Tchaikovsky Research : Six Pieces, Op. 51 (TH 143)

Catalogue References:	TH 143 ; ČW 175 (as "Salon Waltz").
Date:	August–September 1882.
Key:	A♭ major.
Tempo/Section Listing:	Allegro (A♭ major, 342 bars).
Instrumentation:	Piano (solo).
Autograph Location:	Moscow: Glinka State Central Museum of Musical Culture.
First Publication:	Moscow: P. Jurgenson, 1882.
Average Duration:	5 minutes.
Dedication:	Mariia Sergeevna Kondrat'eva
External Links:	Internet Music Score Library Project (downloadable score).

No. 2. Polka peu dansante

Catalogue References:	TH 143 ; ČW 176 (as "Polka of Little Use for Dancing").
Date:	August–September 1882.
Key:	B minor.
Tempo/Section Listing:	Allegro moderato (B minor, 183 bars).
Instrumentation:	Piano (solo).
Autograph Location:	Moscow: Glinka State Central Museum of Musical Culture.
First Publication:	Moscow: P. Jurgenson, 1882.
Average Duration:	5 minutes.
Dedication:	Anna L'vovna Davydova (1864–1942).
External Links:	Internet Music Score Library Project (downloadable score).

No. 3. Menuetto scherzoso

Catalogue References:	TH 143 ; ČW 177.
Date:	August–September 1882.
Key:	E♭ major.
Tempo/Section Listing:	Moderato assai (E♭ major, 203 bars).
Instrumentation:	Piano (solo).
Autograph Location:	Moscow: Glinka State Central Museum of Musical Culture.
First Publication:	Moscow: P. Jurgenson, 1882.
Average Duration:	5 minutes.
Dedication:	Anna Petrovna Merkling (1830–1911).
External Links:	Internet Music Score Library Project (downloadable score).

No. 4. Natha-valse

Catalogue References:	TH 143 ; ČW 178 (as "Natha Waltz").
Date:	August–September 1882.
Key:	A major.
Tempo/Section Listing:	Moderato (A major, 173 bars).
Instrumentation:	Piano (solo).
Autograph Location:	Moscow: Glinka State Central Museum of Musical Culture.
First Publication:	Moscow: P. Jurgenson, 1882.
Average Duration:	3 minutes.
Dedication:	Natal'ia Andreevna Pleskaia (1837–?).
Note:	A revised version of the Nathalie-valse (1878).
External Links:	Internet Music Score Library Project (downloadable score).

No. 5. Romance

Catalogue References:	TH 143 ; ČW 179.
Date:	August–September 1882.
Key:	F major.
Tempo/Section Listing:	Andante cantabile (F major, 124 bars).
Instrumentation:	Piano (solo).
Autograph Location:	Moscow: Glinka State Central Museum of Musical Culture.
First Publication:	Moscow: P. Jurgenson, 1882.
Average Duration:	7 minutes.
Dedication:	Vera L'vovna Rimskaia-Korsakova (1863–1888).
External Links:	Internet Music Score Library Project (downloadable score).

No. 6. Valse sentimentale

Catalogue References:	TH 143 ; ČW 180 (as "Sentimental Waltz").
Date:	August–September 1882.
Key:	F minor.
Tempo/Section Listing:	Tempo di Valse (F minor, 201 bars).
Instrumentation:	Piano (solo).
Autograph Location:	Moscow: Glinka State Central Museum of Musical Culture.
First Publication:	Moscow: P. Jurgenson, 1882.
Average Duration:	5 minutes.
Dedication:	Emma Genton
External Links:	Internet Music Score Library Project (downloadable score).

History

The idea for these pieces came from Nikolai Bernard, editor of the Saint Petersburg journal Nuvellist. In January 1882, Bernard sent a letter to Tchaikovsky asking him to write for Nuvellist, "at the subscribers' request", six pieces for piano; if the composer was agreeable, four of them should have the titles Nocturne, Dreams, Salon Waltz and Russian Dance [1]. However, Tchaikovsky was bound by an agreement with his publisher, which gave Petr Jurgenson the right of first refusal to publish the composer's works. If Tchaikovsky were to write the pieces for Nuvellist this would be in breach of the terms of the agreement.

At this point Petr Jurgenson expressed a willingness to publish the piano pieces for piano, and asked the composer to write them for his firm instead. Tchaikovsky viewed Jurgenson’s proposal as an attempt to deny him income from other publishing houses, and so he decided not to accept the commission [2]. On 1/13 February 1882, Tchaikovsky wrote: "I carried out your interdict and wrote Bernard a polite refusal, because I considered that your point of view you were completely within your rights, and your argument was well-founded. All the same, I think it’s rather a shame" [3]. Jurgenson wrote in reply: "You recently declared how you had profited by selling me now fewer than 6, 12, 24 piano pieces... Naturally I would not wish that your muse should be awakened just for financial reasons" [4]. But on 23 February/7 March, Jurgenson repeated his request for piano pieces [5].

However, Tchaikovsky was now occupied with other work, and did not start composing the pieces; on 19/31 July, Petr Jurgenson reminded him again: "You've not forgotten my order for piano pieces? The Jurgenson brothers expect them without fail" [6].

Tchaikovsky did not carry out his commission until late August/early September. On 10/22 September he wrote to Modest Tchaikovsky, listing all the work he had done that summer, including "6 pieces for piano, which were commissioned from me my both the Jurgenson brothers" [7]. On 15/27 September he informed Petr Jurgenson, "The other day you anticipated my surprise, in the shape of 6 pieces for piano, which I only just delivered into the world. I wouldn't have written then, if Osip Ivanovich hadn’t encouraged me to do so" [8].

Of the titles suggested by Nikolai Bernard, Tchaikovsky retained only one, Valse de Salon, which was published as the first number. The fourth piece, Natha-valse, was written on 5/17 April 1878 (according to the date on the manuscript) and in its first version was entitled Nathalie-valse. In 1882 the composer rewrote and extended this waltz, and changed the title to Natha-valse, giving it a virtuosic style more suited to concert performance [9].

All the pieces were published by Petr Jurgenson in 1882. The proofs (two sets) were corrected by the composer himself [10].

Six Pieces

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