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TH 141 Children's AlbumДетский альбом24 simple pieces à la Schumann, Op. 39 (1878). [1]
HistoryIn a letter of 30 April 1878 to Nadezhda von Meck, the composer wrote: "A while ago I thought that it would not be a bad idea to make a small contribution to the stock: of children's musical literature, which is very modest. I want to create a series of little individual pieces just for children, and with an attractive title, like Schumann’s" [2]. Some months before this letter was written, while staying in Florence on 14/26 February, Tchaikovsky told Petr Jurgenson that he wanted "to write a number of easy pieces, like [ Schumann’s] Kinderstück" [3]. Evidently, the idea of creating for a collection of pieces for young people had not been abandoned by the composer, and after his return to Kamenka in April he decided to begin composition. In the aforementioned letter to Nadezhda von Meck, he informed her: "Tomorrow I shall start work on my collection of miniatures for children". On 1 May the composer wrote to Anatolii Tchaikovsky: "I’m working well and have done rather a lot" [4]. On 4 May the sketches for all 24 pieces were ready [5]. Shortly afterwards, Tchaikovsky accepted an invitation from Nadezhda von Meck to stay at her Brailov estate until the end of May, before spending a few days in Moscow; from there he went to spend five days with his friend Nikolai Kondratev at Nizy, and in the middle of June he called at Kiev, before returning to Verbovka. In the days following his arrival, he began to put the finishing touches to all the pieces written in April and May. The fair copy of the Children's Album was begun, it seems, on 13 July [6]. By 20 July the copying out was completed, and on 21 July the composer told Nadezhda von Meck that he was working on the Liturgy of St. John Chrysostom [7]. On 29 July the manuscript of the Children’s Album, along with a number of other compositions, was sent to Petr Jurgenson in Moscow [8]. In October, after the proofs had been corrected, the album was published [9]. The Children’s Album is dedicated to Tchaikovsky's favourite nephew, Vladimir Davydov [10]. On 12/24 December 1878, Tchaikovsky wrote to Lev Davydov: "Tell Bobik that the music has been printed with pictures, that the music was composed by Uncle Petia, and that on the it is written Dedicated to Volodia Davydov. The silly little fellow will not understand what dedicated means... Even so, Bobik is an inimitably delightful figure when he’s playing, and he might look at the notes, and think that a whole symphony is dedicated to him" [11]. Several pieces from the cycle make use of authentic folk tunes. The Russian Song (No. 11) is based on the theme of the folk song «Голова ль ты моя головушка». In Kamarinskaia (No. 12) the composer makes use of a Russian folk theme. Italian folk melodies appear in the Neapolitan Song (No. 18) - which also occurs in the ballet Swan Lake - and in the ltalian Song (No. 15) [12]. Yet another Italian tune forms the basis for the piece The Organ Grinder Sings (No. 23) [13]; this same tune is used in the middle section of the piece Reverie interrompue (No. 12 of the Twelve Pieces, Op. 40) [14]. The theme of the Old French Song (No. 16) was used again in the opera The Maid of Orleans the minstrels' song from Act II. From: Музыкальное наследие Чайковского (1958),
pp. 409-411 Notes:
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