Tchaikovsky’s compositional process

“You ask if in composing this symphony I had a special programme in view. To such questions regarding my symphonic works I generally answer: nothing of the kind. In reality it is very difficult to answer this question. How interpret those vague feelings which pass through one during the composition of an instrumental work, without reference to any definite subject? It is a purely lyrical process. A kind of musical shriving of the soul, in which there is an encrustation of material which flows forth again in notes, just as the lyrical poet pours himself out in verse. The difference consists in the fact that music possesses far richer means of expression, and is a more subtle medium in which to translate the thousand shifting moments in the mood of a soul. Generally speaking, the germ of a future composition comes suddenly and unexpectedly. If the soil is ready—that is to say, if the disposition for work is there—it takes root with extraordinary force and rapidity, shoots up through the earth, puts forth branches, leaves, and, finally, blossoms. I cannot define the creative process in any other way than by this simile. The great difficulty is that the germ must appear at a favourable moment, the rest goes of itself. It would be vain to try to put into words that immeasurable sense of bliss which comes over me directly a new idea awakens in me and begins to assume a definite form. I forget everything and behave like a madman. Everything within me starts pulsing and quivering; hardly have I begun the sketch ere one thought follows another. In the midst of this magic process it frequently happens that some external interruption wakes me from my somnambulistic state: a ring at the bell, the entrance of my servant, the striking of the clock, reminding me that it is time to leave off. Dreadful, indeed, are such interruptions. Sometimes they break the thread of inspiration for a considerable time, so that I have to seek it again—often in vain. In such cases cool headwork and technical knowledge have to come to my aid. Even in the works of the greatest master we find such moments, when the organic sequence fails and a skilful join has to be made, so that the parts appear as a completely welded whole. But it cannot be avoided. If that condition of mind and soul, which we call inspiration, lasted long without intermission, no artist could survive it. The strings would break and the instrument be shattered into fragments. It is already a great thing if the main ideas and general outline of a work come without any racking of brains, as the result of that supernatural and inexplicable force we call inspiration.”

Tchaikovsky, in a letter to N. F. von Meck, Florence, 17 March (1 March) 1878. M. Tchaikovsky, The Life and Letters of Tchaikovsky, trans. Rosa Newmarch, London, John Lane The Bodley Head, 1916, pp. 274-275, (accessed 25 April 2023).




Featured Content

The price of an encore
At a concert in London in December 1911, Rachmaninoff was received to great acclaim: perhaps a little too much from the orchestra's view point, who wanted to play the rest of their program: The London Philharmonic Concert given on November 7, provided an object lesson in this study of the relation of applause to encores.  […]
Waste not, want not
While attending school in Lüneberg, J. S. Bach used to travel to Hamburg (50km away) to hear the organist of the Catharinekirche: J. A. Reincken.  Marpurg describes how Bach, returning almost penniless to Lüneberg, once rested outside an inn; how someone threw two herring heads out on the rubbish heap; how Bach – a Thuringian, to […]
Satie on La Mer
At the 1905 premiere of La Mer, one of whose movements is called “From Dawn to Midday on the Sea”, Debussy received the usual post-performance congratulations. Satie’s deflating comment was, “Ah, my dear friend, there’s one particular moment between half past ten and a quarter to eleven that I found especially stunning.” Levison, B. (2015). […]
The human voice
O, how wonderful is the human voice! It is indeed the organ of the soul! The intellect of man sits enthroned visibly upon his forehead and in his eye; and the heart of man is written uponhis countenance. But the soul reveals itself in the voice only; as God revealed himself to the prophet of […]
Success is a staircase
“Success is not a doorway, it’s a staircase.” — Dottie Walters
Recollections from Gallipoli
Title: Recollections from Gallipoli Text: Ellis Salis Music: Greg Smith Instrumentation: Tenor and piano Product medium: PDF score Sample:
Abstraction X
Title: Abstraction XComposer: Greg SmithPerformer: Greg Smith (7 August 2010)Instrumentation: PianoProduct medium: MP3Related products:– Abstraction X (PDF score)
Through the Long Night
Title: Through the Long Night Composer: Greg SmithText: Edward Carpenter Instrumentation: TTBBProduct medium: PDF score
Hans Zimmer on writing pop songs
Ask him to write a song, though, and he’ll likely turn you down on the basis that he has a problem with “any form of authority, and the authority that is put upon you of writing a song”. “Verse, chorus, verse, chorus, middle eight…” he says. “It’s always the same bloody structure. I end up […]
Intermezzo, op. 118 no. 2 (Brahms)