![]() Having noted my obstinate silence, Hubert was astonished and shocked that such a ticking off was being given to a man who had already written a great deal and given a course in free composition at the Conservatory, that such a contemptuous judgment without appeal was pronounced over him, such a judgment as you would not pronounce over a pupil with the slightest talent who had neglected some of his tasks-then he began to explain N.G.'s judgment, not disputing it in the least but just softening that which His Excellency had expressed with too little ceremony. In a word, a disinterested person in the room might have thought I was a maniac, a talented, senseless hack who had come to submit his rubbish to an eminent musician. The chief thing I can't reproduce is the tone in which all this was uttered. "Here, for instance, this-now what's all that?" (he caricatured my music on the piano) "And this? How can anyone. It turned out that my concerto was worthless and unplayable passages were so fragmented, so clumsy, so badly written that they were beyond rescue the work itself was bad, vulgar in places I had stolen from other composers only two or three pages were worth preserving the rest must be thrown away or completely rewritten. I stood up and asked, "Well?" Then a torrent poured from Nikolay Grigoryevich's mouth, gentle at first, then more and more growing into the sound of a Jupiter Tonans. He seemed to be saying: "My friend, how can I speak of detail when the whole thing is antipathetic?" I fortified myself with patience and played through to the end. R's eloquent silence was of the greatest significance. My need was for remarks about the virtuoso piano technique. Above all I did not want sentence on the artistic aspect. Rubinstein was amassing his storm, and Hubert was waiting to see what would happen, and that there would be a reason for joining one side or the other. Not a single word, not a single remark! If you knew how stupid and intolerable is the situation of a man who cooks and sets before a friend a meal, which he proceeds to eat in silence! Oh, for one word, for friendly attack, but for God's sake one word of sympathy, even if not of praise. Brown writes, "This occasion has become one of the most notorious incidents in the composer's biography." Three years later, Tchaikovsky shared what happened with his patroness, Nadezhda von Meck: For this reason he showed the work to him and another musical friend, Nikolai Hubert, at the Moscow Conservatory on December 24, 1874/January 5, 1875, three days after finishing it. Tchaikovsky did hope that Rubinstein would perform the work at one of the 1875 concerts of the Russian Musical Society in Moscow. But in his Tchaikovsky biography, David Brown writes that the work was never dedicated to Rubinstein. It was long thought that Tchaikovsky initially dedicated the work to Nikolai Rubinstein, and Michael Steinberg writes that Rubinstein's name is crossed off the autograph score. ![]() There is some confusion about to whom the concerto was originally dedicated. Tchaikovsky also arranged the work for two pianos in December 1874 this edition was revised in 1888. One of the most prominent differences between the original and final versions is that in the opening section, the chords played by the pianist, over which the orchestra plays the main theme, were originally written as arpeggios. Tchaikovsky revised the concerto three times, the last in 1888, which is the version usually played. įrom 2021 to 2022, it served as the sporting anthem of the Russian Olympic Committee as a substitute of the country's actual national anthem as a result of the doping scandal that prohibits the use of its national symbols. It is one of the most popular of Tchaikovsky's compositions and among the best known of all piano concerti. Rubinstein later withdrew his criticism and became a fervent champion of the work. ![]() It was first performed on October 25, 1875, in Boston by Hans von Bülow after Tchaikovsky's desired pianist, Nikolai Rubinstein, criticised the piece. 23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875. Official anthem of the Russian Olympic Committee and the Russian Paralympic Committee Gimn sbornoy Rossii English: Anthem of Team Russia
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