Tchaikovsky Research : Six Pieces, Op. 51 (TH 143)

Catalogue References	TH 143 ; ČW 175 (as "Salon Waltz")
Date	August–September 1882
Key	A♭ major
Tempo/Section Listing	Allegro (A♭ major, 342 bars)
Instrumentation	Piano (solo)
Autograph Location	Moscow (Russia): Glinka National Museum Consortium of Musical Culture (ф. 88, No. 117)
First Publication	Moscow: P. Jurgenson, 1882
Average Duration	5 minutes
Dedication	Mariya Sergeyevna Kondratyeva
External Links	IMSLP/Petrucci Music Library (downloadable score)

No. 2. Polka peu dansante

Catalogue References	TH 143 ; ČW 176 (as "Polka of Little Use for Dancing")
Date	August–September 1882
Key	B minor
Tempo/Section Listing	Allegro moderato (B minor, 183 bars)
Instrumentation	Piano (solo)
Autograph Location	Moscow (Russia): Glinka National Museum Consortium of Musical Culture (ф. 88, No. 117)
First Publication	Moscow: P. Jurgenson, 1882
Average Duration	5 minutes
Dedication	Anna Lvovna Davydova (1864–1942)
External Links	IMSLP/Petrucci Music Library (downloadable score)

No. 3. Menuetto scherzoso

Catalogue References	TH 143 ; ČW 177
Date	August–September 1882
Key	E♭ major
Tempo/Section Listing	Moderato assai (E♭ major, 203 bars)
Instrumentation	Piano (solo)
Autograph Location	Moscow (Russia): Glinka National Museum Consortium of Musical Culture (ф. 88, No. 117)
First Publication	Moscow: P. Jurgenson, 1882
Average Duration	5 minutes
Dedication	Anna Petrovna Merkling (1830–1911)
External Links	IMSLP/Petrucci Music Library (downloadable score)

No. 4. Natha-valse

Catalogue References	TH 143 ; ČW 178 (as "Natha Waltz")
Date	August–September 1882
Key	A major
Tempo/Section Listing	Moderato (A major, 173 bars)
Instrumentation	Piano (solo)
Autograph Location	Moscow (Russia): Glinka National Museum Consortium of Musical Culture (ф. 88, No. 117)
First Publication	Moscow: P. Jurgenson, 1882
Average Duration	3 minutes
Dedication	Natalya Andreyevna Plesskaya (1837–?)
Note	A revised version of the Nathalie-valse (1878).
External Links	IMSLP/Petrucci Music Library (downloadable score)

No. 5. Romance

Catalogue References	TH 143 ; ČW 179
Date	August–September 1882
Key	F major
Tempo/Section Listing	Andante cantabile (F major, 124 bars)
Instrumentation	Piano (solo)
Autograph Location	Moscow (Russia): Glinka National Museum Consortium of Musical Culture (ф. 88, No. 117)
First Publication	Moscow: P. Jurgenson, 1882
Average Duration	7 minutes
Dedication	Vera Lvovna Rimskaya-Korsakova (1863–1888)
External Links	IMSLP/Petrucci Music Library (downloadable score)

No. 6. Valse sentimentale

Catalogue References	TH 143 ; ČW 180 (as "Sentimental Waltz")
Date	August–September 1882
Key	F minor
Tempo/Section Listing	Tempo di Valse (F minor, 201 bars)
Instrumentation	Piano (solo)
Autograph Location	Moscow (Russia): Glinka National Museum Consortium of Musical Culture (ф. 88, No. 117)
First Publication	Moscow: P. Jurgenson, 1882
Average Duration	5 minutes
Dedication	Emma Genton
External Links	IMSLP/Petrucci Music Library (downloadable score)

History

The idea for these pieces came from Nikolay Bernard, editor of the Saint Petersburg journal Nuvellist. In January 1882, Bernard sent a letter to Tchaikovsky asking him to write for Nuvellist, "at the subscribers' request", six pieces for piano; if the composer was agreeable, four of them should have the titles Nocturne, Dreams, Salon Waltz and Russian Dance [1]. However, Tchaikovsky was bound by an agreement with his publisher, which gave Pyotr Jurgenson the right of first refusal to publish the composer's works. If Tchaikovsky were to write the pieces for Nuvellist this would be in breach of the terms of the agreement.

At this point Pyotr Jurgenson expressed a willingness to publish the piano pieces for piano, and asked the composer to write them for his firm instead. Tchaikovsky viewed Jurgenson’s proposal as an attempt to deny him income from other publishing houses, and so he decided not to accept the commission [2]. On 1/13 February 1882, Tchaikovsky wrote: "I carried out your interdict and wrote Bernard a polite refusal, because I considered that your point of view you were completely within your rights, and your argument was well-founded. All the same, I think it’s rather a shame" [3]. Jurgenson wrote in reply: "You recently declared how you had profited by selling me now fewer than 6, 12, 24 piano pieces... Naturally I would not wish that your muse should be awakened just for financial reasons" [4]. But on 23 February/7 March, Jurgenson repeated his request for piano pieces [5].

However, Tchaikovsky was now occupied with other work, and did not start composing the pieces; on 19/31 July, Pyotr Jurgenson reminded him again: "You've not forgotten my order for piano pieces? The Jurgenson brothers expect them without fail" [6].

Tchaikovsky did not carry out his commission until late August/early September. On 10/22 September he wrote to Modest Tchaikovsky, listing all the work he had done that summer, including "6 pieces for piano, which were commissioned from me my both the Jurgenson brothers" [7]. On 15/27 September he informed Pyotr Jurgenson, "The other day you anticipated my surprise, in the shape of 6 pieces for piano, which I only just delivered into the world. I wouldn't have written then, if Osip Ivanovich hadn’t encouraged me to do so" [8].

Of the titles suggested by Nikolay Bernard, Tchaikovsky retained only one, Valse de Salon, which was published as the first number. The fourth piece, Natha-valse, was written on 5/17 April 1878 (according to the date on the manuscript) and in its first version was entitled Nathalie-valse. In 1882 the composer rewrote and extended this waltz, and changed the title to Natha-valse, giving it a virtuosic style more suited to concert performance [9].

All the pieces were published by Pyotr Jurgenson in 1882. The proofs (two sets) were corrected by the composer himself [10].

Six Pieces

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