Tchaikovsky -- Album for the Young, Op. 39 (Alfred Masterwork Editions) [Paperback] Review

A few of the tests of a good composer are:

--to break free of the tyranny of square phrases.#12 is based on a 6-measure phrase.The phrases in #24 are uneven.#7 is in three 16-measure melodic units.

--to compose in a variety of styles.The album includes an accordion imitation, a couple of church hymn imitations, a few dance numbers, a couple of marches, and a variety of folk song styles.#4 is probably a spoof on Schumann.

--to devise original harmonic textures.This he exemplifies in several of the pieces, notably #6.#9 is in 3/8, with left-hand chords on the first and second beats and rests on the third beats.#16 and #23 make use of a tonic pedal.

--to write in a contrapuntal texture.#11 consists of a statement in chordal harmony, followed by a contrapuntal variation.

--to write in a variety of forms.Most of the pieces are in binary or ternary form, but #13 is a set of variations.#3 and #8 each have three subjects which are not arranged according to any conventional plan.

--to combine short motifs.This he does quite well in #2.

--to write in chromatic harmony.Music theory buffs might enjoy hunting for the German sixths (#2, 7, 19, 20), French sixths (#10, 21, 22), Italian sixths (#10), half-diminished sevenths (#16, 19, 20, 21, 23, 24)
and Phrygian cadences (#1, 6).The diminished sevenths are too numerous to list.

When Tschaikovsky abstains from chromatic harmony, it is to convey a programmic effect.In order to imitate an accordion in #12, there are no accidentals.In order to create a folk song effect, only the basic chords are used in #15, #17, and #18.

Tschaikovsky may be over-rated by the concert-going public, but he is certainly under-rated in circles of musical snobbery.

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Product Description:
A wonderful collection of miniature pieces reminiscent of childhood, similar to Schumann's Album For The Young. Each selection is delightful and entertaining for students and audiences of all ages.

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