Original article DOI: 10.56620/2227-9997-2024-4-82-99
Eduard A. Dyachenko
P. I. Tchaikovsky Moscow State Conservatory, Moscow, Russia,
eduard.dyachenko_96@mail.ru, https://orcid.org/0009-0009-3243-1239
Abstract: The article is devoted to the textological problem of the editions of Tchaikovsky’s Concerto No. 2 Op. 44 for piano and orchestra G-dur by P. I. Tchaikovsky — the composer’s and A. I. Ziloti’s editions. The main aspect of the work is related to the disclosure of A. I. Ziloti’s ideas in relation to the author’s text. Using the comparative method of analysing copies of the concerto’s scores that belonged to P. I. Tchaikovsky, A. I. Ziloti and V. N. Harteveld, a symphony conductor who was a contemporary of the composer, the process of editing the work is traced. According to the chronological order of the sources under consideration, the process of the work is divided into six stages (1888–1897), each of which is examined in detail in terms of Tchaikovsky’s authorial changes and A. I. Ziloti’s editorial suggestions. Some of the archival materials are introduced for the first time. The presented study substantiates the conclusion that the original author’s version is the most perfect, adequately answering the composer’s artistic intent. All subsequent modifications of the author’s text distorted the original version through numerous abbreviations, thus impoverishing the artistic concept of the work.Keywords: P. I. Tchaikovsky, piano creativity, Piano Concerto No. 2, authorial editions, editions by A. I. Ziloti, archival documents, composition, texture For citation: Dyachenko E. A. On the textual problem of the editions of Tchaikovsky’s Concerto for Piano and Orchestra No. 2, оp. 44. Scholarly papers of Gnesin Russian Academy of Music. 2024;(4):82-99. (In Russ.). DOI: 10.56620/2227-9997-2024-4-82-99
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