Peter Ilyich Tchaikovsky "Sweet Dream"
Pyotr Ilyich Tchaikovsky "Children's Album". This creation of the genius composer, which is the most valuable example of the golden fund of world piano literature for beginner pianists, is well known not only in our country, but also abroad. Twenty-four beautiful miniatures immerse us in the wonderful world of childhood with its genuine emotions, joyful fun and wonderful magic. This is a kind of suite, whose music, distinguished by its great artistic significance, is close and understandable to young performers. With it you can dream about traveling to different countries, remember your favorite toys, visit the fascinating world of fairy tales and even just dream to the sounds of the charming work “Sweet Dream”, the history of which, as well as its musical content, read on our page.
History of creation
Since the lyrical miniature "Sweet Dreams" is included in the "Children's Album", then, without any doubt, the stories of their creation are closely interrelated. How strange it sounds, but to some extent the occurrence of an invaluable cycle for novice musicians, written Tchaikovsky in May 1878, contributed to the problems that have arisen in the personal life of Peter Ilyich a year before.
In the summer of 1877, the composer married Antonina Milyukova. In his wife, Tchaikovsky very quickly became disillusioned and left Russia to dispel the dull thoughts that could lead him to nervous breakdown. Soon, his beloved brother Modest, along with his pupil, the deaf-and-dumb boy Kolya Conradi, came to Pyotr Ilyich abroad. The composer, who loved children very much, treated with great attention and warmth to the “special” child.
In the care of Kolya, who, according to Tchaikovsky, had a kind heart and was distinguished by his acumen, the maestro escaped from the dark thoughts that haunted him. He calmed down and forgot about the troubles that arose in his personal life.
However, the pupil of his brother was not the only child who had a beneficial effect on the mental state of Peter Ilyich. On the streets of Italian cities, the composer met quite young artists who earn their living on a piece of bread by singing or some other art.
Tchaikovsky drew particular attention to the Florentine boy Vittorio, who with his beautiful voice so enthusiastically performed Italian folk songs, that the enthusiastic maestro asked him to sing again and again. It was this kind of communication with children that led Pyotr Ilyich to the idea of composing small works similar to those that were a German composer. Robert Schumann created for his seven year old daughter. Collection of piano miniatures, having the name "Album for the Young“Immediately made a great impression on Pyotr Ilyich. Thinking fundamentally about his ideas, the composer sent a letter at the end of the winter of 1878, in which the head of the music publishing company Pyotr Ivanovich Yurgenson devoted his plans to create a cycle of small pieces for beginning musicians.
Returning to his homeland in the spring of the same year, Tchaikovsky first went to Kamenka. In this estate, located not far from Kiev, with its numerous family lived the beloved sister of the composer Alexander Ilyinichna Davydov. Manor Kamenka was a favorite place of Peter Ilyich, which not only disposed him to create outstanding masterpieces, but also to complete rest. In addition, great joy to the composer brought communication with nephews and nieces, which by then was already seven. The children adored Uncle Petya, because he was fascinating to talk about his travels in different countries, walked and played with them, started fireworks, helped to stage performances, and also organized dance evenings. Tchaikovsky gave great attention to each of his nephews, but he had a special feeling of affection for Bobik, so the six-year-old Volodya was affectionately called in the family. The boy loved music and really wanted to be like his uncle. Careful observations of the young pianist’s classes prompted Pyotr Ilyich to implement his plan to create light plays with attractive names for children.
Starting to compose works at the end of April, the composer in May completed work on sketches of miniatures, among which was the above-mentioned play "Sweet Dreams". Then, having carefully edited the material, in the middle of July he sent the collection to the publishing house to Jurgenson. With the dedication of the beloved nephew Kolya Davydov, "Children's album. A collection of light pieces for children. Imitation of Schumann" was printed in the last days of December 1878.
Content of the work
According to the storyline of the cycle, a day full of different activities of the child comes to an end. Now you can relax, go to a cozy bed and dream, and then plunge into magical dreams. The tender, lulling play Sweet Dreams, composed by the composer in the genre of romance lyricism, conveys such a pleasant, relaxed state of the child's soul.
A piece written in a simple three-part form, the key of C major and with the tempo indication of Andante (calmly, slowly) begins with a beautiful melody, to which the hidden waltz of a three-part size gives a special charm. The theme, which develops in wave-like expressive motifs, each of which consists of two bars, lies in the form of the classical period, which includes two sentences.
The melodic line is gradually more and more emotionally revealed and leads to the fourteenth beat, which culminates in this part. Then there is a smooth sound reduction, leading to intonation calm.
In the middle part, also consisting of two eight-sentence sentences combined in the period, the melody in the updated form is transferred to the lower voice, and two-stroke motifs are connected by more integral phrasing. From the fifth bar of the second section in the upper voice comes the theme, forming a kind of canon. As a result, the melodic development in the play becomes more intense and leads to the twenty-ninth beat - the main climax of the piece. Then sensual aspirations gradually disappear, and the music returns to the lyrical mood, that is, a reprise begins, which is an exact repetition of the first part.
The main difficulties encountered when learning the play "Sweet Dream".
- An important task for a young musician in the work on this play is properly built and meaningful phrasing, as well as accurate execution of dynamic instructions put forth by the author.
- A certain difficulty in this work is chord accompaniment, passing middle voice. He, intently following all the twists of the melodic line, should sound soft and gentle, but at the same time rich.
- The young performer needs to learn how to work with the pedal correctly, as it is a means of enriching and filling the sound and helps to overcome the combination of sound sequences that are not always “convenient” for fingers.
"Sweet dream"- this little lyrical piece is an excellent material for mastering one of the most important technical skills performed on the piano - legato hatch, as well as working through expressive phrasing, that is, the ability to" sing "on this instrument. It should also be noted that this is an enchanting piece in musical schools one of the most performed works, as its arrangement is made for many instruments.
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