The Year 1812, Solemn Overture, Op. 49, popularly known as the 1812 Overture, is a concert overture in E♭ major written in 1880 by Russian composer Pyotr Ilyich Tchaikovsky. The piece commemorates Russia's successful defence against the French invasion of the nation in 1812. The overture's first public performance, conducted by Ippolit Al'tani, took place in Moscow on 20 August [O.S. 8 August] 1882, under a tent, near the still unfinished Cathedral of Christ the Saviour, which also memorialised the 1812 defence of Russia. The fifteen-minute overture is best known for its climactic volley of cannon fire, ringing chimes, and a brass fanfare finale. It has also become a common accompaniment to fireworks displays on the United States' Independence Day. The 1812 Overture went on to become one of Tchaikovsky's most popular works, along with his ballet scores to The Nutcracker, The Sleeping Beauty, and Swan Lake.

Pyotr Ilyich Tchaikovsky wrote many works well-known to the general classical public, including Romeo and Juliet, the 1812 Overture, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. These, along with two of his four concertos, three of his symphonies and two of his ten operas, are among his most familiar works. Almost as popular are the Manfred Symphony, Francesca da Rimini, the Capriccio Italien, and the Serenade for Strings.

Capriccio italien, Op. 45, is a 15-minute fantasy for orchestra by Pyotr Ilyich Tchaikovsky. Composed between January and May 1880, it premiered on 18 December that year (New System) in Moscow with Nikolay Rubinstein conducting the Orchestra of the Imperial Russian Musical Society. The dedicatee was cellist Karl Davydov. The work's initial name was Italian Fantasia, after Mikhail Glinka's Spanish pieces.

The Concert Fantasia in G major, Op. 56, for piano and orchestra, was written by Pyotr Ilyich Tchaikovsky between June and October 1884. It was premiered in Moscow on 6 March [O.S. 22 February] 1885, with Sergei Taneyev as soloist and Max Erdmannsdörfer conducting. The Concert Fantasia received many performances in the first 20 years of its existence. It then disappeared from the repertoire and lay virtually unperformed for many years, but underwent a revival in the latter part of the 20th century.

Pyotr Ilyich Tchaikovsky ( chy-KOF-skee; 7 May 1840 – 6 November 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music made a lasting impression internationally. Tchaikovsky wrote some of the most popular concert and theatrical music in the classical repertoire, including the 1812 Overture, his First Piano Concerto, the Violin Concerto, the Romeo and Juliet Overture-Fantasy, several symphonies, the opera Eugene Onegin, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. Although musically precocious, Tchaikovsky was educated for a career as a civil servant as there was little opportunity for a musical career in Russia at the time and no public music education system. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching Tchaikovsky received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five, with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From that reconciliation, he forged a personal but unmistakably Russian style. The principles that governed melody, harmony, and other fundamentals of Russian music diverged from those that governed Western European music. There seemed to be little potential for using Russian music in large-scale Western composition or for forming a composite style, and this caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. That resulted in uncertainty among the intelligentsia about the country's national identity, an ambiguity mirrored in Tchaikovsky's career. Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by her early death, the death of his close friend and colleague Nikolai Rubinstein, his failed marriage to Antonina Miliukova, and the collapse of his 13-year association with the wealthy patroness Nadezhda von Meck. Tchaikovsky's homosexuality, which he kept private, has traditionally also been considered a major factor, though some scholars have downplayed its importance. His dedication of his Sixth symphony to his nephew Vladimir Davydov and the feelings he expressed about Davydov in letters to others have been cited as evidence for romantic love between the two. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera, but there is an ongoing debate as to whether cholera was indeed the cause and whether the death was intentional. While his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it sufficiently represented native musical values and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of that claim, some Europeans lauded Tchaikovsky for offering music more substantive than exoticism, and said he transcended the stereotypes of Russian classical music. Others dismissed Tchaikovsky's music as deficient because it did not stringently follow Western principles.

The Festival Coronation March in D major, TH 50, ČW 47, is an orchestral work by Peter Ilyich Tchaikovsky ordered by the city of Moscow for the coronation of Tsar Alexander III in 1883. It was written during March 1883 and performed for the first time on June 4 [O.S. May 23], 1883 in Sokolniki Park (Moscow), conducted by Sergei Taneyev. The music included excerpts of the anthem God Save the Tsar. Recordings of this piece generally run between 5 and 5+1⁄2 minutes.

The Year 1812, Solemn Overture, Op. 49, popularly known as the 1812 Overture, is a concert overture in E♭ major written in 1880 by Russian composer Pyotr Ilyich Tchaikovsky. The piece commemorates Russia's successful defence against the French invasion of the nation in 1812. The overture's first public performance, conducted by Ippolit Al'tani, took place in Moscow on 20 August [O.S. 8 August] 1882, under a tent, near the still unfinished Cathedral of Christ the Saviour, which also memorialised the 1812 defence of Russia. The fifteen-minute overture is best known for its climactic volley of cannon fire, ringing chimes, and a brass fanfare finale. It has also become a common accompaniment to fireworks displays on the United States' Independence Day. The 1812 Overture went on to become one of Tchaikovsky's most popular works, along with his ballet scores to The Nutcracker, The Sleeping Beauty, and Swan Lake.

Swan Lake (Russian: Лебединое озеро) is a ballet composed by Russian composer Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular ballets of all time. The scenario, initially in two acts, was based on Russian and German folk tales, telling a story of Odette, a princess turned into a swan by an evil sorcerer's curse. The ballet was premiered by the Bolshoi Ballet on 4 March [O.S. 20 February] 1877 at the Bolshoi Theatre in Moscow. The choreographer of this original production was Julius Reisinger (Václav Reisinger). Most ballet companies now base their performances on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 15 January 1895, at the Mariinsky Theatre in St. Petersburg. For this revival, Tchaikovsky's score was revised by Riccardo Drigo.

Francesca da Rimini: Symphonic Fantasy after Dante, Op. 32, is a symphonic poem by Pyotr Ilyich Tchaikovsky. It is a symphonic interpretation of the tragic tale of Francesca da Rimini, a beauty immortalized in Dante's Divine Comedy.

Shakespeare's Hamlet was the inspiration for two works by Pyotr Ilyich Tchaikovsky: the overture-fantasia Hamlet, Op. 67, and incidental music for the play, Op. 67a.

The religious views of Pyotr Ilyich Tchaikovsky have been the subject of scholarly interest as a controversial topic. While Tchaikovsky's contemporaries did not place emphasis on his religious views, and during the Soviet era, the composer was classified as a materialist, modern musicological literature has produced numerous scholarly works that, based on documentary evidence, interpret Tchaikovsky's views on religion in various ways. The composer was raised an Orthodox Christian. Tchaikovsky's childhood poems in Russian and French were addressed to God. Doubts began to emerge after the death of his mother. By the 1860s, the composer no longer felt the need for prayer or fasting. Tchaikovsky's religious sentiments began to intensify in the mid-1870s, linked to his awareness of the unnaturalness of his sexual orientation. By the 1880s, he found spiritual support in faith and overcame the spiritual contradictions that had troubled him. Tchaikovsky became engrossed in the "practice of religious life": he frequently discussed worship and church music, compared Orthodox services with other Christian denominations, and deeply studied Holy Scripture. Among Tchaikovsky's spiritual compositions from this period are the Liturgy of St. John Chrysostom (1878), the All-Night Vigil (1881), Nine Sacred Musical Pieces (1884–1885), and The Angel Cried Out (1887). In his final years, Tchaikovsky focused solely on the moral aspects of Christ's teachings, unable to overcome his doubts about dogma and moved away from Orthodoxy. Tchaikovsky began to lean toward a religious position similar to that of Ernest Renan and the pantheistic views of Baruch Spinoza. In letters from his final years, Tchaikovsky mentioned his dream of composing a secular Passion of Jesus. He also made several attempts to create poetic texts based on the gospels for a future musical work.

The Violin Concerto in D major, Op. 35 was the only concerto for violin composed by Pyotr Ilyich Tchaikovsky. Composed in 1878, it is one of the best-known violin concertos. The concerto was composed in Clarens, Switzerland, where Tchaikovsky was recovering from the fallout of his ill-fated marriage. The concerto was influenced by Édouard Lalo's Symphonie espagnole and was composed with the help of Tchaikovsky's pupil and probable former lover, Iosif Kotek. Despite Tchaikovsky's original intention to dedicate the work to Kotek, he instead dedicated it to Leopold Auer due to societal pressures. Auer, however, refused to perform it, and the premiere was given by Adolph Brodsky in 1881 to mixed reviews. The piece, which Tchaikovsky later rededicated to Brodsky, has since become a staple of the violin repertoire. The concerto has three movements, is scored for solo violin and orchestra, and typically runs for about 35 minutes.

The Symphony No. 5 in E minor, Op. 64 is a symphony composed by Pyotr Ilyich Tchaikovsky between May and August 1888, and is one of Tchaikovsky's most celebrated works. The symphony is one of many pieces (by him and other composers) that depict and contemplate fate using a musical motif that repeats throughout the work. It was first performed in Saint Petersburg at the Mariinsky Theatre on November 17th with Tchaikovsky conducting.

Pyotr Ilyich Tchaikovsky wrote many works well-known to the general classical public, including Romeo and Juliet, the 1812 Overture, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. These, along with two of his four concertos, three of his symphonies and two of his ten operas, are among his most familiar works. Almost as popular are the Manfred Symphony, Francesca da Rimini, the Capriccio Italien, and the Serenade for Strings.

Pyotr Ilyich Tchaikovsky composed a set of six romances for voice and piano, Op. 6, in late 1869; the last of these songs is the melancholy "None but the Lonely Heart" (Russian: Нет, только тот, кто знал, romanized: Net, tol'ko tot, kto znal), a setting of Lev Mei's poem "The Harpist's Song" which in turn was a translation of "Nur wer die Sehnsucht kennt" from Goethe's Wilhelm Meister's Apprenticeship. Tchaikovsky dedicated this piece to Alina Khvostova. The song was premiered by Russian mezzo-soprano Yelizaveta Lavrovskaya in Moscow in 1870, following it with its Saint Petersburg premiere the following year during an all-Tchaikovsky concert hosted by Nikolai Rubinstein; the latter was the first concert devoted entirely to Tchaikovsky's works.

Pyotr Ilyich Tchaikovsky wrote many works well-known to the general classical public, including Romeo and Juliet, the 1812 Overture, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. These, along with two of his four concertos, three of his symphonies and two of his ten operas, are among his most familiar works. Almost as popular are the Manfred Symphony, Francesca da Rimini, the Capriccio Italien, and the Serenade for Strings.

The Year 1812, Solemn Overture, Op. 49, popularly known as the 1812 Overture, is a concert overture in E♭ major written in 1880 by Russian composer Pyotr Ilyich Tchaikovsky. The piece commemorates Russia's successful defence against the French invasion of the nation in 1812. The overture's first public performance, conducted by Ippolit Al'tani, took place in Moscow on 20 August [O.S. 8 August] 1882, under a tent, near the still unfinished Cathedral of Christ the Saviour, which also memorialised the 1812 defence of Russia. The fifteen-minute overture is best known for its climactic volley of cannon fire, ringing chimes, and a brass fanfare finale. It has also become a common accompaniment to fireworks displays on the United States' Independence Day. The 1812 Overture went on to become one of Tchaikovsky's most popular works, along with his ballet scores to The Nutcracker, The Sleeping Beauty, and Swan Lake.

Pyotr Ilyich Tchaikovsky composed his Pezzo capriccioso, Op. 62, for cello and orchestra in a single week in August 1887. Belying its title, this work is written in the somber key of B minor, the same key as the Symphony No. 6 Pathétique. The Pezzo is not capricious in a lighthearted sense. The capriccioso aspect comes from Tchaikovsky's fanciful treatment of various aspects of the work's simple theme. Despite some rapid passages and a turn to the major key, Tchaikovsky preserves the basic pulse and sober mood throughout the piece. The sobriety was a result of Tchaikovsky's sufferings with his friend Nikolay Kondratyev. Kondratyev was in the final throes of syphilis. After a brief remission, he had been taken to Aachen, Germany, where his family hoped the mineral waters there would prolong his life at least a few months. Instead, Kondratyev had taken a turn for the worse. Moreover, he proved a highly unpredictable, volatile and demanding patient, which unnerved the already death-shy Tchaikovsky (Kondratyev died in Aachen on October 3.). A visit to see friends in Paris—among them cellist Anatoliy Brandukov—proved only a brief respite. All this suffering poured through the music Tchaikovsky was writing, as well. Tchaikovsky wrote Brandukov on August 25, "I have written a small cello piece, and would like you to look through it, and put the final touches to the cello part." Two days later he had begun to make the piano score of the piece, and on 31st he began orchestrating it. The first performance of the Pezzo capriccioso, in its arrangement for piano accompaniment, took place on February 28, 1888 [O.S. February 16] at the home of M. P. Benardaky, during Tchaikovsky's visit to Paris. Brandukov was soloist, with the composer at the keyboard. The first performance of the orchestral version was given by Brandukov in Moscow at a special concert of the Russian Musical Society on November 25, 1889. Tchaikovsky conducted the orchestra. P. Jurgenson published the Pezzo capriccioso in 1888—the orchestral parts in January, and the arrangement for cello with piano in March. Publication of the full score was delayed because Tchaikovsky had taken the manuscript abroad with him, and did not return it to Jurgenson until May 6, 1888. The full score was printed in July the same year.

The Piano Concerto No. 1 in B♭ minor, Op. 23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875. It was revised in 1879 and in 1888. It was first performed on October 25, 1875, in Boston by Hans von Bülow after Tchaikovsky's desired pianist, Nikolai Rubinstein, criticised the piece. Rubinstein later withdrew his criticism and became a fervent champion of the work. It is one of the most popular of Tchaikovsky's compositions and among the best known of all piano concerti. From 2021 to 2022, it served as the sporting anthem of the Russian Olympic Committee as a substitute of the country's actual national anthem as a result of the doping scandal that prohibits the use of its national symbols.

Pyotr Ilyich Tchaikovsky's Piano Concerto No. 2 in G major, Op. 44, was written in 1879–1880 and dedicated to Nikolai Rubinstein, who had insisted he perform it at the premiere as a way of making up for his harsh criticism of Tchaikovsky's First Piano Concerto. But Rubinstein never played it, as he died in March 1881, and the work has never attained much popularity. The premiere performance took place in New York City, on 12 November 1881. The soloist was Madeline Schiller, and Theodore Thomas conducted the New York Philharmonic orchestra. The first Russian performance was in Moscow in May 1882, conducted by Anton Rubinstein with Tchaikovsky's pupil, Sergei Taneyev, at the piano.

Pyotr Ilyich Tchaikovsky ( chy-KOF-skee; 7 May 1840 – 6 November 1893) was a Russian composer of the Romantic period. He was the first Russian composer whose music made a lasting impression internationally. Tchaikovsky wrote some of the most popular concert and theatrical music in the classical repertoire, including the 1812 Overture, his First Piano Concerto, the Violin Concerto, the Romeo and Juliet Overture-Fantasy, several symphonies, the opera Eugene Onegin, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. Although musically precocious, Tchaikovsky was educated for a career as a civil servant as there was little opportunity for a musical career in Russia at the time and no public music education system. When an opportunity for such an education arose, he entered the nascent Saint Petersburg Conservatory, from which he graduated in 1865. The formal Western-oriented teaching Tchaikovsky received there set him apart from composers of the contemporary nationalist movement embodied by the Russian composers of The Five, with whom his professional relationship was mixed. Tchaikovsky's training set him on a path to reconcile what he had learned with the native musical practices to which he had been exposed from childhood. From that reconciliation, he forged a personal but unmistakably Russian style. The principles that governed melody, harmony, and other fundamentals of Russian music diverged from those that governed Western European music. There seemed to be little potential for using Russian music in large-scale Western composition or for forming a composite style, and this caused personal antipathies that dented Tchaikovsky's self-confidence. Russian culture exhibited a split personality, with its native and adopted elements having drifted apart increasingly since the time of Peter the Great. That resulted in uncertainty among the intelligentsia about the country's national identity, an ambiguity mirrored in Tchaikovsky's career. Despite his many popular successes, Tchaikovsky's life was punctuated by personal crises and depression. Contributory factors included his early separation from his mother for boarding school followed by her early death, the death of his close friend and colleague Nikolai Rubinstein, his failed marriage to Antonina Miliukova, and the collapse of his 13-year association with the wealthy patroness Nadezhda von Meck. Tchaikovsky's homosexuality, which he kept private, has traditionally also been considered a major factor, though some scholars have downplayed its importance. His dedication of his Sixth symphony to his nephew Vladimir Davydov and the feelings he expressed about Davydov in letters to others have been cited as evidence for romantic love between the two. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera, but there is an ongoing debate as to whether cholera was indeed the cause and whether the death was intentional. While his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it sufficiently represented native musical values and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of that claim, some Europeans lauded Tchaikovsky for offering music more substantive than exoticism, and said he transcended the stereotypes of Russian classical music. Others dismissed Tchaikovsky's music as deficient because it did not stringently follow Western principles.

The polonaise (, French: [pɔlɔnɛz]; Polish: polonez, Polish pronunciation: [pɔˈlɔnɛs]) is a dance originating in Poland, and one of the five Polish national dances in 34 time. The original Polish-language name of the dance is chodzony (pronounced [xɔˈd͡zɔnɨ]), denoting a walking dance. The polonaise dance influenced European ballrooms, folk music and European classical music. The polonaise has a rhythm quite close to that of the Swedish semiquaver or sixteenth-note polska, and the two dances share a common origin. Polska dance was introduced to Sweden during the period of the Vasa dynasty and the Polish–Swedish union. The polonaise is popular in Poland today. It is the opening dance in major events, at New Year's balls, on national days as well as other parties. The polonaise is always the first dance at a studniówka ("student ball"), the Polish equivalent of the senior prom that occurs approximately 100 days before exams, hence its name "studniówka" or literally in Polish "the ball of the hundred days". In 2023, the dance was included on the UNESCO Intangible Cultural Heritage Lists being recognized as "a form of joint celebration", which "commemorates important moments in family and community life and symbolizes cooperation, reconciliation and equality."

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 Shakespeare's 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 Tchaikovsky's 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.

Tchaikovsky's Serenade for Strings in C major, Op. 48, was composed in 1880. It was first performed October 30, 1881, in St. Petersburg at a Russian Musical Society concert conducted by Eduard Nápravník. The Serenade was given a private performance at the Moscow Conservatory on 3 December 1880. Its first public performance was in St Petersburg on 30 October 1881 under Eduard Napravnik.

Tchaikovsky's Serenade for Strings in C major, Op. 48, was composed in 1880. It was first performed October 30, 1881, in St. Petersburg at a Russian Musical Society concert conducted by Eduard Nápravník. The Serenade was given a private performance at the Moscow Conservatory on 3 December 1880. Its first public performance was in St Petersburg on 30 October 1881 under Eduard Napravnik.

Sérénade mélancolique in B♭ minor for violin and orchestra, Op. 26 (Russian: Меланхолическая серенада), is a piece by Pyotr Ilyich Tchaikovsky that was written in February 1875. It was his first work for violin and orchestra and was written immediately after he completed his First Piano Concerto.

The Violin Concerto in D major, Op. 35 was the only concerto for violin composed by Pyotr Ilyich Tchaikovsky. Composed in 1878, it is one of the best-known violin concertos. The concerto was composed in Clarens, Switzerland, where Tchaikovsky was recovering from the fallout of his ill-fated marriage. The concerto was influenced by Édouard Lalo's Symphonie espagnole and was composed with the help of Tchaikovsky's pupil and probable former lover, Iosif Kotek. Despite Tchaikovsky's original intention to dedicate the work to Kotek, he instead dedicated it to Leopold Auer due to societal pressures. Auer, however, refused to perform it, and the premiere was given by Adolph Brodsky in 1881 to mixed reviews. The piece, which Tchaikovsky later rededicated to Brodsky, has since become a staple of the violin repertoire. The concerto has three movements, is scored for solo violin and orchestra, and typically runs for about 35 minutes.

The Marche slave, also Marche slav (French pronunciation: [maʁʃ(ə) slav]) in B♭ minor, Op. 31, is an orchestral tone poem by Pyotr Ilyich Tchaikovsky published in 1876. It was written to celebrate Russia's intervention in the Serbo-Ottoman War. It has been published variously as Slavic March (Serbian: Словенски марш / Slovenski marš; Russian: Славянский марш, romanized: Slavyanskiy marsh), Slavonic March, and Serbo-Russian March (Serbian: Српско-руски марш / Srpsko-ruski marš; Russian: Сербско-русский марш, romanized: Serbsko-russkiy marsh).

Orchestral Suite No. 1 in D minor is an orchestral suite, Op. 43, written by Pyotr Ilyich Tchaikovsky in 1878 and 1879. It was premiered on December 20, 1879 at a Russian Musical Society concert in Moscow, conducted by Nikolai Rubinstein. The piece is dedicated to Tchaikovsky's patroness, Nadezhda von Meck.

This is a list of compositions by Alexander Glazunov (1865–1936).

Pyotr Ilyich Tchaikovsky composed his Orchestral Suite No. 3 in G major, Op. 55 in 1884, writing it concurrently with his Concert Fantasia in G, Op. 56, for piano and orchestra. The originally intended opening movement of the suite, Contrastes, instead became the closing movement of the fantasia. Both works were also intended initially as more mainstream compositions than they became; the fantasia was intended as a piano concerto, while the suite was conceived as a symphony. The suite's first performance was in Saint Petersburg, Russia on January 24, 1885, under the direction of Hans von Bülow. It was dedicated to the conductor Max Erdmannsdörfer, who gave the Moscow premiere a few days later, and who had conducted the premieres of the first two suites.

The Orchestral Suite No. 4, Mozartiana, Op. 61, is an orchestral suite by Pyotr Ilyich Tchaikovsky, written in 1887 as a tribute to Wolfgang Amadeus Mozart on the 100th anniversary of that composer's opera Don Giovanni. Because this suite consists of four orchestrations of piano pieces by (or in one case, based on) Mozart, Tchaikovsky did not number this suite with his previous three suites for orchestra. Instead, he considered it a separate work entitled Mozartiana. Nevertheless, it is usually counted as No. 4 of his orchestral suites. Tchaikovsky conducted the premiere himself, in Moscow in November 1887. It was the only one of his suites he conducted, and only the second at whose premiere he was present.

Pyotr Ilyich Tchaikovsky wrote his Symphony No. 1 in G minor, Winter Daydreams (or Winter Dreams) (Russian: Зимние грёзы, Zimniye gryozy), Op. 13, in 1866, just after he accepted a professorship at the Moscow Conservatory: it is the composer's earliest notable work. The composer's brother, Modest Ilyich Tchaikovsky, asserted that the symphony's creation from beginning to end cost his sibling more labor than any other works and even involved considerable suffering. Even so, he remained fond of it throughout his life. Tchaikovsky wrote to his patroness Nadezhda von Meck in 1883 that he believed, "although it is in many ways very immature," he still knows that "yet fundamentally it has more substance and is better than any of my other more mature works." Tchaikovsky dedicated his first symphony to his contemporary musician Nikolai Rubinstein, who as both a close friend and as a pianist of note helped with the former figure's career aspirations. He began writing it while experiencing considerable alienation and dealing with extreme fatigue, with his graduation from the St. Petersburg Conservatory and initial efforts at composition failing to provide the creative opportunities that he had hoped for. Work proved sluggish. This aggravation became compounded by how Tchaikovsky found it impractical if not impossible to come up with a whole symphony of the inherent quality he demanded of himself under the strict attitudes towards form and function, at the level of unreasonable imitation in his opinion, held by other Russians as both teachers and peers. While composing such a dramatically ambitious work ravaged both his mental state and physical health, particularly given the suffocating ethos of the conservative and even formalist musicians around him, the symphony received acclaim from both popular audiences and professionals alike after its release. This has continued over the course of many years, and it has remained significantly lauded in large part due to its structural inventions in the context of Russian music during the middle to late 1800s. Writing for the British mass media publication The Guardian in 2014, music journalist Tom Service argued that "Tchaikovsky's first symphony remodelled the form into a truly Russian style" in a way that beyond "staking out territory that his five other symphonies continued to explore" additionally serves as "one of the most irresistibly attractive first symphonies ever written". Service added that the composer's skills particularly shine through given how certain sections involve "Tchaikovsky proving a point" about the fact "that he knew all the tricks in the academic book" while Tchaikovsky still incorporated certain boldly distinct musical elements, with the symphony's final movement striking listeners such as himself given its "irresistibly over-the-top conclusion".

Anna Karenina is a ballet choreographed by Boris Eifman, based on the 1877 novel Anna Karenina by Leo Tolstoy. The première took place in Saint Petersburg on Saturday, 2 April 2005. The music is by Pyotr Ilyich Tchaikovsky and includes excerpts from: Symphony No. 2 in C minor Little Russian, Op. 17 The Tempest symphonic fantasy, Op. 18 Francesca da Rimini symphonic fantasy, Op. 32 Souvenir d'un lieu cher, Op. 42 Scherzo. Presto giocoso Suite No. 1 in D major, Op. 43 Andante sostenuto, moderato e con anima Intermezzo: part 3. Andante semplice Serenade for Strings in C, Op. 48 Andante non troppo. Allegro moderato Suite No. 3 in G, Op. 55 Manfred Symphony in B minor, Op. 58 Hamlet, overture-fantasy, Op. 67a Souvenir de Florence, string sextet in D minor, Op. 70 Adagio cantabile e con moto Symphony No. 6 in B minor Pathetique, Op. 74 The Voyevoda symphonic ballad, Op. 78 Romeo and Juliet fantasy-overture

Pyotr Ilyich Tchaikovsky wrote many works well-known to the general classical public, including Romeo and Juliet, the 1812 Overture, and the ballets Swan Lake, The Sleeping Beauty and The Nutcracker. These, along with two of his four concertos, three of his symphonies and two of his ten operas, are among his most familiar works. Almost as popular are the Manfred Symphony, Francesca da Rimini, the Capriccio Italien, and the Serenade for Strings.

Pyotr Ilyich Tchaikovsky's Symphony No. 4 in F minor, Op. 36, was written between 1877 and 1878. Its first performance was at a Russian Musical Society concert in Moscow on February 22 (or the 10th using the calendar of the time), 1878, with Nikolai Rubinstein as conductor. In Central Europe it sometimes receives the nickname "Fatum", or "Fate". A typical performance lasts about 40 minutes.

The Symphony No. 5 in E minor, Op. 64 is a symphony composed by Pyotr Ilyich Tchaikovsky between May and August 1888, and is one of Tchaikovsky's most celebrated works. The symphony is one of many pieces (by him and other composers) that depict and contemplate fate using a musical motif that repeats throughout the work. It was first performed in Saint Petersburg at the Mariinsky Theatre on November 17th with Tchaikovsky conducting.

The Symphony No. 6 in B minor, Op. 74, also known as the Pathétique Symphony, is Pyotr Ilyich Tchaikovsky's final completed symphony, written between February and August 1893. The composer titled it "The Passionate Symphony", employing a Russian word, Патетическая (Pateticheskaya), meaning "passionate" or "emotional", which was then translated into French as pathétique, meaning "solemn" or "emotive". Tchaikovsky led the first performance in Saint Petersburg on 28 October [O.S. 16 October] 1893, nine days before his death. The second performance, conducted by Eduard Nápravník, took place 21 days later, at a memorial concert on 18 November [O.S. 6 November]. It included some minor corrections that Tchaikovsky made after the premiere, and was thus the first performance of the work in the exact form in which it is known today. The first performance in Moscow was on 16 December [O.S. 4 December], conducted by Vasily Safonov. It was the last of Tchaikovsky's compositions premiered in his lifetime; his very last composition, the single-movement Third Piano Concerto, Op. 75, which was completed shortly before his death, received a posthumous premiere.

Max & Ruby is a Canadian animated children's television series based on the book series by Rosemary Wells. In Canada, the series debuted on Treehouse TV on May 3, 2002, and in the United States, the series premiered on Nick Jr. on October 21, 2002, and on Noggin on August 16, 2004. A sixth season of the series premiered on September 18, 2016, and concluded on September 24, 2018 in the United States, with a new main voice cast and theme song. A seventh season premiered on August 12, 2018 (with the main voice cast reused from Season 6).

The Storm, Op. 76 (TH 36) (Russian: Гроза, groza), is an overture (in the context of a symphonic poem) in E minor composed by Pyotr Ilyich Tchaikovsky around June and August 1864. The work is inspired by the play The Storm by the Russian playwright Alexander Ostrovsky. The same play also inspired Leoš Janáček's opera Káťa Kabanová.

Swan Lake (Russian: Лебединое озеро) is a ballet composed by Russian composer Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular ballets of all time. The scenario, initially in two acts, was based on Russian and German folk tales, telling a story of Odette, a princess turned into a swan by an evil sorcerer's curse. The ballet was premiered by the Bolshoi Ballet on 4 March [O.S. 20 February] 1877 at the Bolshoi Theatre in Moscow. The choreographer of this original production was Julius Reisinger (Václav Reisinger). Most ballet companies now base their performances on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 15 January 1895, at the Mariinsky Theatre in St. Petersburg. For this revival, Tchaikovsky's score was revised by Riccardo Drigo.

The Tempest (Russian: Буря Burya), Symphonic Fantasia after Shakespeare, Op. 18, is a symphonic poem in F minor by Pyotr Ilyich Tchaikovsky composed in 1873. It was premiered in December 1873, conducted by Nikolai Rubinstein. It is based on the play The Tempest by William Shakespeare. Similar in structure to Tchaikovsky's better-known Romeo and Juliet fantasy-overture, it contains themes depicting the stillness of the ship at sea, the grotesque nature of Caliban, and the love between Ferdinand and Miranda. The love music is particularly strong, being reminiscent of the love music from Romeo and Juliet. Tchaikovsky was much influenced by Shakespeare: in addition to Romeo and Juliet and The Tempest, he also wrote a Hamlet overture-fantasy (1888) and incidental music to Hamlet (1891). Excerpts from the score were used in the 2005 ballet Anna Karenina, choreographed by Boris Eifman.

In music, Op. 78 stands for Opus number 78. Compositions that have been assigned this number include: Beethoven – Piano Sonata No. 24 Brahms – Violin Sonata No. 1 Dvořák – Symphonic Variations Fauré – Sicilienne Klebe – Das Rendezvous Saint-Saëns – Symphony No. 3 Schubert – Piano Sonata in G major, D 894 Schumann – 4 duets (soprano and tenor) Tchaikovsky – The Voyevoda

The Valse-Scherzo in C major, Op. 34, TH 58, is a work for violin and orchestra by Pyotr Ilyich Tchaikovsky, written in 1877. It is not to be confused with two similarly named works by Tchaikovsky, both for solo piano: one written in 1870 as Op. 7, and one from 1889 without opus number.

The Valse-Scherzo in C major, Op. 34, TH 58, is a work for violin and orchestra by Pyotr Ilyich Tchaikovsky, written in 1877. It is not to be confused with two similarly named works by Tchaikovsky, both for solo piano: one written in 1870 as Op. 7, and one from 1889 without opus number.

The Variations on a Rococo Theme, Op. 33, is a concertante work for cello and orchestra by Pyotr Ilyich Tchaikovsky. It is the closest he ever came to writing a full concerto for cello and orchestra. The style was inspired by Mozart, Tchaikovsky's role model, and makes it clear that Tchaikovsky admired the Classical style very much. However, the Theme is not Rococo in origin, but actually an original theme in the Rococo style. Tchaikovsky wrote this piece for and with the help of Wilhelm Fitzenhagen, a German cellist and fellow-professor at the Moscow Conservatory. Fitzenhagen gave the premiere in Moscow on November 30, 1877, with Nikolai Rubinstein conducting. This was perhaps the only hearing of the Variations as Tchaikovsky wrote the piece, until 1941, when it was played in Moscow without Fitzenhagen's by-then-standard emendations.

The Violin Concerto in D major, Op. 35 was the only concerto for violin composed by Pyotr Ilyich Tchaikovsky. Composed in 1878, it is one of the best-known violin concertos. The concerto was composed in Clarens, Switzerland, where Tchaikovsky was recovering from the fallout of his ill-fated marriage. The concerto was influenced by Édouard Lalo's Symphonie espagnole and was composed with the help of Tchaikovsky's pupil and probable former lover, Iosif Kotek. Despite Tchaikovsky's original intention to dedicate the work to Kotek, he instead dedicated it to Leopold Auer due to societal pressures. Auer, however, refused to perform it, and the premiere was given by Adolph Brodsky in 1881 to mixed reviews. The piece, which Tchaikovsky later rededicated to Brodsky, has since become a staple of the violin repertoire. The concerto has three movements, is scored for solo violin and orchestra, and typically runs for about 35 minutes.

The Nutcracker (Russian: Щелкунчик, romanized: Shchelkunchik, pronounced [ɕːɪɫˈkunʲt͡ɕɪk] ), Op. 71, is an 1892 two-act classical ballet (conceived as a ballet-féerie; Russian: балет-феерия, romanized: balet-feyeriya) by Pyotr Ilyich Tchaikovsky, set on Christmas Eve at the foot of a Christmas tree in a child's imagination featuring a Nutcracker doll. The plot is an adaptation of Alexandre Dumas's 1844 short story The Tale of a Nutcracker, itself a retelling of E. T. A. Hoffmann's 1816 short story The Nutcracker and the Mouse King. The ballet's first choreographer was Marius Petipa, with whom Tchaikovsky had worked three years earlier on The Sleeping Beauty, assisted by Lev Ivanov. Although the complete and staged The Nutcracker ballet was not initially as successful as the 20-minute Nutcracker Suite that Tchaikovsky had premiered nine months earlier, it became popular in later years. Since the late 1960s, The Nutcracker has been danced by many ballet companies, especially in North America. Major American ballet companies generate around 40% of their annual ticket revenues from performances of the ballet. Its score has been used in several film adaptations of Hoffmann's story. Tchaikovsky's score has become one of his most famous compositions. Among other things, the score is noted for its use of the celesta, an instrument the composer had already employed in his much lesser known symphonic ballad The Voyevoda (1891).