Uploaded June 2022 | Updated September 2026, 2 hours ago
The Seasons, Op. 37a (also seen as Op. 37b; Russian: Времена года; published with the French title Les Saisons), is a set of twelve short character pieces for solo piano by the Russian composer Pyotr Ilyich Tchaikovsky. Each piece is the characteristic of a different month of the year in Russia. The work is also sometimes heard in orchestral and other arrangements by other hands.
Individual excerpts have always been popular – Troika (November) was a favourite encore of Sergei Rachmaninoff, and Barcarolle (June) was enormously popular and appeared in numerous arrangements (for orchestra, violin, cello, clarinet, harmonium, guitar and even mandolin).
The Seasons was commenced shortly after the premiere of Tchaikovsky's First Piano Concerto, and continued while he was completing his first ballet, Swan Lake.
In 1875, Nikolay Matveyevich Bernard, the editor of the St. Petersburg music magazine Nouvellist, commissioned Tchaikovsky to write 12 short piano pieces, one for each month of the year. Bernard suggested a subtitle for each month's piece.
Tchaikovsky accepted the commission and all of Bernard's subtitles, and in the December 1875 edition of the magazine, readers were promised a new Tchaikovsky piece each month throughout 1876. The January and February pieces were written in late 1875 and sent to Bernard in December, with a request for some feedback as to whether they were suitable, and if not, Tchaikovsky would rewrite February and ensure the remainder were in the style Bernard was after.
March, April and May appear to have been composed separately; however the remaining seven pieces were all composed at the same time and written in the same copybook, and evidence suggests they were written between 22 April and 27 May. The orchestration of Swan Lake was finished by 22 April, leaving the composer free to focus on other music; and he left for abroad at the end of May.
This seems to put the lie to Nikolay Kashkin's published version of events, which was that each month the composer would sit down to write a single piece, but only after being reminded to do so by his valet.
The epigraphs that appeared on publication of the pieces were chosen by Bernard, not by Tchaikovsky. In 1886 the publisher P. Jurgenson acquired the rights to The Seasons and the piece has been reprinted many times.
Tchaikovsky did not devote his most serious compositional efforts to these pieces; they were composed to order, and they were a way of supplementing his income. He saw the writing of music to a commission as just as valid as writing music from his own inner inspiration; however, for the former he needed a definite plot or text, a time limit, and the promise of payment at the end. Most of the pieces were in simple ABA form, but each contains a minor melodic masterpiece.
Tchaikovsky - The Seasons, Op. 37a - X. October
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The Seasons, Op. 37a (also seen as Op. 37b; Russian: Времена года; published with the French title Les Saisons), is a set of twelve short character pieces for solo piano by the Russian composer Pyotr Ilyich Tchaikovsky. Each piece is the characteristic of a different month of the year in Russia. The work is also sometimes heard in orchestral and other arrangements by other hands.
Individual excerpts have always been popular – Troika (November) was a favourite encore of Sergei Rachmaninoff, and Barcarolle (June) was enormously popular and appeared in numerous arrangements (for orchestra, violin, cello, clarinet, harmonium, guitar and even mandolin).
The Seasons was commenced shortly after the premiere of Tchaikovsky's First Piano Concerto, and continued while he was completing his first ballet, Swan Lake.
In 1875, Nikolay Matveyevich Bernard, the editor of the St. Petersburg music magazine Nouvellist, commissioned Tchaikovsky to write 12 short piano pieces, one for each month of the year. Bernard suggested a subtitle for each month's piece.
Tchaikovsky accepted the commission and all of Bernard's subtitles, and in the December 1875 edition of the magazine, readers were promised a new Tchaikovsky piece each month throughout 1876. The January and February pieces were written in late 1875 and sent to Bernard in December, with a request for some feedback as to whether they were suitable, and if not, Tchaikovsky would rewrite February and ensure the remainder were in the style Bernard was after.
March, April and May appear to have been composed separately; however the remaining seven pieces were all composed at the same time and written in the same copybook, and evidence suggests they were written between 22 April and 27 May. The orchestration of Swan Lake was finished by 22 April, leaving the composer free to focus on other music; and he left for abroad at the end of May.
This seems to put the lie to Nikolay Kashkin's published version of events, which was that each month the composer would sit down to write a single piece, but only after being reminded to do so by his valet.
The epigraphs that appeared on publication of the pieces were chosen by Bernard, not by Tchaikovsky. In 1886 the publisher P. Jurgenson acquired the rights to The Seasons and the piece has been reprinted many times.
Tchaikovsky did not devote his most serious compositional efforts to these pieces; they were composed to order, and they were a way of supplementing his income. He saw the writing of music to a commission as just as valid as writing music from his own inner inspiration; however, for the former he needed a definite plot or text, a time limit, and the promise of payment at the end. Most of the pieces were in simple ABA form, but each contains a minor melodic masterpiece.
Tchaikovsky - The Seasons, Op. 37a - X. October
#MusicHistory
#TheSeasons
#Tchaikovsky
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Our goal is to spread classical music to the greatest number of people.
Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. 🎧
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![Tchaikovsky - Romeo and Juliet (Overture-Fantasia) - Music | History
Romeo and Juliet, TH 42, ČW 39, is an orchestral work composed by Pyotr Ilyich Tchaikovsky. It is styled an Overture-Fantasy, and is based on Shakespeares play of the same name. Like other composers such as Berlioz and Prokofiev, Tchaikovsky was deeply inspired by Shakespeare and wrote works based on The Tempest and Hamlet as well.
Unlike Tchaikovskys other major compositions, Romeo and Juliet does not have an opus number. It has been given the alternative catalogue designations TH 42 and ČW 39.
In 1869 Tchaikovsky was a 28-year-old professor at the Moscow Conservatory. Having written his first symphony and an opera, he next composed a symphonic poem entitled Fatum. Initially pleased with the piece when Nikolai Rubinstein conducted it in Moscow, Tchaikovsky dedicated it to Balakirev and sent it to him to conduct in St. Petersburg. Fatum received only a lukewarm reception. Balakirev wrote a detailed letter to Tchaikovsky explaining the defects, but also giving some encouragement:
Your Fatum has been performed [in St. Petersburg] reasonably well ... There wasnt much applause, probably because of the appalling cacophony at the end of the piece, which I dont like at all. It is not properly gestated, and seems to have been written in a very slapdash manner. The seams show, as does all your clumsy stitching. Above all, the form itself just does not work. The whole thing is completely uncoordinated.... I am writing to you with complete frankness, being fully convinced that you wont go back on your intention of dedicating Fatum to me. Your dedication is precious to me as a sign of your sympathy towards me—and I feel a great weakness for you.
Tchaikovsky was too self-critical not to see the truth behind Balakirevs comments. He accepted Balakirevs criticism, and the two continued to correspond. (Tchaikovsky later destroyed the score of Fatum. The score was reconstructed posthumously from the orchestral parts.) Balakirev remained suspicious of anyone with a formal conservatory training but clearly recognized Tchaikovskys great talents. Tchaikovsky liked and admired Balakirev. However, as he told his brother Anatoly, I never feel quite at home with him. I particularly dont like the narrowness of his musical views and the sharpness of his tone.
Balakirev suggested Tchaikovsky write a piece based on William Shakespeares Romeo and Juliet. Tchaikovsky was having difficulties writing an opera entitled Undine, which he would eventually destroy. Though he complained, Im completely burned out, Balakirev persisted, as was his manner. Balakirev wrote suggestions about the structure of Romeo and Juliet, giving details of the type of music required in each section, and even opinions on which keys to use.
Balakirev had suggested his own overture King Lear as a model for Romeo—a prudent move, since he had seen Tchaikovskys weakness in writing in an unstructured musical form in Fatum. King Lear is not a symphonic poem in the manner of Liszt. It is a tragic overture in sonata form along the line of Beethovens overtures, relying more on the dramatic potential of sonata form rather than on a literary program. Thus, Balakirev had transformed King Lear into an instrumental drama and now offered it as a model to Tchaikovsky. While basing Romeo and Juliet on King Lear was Balakirevs suggestion, reducing the plot of the former to one central conflict and then combining it with the binary structure of sonata form was Tchaikovskys idea. However, executing that plot in the music we know today came only after two radical revisions.
Tchaikovsky - Romeo and Juliet (Overture-Fantasia)
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