The message of the work is clear, as the turmoil of the first movement gives way to a message of hope in the second. Pyotr Ilyich Tchaikovsky (1840-1893) was a Russian composer whose works included symphonies, concertos, operas, ballets, and chamber music. The Seventh Symphony is very much a work de nos jours: Tchaikovsky composed it during the Covid-19 pandemic, scored it for a socially distanced orchestra of strings, percussion and piano – at which point, as he writes, ‘the virus then took revenge’, and he fell ill himself. Much of the Third Symphony (1995–2002), scored for a huge orchestra, is infused with waltz rhythms: it uses material from sketches for an abandoned ballet based on Dostoyevsky’s The Devils.
His symphonic style owes something to that of his uncle: it likewise patiently develops enormous power over large expanses of sound, although there is also room for gently ironic touches of nostalgia. Some of his other well-known works include his Piano. Audience favorites include the beautiful melodies by the composer of The Nutcracker, The Sleeping Beauty, and Swan Lake, among others. 1946) – nephew of Boris Tchaikovsky but no relative to Pyotr Ilich – is one of the most highly respected composers at work in contemporary Russia, and yet his music has had little exposure to western audiences. Tchaikovsky is best remembered for his rich ballet music, including Swan Lake, Sleeping Beauty, and, most famously of all, The Nutcracker.
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