Belastung.
Daraus wurde aber nichts, Freunde Tschaikowskis und die Mutter der Braut hintertrieben die Verbindung. Er widmete sich weiterhin der Lehrtätigkeit am Moskauer Konservatorium und komponierte seine 2.
Er schrieb an seinen Schüler Sergei Iwanowitsch Tanejew :. Die aus den Moskauer Jahren für sein Leben bedeutsamste Komposition ist das 1.
Klavierkonzert op. Tschaikowski hatte es geschrieben und gleich seinem Freund Nikolai Rubinstein vorgespielt, dem es auch gewidmet sein sollte.
Die Erschütterung über die Reaktion Rubinsteins war so nachhaltig, dass Tschaikowski noch drei Jahre später in einem Brief an seine Mäzenin Nadeschda von Meck schilderte:.
Weiterhin Schweigen. Da ergoss sich ein Strom von Worten aus Rubinsteins Mund. Mein Konzert sei wertlos, völlig unspielbar.
Die Passagen seien so bruchstückhaft, unzusammenhängend und armselig komponiert, dass es nicht einmal mit Verbesserungen getan sei. Die Komposition selbst sei schlecht, trivial, vulgär.
Hier und da hätte ich von anderen stibitzt. Ein oder zwei Seiten vielleicht seien wert, gerettet zu werden; das Übrige müsse vernichtet oder völlig neu komponiert werden.
Rubinstein schlug vor, das Konzert komplett zu überarbeiten. Die Resonanz des Publikums war überwältigend. Später änderte auch Rubinstein seine negative Meinung.
In dieser Zeit entstanden auch die 3. Sinfonie und das Ballett Schwanensee , das unter widrigen Umständen uraufgeführt wurde. Er schrieb an seinen Bruder Modest:.
Also das ist es, was die Reform Wagners erstrebt! Anfang traf er erstmals Nadeschda von Meck — Tschaikowski und Frau von Meck pflegten über Jahre hinweg eine innige Brieffreundschaft.
Der Komponist war aber stets darauf bedacht, Frau von Meck nicht zu treffen. Als es doch zu einer flüchtigen Begegnung bei einer Kutschfahrt kam, wich Tschaikowski ihr aus und sprach sie nicht an.
Trotz der mehrfachen finanziellen Unterstützung durch Frau von Meck gab es immer wieder finanzielle Engpässe.
Während dieser Zeit hatte Tschaikowski auch eine romantische Liebesbeziehung mit Iosif Kotek , einem seiner ehemaligen Schüler am Moskauer Konservatorium , der als Privatmusiker bei Nadeschda von Meck angestellt war.
Ich habe ihn immer gemocht und war einige Male dabei, mich zu verlieben. Ende April oder Anfang Mai erhielt Tschaikowski einen Brief von der ihm unbekannten Antonina Iwanowna Miljukowa, in dem sie behauptete, sie habe ihn bereits am Konservatorium getroffen.
In weiteren Briefen drohte sie mit Selbstmord, falls er sie nicht treffen würde.
Eben dass wir ohne Ihre ausgezeichnete Phrase machen wГјrden