Tchaikovsky – Nocturne for cello and piano Op.19 N4
Tchaikovsky – Nocturne for cello and piano Op.19 N4. You can download the PDF sheet music Tchaikovsky – Nocturne for cello and piano Op.19 N4 on this page. This interesting musical creative is the significant masterpiece composition for string instrument by the great composer. This opus impress listeners by the magnificent harmonic rhythm of two instruments. This composers opus surprise the listeners by the rich and clear string sense of song and other dramatic images. To view the first page of Tchaikovsky – Nocturne for cello and piano Op.19 N4 click the music sheet image.
Narek Hakhnazaryan playing Tchaikovsky – Nocturne for cello and piano
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 his mother's early death, the death of his close friend and colleague Nikolai Rubinstein, and the collapse of the one enduring relationship of his adult life, which was his 13-year association with the wealthy widow Nadezhda von Meck. His homosexuality, which he kept private, has traditionally also been considered a major factor, though some musicologists now downplay its importance. Tchaikovsky's sudden death at the age of 53 is generally ascribed to cholera; there is an ongoing debate as to whether cholera was indeed the cause of death, or if it was accidental or self-inflicted.
While his music has remained popular among audiences, critical opinions were initially mixed. Some Russians did not feel it was sufficiently representative of native musical values and expressed suspicion that Europeans accepted the music for its Western elements. In an apparent reinforcement of the latter claim, some Europeans lauded Tchaikovsky for offering music more substantive than base exoticism, and said he transcended stereotypes of Russian classical music. Others dismissed Tchaikovsky's music as "lacking in elevated thought," according to longtime New York Times music critic Harold C. Schonberg, and derided its formal workings as deficient because they did not stringently follow Western principles.