Moskva: P. Yurgensona [PNs 3360-3374], .
Octavo. Disbound. 1f. (recto decorative chromolithographic title, verso blank), 3-63, [i] (blank) pp.
For mixed choir with piano reduction.
Censorship authorization date 25 September 1878 printed to foot of final page: "Dozvoleno tsenzuriyu Moskva 25 Sentyabrya 1878 g."
Handstamp of music distributor Urbánek in Prague to foot of title. Former owner's name in ink ("Eva Hejdova") to title.
Occasional minor soiling.
First Edition. Rare. Vajdman ČW 77, p. 456. Poznansky TH 75, p. 234.
Tchaikovsky's setting of the Russian Orthodox Liturgy of St. John Chrysostom was first performed at the National University at Kyiv in 1879. (English sources claim June, but Vajdman asserts it occured prior to May 17). During his visit to America, Tchaikovsky conducted a performance of the work in New York City at Carnegie Hall on 8 May 1891.
"Tchaikovsky’s sacred music is revered today, but some of his contemporaries faulted its prosody, harmonization and devices thought to be Western. Its predominantly homophonic textures and tendency to frequent, direct, joyful proclamation have no source in European models. Its occasional imitation or striking chord progression, which appear to refute his reformist ambitions, may be rooted in Glinka’s conception of Orthodox style as fundamentally chordal with occasional artifice. When writing the Liturgy, a free composition, Tchaikovsky’s effort to revive his recently foundering muse may have affected his commitment to sobriety of style, producing distinctive harmonies and textures. These could be attributed to individual creativity irreverent of the text. Similarly, his use of regular metre in the Liturgy (abandoned in the Vesper Service, which comprised settings of particular chants) may have upset the expected speechlike prosody of traditional choral chanting. Yet Tchaikovsky’s sacred style also had its champions, and in time it became a model for other composers." Roland John Wiley in Grove Music Online.
Price: $250.00 other currencies