Roeder (1994) notes that the works of Tchaikovsky reflects a unique style of music, being based on the combination of Russian culture and the Western music traditions (Roeder 1994, p.293).
In terms of volume, the work of Tchaikovsky is also unique: the specific composer has written ‘seven symphonies and eleven operas’ (Kidder & Oppenheim 2008, p.3). The Piano Concerto I (Burt 2001, p.410), also a work of Tchaikovsky, will be analyzed below focusing on its elements but also on its contribution in the development of music.
Alexander Litvinov has been one of Tchaikovsky’s students in Moscow (Poznansky 1999, p.62). Litvinov explains that Tchaikovsky used ‘to enter the class with his hand behind his back and to walk immediately towards the piano’ (Poznansky 1999, p.62). It is also noted that Tchaikovsky could play the piano even when holding a pencil, probably in order to be ready to keep notes or to correct pieces of music written by the students (Poznansky 1999, p.62). Litvinov makes clear that when teaching harmony Tchaikovsky used to emphasize on detail, being ‘irritated by the mistakes of students’ (Poznansky 1999, p.62). Gradually, it was revealed that it was his willingness for an exceptional result that led Tchaikovsky to show no tolerance to mistakes (Poznansky 1999, p.62). According to another student, meaning ‘the class in harmony held at the Moscow Conservatory’ (Poznansky 1999, p.62), Tchaikovsky tried always to help students as possible (Poznansky 1999, p.63). At this point it should be noted that the emphasis on detail has been a characteristic of Tchaikovsky not only in regard to the other’s work but also in regard to his own pieces of music.
The creation of Piano Concerto I took place in the period between November 1874 and February 1875 (Roeder 1994, p.293). The Concerto was initially written for Nikolay Rubinstein ...
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