Petr I. Tchaikovsky and Moscow

Museum of P.I.Tchaikovsky and Moscow is located in the building of the P.I.Tchaikovsky Cultural Centre. In this miraculously spared building Pyotr Ilyich Tchaikovsky had been living from September 1872 till November 1873 in a flat occupying half of the second floor in the wing of the large old mansion. It was in this building where the composer worked on Symphony No. 2 as well as on the music for the play “Snow Maiden” by A.N.Ostrovsky, symphonic phantasy “The Tempest”, and other compositions.

Moscow played a great role in Tchaikovsky’s life and work. It is Moscow years when his creative manner formed. Here in Moscow the composer found friends and associates, whose attention, regard and sympathy helped him to overcome everyday difficulties and contributed to flourishing of his music talent. Moscow produced a genius who obtained world-wide popularity.

The exposition tends to reveal two concepts of the master’s existence i.e. an active dialogue with the outer world and his intent inner life. The first section of the exhibition called “Tchaikovsky’s World”, is focused on P.I.Tchaikovsky personality, his character, psychology, everyday life traits, and interaction with the relatives. The second section, which is “Tchaikovsky and the World”, is devoted to multiple relationships with the outer world, which are musical, artistic, and public ones.

The exposition is based on authentic content: historical records; the composer’s personal belongings; photos of P.I.Tchaikovsky, his colleagues and members of his family; engravings; lithographs; graphics; drawings; friendly jest; letters. Exhibition guests are given a unique opportunity to see handwritten composer’s heritage, which is more than fifty autographs (“Eugene Onegin”, “The Queen of Spades”, etc.), scores, and literature manuscripts. Phonographic records are playing in the exposition rooms.

It is for the first time when the creative process could be tracked in details i.e. from a blueprint of a creation to its execution. The exhibition focuses attention at Symphony No. 6, the last composition executed in Tchaikovsky’s lifetime.

Exceptional sounding and decorating of the exposition area produce a unified image of the composer and sensify his personal attendance.

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