John Lennon

John Winston Ono Lennon was an English singer and songwriter who rose to
worldwide fame as a co-founder of the band the Beatles, the most commercially
successful band in the history of popular music. With fellow member Paul McCartney,
he formed a celebrated songwriting partnership.
His first band, the Quarrymen, evolved into the Beatles in 1960. When the group
disbanded in 1970, Lennon embarked on a solo career that produced the critically
acclaimed albums John Lennon/Plastic Ono Band and Imagine, and iconic songs such
as "Give Peace a Chance", "Working Class Hero", and "Imagine".

Musical style
Instruments played
Lennon's playing of a mouth organ during a bus journey to visit his cousin in Scotland
caught the driver's ear. Impressed, the driver told Lennon of a harmonica he could have
if he came to Edinburgh the following day, where one had been stored in the bus depot
since a passenger left it on a bus.[237] The professional instrument quickly replaced
Lennon's toy. He would continue to play harmonica, often using the instrument during
the Beatles' Hamburg years, and it became a signature sound in the group's early
recordings. His mother taught him how to play the banjo, later buying him an acoustic
guitar. At 16, he played rhythm guitar with the Quarrymen.[238]
As his career progressed, he played a variety of electric guitars, predominantly
the Rickenbacker 325, Epiphone Casino and Gibson J-160E, and, from the start of his
solo career, the Gibson Les Paul Junior. Double Fantasy producer Jack Douglas claimed
that since his Beatle days Lennon habitually tuned his D-string slightly flat, so his Aunt
Mimi could tell which guitar was his on recordings. Occasionally he played a six-string
bass guitar, the Fender Bass VI, providing bass on some Beatles numbers ("Back in the
U.S.S.R.", "The Long and Winding Road", "Helter Skelter") that occupied McCartney
with another instrument. His other instrument of choice was the piano, on which he
composed many songs, including "Imagine", described as his best-known solo work. His
jamming on a piano with McCartney in 1963 led to the creation of the Beatles' first US
number one, "I Want to Hold Your Hand". In 1964, he became one of the first British
musicians to acquire a Mellotronkeyboard, though it was not heard on a Beatles
recording until "Strawberry Fields Forever" in 1967.
Vocal style
When the Beatles recorded "Twist and Shout", the final track during the mammoth
one-day session that produced the band's 1963 debut album, Please Please Me, Lennon's
voice, already compromised by a cold, came close to giving out. Lennon said, "I couldn't
sing the damn thing, I was just screaming."[ In the words of biographer Barry Miles,
"Lennon simply shredded his vocal cords in the interests of rock 'n' roll." [247] The Beatles'
producer, George Martin, tells how Lennon "had an inborn dislike of his own voice

which I could never understand. He was always saying to me: 'DO something with my
voice! ... put something on it ... Make it different.'"Martin obliged, often using doubletracking and other techniques.
As his Beatles era segued into his solo career, his singing voice found a widening range
of expression. Biographer Chris Gregory writes of Lennon "tentatively beginning to
expose his insecurities in a number of acoustic-led 'confessional' ballads, so beginning
the process of 'public therapy' that will eventually culminate in the primal screams of
"Cold Turkey" and the cathartic John Lennon/Plastic Ono Band." Music critic Robert
Christgau calls this Lennon's "greatest vocal performance ... from scream to whine, is
modulated electronically ... echoed, filtered, and double tracked." David Stuart Ryan
notes Lennon's vocal delivery to range from "extreme vulnerability, sensitivity and even
naivety" to a hard "rasping" style. Wiener too describes contrasts, saying the singer's
voice can be "at first subdued; soon it almost cracks with despair". Music historian Ben
Urish recalls hearing the Beatles' Ed Sullivan Show performance of "This Boy" played on
the radio a few days after Lennon's murder: "As Lennon's vocals reached their peak ... it
hurt too much to hear him scream with such anguish and emotion. But it was my
emotions I heard in his voice. Just like I always had."

Imagine (John Lennon song)

"Imagine" is a song written and performed by the English musician John Lennon.
Rolling Stone described "Imagine" as Lennon's "greatest musical gift to the world",
praising "the serene melody; the pillowy chord progression; [and] that beckoning, fournote [piano] figure" The best-selling single of his solo career, its lyrics encourage the
listener to imagine a world at peace without the barriers of borders or the divisions of
religion and nationality, and to consider the possibility that the focus of humanity
should be living a life unattached to material possessions.
Lennon and Yoko Ono co-produced the song and album of the same name with Phil
Spector. Recording began at Lennon's home studio at Tittenhurst Park, England, in May
1971, with final overdubs taking place at the Record Plant, in New York City, during
July. One month after the September release of the LP, Lennon released "Imagine" as a
single in the United States; the song peaked at number three on the Billboard Hot
100 and the LP reached number one on the UK chart in November, later becoming the
most commercially successful and critically acclaimed album of Lennon's solo career.
Although not originally released as a single in the United Kingdom, it was released in
1975 to promote a compilation LP and it reached number six in the chart that year. The
song has since sold more than 1.6 million copies in the UK; it reached number one
following Lennon's murder in December 1980. In 1985, Central Park memorialized a
portion of the park with a mosaic that reads "Imagine" in honor of Lennon. [1]

BMI named "Imagine" one of the 100 most-performed songs of the 20th century. The
song ranked number 30 on the Recording Industry Association of America's list of the
365 Songs of the Century bearing the most historical significance. It earned a Grammy
Hall of Fame Award and an induction into the Rock and Roll Hall of Fame's 500 Songs
that Shaped Rock and Roll. A UK survey conducted by the Guinness World Records
British Hit Singles Book named it the second best single of all time, while Rolling
Stoneranked it number three in their list of "The 500 Greatest Songs of All Time". Since
2005, event organisers have played it just before the New Year's Times Square
Ball drops in New York City. Dozens of artists have performed or recorded versions of
"Imagine", including Madonna, Stevie Wonder, Joan Baez, Elton John and Diana
Ross. Emeli Sand recorded a cover for the BBC to use during the end credits montage
at the close of the 2012 Summer Olympics coverage in August 2012. "Imagine"
subsequently re-entered the UK Top 40, reaching number 18.

Led Zeppelin
Led Zeppelin were an English rock band formed in London in 1968. The group
consisted of guitarist Jimmy Page, singer Robert Plant, bassist and keyboardist John
Paul Jones, and drummer John Bonham. The band's heavy, guitar-driven sound, rooted
inblues and psychedelia on their early albums, has earned them recognition as one of
the progenitors of heavy metal, though their unique style drew from a wide variety of
influences, including folk music.

Musical style
Led Zeppelin's music was rooted in the blues. The influence of American blues artists
such as Muddy Waters and Skip James was particularly apparent on their first two
albums, as was the distinct country blues style of Howlin' Wolf. Tracks were structured
around the twelve-bar blues on every studio album except for one, and the blues directly
and indirectly influenced other songs both musically and lyrically. ]The band were also
strongly influenced by the music of the British, Celtic, and American folk
revivals. Scottish folk guitaristBert Jansch helped inspire Page, and from him he
adapted open tunings and aggressive strokes into his playing. The band also drew on a
wide variety of genres, including world music, and elements of early rock and
roll, jazz, country, funk, soul, and reggae, particularly on Houses of the Holy and the
albums that followed.
The material on the first two albums was largely constructed out of extended jams
of blues standards and folk songs. This method led to the mixing of musical and lyrical
elements of different songs and versions, as well as improvised passages, to create new
material, but would lead to later accusations of plagiarism and legal disputes over
copyright. Usually the music was developed first, sometimes with improvised lyrics that
might then be rewritten for the final version of the song. From the visit to Bron-YrAur in 1970, the songwriting partnership between Page and Plant became predominant,
with Page supplying the music, largely via his acoustic guitar, and Plant emerging as the
band's chief lyricist. Jones and Bonham then added to the material, in rehearsal or in
the studio, as a song was developed. In the later stages of the band's career, Page took a
back seat in composition and Jones became increasingly important in producing music,
often composed on the keyboard. Plant would then add lyrics before Page and Bonham
developed their parts.
Early lyrics drew on the band's blues and folk roots, often mixing lyrical fragments from
different songs. Many of the band's songs dealt with themes of romance, unrequited love
and sexual conquest, which were common in rock, pop and blues music. Some of their
lyrics, especially those derived from the blues, have been interpreted as misogynistic.
Particularly on Led Zeppelin III, they incorporated elements
ofmythology and mysticism into their music, which largely grew out of Plant's interest in
legends and history. These elements were often taken to reflect Page's interest in
the occult, which resulted in accusations that the recordings

contained subliminal satanic messages, some of which were said to be contained

in backmasking; these claims were generally dismissed by the band and music
critics. Susan Fast argues that as Plant emerged as the band's main lyricist, the songs
more obviously reflected his alignment with the West Coast counterculture of the
1960s. In the later part of the band's career Plant's lyrics became more autobiographical,
and less optimistic, drawing on his own experiences and circumstances.
According to musicologist Robert Walser, "Led Zeppelin's sound was marked by speed
and power, unusual rhythmic patterns, contrasting terraced dynamics, singer Robert
Plant's wailing vocals, and guitarist Jimmy Page's heavily distorted crunch". These
elements mean that they are often cited as one of the progenitors of hard rock and heavy
metal and they have been described as the "definitive heavy metal band", although the
band members have often eschewed the label. Part of this reputation depends on the
band's use of distorted guitar riffs on songs like "Whole Lotta Love" and "The Wanton
Song". Often riffs were not doubled by guitar, bass and drums exactly, but instead there
were melodic or rhythmic variations; as in "Black Dog", where three different time
signatures are used. Page's guitar playing incorporated elements of the blues scale with
those of eastern music. Plant's use of high-pitched shrieks has been compared to Janis
Joplin's vocal technique. Bonham's drumming was noted for its power, his rapid rolls
and his fast beats on a single bass drum. Jones' basslines have been described as
melodic and his keyboard playing added a classical touch to the band's sound.
Page stated that he wanted Led Zeppelin to produce music that had "light and shade".
This began to be more clearly realised beginning with Led Zeppelin III, which made
greater use of acoustic instruments. This approach has been seen as exemplified in the
fourth album, particularly on "Stairway to Heaven", which begins with acoustic guitar
and recorder and ends with drums and heavy electric sounds. Towards the end of their
recording career, they moved to a more mellow and progressive sound, dominated by
Jones' keyboard motifs. They also increasingly made use of various layering and
production techniques, including multi-tracking and overdubbed guitar parts. Their
emphasis on the sense of dynamics and ensemble arrangement has been seen as
producing an individualistic style that transcends any single music genre. Ian Peddie
argues that they were "... loud, powerful and often heavy, but their music was also
humorous, self-reflective and extremely subtle".

Stairway to Heaven(Led Zappelin song)

"Stairway to Heaven" is a song by the English rock band Led Zeppelin, released in late
1971. It was composed by guitarist Jimmy Page and vocalist Robert Plant for the

band's untitled fourth studio album (often called Led Zeppelin IV). It is often referred to
as one of the greatest rock songs of all time.[4][5][6]
The song has three sections, each one progressively increasing in tempo and volume.
The song begins in a slow tempo with acoustic instruments (guitar and recorders) before
introducing electric instruments. The final section is an uptempo hard rockarrangement
highlighted by Page's intricate guitar solo accompanying Plant's vocals that end with the
plaintive a cappella line: "And she's buying the stairway to heaven."

"Stairway to Heaven" was voted #3 in 2000 by VH1 on its list of the 100 Greatest Rock
Songs,[7] and was placed at number 31 onRolling Stone magazine's list of "The 500
Greatest Songs of All Time". It was the most requested song on FM radio stations in the
United States in the 1970s, despite never having been officially released as a single
there.[8] In November 2007, through download sales
promoting Led Zeppelin's Mothership release, "Stairway to Heaven" hit No. 37 on the
UK Singles Chart. "Stairway to Heaven" is often rated among the greatest rock songs of
all time. According to music journalist Stephen Davis, although the song was released in
1971, it took until 1973 before the song's popularity ascended to truly "anthemic"
status.As Page himself recalled, "I knew it was good, but I didn't know it was going to be
almost like an anthem ... But I knew it was the gem of the album, sure." [ "Stairway to
Heaven" continues to top radio lists of the greatest rock songs, including a 2006 Guitar
World readers poll of greatest guitar solos. On the 20th anniversary of the original
release of the song, it was announced via U.S. radio sources that the song had logged up
an estimated 2,874,000 radio plays back to back, that would run for 44 years solid. As
of 2000, the song had been broadcast on radio over three million times. In 1990 a St
Petersburg, Florida station kicked off its all-Led Zeppelin format by playing "Stairway to
Heaven" for 24 hours straight. It is also the biggest-selling single piece of sheet music in
rock history, clocking up an average of 15,000 copies yearly. In total, over one million
copies have been sold.

Pyotr Ilyich Tchaikovsky

Pyotr Ilyich Tchaikovsky , was a Russian composer of the late-Romanticperiod, some
of whose works are among the most popular music in the classical repertoire. He was
the first Russian composer whose music made a lasting impression internationally,
bolstered by his appearances as a guest conductor in Europe and the United States.
Tchaikovsky was honored in 1884, by Emperor Alexander III, and awarded a lifetime
pension.

Music style
Tchaikovsky wrote many works that are popular with the classical music public,
including his Romeo and Juliet, the 1812 Overture, his three ballets (The
Nutcracker, Swan Lake, The Sleeping Beauty) and Marche Slave. These, along with his
First Piano Concerto and hisViolin Concerto, the last three of his six
numbered symphonies and his operas The Queen of Spades and Eugene Onegin, are
among his most familiar works. Almost as popular are
the Manfred Symphony, Francesca da Rimini, the Capriccio Italien and the Serenade for
Strings.
Creative range
Tchaikovsky displayed an unusually wide stylistic and emotional range, from salon
works of innocuous charm to symphonies of tremendous depth, power and grandeur.
Some of his works, such as the Variations on a Rococo Theme, employ a poised
"Classical" form reminiscent of 18th-century composers such as Mozart (the composer
whose work was his favorite). Other compositions, such as his Little
Russian symphony and his opera Vakula the Smith, flirt with musical practices more
akin to those of the Five, especially in their use of folk song.[111] Other works, such as
Tchaikovsky's last three symphonies, employ a personal musical idiom that facilitated
intense emotional expression.
Ukrainian folk elements
Many of Tchaikovsky's works have Ukrainian subjects or incorporate Ukrainian folk
songs or melodies. Among these are the operas Mazepa (based on Aleksandr
Pushkin'spoem), Little Shoes, and Night before Christmas (or Vakula the Smith, based
on Nikolai Gogol's story); symphonies No. 2 (Little Russian), No. 4, and No. 7 (finished

and edited by Semyon Bogatyrev); the Concerto for Piano and Orchestra No. 1 in B-flat
Minor; the 1812 Overture, the opening of which is based on the first mode of
the Kievan chant; the transcription for piano solo of Aleksandr
Dargomyzhsky's orchestral fantasy Kozachok; and songs to Russian translations
of Taras Shevchenko, such as Sadok Vyshnevyi(Cherry Orchard).
Melody
American music critic and journalist Harold C. Schonberg wrote of Tchaikovsky's
"sweet, inexhaustible, supersensuous fund ofmelody," a feature that has ensured his
music's continued success with audiences.Tchaikovsky's complete range of melodic
styles was as wide as that of his compositions. Sometimes he used Western-style
melodies, sometimes original melodies written in the style of Russian folk song;
sometimes he used actual folk songs. Unfortunately, Brown points out, Tchaikovsky's
melodic gift could also become his worst enemy in two ways. 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
mademodulating 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 completeness hindered their use as structural elements in combination
with one another. This challenge was why, Cooper maintains, the Romantics "were
never natural symphonists.". All a composer like Tchaikovsky could do with them was to
essentially repeat them, even when he modified them to generate tension, maintain
interest and satisfy listeners.
Harmony
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, the shifting from one key to another, was a driving principle in both
harmony andsonata form, the primary Western large-scale musical structure since the
middle of the 18th century. 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 Kndinger, Tchaikovsky's music tutor during his
time at the School of Jurisprudence. Added to what he learned at the Saint Petersburg
Conservatory studies, this talent allowed Tchaikovsky to employ a varied range of
harmony in his music, from the Western harmonic and textural practices of his first two

string quartets to the use of the whole tone scale in the center of the finale of the Second
Symphony, a practice more typically used by The Five.
Rhythm
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 movementsa "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. (For more on this, please
seeRepetition below.)
Structure
Tchaikovsky struggled with sonata form. Its principle of organic growth through the
interplay of musical themes was alien to Russian practice.[115] 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. Within this outline, the focus centered on periodic alternation and juxtaposition.
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. This process, according to Brown and Keller, builds
momentum and adds intense drama. While the result, Warrack charges, is still "an
ingenious episodic treatment of two tunes rather than a symphonic development of
them" in the Germanic sense, Brown counters that it took the listener of the period
"through a succession of often highly charged sections which added up to a radically
new kind of symphonic experience" (italics Brown), one that functioned not on the basis
of summation, as Austro-German symphonies did, but on one of accumulation.
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 intensity was entirely new to Russian music and prompted some
Russians to place Tchaikovsky's name alongside that of Dostoyevsky. German
musicologist Hermann Kretzschmar credits Tchaikovsky in his later symphonies with
offering "full images of life, developed freely, sometimes even dramatically, around
psychological contrasts ... This music has the mark of the truly lived and felt
experience." Botstein, in elaborating on this comment, suggests that listening to
Tchaikovsky's music "became a psychological mirror connected to everyday experience,
one that reflected on the dynamic nature of the listeners own emotional self." 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 ones own 'truly lived and felt experience' or ones search for
intensity in a deeply personal sense."
Repetition
As mentioned above, repetition was a natural part of Tchaikovsky's music, just as it is an
integral part of Russian music. His use of sequences within melodies (repeating a tune
at a higher or lower pitch in the same voice)could go on for extreme length. The problem
with repetition is that, over a period of time, the melody being repeated remains static,
even when there is a surface level of rhythmic activity added to it. Tchaikovsky kept the
musical conversation flowing by treating melody, tonality, rhythm and sound color as
one integrated unit, rather than as separate elements. 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. Musicologist Martin Cooper calls this practice a
subtle form of unifying a piece of music and adds that Tchaikovsky brought it to a high
point of refinement. (For more on this practice, see the next section.)
Orchestration
Like other late Romantic composers, Tchaikovsky relied heavily on orchestration for
musical effects. Tchaikovsky, however, became noted for the "sensual opulence" and
"voluptuous timbrel virtuosity" of his scoring. Like Glinka, Tchaikovsky tended toward
bright primary colors and sharply delineated contrasts of texture. However, beginning
with the Third Symphony, Tchaikovsky experimented with an increased range of
timbres[141] Tchaikovsky's scoring was noted and admired by some of his peers. RimskyKorsakov 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." This
sonority, musicologist Richard Taruskin points out, is essentially Germanic in effect.
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.
Pastiche (Pass-ism)
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. In the ballet The Sleeping Beauty and the opera The Queen of
Spades, Tchaikovsky graduated from imitation to full-scale evocation. This practice,

which Alexandre Benois calls "pass-ism," lends an air of timelessness and immediacy,
making the past seem as though it were the present. [144] On a practical level, Tchaikovsky
was drawn to past styles because he felt he might find the solution to certain structural
problems within them. 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.

Works by genre
Ballets

Swan Lake, Op. 20 (18756)

The Sleeping Beauty, Op. 66 (1889)

The Nutcracker, Op. 71 (1892)

Operas

The Voyevoda ( The Voivode, Op. 3, 18671868)[a 1]

Undina ( or Undine, 1869, not completed)

The Oprichnik (), 18701872

Vakula the Smith ( or Kuznets Vakula), Op. 14, 1874[a 2]

Eugene Onegin ( or Yevgeny Onegin), Op. 24, 18771878

The Maid of Orleans ( or Orleanskaya deva), 18781879

Mazepa (or Mazeppa) (), 18811883

Cherevichki (; revision of Vakula the Smith) 1885

The Enchantress (or The Sorceress, or Charodeyka), 18851887

The Queen of Spades ( or Pikovaya dama), Op. 68, 1890

Iolanta ( or Iolanthe), Op. 69, 1891[a 3]

Symphonies

No. 1 in G minor, Op. 13, Winter Daydreams (1866)

No. 2 in C minor, Op. 17, Little Russian (1872)

No. 3 in D major, Op. 29, Polish (1875)

No. 4 in F minor, Op. 36 (18771878)

Manfred Symphony, B minor, Op. 58; inspired by Byron's poem Manfred (1885)

No. 5 in E minor, Op. 64 (1888)

Symphony in E-flat (sketched 1892 but abandoned; Tchaikovsky rescored its first
movement as the Piano Concerto No. 3 in E-flat; posthumously, Taneyev rescored
two other movements for piano and orchestra as the Andante and Finale; the
symphony was reconstructed during the 1950s and subsequently published as
"Symphony No. 7")

No. 6 in B minor, Op. 74, Pathtique (1893)

Concertos and concertante pieces

Piano Concerto No. 1 in B-flat minor, Op. 23 (1874-5)

Srnade mlancolique, Op. 26, for violin and orchestra (1875)

Variations on a Rococo Theme for cello and orchestra, Op. 33 (1876-7)

Valse-Scherzo for violin and orchestra, Op. 34

Violin Concerto in D major, Op. 35 (1878)

Piano Concerto No. 2 in G major, Op. 44 (187980)

Concert Fantasia in G for piano and orchestra, Op. 56 (1884)

Pezzo capriccioso, Op. 62, for cello and Orchestra (1888)

Piano Concerto No. 3 in E-flat major, Op. posth. 75 (1893)

Andante and Finale for piano and orchestra, Op. posth. 79 (1893)

This was Sergei Taneyev's idea of what Tchaikovsky might have written
had he used three of the movements of the abandoned Symphony in E-flat,
rather than just the first movement Allegro brillante, when rescoring the
symphony as the Piano Concerto No. 3 in E-flat

Cello Concerto (conjectural work based in part on a 60-bar fragment found on

the back of the rough draft for the last movement of the composer's Sixth
Symphony).
Concertstck for Flute and Strings, TH 247 Op. posth. (1893)

Other orchestral works

Program music and commissioned pieces

The Storm, Op. posth. 76 (1864)

Festival Overture on the Danish National Anthem (1866)

Fatum, Op. posth. 77 (1868)

Romeo and Juliet (1870, revised 1880)

The Tempest, Op. 18 (1873)

Marche Slave, Op. 31 (1876)

Francesca da Rimini, Op. 32 (1876)

Capriccio Italien, Op. 45 (1880)

1812 Overture, Op. 49 (1882)

Festival Coronation March (1883)

Hamlet, Op. 67a (1889)

The Voyevoda, Op. posth. 78 (1891)

Orchestral suites and Serenade

Orchestral Suite No. 1 in D minor, Op. 43 (18781879)

Orchestral Suite No. 2 in C major, Op. 53 (1883)

Orchestral Suite No. 3 in G major, Op. 55 (1884)

Orchestral Suite No. 4 in G major "Mozartiana", Op. 61 (1887)

Serenade for Strings in C major, Op. 48 (1880)

Incidental music

Dmitri the Pretender and Vassily Shuisky (1867), incidental music to Alexander
Ostrovsky's play Dmitri the Pretender

The Snow Maiden (Snegurochka), Op. 12 (1873), incidental music for Ostrovsky's
play of the same name. Ostrovsky adapted and dramatized a popular Russian fairy
tale,[4]and the score that Tchaikovsky wrote for it was always one of his own favorite
works. It contains much vocal music, but it is not a cantata or an opera.

Montenegrins Receiving News of Russia's Declaration of War on Turkey (1880),

music for a tableau.

The Voyevoda (1886), incidental music for the Domovoy scene from
Ostrovsky's A Dream on the Volga

Hamlet, Op. 67b (1891), incidental music for Shakespeare's play. The score uses
music borrowed from Tchaikovsky's overture of the same name, as well as from his
Symphony No. 3, and from The Snow Maiden, in addition to original music that he
wrote specifically for a stage production of Hamlet. The two vocal selections are a
song that Ophelia sings in the throes of her madness and a song for the First
Gravedigger to sing as he goes about his work.

Piano

Two Pieces, Op. 1 (1867)

Scherzo la russe

Impromptu

Souvenir de Hapsal, Op. 2, 3 pieces (1867)

Valse-caprice in D major, Op. 4 (1868)

Romance in F minor, Op. 5 (1868)

Valse-scherzo in A, Op. 7 (1870)

Capriccio in G-flat, Op. 8 (1870)

3 Morceaux, Op. 9 (1870)

1. Rverie

2. Polka de salon

3. Mazurka de salon
2 Morceaux, Op. 10 (1871)

1. Nocturne

2. Humoresque

6 Pieces, Op. 19 (1873)

1. Rverie du soir [ ] (G minor)

2. Scherzo humoristique [ ] (D major)

3. Feuillet d'album [ ] (D major)

4. Nocturne [] (C-sharp minor)

5. Capriccioso [] (B-flat major)

6. Thme original et variations [ ] (F major)

6 Morceaux, Op. 21 (1873)

The Seasons (Les saisons), Op. 37a (1876), 12 pieces

Piano Sonata in G major, Op. 37b (1878)

Album pour enfants, Op. 39, 24 pieces for piano (1878)

12 Morceaux de difficult moyenne, Op. 40 (1878)

Six Morceaux, Op. 51 (1882)

Dumka, Russian rustic scene in C minor for piano, Op. 59 (1886)

18 Morceaux for piano, Op. 72 (1892). Some of these pieces were used in a cello
concerto arrangement by Gaspar Cassad.
Piano Sonata No. 2 in C-sharp minor, Op. posth. 80 (1865)

Chamber music

Adagio molto in E major for string quartet and harp (1863/64)

String Quartet in B major, Op. posth. (1865)

String Quartet No. 1 in D major, Op. 11 (1871)

String Quartet No. 2 in F major, Op. 22 (1874)

String Quartet No. 3 in E-flat minor, Op. 30 (1875)

Souvenir d'un lieu cher (Memory of a Cherished Place) for violin and piano, Op.
42 (Meditation, Scherzo and Melody) (1878)

Piano Trio in A minor, Op. 50 (1882)

String Sextet in D minor (Souvenir de Florence), Op. 70 (1890)

Choral music
A considerable quantity of choral music (about 25 items), including:

Cantata (Hymn) on the Occasion of the Celebration of the 50th Jubilee of the
Singer Osip Afanasievich Petrov, tenor, chorus and orchestra, words by Nikolay
Nekrasov(1875; performed at the St Petersburg Conservatory on 6 May 1876, under
the conductor Karl Davydov)[5]

A Hymn to the Trinity (1877)

Liturgy of St John Chrysostom, Op. 41 (1878)

All-Night Vigil, Op. 52 (1881)

Moscow (1883)

9 Sacred Pieces (alternative name: 9 Church Pieces) (188485)[