"Music is your own experience, your own thoughts, your
wisdom. If you don't live it, it won't come out of your horn."
AUTHOR: Charlie Parker
MEANING OF THE QUOTE:
"A lot of who you are is due in part to your life’s experiences. Emotions that emanate from those experiences will come
out uniquely in the creation of music."
COMPOSER:
PETER ILYICH TCHAIKOVSKY
CAPRICCIO ITALIAN
CAPRICCIO ITALIAN
SYMPHONIC POEM, OP 45
SYMPHONIC POEM, OP 45
Leonard Bernstein, Conductor
New York Philharmonic
New York Philharmonic
 |
| first theme |
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| second theme |
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| third theme |
 |
| fourth theme |
This is a programmatic piece, creating an
astonishingly detailed depiction of time, place,
and event, without a word of text, taking you to
a day at a Roman Carnival Festival in Italy through
Tchaikovsky's musical recollection of experiencing it.
astonishingly detailed depiction of time, place,
and event, without a word of text, taking you to
a day at a Roman Carnival Festival in Italy through
Tchaikovsky's musical recollection of experiencing it.
CAPRICCIO ITALIAN
SYMPHONIC POEM, OP 45
Michail Jurowski, Conductor
Moscow City Symphony "Russian Philharmonic"
Moscow City Symphony "Russian Philharmonic"
Late in 1879, Tchaikovsky embarked on a long
tour of Italy, one of the happiest and most carefree
episodes in his life, but by no means was he mu-
sically idle. During this time the composer was work-
ing on his Second Piano Concerto
PIANO CONCERTO NO 2
PIANO CONCERTO NO 2
IN G MAJOR, OP. 44
Denis Matsuev, Piano
Valery Gergiev, Conductor
Mariinsky Orchestra
and was revising penned revisions to his
Symphony No. 2 ("Little Russian"),
originally composed in 1872.
SYMPHONY NO. 2
"LITTLE RUSSIAN"
Leonard Slatkin, Conductor
Detroit Symphony Orchestra
As part of the tour he spent three months
in the winter of 1880 in Rome
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| Rudolf Wiegmann: Rome, 1834 A view of the river Tiber looking south with the Castel Sant Angelo and Saint Peters Basilica beyond |
at the time of the Roman Carnival.
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| Aleksandr-Petrovic Mjasoedo: Carnival in Rome, 1839 |
As music in Rome filled the air, Tchaikovsky,
 |
| Tchaikovsky in 1880 |
a lover of folk melodies
of his native land as well as
those of other countries, couldn't
help but write some of it down so he set
out to write a piece inspired by his impressions
in January of 1880 Tchaikovsky said that he
wanted to write an Italian suite based on folk
melodies, and that he envisioned
"something like the Spanish fantasias of Glinka."
of his native land as well as
those of other countries, couldn't
help but write some of it down so he set
out to write a piece inspired by his impressions
in January of 1880 Tchaikovsky said that he
wanted to write an Italian suite based on folk
melodies, and that he envisioned
"something like the Spanish fantasias of Glinka."
 |
Mikhail Ivanovich Glinka
(1804-1857)
|
Tchaikovsky's predesessor, the
father of Russian music, visited Spain
from 1845-47. Glinka’s experiences there
provided the inspiration for two orchestral
works based upon Spanish folk melodies:
Capriccio Brillante on the Jota Aragonesa
(1845, also known as First Spanish Overture),
father of Russian music, visited Spain
from 1845-47. Glinka’s experiences there
provided the inspiration for two orchestral
works based upon Spanish folk melodies:
Capriccio Brillante on the Jota Aragonesa
(1845, also known as First Spanish Overture),
MIKHAIL GLINKA
CAPRICCIO BRILLANTE
ON THE JOTA ARAGONESA
ON THE JOTA ARAGONESA
(SPANISH OVERTURE NO. 1)
Yevgeni Svetlanov, Conductor
The U.S.S.R. State Academic Symphony
where he masterfully evokes the Mediterranean
world musically. Tchaikovsky's Italian Capriccio
does unabashedly emulate those Spanish fant-
asies and owes a definite debt to the second of
these, Recollection of a Summer Night in Madrid.
MIKHAIL GLINKA
SUMMER NIGHT IN MADRID
(SPANISH OVERTURE NO. 2)
Yevgeni Svetlanov, Conductor
The U.S.S.R. Symphony Orchestra
 |
| Nadezhda von Meck |
Soon he wrote to his faithful correspondent
and patroness Madame Nadezhda von Meck
(the mysterious patron with whom he corresponded
and who provided him a stipend on the condition
that they never meet) that he was sketching a piece
with freely treated elements, what he first called an
"Italian Fantasia," for orchestra (which he later, after
the work was completed in May 1880,
titled the "Italian Capriccio").
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| Von Meck and Tchaikovsky |
"Yesterday I heard a delightful folksong which I shall certainly use."
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| Nadezhda von Meck |
Within a week (between January 16 and May
27, 1880) the main work was done and in the
beginning of February, Tchaikovsky was
able to report to von Meck:
"I have already completed the sketches for an Italian fantasia on folk tunes
for which I believe a good future may be predicted. It will be effective,thanks
to the delightful tunes which I have succeeded in assembling partly
from anthologies [published collections of folk music], partly through my
own ears on the streets [the writing down of melodies by ear]."
27, 1880) the main work was done and in the
beginning of February, Tchaikovsky was
able to report to von Meck:
"I have already completed the sketches for an Italian fantasia on folk tunes
for which I believe a good future may be predicted. It will be effective,thanks
to the delightful tunes which I have succeeded in assembling partly
from anthologies [published collections of folk music], partly through my
own ears on the streets [the writing down of melodies by ear]."
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| Panoramic view of the Roman Forum from Capitol Hill in Roma Italy |
A musical tourist guidebook to Italy of symphonic
proportions was the result; a guidebook popular
with concert audiences ever since its first orchestra
performance in Moscow, on December 18,1880
conducted by Nikolai Rubinstein.
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| Nikolai Rubinstein |
Dedicated to the famous Russian cellist,
Karl Davidov, who Tchaikovsky
called the "Czar of Cellists,"
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| Karl Davidov |
most effective and satisfying small-scaled
works for orchestra. The reason for the piece's
success lies in the skill with which the composer
put together his borrowed melodies, the brilliant
orchestration (which he had not completed until
May when he was back in Russia), the swift
changes of tempo, and the carefree
spirit theat pervades the work.
spirit theat pervades the work.
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| Pietro Gabrini, Three Young beauties |
The Capriccio Italien, like
the aforementioned Glinka piece,
was written in a single movement
loosely stitching together a succession
mélange of independent sections,
Capriccio is the Italian word for caprice, which
means an impulsive change of mind, or an
inclination for such behavior. It is a lively piece
composed freely. Thus, to label a piece of music
a "capriccio" is perhaps a euphemism for
"there's no particular form here,
I just made it up as I went along."
each conjuring up some unspecified
aspect of Italian life or scenery.
An example of this type of imagery is
An example of this type of imagery is
heard in the very beginning of the Capriccio.
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| Modest Tchaikovsky |
the bugle call
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| Kingdom of Naples; Cuirassiers, Trumpeter, 1812 |
he heard every morning that awakened him
became the dramatic extended slow fanfare
of the opening (Andante un poco rubato) played
by a trumpet in his capriccio. The introduction
ushers in a similarly heroic and melancholy string
melody (first heard in the lower strings). The fan-
fare blares again more forcefully and then the mood
lightens with a jaunty little tune, an evocation of an
Italian street band, first played by the oboes with
brass and then finally by the whole orchestra. Violins
and a trumpet then play a melody over a vigorous
dance rhythm. The melancholy string theme
returns, and then there is a vivacious tarantella
– a type of wild folk-dance taking its name
– a type of wild folk-dance taking its name
from the southern Italian town of Taranto.
The oboe theme returns, but this time as
a much slower and pompous melody played
by the whole orchestra. The piece concludes
with a final, frenetic second tarantella (a
Neopolitan tarantella known in Italy as the
Cicuzza; the same Italian tarantella dance
that decades earlier Felix Mendelssohn
had emulated in the fourth movement of his
Symphony No. 4 in A Major, Op. 90, 'Italian')
a much slower and pompous melody played
by the whole orchestra. The piece concludes
with a final, frenetic second tarantella (a
Neopolitan tarantella known in Italy as the
Cicuzza; the same Italian tarantella dance
that decades earlier Felix Mendelssohn
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| Felix Mendelssohn |
Symphony No. 4 in A Major, Op. 90, 'Italian')
FELIX MENDELSSOHN
SYMPHONY NO. 4 Op. 90
"ITALIAN" MOVEMENT 4
Felipe Izcaray, Conductor
Simon Bolivar Symphony Orchestra of Venezuela
and then a brilliant flourish for
a dazzling, whirlwind finale.
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| Daniel Hernandez: Mujer con Pandereta |
ANALYSIS OF CAPRICCIO ITALIEN
INFORMATION FROM:
The piece of includes 5 Italian tunes organized as follows:
ABABCDAEBE
Apparently two of these themes are clearly
identifiable Italian folk melodies.
 |
| Introduction |
A is a trumpet call Tchaikovsky heard every morning from the
barracks near his hotel in Italy in 1880 (Hotel Constanzi in Rome).
It is presented with two trumpets opening the tune and then a
fanfare for the brass and then follows:
B a solemn darker melody with its brass rhythmic interjection.
Kind of a funeral march. Tchaikovsky has to give a romantic vibe
by repeating the tune with oboe playing it. The flute imitation
of the tune is beautiful and characteristic of Tchaikovsky. It gets
to a climax with a return to opening trumpet call and after another
presentation of the march by English horn and bassoon
through a bass transition we hear the next tune: C.
C is a swaying dance in 6/8 presented with two oboes in thirds, then two
trumpets in thirds. The string passages after each motive is again another
Tchaikovsky characteristic orchestra writing. When the violins play the
tune woodwinds respond with the passages. This reaches another
Tchaikovskian climax that leads the piece to: D.
D is another dance in "aba" form. Some people think of it as being more
Spanish than Italian? Whatdo Italians say? A horn call transitions the
piece back to the opening funeral march (A). Here we remember one
of the transitional passages from the 1812 overture.
Then comes the tarantella (E).
E is the vivid tarantella (also known in Italy as the traditional Cicuzza)
and provides the material for the Capriccio's dramatic coda. This one
is the second identifiable folk tune. Tchaikovsky develops the dance
by repeating the tune forward and backwards. Here the excitement
builds until with repetition ofthe 6/8 dance and then we reach another
characteristic dramatic ending from Tchaikovsky in the Coda when the
tarantella comes back. This sounds like the coda of his Symphony No.4.
This piece is a tightly integrated ingenious
succession of unrelated contrasting themes
(melodies captured or borrowed) from his
holiday some of which make telling return
appearances during the course of the work
with occasional reminders of material from
the introduction; all endowed
with orchestral brilliance.
Using the percussion section
with great flair and coloristic effects
to establish a carnivalesque atmosphere,
Tchaikovsky allows us to imagine hearing
the crowd and sensing its mounting expect-
ation; feeling the hubbub of merrymaking,
the streets filling with people ready to
party as the evening draws near.
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| http://www.carolynhoyle.com/hoyle/pages/gallery1.html |
FOR PIANO 4 HANDS
In his May 24 letter to von Meck the composer noted
"I have only just finished scoring the Italian Fantasia...
Now I shall start arranging it... for four hands."
Two days earlier, Tchaikovsky had
told his publisher Piotr Jurgenson
"I have only just finished scoring the Italian Fantasia...
Now I shall start arranging it... for four hands."
Two days earlier, Tchaikovsky had
told his publisher Piotr Jurgenson
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| Piotr Ivanovich Jurgenson |
arrangement for piano duet, for fear
that it would be held up if this task were
entrusted to his friend Sergei Taneyev.
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| Sergei Taneyev |
CAPRICCIO ITALIEN
FOR 4 HANDS
4-Hand Arrangement by Tchaikovsky
Albert Tiu and Thomas Hecht, Piano
In September 1880 the piano duet arrange-
ment by the composer appeared in print, be-
fore the full score and orchestral parts, which
were first published that November. Tchaikovsky's
piano arrangement of the Capriccio Italien
has been described as
"scrupulously analytical in its representation of the orchestral
score, a kind of monochrome cartoon for a grand fresco."
ment by the composer appeared in print, be-
fore the full score and orchestral parts, which
were first published that November. Tchaikovsky's
piano arrangement of the Capriccio Italien
has been described as
"scrupulously analytical in its representation of the orchestral
score, a kind of monochrome cartoon for a grand fresco."
Several other arrangements of the work by
other hands appeared shortly afterwards,
including ones for solo piano and two pianos,
as well as for piano four hands. Arrangements
of orchestral works for piano were often the
only method that allowed many listeners, and
performers for that matter, to enjoy works
composed for orchestra, before the
advent of music recording.
other hands appeared shortly afterwards,
including ones for solo piano and two pianos,
as well as for piano four hands. Arrangements
of orchestral works for piano were often the
only method that allowed many listeners, and
performers for that matter, to enjoy works
composed for orchestra, before the
advent of music recording.
Nikolai Rimsky-Korsakov
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| Nikolai Rimsky-Korsakov |
CAPRICCIO ESPAGNOL OP. 34
Zubin Mehta, Conductor
Berliner Philharmonic
and a sub-genre was born.
LINKS
https://music-musicians.knoji.com/1880-tchaikovskys-capriccio-italien/
https://www.wikiwand.com/en/Capriccio_Italien
https://musopen.org/sheetmusic/192/pyotr-ilyich-tchaikovsky/capriccio-italian-op-45/
https://archive.org/details/TchaikovskyCapriccioItalienOp.45dutoit
http://www.allmusic.com/composition/capriccio-italien-for-orchestra-or-piano-4-hands-op-45-mc0002369293
http://cso.org/uploadedfiles/1_tickets_and_events/program_notes/programnotes_cso_morton_tchaikovsky.pdf
https://www.atlantasymphony.org/~/media/Sites/ASO2011/ProgramResources/11-7-13PN.ashx
http://paducahsymphony.org/events-tickets/capriccio-italien-op-45-th-47-piotr-ilyich-tchaikovsky/
http://www.lansingsymphony.org/portals/0/docs/masterworks%204%20-%20song%20of%20norway.pdf
http://www.amusicalfeast.com/april_program_notes.html
http://www.virginiasymphony.org/file/Caprccio%20Pro%20Notes.pdf
https://www.wikiwand.com/en/Capriccio_Italien
https://musopen.org/sheetmusic/192/pyotr-ilyich-tchaikovsky/capriccio-italian-op-45/
https://archive.org/details/TchaikovskyCapriccioItalienOp.45dutoit
http://www.allmusic.com/composition/capriccio-italien-for-orchestra-or-piano-4-hands-op-45-mc0002369293
http://cso.org/uploadedfiles/1_tickets_and_events/program_notes/programnotes_cso_morton_tchaikovsky.pdf
https://www.atlantasymphony.org/~/media/Sites/ASO2011/ProgramResources/11-7-13PN.ashx
http://paducahsymphony.org/events-tickets/capriccio-italien-op-45-th-47-piotr-ilyich-tchaikovsky/
http://www.lansingsymphony.org/portals/0/docs/masterworks%204%20-%20song%20of%20norway.pdf
http://www.amusicalfeast.com/april_program_notes.html
http://www.virginiasymphony.org/file/Caprccio%20Pro%20Notes.pdf
http://bso.http.internapcdn.net/bso/images/program_notes/TCHAIKOVSKY_Capriccio-italien.pdf
http://en.tchaikovsky-research.net/pages/Italian_Capriccio
http://www.soundclick.com/bands/page_songInfo.cfm?bandID=891075&songID=8258050
http://musidoconmusic.blogspot.com/2010/06/tchakovsky-capriccio-italien.html
http://www.istrianet.org/istria/music/history-folklore/tchaikovsky1.htm
http://www.buywell.com/booklets/4804849.pdf
http://uchicagosymphonyorchestra.tumblr.com/post/117350529118/program-notes-for-viva-litalia
http://www.chapelhillphilharmonia.org/site/pdf/programs/CHP-Oct-2008.pdf
http://ccsymphony.com/programnotes/120226programnotes.pdf
http://blog.udn.com/hornman1965/8176645
http://gtmf.org/wp-content/uploads/2015/06/GTMF_Book_Final_Web.pdf
https://www.classicaltv.com/the-informer/everything-tchaikovsky-on-classical-tv
ROMAN CARNIVAL
The composer Hector Berlioz
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| Hector Berlioz |
based on the Carnival of Rome. In the piece
he used the saltarello (similar to the tarantella)
as the opening and throughout the Overture.
HECTOR BERLIOZ
ROMAN CARNIVAL OVERTURE
James Levine, Conductor
Orchestre de Paris
Orchestre de Paris
PAINTINGS BASED ON
THE ROMAN CARNIVAL
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| Carnival in Rome: Viva Carnevale, 1841 |
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| Ippolito Caffi: Carnival in the Via Del Campo, Rome |
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| A. Pini: Scena del Carnevale Romano a Piazza del Popolo, Olio su Tela |
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| Ippolito Caffi: Carnival in the Via Del Campo, Rome |
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| Ippolito Caffi: Carnival in the Via Del Campo, Rome |
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| Ippolito Caffi: Carnival Night to Via del Corso |
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| Ippolito Caffi: Festa dei Moccoletti, 1817 |
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| Ippolito Caffi: 1847 |
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| Achille Pinelli: A Scene of Rome's Carnival, c. 1835 |
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| Achille Pinelli, Ultima Sera del Carnevale, 1833 Last Day of Carnival in Rome with Moccoletti Candles |
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| Bartolomeo Pinelli: Carnevale A Roma II |
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| Jose Benlliure y Gil: Carnival in Rome (Century XIX) |
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| A.N. Mokritsky: The Roman Carnival, Italian Woman on the Balcony |
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| Johannes Lingelbach: Carnival in Rome, c. 1650 |
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| Johannes Lingelbach: Carnival in Rome (Detail), c. 1650 |
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| Christopher William Eckersberg: Carnival in Rome, 1828 |
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| Vincenzo Migliaro: Carnevale |
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| Wilhelm Wider: Carnival in Rome, 1852 |
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| Fyodor Bronnikov: Carnival in Rome |
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| Francesco Muccinelli: Corteo di Maschere a piazza Colonna Durante il Carnevale (Parade of Masks on Piazza Colonna, Rome During the Carnival), 1781 |
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| Jan Miel: Carnival in the Piazza Colonna, Rome, 1645 |
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| Jan Miel: Roman Carnival, 1653 |
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| Friedrich Wilhelm Moritz: Carnevale di Roma |
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| Jean Louis Baptiste Thomas: La Festa dei Moccoletti, 1817 |
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| Vasily Surikov: Roman Carnival |
ROMAN CARNIVAL LINKS
http://www.gothicfunkpress.com/blog/floor-not-your-typican-new-orleans-mardi-gras/
http://www.gothicfunkpress.com/blog/floor-not-your-typican-new-orleans-mardi-gras/
