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Italian Caprice
WHEN Tchaikovsky's Italian Caprice first appeared, some critics declared it to bo vulgar—not so much, probably, because it was founded on popular tunes of the streets that the composer heard in Italy, as because he had ' let himself go ' in reproducing the spirit of ' vulgus,' the crowd. In that sense, vulgar the piece certainly is. Those who know a good deal of Tchaikovsky's music may like to try to decide if there is in it anything vulgar in the usual critical sense of the word—anything coarse-fibred in its essential thought, and if there is, whether' that element is to be matched in any of Tchaikovsky's other works.
BERNARD Ross (Baritone) with Orchestra The Pilgrim's Song
THE traveller, gazing around him with emotion on all the beauties of valley, hill and ocean, and on the glories of the heavens, lifts his voice in an all-embracing benediction.
ANDERSON TYRER (Pianoforte) and Orchestra Concerto in B Flat Minor
A FTER writing this work especially for
Nicholas Rubinstein , a distinguished Pianist, and dedicating it to him, Tchaikovsky found that the player disliked it intensely, considering it unplayable and worthless. So the composer took out Rubinstein's name and put in that of von Bülow, who took the Concerto to America and there gave the first performance of it. Later, Rubinstein repented, and played the work, and Tchaikovsky rewrote it very largely.
There are three Movements.
FIRST MOVEMENT. This opens with an Introduction. Then comes one of the Main Tunes of the Movement. It begins on Piano alone, and can be recognized by its curiously broken character (all divided into little groups of two notes at a time ) ; this is a tune Tchaikovsky borrowed from the blind beggars at a fair. After some time, a more gentle tune enters, which can bo recognised by the fact that at first it is given to Wind instruments alone.
These are the chief tunes, out of which the whole Movement (more or less) is made. The middle part of tho Movement is constructed out of fragments of them, and the last part of it repeats them much in their first form.
SECOND MOVEMENT. This is a brief and very attractive Movement, which begins with a graceful tune for Fluto accompanied by pizzicato Strings. Later appears a quicker passage (beginning on Piano alone), which Tchaikovsky took from an old French song We must be happy, dance and sing. Lastly, the first tune returns, this time in tho Piano part, accompanied by the Strings. It needs no explanation; everyone can follow it.
THIRD MOVEMENT. This quick and fiery
Movement is mado out of three chief tunes, all suggesting Russian dances.
Four Songs :
With laughter and dancing around mo None but the weary heart
The jealous tears on thy dear eyes 0, would that for a moment
Variations on an original Theme
Third Suite, in G
Elegy; Sad Waltz ; Scherzo ; Theme and Variations


Unknown: T. H. Morrison
Baritone: Bernard Ross
Unknown: Nicholas Rubinstein
Unknown: Bernard Ross




Unknown: Dr. A. W. Wilson

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