Tchaikovsky complete works

http://imslp.org/wiki/List_of_compositions_by_Pyotr_Ilyich_Tchaikovsky

Works with Opus Number

Op.1 - 2 Piano Pieces
Op.2 - Souvenir de Hapsal for Piano
Op.3 - The Voivode, Opera (1867-1868)
Op.4 - Valse caprice in D Major for Piano
Op.5 - Romance in F minor for Piano
Op.6 - 6 Songs for Voice & Piano
Op.7 - Valse-Scherzo in A Major for Piano
Op.8 - Capriccio in Gb Major for Piano
Op.9 - 3 Morceaux for Piano
Op.10 - 2 Morceaux for Piano
Op.11 - String Quartet No. 1 in D major (1871)
Op.12 - The Snow Maiden, Incidental Music
Op.13 - Symphony No.1 in G minor, Winter Daydreams (1866)
Op.14 - Vakula the Smith, Opera (1874)
Op.15 - Festival Overture on the Danish National Anthem(1866)
Op.16 - 6 Songs for Voice & Piano
Op.17 - Symphony No.2 in C minor, Little Russian (1872)
Op.18 - The Tempest, Symphonic Fantasia after Shakespeare (1873)
Op.19 - 6 Morceaux for Piano
Op.20 - Swan Lake, Ballet (1875-1876)
Op.21 - 6 Morceaux for Piano
Op.22 - String Quartet No. 2 in F major (1874)
Op.23 - Piano Concerto No. 1 in B-flat minor (1874-1875)
Op.24 - Eugene Onegin, Opera (1877-1878)
Op.25 - 6 Songs for Voice & Piano
Op.26 - Serenade Melancolique for Violin & Orchestra
Op.27 - 6 Songs for Voice & Piano
Op.28 - 6 Songs for Voice & Piano
Op.29 - Symphony No.3 in D Major, Polish (1875)
Op.30 - String Quartet No. 3 in E-Flat minor (1875)
Op.31 - Marche Slave for Orchestra (1876)
Op.32 - Francesca da Rimini for Orchestra (1876)
Op.33 - Variations on a Rococo Theme for Cello & Orchestra (1876)
Op.34 - Valse-Scherzo for Violin and Orchestra
Op.35 - Violin Concerto in D Major (1878)
Op.36 - Symphony No.4 in F minor (1877-1878)
Op.37 - Piano Sonata in G Major (1878)
Op.37a - The Seasons, for Piano (1876)
Op.38 - 6 Songs for Voice & Piano
Op.39 - Album pour Enfants, 24 Pièces Faciles for Piano
Op.40 - 12 Morceaux for Piano
Op.41 - Liturgy of St. John Chrysostom, for Unaccompanied Chorus
Op.42 - Souvenir d'un Lieu Cher for Violin and Piano (1878)
Op.43 - Orchestral Suite No.1 in D minor (1878-1879)
Op.44 - Piano Concerto No. 2 (1879)
Op.45 - Capriccio Italien for Orchestra (1880)
Op.46 - 6 Duets
Op.47 - 7 Songs for Voice & Piano
Op.48 - Serenade in C for String Orchestra (1880)
Op.49 - 1812 Overture (1880)
Op.50 - Piano Trio in A minor (1882)
Op.51 - 6 Morceaux for Piano
Op.52 - Russian Vesper Service (1881)
Op.53 - Orchestral Suite No.2 in C Major (1883)
Op.54 - 16 Children's Songs
Op.55 - Orchestral Suite No.3 in G Major (1884)
Op.56 - Concert Fantasia in G Major for Piano and Orchestra
Op.57 - 6 Songs for Voice & Piano
Op.58 - Manfred Symphony in B minor (1885)
Op.59 - Dumka, Russian Rustic Scene in C minor for Piano (1886)
Op.60 - 12 Songs for Voice & Piano
Op.61 - Orchestral Suite No.4 in G Major, Mozartiana (1887)
Op.62 - Pezzo capriccioso for Cello and Orchestra (1888)
Op.63 - 6 Songs for Voice & Piano
Op.64 - Symphony No.5 in E minor (1888)
Op.65 - 6 Songs for Voice & Piano
Op.66 - Sleeping Beauty, Ballet (1888-1889)
Op.67 - Hamlet, Fantasy Overture in F minor
Op.67a - Hamlet, Incidental Music
Op.68 - The Queen of Spades, Opera (1890)
Op.69 - Iolanta, Opera (1891)
Op.70 - String Sextet, Souvenir de Florence (1890)
Op.71 - The Nutcracker, Ballet (1891-1892)
Op.71a - The Nutcracker Suite
Op.72 - 18 Pieces for Piano (1892)
Op.73 - 6 Songs for Voice & Piano
Op.74 - Symphony No.6 in B minor, Pathétique (1893)
Op.75 - Piano Concerto No. 3, Posth. (1892)
Op.76 - The Storm, Concert Overture (1860)
Op.77 - Fate, for Orchestra (1868)
Op.78 - The Voyevoda for Orchestra (1891)
Op.79 - Andante and Finale, Posth. (1895)
Op.80 - Piano Sonata in C# minor
Works without Opus Number

Anastasie-Valse for Piano (1854)
Aveu Passionné for Piano (1891)
By the River, By the Bridge, Piano Piece on the Theme of a Folk Song (1862)
Cello Concerto (Unfinished)
Cherevichki (Revision of Vakula the Smith) (1885)
Concertstuck. for Flute and Strings, Posth.
The Enchantress (1885-1887)
Funeral March, On themes from the opera The Oprichnik (1877)
Impromptu for Piano in Ab Major (1889)
Impromptu-Caprice (1884)
The Maid of Orleans, Opera (1878-1879)
Mazepa, Opera (1881-1883)
Military March for Piano (1893)
Moment Lyrique for Piano (1892)
The Oprichnik, Opera (1870-1872)
Potpourri, On themes from the opera The Voevoda (1867-68)
3 Romances (Berceuse, On Chant Encore, Qu'importe) for Piano
Romeo & Juliet Fantasy Overture
50 Russian Folksongs for Piano 4-Hands
String Quartet in B-Flat Major, Posth. (1865)
Symphony in Eb Major (Unfinished)
Theme & Variations for Piano in A minor (1863-64)
Undina, Opera (Unfinished)(1869)
Valse-Scherzo for Piano in A Major (1889)
The Volunteer Fleet March ( Marsch der Marine-Freiwilligen), in C Major for Piano (1878)

Forum realizado em MIAMI em janeiro de 2007 e programa do concerto

Essas foram as autoridades que analizaram meu trabalho em MIAMI em janeiro de 2007

Miami University

Tchaikovsky Forum presenters and participants

January 30, 2007, 2:00 pm–4:00 pm (MacMillan Hall Greatroom)
January 31, 2007, 10:00 am–12:00 noon (CPA Greenroom)

Presenters:

Ada Aynbinder, Musicologist
Daughter of the curator Polina Vajdman, of the Tchaikovsky Archives in Klin, Russia
Presenting "Drafts and sketches of unrealized works by Tchaikovsky"
James Strauss, Concert flutist
Presenting the reconstruction process for Tchaikovsky’s Concertstück for flute and strings
Ricardo Averbach, Assistant Professor and Music Director of the Symphony Orchestra and Oxford Chamber Orchestra, Miami University
Thomas Garcia, Assistant Professor of Ethnomusicology and Latin American Studies, Miami University
Eftychia Papanikolaou, Visiting Assistant Professor of Musicology, Miami University

Participants:
Margarita Mazo
Professor of Ethnomusicology, Ohio State University
Margarita Mazo, professor of music, specializes in ethnomusicology (Russian village music, Stravinsky, Shostakovich, post-Soviet Russia) and publishes widely in both areas. She conducted field research in the U.S. and Russia and initiated a joint Russian-American research project on music in cognate communities residing in the U.S. and Russia. Based on this research, she produced a program "Russian Roots American Branches Music in Two Worlds" at the 1995 Smithsonian Festival of American Folklife. In 1999, she presented twelve pre-concert lectures for the Chicago Symphony’s Schostakovich Festival led by Mstislav Rostropovich. Prior to coming to Ohio State, Professor Mazo taught at Harvard University, New England Conservatory, and the Leningrad Conservatory. Under her leadership, the OSU program in ethnomusicology was awarded an Academic Enrichment grant, and a new Ethnomusicology Lab was established. In 1999, she received Ohio State University’s highest honor for scholars, the Distinguished Scholar Award.

Inna Naroditskaya
Associate Professor, Musicology, Northwestern University
Specialist in Azerbaijanian and Eastern music cultures, Russian music, gender studies, and diasporas. Author, articles and reviews in Ethnomusicology and Asian Music as well as essays and articles in Azerbaijanian and Russian publications; producer of numerous radio programs. Recipient of Center for the Education of Women prize, Rackham research grant, and funding from the International Institute and School of Music at the University of Michigan.

Oxford Chamber Orchestra Concert
Ricardo Averbach, conductor
James Strauss, guest artist
8 p.m. Wednesday, January 31
Hall Auditorium
Miami University
Oxford, OH 45056

Program

Prelude from Bachianas Brasileiras No. 4 Heitor Villa-Lobos
Concerto for Violin, Piano (Cembalo) and Strings, Joseph Haydn
in F major, Hob.XVIII:6, (transcribed for flute and piano)
James Strauss, flute
Siok Lian Tan, piano

Intermission

Small Kuban Variations, op. 59 Alexander Tchaikovsky
James Strauss, piccolo
Concertstück for Flute and Strings Pyotr Ill’yich Tchaikovsky
(Reconstructed and edited by Strauss)
James Strauss, flute

*Lensky’s Aria from Eugene Onegin Pyotr Ill’yich Tchaikovsky

*“Flight of the Bumblebee” from Tsar Saltan Rimsky-Korsakov
*Hora staccato Grigoras Dinicu

James Strauss, flute

* Arrangement and orchestration by James Strauss

James Strauss, flute

Jeffrey Khaner plays Tchaikovsky

Jeffrey Khaner plays Tchaikovsky

Principal flute of the Philadelphia Orchestra

Tuesday, October 2, 2007




Home ← Music ← Article

Khaner: Unexpected touch.
Orchestra 2001 plays CrumbBY: Tom Purdom 09.18.2007

George Crumb plays around with doctored pianos and odd effects, but he uses novel means to achieve classic ends. His techniques may look outré, but he’s doing the same thing that good accompanists do when they create scenes and moods as they play a standard piano accompaniment.

Orchestra 2001, James Freeman, conductor.

Crumb’s Otherworldly Resonances (Marcantonio Barone and James Freeman, amplified piano); Tchaikovsky Concert Piece for Flute and Strings;

Varese’s Density;

Debussy’s Syrinx (Jeffrey Khaner, flute);

Crumb’s Voices from a Forgotten World (Jamie van Eyck, female voice; Patrick Mason, male voice; William Kerrigan, Susan Jones, David Nelson, Angela Nelson percussionists; Marcantonio Barone, piano).

September 16, 2007 at Perelman Theater, Kimmel Center. (215) 922-2190 or http://www.orchestra2001.org/.



Bring on the percussionTOM PURDOM Orchestra 2001 preceded the world premiere of George Crumb’s Voices from a Forgotten World with an unexpected touch. The concert’s guest soloist, the Philadelphia Orchestra’s Jeffrey Khaner, played Debussy’s Syrinx for unaccompanied flute offstage. Debussy’s other-worldly flute line floated through the hall from an unknown source while conductor James Freeman and seven musicians stood on the stage waiting to unveil the Crumb. There was no particular reason why Syrinx should be played offstage, but the interlude had a ritualistic quality that fits Crumb’s work. Some of Crumb’s pieces even look like rituals as the musicians move around the stage manipulating odd-shaped gongs, long whispery rattles and other exotic items. You can also argue that Crumb’s individualistic expressionism is a close cousin of the French approach to music. Like Crumb, French music has always emphasized tone color, and it usually attempts to evoke scenes and create moods. George Crumb’s music has been a regular feature of Orchestra 2001’s programs since James Freeman staged his first concerts 19 years ago. Crumb plays around with doctored pianos and odd effects, but he uses novel means to achieve classic ends.Piano as a sound effects vehicle Voices from a Forgotten World sets ten classic American songs for male and female soloists, accompanied by a percussion section that spread instruments over half the Perelman's stage and required four of our region's leading freelance percussionists. The hard working percussionists were reinforced, in addition, by a pianist, Marcantonio Barone, whose part treated his instrument as a percussion/sound effects vehicle in classic George Crumb style. Voices is the fifth volume in a series devoted to American song, and the most straightforward of the volumes I've encountered so far. In the last group I heard, the familiar melodies were fragmented and dominated by a cosmic background that treated them as lonely voices in the huge dark universe that looms over much of Crumb's sonic poetry. In this collection, most of the melodies are sung pretty much as we’re used to hearing them. Crumb’s main contribution is a series of accompaniments that exploit all the scene-painting potential of a percussion section. In spite of the stage full of equipment, Crumb’s accompaniments tended to be simple and almost sparse. He used the mammoth percussion section as a huge pallet and usually applied his colors a dab and a stroke at a time— the hiss of a South American rattle, the tap of a gong, the pluck of a heavy string on the piano.A celebration of laziness For the opening song, “Bringing in the Sheaves,” Crumb stretched out the melody and slowed the tempo, transforming the hymn into something slightly plaintive, as opposed to the exuberance it pulled out of the congregation in the Southern Baptist church I attended in my teens. His arrangement of “Hallelujah I’m a Bum” emphasized its celebration of a strain that runs through American life in spite of all our talk about the virtues of hard work. George Crumb was sitting right in front of me and baritone Patrick Mason sang the piece with a ne’er-do-well swagger that had the composer himself laughing.

The only disappointment was “Beautiful Dreamer.” Crumb had the vocalists whisper the words. It was an effective treatment of the words and the mood, but when you love that melody...... Some of Crumb’s accompaniments bordered on the obvious, as in the booming drums behind the Navajo “Song of the Thunder,” but they all did things that a standard guitar accompaniment couldn’t attempt. Crumb’s techniques may look outré, but he does the same thing good accompanists do when they create scenes and moods as they play a standard piano accompaniment.A civilized approach to technology

The program teamed Voices from a Forgotten World with two other novelties, the area premiere of Crumb’s Otherworldly Resonances for two amplified pianos and the area premiere of Concert Piece for Flute and Strings, which is, at least in part, a newly discovered work by Tchaikovsky. The Crumb opened with a section called “Double Helix,” in which one of the pianos always plays the same four notes while the other piano dances and weaves around it. The volume level was a good example of Crumb’s civilized approach to technology: He’s interested in the special sound of amplified instruments, not their ability to shatter defenseless eardrums. The Tchaikovsky, according to James Freeman’s notes, has been pieced together from sketches, an incomplete manuscript discovered in 1999, and a flute-and-strings arrangement of one of Tchaikovsky’s solo piano pieces. The three movements combine the ethereal sound of a French flute solo with the soulfulness and emotional force of Tchaikovksy’s orchestral works. Most of the flute concertos in the repertoire were composed during the Baroque period or the early Classical era. We have nothing of importance from the Romantic period, as far as I can tell. The Concert Piece may have a questionable birth certificate, but it’s a beautiful work and it fills a huge gap in the flute literature. Jeffrey Khaner introduced it with feeling and authority. I enjoyed meeting it and look forward to future visits.To respond to this review, click here.To read a response, click here.

Originalmente : http://www.broadstreetreview.com/article.php?idc=1&ida=610

Concertstuck no Japão

Catalog No.: KKCC-3015

Format: CD Number of discs (or other units): 1

Release Date: 2006/11/22

Price: 2667yen (US$ 23.00/ 2800yen Tax incl.)

F.S. Points: 80 points Item weight: 120 g

Availability: Usually ships within 3-5 days


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Kaoru Nanba Newsmail
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Credits
Ryuusuke Numajiri (Performer) VIVALDI,ANTONIO (Composer) MASSENET,JULES (Composer) KETELBEY,ALBERT WILLIAM (Composer) FRANCK,CESAR (Composer) CHOPIN,FREDERIC (Composer) TCHAIKOVSKY,PETR ILYCH (Composer) CUI,CESAR (Composer) LASKA,JOSEPH (Composer) TSYBIN,VLADIMIR (Composer) Tooru Takemitsu (Composer)

SAMPLES : http://www.neowing.co.jp/detailview.html?KEY=KKCC-3015

CD e Partitura disponivel na MURAMATSU JAPAN.

Tchaikowsky - Concertstuck para flauta e orquestra de cordas

Existem muitas estórias sobre esta obra, duvidava-se da sua existência, ealguns achavam que era lenda. Foi em 1893 quando Tchaikovsky compôs sua"última grande obra" a Sinfonia nº 6 e, si menor, onde o último movimentoadágio lamentoso é considerado como seu Réquiem, a obra mais tarde foichamada de Sinfonia patética pelo seu irmão Modeste. Em 1893 foi um anomuito prolífico para Tchaikovsky que se apresentou como regente e compositorna Suíça, Alemanha, França e Bélgica e, em junho de 1893, ele recebeu otitulo de Doutor Honoris Causa concedido pela universidade de Cambridge namesma ocasião em que Saint-Saens e Arigo Boito.Em 20 de junho Tchaikowsky escreveu ao seu amigo, o jornalista LéonceDétroyat (1829-1898), sobre seus futuros planos: "Prezado Leonce, eu fizmuitas promessas de escrever concertos para piano, violino, violoncelo eflauta, para vários concertistas famosos e dois deles em Paris, Taffanel eDiémer" (carta nº3598 a), em 7 de outubro ele falou com seu amigo , ovioloncelista Lulian Poplavski e relatou para ele " Estou com o concertopara flauta na minha cabeça e será para a flauta de Taffanel..." Em 28 deoutubro ele dirige a premiére da Sinfonia Patética , sem grande sucesso, opúblico não havia compreendido a mensagem da obra, e alguns dias mais tarde Tchaikovsky, 6 de novembro de 1893, morre em condições bem misteriosas.Seja qual for o motivo da morte, Piotr teve um funeral grandioso, o dia deseu enterro foi decretado luto oficial na Rússia e mais de 8.000 pessoasacompanharam o cortejo até a sua última morada, o monastério AlexanderNevsky em Saint Petersburg. O Concertstuck ficou esquecido por 106 anos...Na ocasião de uma conversa com Jean Pierre Rampal em Janeiro de 1998, ele me contou de forma entusiasta sobre o concerto de Tchaikovsky para flauta, que ele mesmo teve a ocasião de tentar ver o manuscrito em um de seus concertos em Leningrado quando ele quase conseguiu, foi completamente vetado o acesso, o qual o deixou furioso "Quando existe uma coisa como essa é pra falar, não para esconder; é ridículo esconder uma descoberta". Rampal me contou que sabia que o "Concerto" estava em Saint Petersburg. Foi aí que comecei minha busca bem discretamente. Seguindo algumas pistas cheguei a uma família em Saint Petersburg que tinha alguns manuscritos do século 19 entre eles um rascunhos de copista desconhecido com o seguinte titulo " Concertstuck dle flet". Perguntei se havia microfilme, ou se podia encomendar um, "NÃO"! resposta tão categórica e cabida, me senti como o interlocutor do Corvo de Edgar Allan Poe, Nunca mais" minhas esperanças iam se esvaindo quando me autorizaram a copiar a mão, mas depois de uma boa negociação estava de posse do manuscrito, não era muito, mas era um começo. Era a oportunidade de ouro!Eu tinha então alguns compassos, não muitos, mas 20 compassos completos, e uma espaço e mais 14 compassos com o início de uma cadenza para o primeiro movimento, quando acabei de copiar vi que não era muita coisa, mas já era um começo, e quando comecei a virar a página, olhando os rascunhos da Patética, aparentemente uma redução para piano, quando começo a identificar uma parte que não eram da patética, eram do 3th movimento do concertstuck!! 57 compassos, com muitas correções mais incompletas...Quando voltei para minha casa na Finlândia, eu tinha um quebra cabeças paramontar, um trabalho que para mim era de grande responsabilidade. Logo quecomecei a montar a grade com o pouco que eu tinha, descobri que oconcertstuck era a re-elaboração de uma peça na época que Tchaikovsky eraflautista, de 1864, uma introdução e allegro para 2 flautas e cordas. Ficoumais fácil, usei a obra em questão como modelo e montei uma grade com umcerto sucesso!Em 2000 eu encontrei na Finlândia uma segunda fonte para a parte de flauta,eu encontrei em um particular, partituras para flauta do século 19 vindas daRússia, que havia pertencido a um certo Theodor Wateerstra, antigoflautista em Saint Petersburgo, entre os Ciardi, Kölher, Serov, Alaibiev,haviam também alguns manuscritos e uma parte de flauta com o titulo emCirílico "Concertstuck dle flet" Um allegro Vivace, que era o terceiromovimento , um pouco diferente da parte que eu havia reconstruído, com maisfloreios e variações, então eu só acrescentei e segui a orquestração deorigem. Mas ainda faltava o segundo movimento.Em setembro de 2000 encontro em Paris em uma casa de partituras usadas naRue de Rome um lote de partituras que haviam pertencido a Georges Barrere,dentre elas estava uma "Chanson sans Paroles" de Tchaikowsky, arranjada porTaffanel para flauta e piano, uma edição Russa, e a parte separada de flautaescrita a mão com o titulo um pouco diferente "Chanson sans paroles pourflute et orchestre a cordes" arrangé par Taffanel, quando bati os olhoslogo vi o segundo movimento que faltava, o quebra cabeças estava completo,procurei seguir o estilo de orquestração utilizado por Tchaikowsky termineia Cadenza que mais tarde, graças ao professor Jonh Wion descobri ser amesma cadenza da " Maid of Orleans" com umas modificações.Agora após quatro anos de trabalho e revisões e revisões, creio que está nahora do mundo conhecer o concertstuck para flauta, última obra deTchaikovsky. Essa não é a verdade absoluta, é minha verdade, se nos perguntarmos "quid est veritas"? Provavelmente ninguém nunca saberá. Somente Tchaikovsky.

O Concertstuck foi publicado pela FALLS HOUSE PRESS nos EUA em 2006. E foi gravado pela Israeli Virtuosi em Fevereiro com James Strauss como solista, gravação dedicada a memoria de Jean Pierre Rampal. No Brasil disponivel pelo selo ATRAÇÃO FONOGRAFICA.

Eu sou eternamente grato a Jean Pierre Rampal, que me inspirou durante todoo trabalho e estou seguro que onde quer que ele esteja, estará muitocontente com essa nova aquisição para o nosso repertório e que oconcertstuck tenha uma longa vida!

James Strauss

Chicago Flute Club

Chicago Flute Club
2007 Solo Artist Competition
Flute Festival - November 11, 2007
Doubletree Hotel O’Hare-Rosemont
Awards: First Place - $1000, Second Place - $500
ELIGIBLE SOLOISTS And Competition regulations



The Chicago Flute Club Solo Artist Competition is open to all flutists age 18 years or older, from any geographical area.
The application fee is $40 and is non-refundable
All application materials must be postmarked by October 1, 2007
No high school students will be permitted to enter
Current student of the final round judges will not be permitted to participate
The winner of the competition will be awarded $1,000.00
The second place winner will be awarded $500.00
The preliminary round will be recorded and no recordings will be returned
Eight soloists will be selected for the final round and will perform in-person with an accompanist
Finalists will be notified by October 15, 2007
Finalists are responsible for their own travel arrangements and expenses
The final round performance is open to the public
Finalists must provide their own accompanist. The Chicago Flute Club can provide you with contact information for a local accompanist if necessary.
All judges’ decisions are final


REPERTOIRE
Preliminary Round
Paul Hindemith, Acht Stücke für Flöte allein Movements I and I
Georg Philipp Telemann, Fantasia in A Minor (Grave, Vivace, Adagio, Allegro) No Repeats
Applicants must submit an unedited recording of the preliminary round selections on CD in the given order. No identifying information should appear on the CD face or packaging. Recordings will be coded and reviewed by a judging committee.

Final Round
Pyotr Il’yich Tchaikovsky (Reconstructed by James Strauss), Concertstück for Flute & Piano, Movement II Chanson sans paroles
Published by Falls House Press, available at Flute World (248-855-0410)
Two contrasting movements from the J.S. Bach sonatas in e minor, E major, or E-flat major, No Repeats

For more information contact
Jennifer Reiff, Chicago Flute Club Competition Chair
JJRflute@yahoo.com
630-670-3375
or visit www.chicagofluteclub.org
Solo artist competition



Application FoRM


(postmark deadline October 1, 2007)
Name:_____________________________________
Address:_____________________________________________________
_____________________________________________________________
Phone:___________________
Email:_________________________________ (Must be provided)
Include the following with your application:
A bio and resume
$40 application fee (Checks made payable to the Chicago Flute Club)
CD recording of the preliminary round repertoire
Send complete application materials to:
Solo Artist Competition
Chicago Flute Club
P.O. Box 246
Elmhurst, Illinois 60126

Raiders of the lost Tchaikovsky

By Richard O Jones

Staff Writer

Sunday, January 28, 2007

OXFORD — The Oxford Chamber Orchestra is poised to make musical history next week by performing the world premiere of a newly discovered work by the master Russian composer Pyotr Ill'yich Tchaikovsky.

Although it lacks armed bandits or secret societies, the story of its discovery by Brazilian flutist James Strauss rings of an Indiana Jones adventure or "The Da Vinci Code."

In 1998, Strauss was but 23 years old, just out of college when he began his studies with Jean-Pierre Rampal, widely considered to be one of the leading flute players of the 20th century.

One day, Rampal told Strauss of the existence of a flute concerto by Tchaikovsky.

He was in St. Petersburg in the 1960s and after a concert someone mentioned to him that Tchaikovsky had written a flute concerto. He saw barely a glimpse of the score, and he wasn't allowed to have a copy or even examine it closely.

So Strauss set out to find it.

In his early research, Strauss saw a letter Tchaikovsky had written to a cellist friend, "I have the concert for flute ready in my mind and it will be for the flute of Taffenel," referring to the French flutist Paul Taffenel, the most famous flute player of the day.

The letter was dated Oct. 7, 1893. Tchaikovsky died three weeks later, but it confirmed that Tchaikovsky was at least working on a flute concerto before he died.

In 1999, Strauss moved to Finland and decided to take advantage of the proximity to St. Petersburg, a five-hour train ride away. Strauss found his way to the house where Tchaikovsky died. It was a run-down neighborhood and the house, in spite of its historical value, was occupied by squatters.

Strauss asked the squatters about Tchaikovsky's papers, if the family knew anyone who had any documents that had belonged to him.

"They knew of a guy who had some manuscripts who lived not too far from the house, near the St. Petersburg McDonald's," Strauss said.

"It was a very weird house," he said. "The person showed me a lot of papers and sheet music."

There was one sheet in particular that caught Strauss' eye. It was unsigned, but the title was written in the Western alphabet: "Concertstück dle flet." They wouldn't let him photograph it, but said that he could make a copy by hand — for a price.

Strauss phoned Finland and told his wife to sell his flute and send him the money immediately via Western Union. He went back to the house with a brick of $20 bills, $6,000 in all, and he buyed the single sheet of paper.
"It hurt a lot to sell the flute," Strauss said. "It was only one sheet of paper, and I went back to Finland wondering if I was crazy.

"But Rampal told me that if you are a true artist, you must take a risk with your life. And so I took the risk."

When he got back to Finland, he chased down another rumor that there was a Finnish flute player by the name of Theodor Wateerstra who had played in the orchestra at a theater in St. Petersburg during Tchaikovsky's time.

The search led him to a second-hand music store that had a big stack of Wateerstra's papers. Among them was a manuscript with the same title, "Concertstück dle flet," this time in the Russian Cyrillic alphabet. It, too, was incomplete, but Strauss found it to be an elaboration of the one-page manuscript he had found in St. Petersburg.

"It was something that (Tchaikovsky) wrote when he was still a student, but a more recent copy than the paper I spent $6,000 on," Strauss said.

With these two incomplete manuscripts now in hand, Strauss visited the Russian town of Klin where the official Tchaikovsky archives are located, and there he found proof that the two fragments did contain notations by Tchaikovsky: A manuscript written in the composers own hand with the "Concertstück dle flet," again in the Western alphabet, the very same manuscript that Rampal had caught a brief glimpse of in the 1960s.

"It was a very short excerpt of the same piece," Strauss said. "I had spent four years searching for this final proof, but now I had some big work on my hands because I only had excerpts, not a full composition. So I took the first piece as a model to put together the other parts of the puzzle."

Every concerto needs a cadenza, said Ricardo Averbach, music professor at Miami University and director of the Oxford Chamber Orchestra. It's a chance for the soloist to "show off." To fill that gap, Strauss placed a flute solo from Tchaikovsky's opera "Maid of Orleans," the story of Joan of Arc.

"It fit perfectly," he said. "It was just a coincidence, but it felt right."

Because he was also missing a second movement for "Concertstück dle flet," he went back to Taffanel, the French flutist for whom Tchaikovsky was writing the concerto.

"When Tchaikovsky visited Paris, Taffenel played two short pieces for him," Strauss said, an excerpt from Tchaikovsky's opera "Eugene Onegin" and a piece titled "Chanson sans Paroles," or "Song Without Words."

"These were not originally written for the flute, but Taffanel made a transcription for them for flute and piano," Strauss said.

Finally, to fill in the gaps and make the concerto flow better, Strauss himself composed some eight or nine stanzas of transitional music, but says that anyone would be hard pressed to pick those out of the score.

Averbach, a native of Brazil, took a trip to Rio de Janeiro last year to meet with Ricardo Tacuchian, the president of the Brazilian Academy of Music. Because they both had busy schedules, Tacuchian asked if Averbach minded if it would be OK to meet at the same time with a young flute player for whom he had written a concerto.

That young flute player was Strauss, who told Averbach of his Tchaikovsky work.

"I invited him on the spot to come here," Averbach said.

Because some of Strauss' reconstruction of "Concertstück dle flet" contains source material not original to Tchaikovsky's notes, a symposium will be held in conjunction with the premiere next week to determine if this piece should be included in the Tchaikovsky canon.

The forum is from 1 to

3 p.m. Tuesday and 10 a.m. to noon Wednesday.

"All Tchaikovsky left behind were the five measures that James found in the archives," Averbach said. "It was not enough to fill an entire piece, so James added more to make it more legitimate.

"Our forum is to discuss the validity of the process and evaluate how much of James' discoveries was written for the 'Concertstück.' Some musicologists are arguing that if it were by Tchaikovsky, we would already have heard of it — but they are saying that without looking at the manuscript or hearing the music."

"It's not unprecedented that a new piece of music by a great composer can come to light," said Miami ethnomusicologist and symposium panelist Thomas Garcia, also a native of Brazil.

Garcia cited manuscripts by C.P. Bach that were lost in Germany and turned up in the Russian city of Kiev. Also, Mozart's famous "Requiem" was left unfinished and reconstructed by others after his death, but now everyone accepts it as a work of Mozart.

"We're not saying it's Tchaikovsky and we're not saying it's not," Garcia said. "We're saying, 'Let's discuss it. If you think it's not Tchaikovsky, come and tell us why. You might be right.' "


Contact this reporter at

(513) 820-2188

or

rjones@coxohio.com

Criticas / Reviews

Oxford Chamber Orchestra : An Evening with James Strauss

The concert was indeed "An Evening with James Strauss," as he was featured in every piece save the first, the Prelude from Bachianas Brasileiras No. 4 by Villa-Lobos, played warmly by the OCO strings under thedirection of Ricardo Averbach. In the five works that Strauss played with the OCO, he proved himself in excellent control of technique, nuance, and color. The most impressive work of the evening, the Concerto for Violin, Cembalo and Strings by Haydn transcribed for flute, piano, and strings, was elegant and highly polished. Pianist Siok Lian Tan, impeccable in her own performance in style, rhythmic control, and touch, followed Strauss's every move. Averbach and the OCO strings were locked in as well, catching each phrase. It was an excellent performance, and was followed by several encores featuring Tan and Strauss together. The three works that followed the Concertstück, Tchaikovsky's Lensky's Aria from Eugene Onegin , Rimsky-Korsakov's Flight of the Bumblebee , and Dinicu's Hora staccato, all transcribed and arranged by the soloist, again pointed to his technical and musical prowess, and earned him a standing ovation. His own set of variations on The Carnival of Venice, played acappella, brought the audience to its feet once again.

James Occot / Oxford Press

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I am pleased to offer words of praise for Brazilian flutist , James Strauss who made his American debut in US this week at Miami University. Mr. Strauss Performed his newky discovered and personally edidet flute concerto by P.I. Tchaikovsky to a full house on our campus and finished his concert with standing ovation. I sat in the last row of the balcony where Mr. Strauss flute projected with absolute easy. He is a singer on the flute with flawless technical prowess and just entonation.Mr. Strauss is a natural perform – as he plays the music demonstrates an air of security and confidence on stage, he has a warm, outgoing personality which makes it easy to him to communicate both with his audience and with people, in general.

Andrea Ridilla

Professor of Oboe

Miami University

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Caro James,

Finalmente trovo il tempo di scrivere a rispetto della splendida esecuzione del Concerto di Tchaikovsky. Fin dall'inizio ho capito che devo esserti grato per la scoperta di questo gioiello musicale. Ma a parte cio', volevo sottolineare l'ottima qualita' del suono, del tuo flauto come dell'orchestra israeliana. Trovo che l'atmosfera del Concerto e' stata resa molto bene, e tutto e' eseguito in una maniera talmente elegante e piena di buon gusto che chi ascolta puo' rilassarsi e godere la musica di Tchaikovsky. Ho apprezzato anche la misura e l'equilibrio di una cadenza che poteva facilmente diventare una semplice dimostrazione di bravura fine a se stessa e che nella tuaregistrazione invece, scorre semplicemente e elegantemente.Grazie per questa registrazione che dovrebbe arricchire qualunque amante della buona musica.

Sinceramente,

Emmanuele Baldini

concertmaster/spalla -OSESP - Orquestra Sinfònica do Estado de Sao Paulo

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Peter Ilich Tchaikovsky (1840 – 1893)

FLUTE CONCERTO "World Premiére Recording" ( Concertstück for Flute & Strings TH 247 op.posth./ Lensky Aria, Arioso, Andante Cantabile, Serenade for Strings op.48)

*****

The rumored Tchaikovsky flute concerto is rumor no more, with this reconstructed and completed version made by the flutist James Strauss. Composed with the flute of Paul Taffanel in mind, Tchaikovsky's Concertstück is finally made available to the world. Here the flutist James Strauss one of the last few disciples of the lengedary Jean-Pierre Rampal with the Israeli Virtuosi hailed as Israel's best string team, the Israeli Virtuosi is comprised of the Israel Philharmonic principal players and other top ranking Israeli principal players and soloists . Atração Fonografica has gone all out with the production of this wonderful recording. James Strauss is a is a dazzling, liquid soloist with a glowing tone, and the Israeli Virtuosi under the Ada Pelleg´s baton play with élan; the recorded sound is correspondingly excellent.

FOREING NEWS Magazine

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Falls House Press announces the publication of the "lost" TCHAIKOVSKYConcertstück for Flute and Strings TH 247

Falls House Press announces the publication of the "lost"
TCHAIKOVSKY Concertstück for Flute and Strings TH 247

The mythical flute concerto was at last discovered, reconstructed, and finished by James Strauss.
Read more at the Falls House website! See a page!
Falls House PressPiano reduction FP-TchJS1 • $24.95 Add to CartFull Score SC-TchJS2 • $30.00 Add to CartErrata for Piano Reduction - download PDF (50KB)



Tchaikovsky, P.I. (Edited & Reconstructed by James Strauss)
Concertstück for Flute & Strings TH 247, for flute & piano

On October 7th, 1893 Tchaikovsky wrote to his friend and cellist Iulian Poplavski, " I have the concerto for flute ready in my mind and it will be for the flute of Taffanel". Rampal had spoken of having seen the work in Russia but was denied access to a copy. James Strauss' conflation required some reconstruction but the work is now complete. This is a major addition to the repertoire.
This piece is for flute with piano reduction. The orchestral score is for sale. The orchestral parts will be rental only.
Foreword by James Strauss...For years, many flutists have heard stories about the existence of a flute concerto by Tchaikovsky. The Concertstück was composed in 1893, the same year that Tchaikovsky composed the Symphony in b minor, later titled Symphony Pathetique by his brother Modeste. The last movement, “adagio lamentoso”, has been considered Tchaikovsky’s Requiem, however it may be that the Flute Concerto postdated this great symphony. 1893 was a productive year for Tchaikovsky, who presented himself as conductor and composer to audiences in Switzerland, France and Belgium. In June 1893, he received the title of Doctor Honoris Causa conferred by Cambridge University. At the same occasion, Saint-Saens and Arigo Boito received honorary degrees. On June 20th, Tchaikovsky wrote to his friend and journalist, Léonce Détroyat (1829-1898) about his future plans: “Dear Leonce, I have made many promises of writing concerts for piano, violin, cello and flute for many famous performers and two of them in Paris, Taffanel and Diémer. (letter No 3598). On October 7th he told his friend and violoncellist Iulian Poplavski, “I have the concert for flute ready in my mind and it will be for the flute of Taffanel...” On October 28th he directed the première of the “Symphony Pathetique” without much success. Shortly after that, on November 6, 1893, Tchaikovsky died in mysterious circumstances. There are two versions of his death: death due to cholera or suicide. Whatever was the cause, a national day of mourning was decreed in Russia. More than 8000 people accompanied the procession to his final resting place, the Alexander Nevsky Monastery in St. Petersburg.In January 1998, Jean Pierre Rampal enthusiastically told me about Tchaikovsky’s concert for flute, saying that he had almost had access to it. Furious at being prohibited access to the manuscript while in Moscow, he asserted: “It is absurd that [the concerto], would be hidden from the world. It is ridiculous to hide such a discovery!” Rampal confided to me that copies of the concerto were both in St. Petersburg and in Moscow. So then I began my search. Following some tips, I came to a family in St. Petersburg who had some 19th Century manuscripts and sketches of an unknown author with the title “Concertstuck dle flet”. After much negotiation, I was only allowed to hand copy that manuscript. The manuscript contained 20 complete bars, a space and 14 more bars and the beginning of a “cadenza” to the first movement. After looking once again at sketches which were included in the manuscript of the Symphony Pathetique, I became convinced that these sketches included parts of the third movement of the Concertstuck, consisting of some 57 bars, with many incomplete corrections. After returning to my home in Finland, I began to suspect that the "Concertstuck" was an elaborated version of an introduction and allegro for 2 flutes and strings which dates from 1864. At that time Tchaikovsky himself was a flutist. At this point I used the piece as a model to re-assemble the manuscript with a certain degree of success. Then in 2000, I found a second source for the flute’s part. I found sheet music for flute from the 19th century originating from Russia, which had belonged to Theodor Wateerstra, a flutist in St. Petersburg. Amongst the Ciardi, Kölher, Serov, Alaibiev, was a flute part with the Cyrillic title “Concertstuck dle Flet”. The allegro vivace, (Mvt.3) was different from the part which I had rebuilt – more variations and embellishments - however I only added and followed the original orchestra. Still the second movement was yet to be found. Then In September of 2000, while in a used music shop on the Rue de Rome, I discovered some scores which had belonged to Georges Barrere. Amongst these was Tchaikovsky’s “Chanson sans Paroles” arranged by Taffanel for flute and piano in a Russian edition, and a separate hand written part with a slightly different title: “Chanson sans Paroles pour flute et orchestre a cordes” arranged by Taffanel. Here then was one possible second movement. Following the orchestration used by Tchaikovsky, The Cadenza, proposed by Professor John Wion, is modified from Tchaikovsky’s opera, “The Maid of Orleans”. I am forever grateful to Jean Pierre Rampal, who inspired my efforts, and I am certain that wherever he may be, he will be very content with this new addition to our repertoire. -

James Strauss