Tchaikovsky simple biography format
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Pyotr Ilyich Tchaikovsky
Pyotr Ilyich Tchaikovsky[a 1] (Russian: Пётр Ильич Чайковский, tr.Pëtr Il'ich ChaikovskiyIPA: [ˈpʲɵtr ɪlʲˈjitɕ tɕajˈkofskʲɪj] (listen)); often Peter Ilich Tchaikovsky/ˈpiːtər ˈɪlɨtʃ tʃaɪˈkɒvski/ in English; May 7, 1840 [O.S. April 25] – November 6, 1893 [O.S. October 25])[a 2] was a Russian composer of the Romantic era. His bred ranging output includes symphonies, operas, ballets, instrumental and chamber music and songs. He wrote some of the most popular concert and teatralisk music in the classical repertoire, including the ballets Swan Lake, The Sleeping Beauty and The Nutcracker, the 1812 Overture, his First Piano Concerto, his last three numbered symphonies, a
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Pyotr Ilyich Tchaikovsky
Russian composer (1840–1893)
"Tchaikovsky" redirects here. For other persons (including the composers André, Alexandr & Boris), see Tchaikovsky (surname). For other uses, see Tchaikovsky (disambiguation).
Pyotr Ilyich Tchaikovsky[n 1] (chy-KOF-skee;[2] 7 May 1840 – 6 November 1893)[n 2] was a Russian composer during the Romantic period. He was the first Russian composer whose music made a lasting impression internationally. Tchaikovsky wrote some of the most popular concert and theatrical music in the classical repertoire, including the ballets Swan Lake and The Nutcracker, the 1812 Overture, his First Piano Concerto, Violin Concerto, the Romeo and Juliet Overture-Fantasy, several symphonies, and the opera Eugene Onegin.
Although musically precocious, Tchaikovsky was educated for a career as a civil servant as there was little opportunity for a musical career in Russia at the time and no public music edu
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Biography
Pyotr Ilyich Tchaikovsky’s fatalism, melancholy and sexuality were conveniently overlooked in Soviet Russia, whose cultural officials urged the composers of their era to follow his musical example. Western musicologists of the same period saw him as lacking elevated thought, suspicious of the brilliant surfaces and abundant charm of his ballet scores. Audiences have always known better. Tchaikovsky’s patroness, Nadezhda von Meck, felt that his Fourth Symphony spoke to her soul and nobody else’s. Yet, as composer Robin Holloway has pointed out, this ‘intimate singling-out’ in his music applies to every sympathetic listener. Born to middle-class parents, the second of six children, Tchaikovsky was expected to pursue a civil service career. This was before he became one of the first pupils at the newly constituted St Petersburg conservatoire. He matured quickly, developing a style that combined the Russian musical language of Glinka with the German musical language of Beetho