Romeo and Juliet - Revision history

Brett: /* First Version (1869) */

2023-12-29T21:25:19Z

First Version (1869)

← Older revision		Revision as of 23:25, 29 December 2023
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	{{quote\|My overture is coming along quite quickly; the greater part is already composed in outline and, if nothing happens to hinder me, I am hopeful that within a month and a half it will be ready. When it has emerged from my womb, you will see that, whatever else it may be, a great deal of it has been carried out in accordance with your instructions. In the first place, the overall scheme is yours: an introduction representing the friar; the struggle — Allegro, and love — second theme; and secondly, the modulations are yours: the introduction is in E major <ref name="note6"/>, the Allegro in B minor, and the second theme in D-flat major <ref name="note7"/>. I am absolutely unable to tell you which parts in it are decent, and which are worse.}}		{{quote\|My overture is coming along quite quickly; the greater part is already composed in outline and, if nothing happens to hinder me, I am hopeful that within a month and a half it will be ready. When it has emerged from my womb, you will see that, whatever else it may be, a great deal of it has been carried out in accordance with your instructions. In the first place, the overall scheme is yours: an introduction representing the friar; the struggle — Allegro, and love — second theme; and secondly, the modulations are yours: the introduction is in E major <ref name="note6"/>, the Allegro in B minor, and the second theme in D-flat major <ref name="note7"/>. I am absolutely unable to tell you which parts in it are decent, and which are worse.}}

	On 30 October/11 November the composer told [[Anatoly Tchaikovsky]] that he had nearly finished the rough draft of the overture <ref name="note8"/>. By 18/30 November he reported to [[Modest]] that "... the overture you commissioned to "''[[Romeo and Juliet]]''" has been successfully finished, and it will be performed in one of the forthcoming concerts" <ref name="note9"/>. The date of the premiere was set for the following March, when Tchaikovsky told his brother that: "My overture to ''Romeo'', ~~for whose~~ composition I ~~am greatly indebted~~ to you~~, is to be performed the day after tomorrow~~. There's already been one rehearsal, ~~and~~ Lord knows~~, it doesn't seem to a bad thing~~" <ref name="note9A"/>.		On 30 October/11 November the composer told [[Anatoly Tchaikovsky]] that he had nearly finished the rough draft of the overture <ref name="note8"/>. By 18/30 November he reported to [[Modest]] that "... the overture you commissioned to "''[[Romeo and Juliet]]''" has been successfully finished, and it will be performed in one of the forthcoming concerts" <ref name="note9"/>. The date of the premiere was set for the following March, when Tchaikovsky told his brother that: "The day after tomorrow my overture to "''[[Romeo]]''" is being performed, the composition of which I owe so much to you. There's already been one rehearsal; I don't think the thing's turned out too badly, but then, Lord knows" <ref name="note9A"/>.

	Soon after completing the overture-fantasia, Tchaikovsky sent its main themes to [[Mily Balakirev]] in a letter of 17/29 November 1869 <ref name="note10"/>. In reply, he received a number of critical comments. [[Balakirev]] wrote:		Soon after completing the overture-fantasia, Tchaikovsky sent its main themes to [[Mily Balakirev]] in a letter of 17/29 November 1869 <ref name="note10"/>. In reply, he received a number of critical comments. [[Balakirev]] wrote:

Brett: /* First Version (1869) */

2023-12-28T12:32:36Z

First Version (1869)

← Older revision		Revision as of 14:32, 28 December 2023
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	{{quote\|My overture is coming along quite quickly; the greater part is already composed in outline and, if nothing happens to hinder me, I am hopeful that within a month and a half it will be ready. When it has emerged from my womb, you will see that, whatever else it may be, a great deal of it has been carried out in accordance with your instructions. In the first place, the overall scheme is yours: an introduction representing the friar; the struggle — Allegro, and love — second theme; and secondly, the modulations are yours: the introduction is in E major <ref name="note6"/>, the Allegro in B minor, and the second theme in D-flat major <ref name="note7"/>. I am absolutely unable to tell you which parts in it are decent, and which are worse.}}		{{quote\|My overture is coming along quite quickly; the greater part is already composed in outline and, if nothing happens to hinder me, I am hopeful that within a month and a half it will be ready. When it has emerged from my womb, you will see that, whatever else it may be, a great deal of it has been carried out in accordance with your instructions. In the first place, the overall scheme is yours: an introduction representing the friar; the struggle — Allegro, and love — second theme; and secondly, the modulations are yours: the introduction is in E major <ref name="note6"/>, the Allegro in B minor, and the second theme in D-flat major <ref name="note7"/>. I am absolutely unable to tell you which parts in it are decent, and which are worse.}}

	On 30 October/11 November the composer told [[Anatoly Tchaikovsky]] that he had nearly finished the rough draft of the overture <ref name="note8"/>. By 18/30 November he reported to [[Modest]] that "~~I have managed to complete~~ the overture you ~~ordered on~~ ''Romeo and Juliet'', and it will be performed at one of the forthcoming concerts" <ref name="note9"/>. The date of the premiere was set for the following March, when Tchaikovsky told his brother that: "My overture to ''Romeo'', for whose composition I am greatly indebted to you, is to be performed the day after tomorrow. There's already been one rehearsal, and Lord knows, it doesn't seem to a bad thing" <ref name="note9A"/>.		On 30 October/11 November the composer told [[Anatoly Tchaikovsky]] that he had nearly finished the rough draft of the overture <ref name="note8"/>. By 18/30 November he reported to [[Modest]] that "... the overture you commissioned to "''[[Romeo and Juliet]]''" has been successfully finished, and it will be performed in one of the forthcoming concerts" <ref name="note9"/>. The date of the premiere was set for the following March, when Tchaikovsky told his brother that: "My overture to ''Romeo'', for whose composition I am greatly indebted to you, is to be performed the day after tomorrow. There's already been one rehearsal, and Lord knows, it doesn't seem to a bad thing" <ref name="note9A"/>.

	Soon after completing the overture-fantasia, Tchaikovsky sent its main themes to [[Mily Balakirev]] in a letter of 17/29 November 1869 <ref name="note10"/>. In reply, he received a number of critical comments. [[Balakirev]] wrote:		Soon after completing the overture-fantasia, Tchaikovsky sent its main themes to [[Mily Balakirev]] in a letter of 17/29 November 1869 <ref name="note10"/>. In reply, he received a number of critical comments. [[Balakirev]] wrote:
	{{quote\|The first theme is not at all to my taste. Perhaps when it's worked out it attains some degree of beauty, but when noted down plainly as you've sent it to me, it conveys neither beauty nor strength, and it does not even depict the character of Father Lawrence in the way required. Here there should be a sort of Lisztian chorale in an old Catholic style, similar to the Orthodox [church music] [...] As for the B minor theme you've written out, this is not a theme, but a ''very beautiful introduction to a theme'', and after the C major rushing about there ought to be a strong, energetic melodic idea [...] The first D-flat major theme is beautiful, although somewhat overripe, but the second D-flat tune is simply ''delightful''" <ref name="note11"/>.}}		{{quote\|The first theme is not at all to my taste. Perhaps when it's worked out it attains some degree of beauty, but when noted down plainly as you've sent it to me, it conveys neither beauty nor strength, and it does not even depict the character of Father Lawrence in the way required. Here there should be a sort of Lisztian chorale in an old Catholic style, similar to the Orthodox [church music] [...] As for the B minor theme you've written out, this is not a theme, but a ''very beautiful introduction to a theme'', and after the C major rushing about there ought to be a strong, energetic melodic idea [...] The first D-flat major theme is beautiful, although somewhat overripe, but the second D-flat tune is simply ''delightful''" <ref name="note11"/>.}}

	It seems that when they met face to face in early/mid-January or May 1870, [[Balakirev]] urged Tchaikovsky to revise the overture in line with his suggestions <ref name="note12"/>, even though it had not yet been performed.		It seems that when they met face to face in early/mid-January or May 1870, [[Balakirev]] urged Tchaikovsky to revise the overture in line with his suggestions <ref name="note12"/>, even though it had not yet been performed.

	===Second Version (1870)===		===Second Version (1870)===

Brett: Text replacement - "⁴" to "{{sup|4}}"

2023-08-13T17:07:37Z

Text replacement - "<sup>4</sup>" to "{{sup|4}}"

← Older revision		Revision as of 19:07, 13 August 2023
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	<ref name="note4">[[Letter 153]] to [[Anatoly Tchaikovsky]], 7/19 October 1869.</ref>		<ref name="note4">[[Letter 153]] to [[Anatoly Tchaikovsky]], 7/19 October 1869.</ref>
	<ref name="note5">[[Letter 155]] to [[Modest Tchaikovsky]], 7/19 October 1869.</ref>		<ref name="note5">[[Letter 155]] to [[Modest Tchaikovsky]], 7/19 October 1869.</ref>
	<ref name="note5A">[[Klin]] House-Museum Archive (a<sup>4~~</sup>~~, No. 5047).</ref>		<ref name="note5A">[[Klin]] House-Museum Archive (a{{sup\|4}}, No. 5047).</ref>
	<ref name="note6">In the second and third versions, the introduction was set in F-sharp minor.</ref>		<ref name="note6">In the second and third versions, the introduction was set in F-sharp minor.</ref>
	<ref name="note7">[[Letter 156]] to [[Mily Balakirev]], 28 October/9 November 1869.</ref>		<ref name="note7">[[Letter 156]] to [[Mily Balakirev]], 28 October/9 November 1869.</ref>

Brett at 12:01, 2 August 2023

2023-08-02T12:01:40Z

Show changes

Tony: /* Notes and References */

2023-01-14T09:44:55Z

Notes and References

← Older revision		Revision as of 11:44, 14 January 2023
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	<ref name="note4">[[Letter 153]] to [[Anatoly Tchaikovsky]], 7/19 October 1869.</ref>		<ref name="note4">[[Letter 153]] to [[Anatoly Tchaikovsky]], 7/19 October 1869.</ref>
	<ref name="note5">[[Letter 155]] to [[Modest Tchaikovsky]], 7/19 October 1869. See also letter from [[Modest Tchaikovsky]] to the composer, 18/30 October 1869, in which he writes: "I was very surprised to find out that you are writing an overture to ''Romeo and Juliet'', in the first place, because I myself, after recently reading this play, sketched out an overture to it, and secondly, because you, without suspecting it, have fulfilled one of my most cherished wishes [...] Here is the programme of my overture: at the start, the conflict between the two families, represented by ''ff'' and presto, then little by little out of all the noise and blather (depicting the feud) emerges a divine hymn of love (''pp''), with the trumpets and cellos representing the love and character of Romeo, and the violins and flutes—Juliet. Finally, this hymn reaches a point of terrifying passionateness and acquires an ominous character as it is interrupted all the time by the first theme of the feud, but suddenly all at once, after a terrible ''ff'', there comes a pause and then a sombre phrase which resolves itself into gentle arpeggiated chords" ([[Klin]] House-Museum Archive). Tchaikovsky replied: "Fortunately I have managed to complete the overture you ordered on ''Romeo and Juliet'', and it will be performed at one of the forthcoming concerts" (letter 161 to [[Modest Tchaikovsky]], 18/30 November 1869). On the eve of the performance he wrote: "The day after tomorrow my overture to ''Romeo'' will be performed, which owes much to your ideas" (letter 183 to [[Modest Tchaikovsky]], 2/14–3/15 March 1870).</ref>		<ref name="note5">[[Letter 155]] to [[Modest Tchaikovsky]], 7/19 October 1869. See also letter from [[Modest Tchaikovsky]] to the composer, 18/30 October 1869, in which he writes: "I was very surprised to find out that you are writing an overture to ''Romeo and Juliet'', in the first place, because I myself, after recently reading this play, sketched out an overture to it, and secondly, because you, without suspecting it, have fulfilled one of my most cherished wishes [...] Here is the programme of my overture: at the start, the conflict between the two families, represented by ''ff'' and presto, then little by little out of all the noise and blather (depicting the feud) emerges a divine hymn of love (''pp''), with the trumpets and cellos representing the love and character of Romeo, and the violins and flutes—Juliet. Finally, this hymn reaches a point of terrifying passionateness and acquires an ominous character as it is interrupted all the time by the first theme of the feud, but suddenly all at once, after a terrible ''ff'', there comes a pause and then a sombre phrase which resolves itself into gentle arpeggiated chords" ([[Klin]] House-Museum Archive). Tchaikovsky replied: "Fortunately I have managed to complete the overture you ordered on ''Romeo and Juliet'', and it will be performed at one of the forthcoming concerts" (letter 161 to [[Modest Tchaikovsky]], 18/30 November 1869). On the eve of the performance he wrote: "The day after tomorrow my overture to ''Romeo'' will be performed, which owes much to your ideas" (letter 183 to [[Modest Tchaikovsky]], 2/14–3/15 March 1870).</ref>
	<ref name="note6">In the second and third versions the introduction was set in F-sharp minor.</ref>		<ref name="note6">In the second and third versions, the introduction was set in F-sharp minor.</ref>
	<ref name="note7">[[Letter 156]] to [[Mily Balakirev]], 28 October/9 November 1869.</ref>		<ref name="note7">[[Letter 156]] to [[Mily Balakirev]], 28 October/9 November 1869.</ref>
	<ref name="note8">[[Letter 157]] to [[Anatoly Tchaikovsky]], 30 October/11 November 1869.</ref>		<ref name="note8">[[Letter 157]] to [[Anatoly Tchaikovsky]], 30 October/11 November 1869.</ref>

Tony: /* Notes and References */

2023-01-14T09:37:27Z

Notes and References

← Older revision		Revision as of 11:37, 14 January 2023
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	<ref name="note3">[[Letter 151]] to [[Mily Balakirev]], 2/14 October 1869.</ref>		<ref name="note3">[[Letter 151]] to [[Mily Balakirev]], 2/14 October 1869.</ref>
	<ref name="note4">[[Letter 153]] to [[Anatoly Tchaikovsky]], 7/19 October 1869.</ref>		<ref name="note4">[[Letter 153]] to [[Anatoly Tchaikovsky]], 7/19 October 1869.</ref>
	<ref name="note5">[[Letter 155]] to [[Modest Tchaikovsky]], 7/19 October 1869. See also letter from [[Modest Tchaikovsky]] to the composer, 18/30 October 1869, in which he writes: "I was very surprised to find out that you are writing an overture to ''Romeo and Juliet'', in the first place, because I myself, after recently reading this play, sketched out an overture to it, and secondly, because you, without suspecting it, have fulfilled one of my most cherished wishes [...] Here is the programme of my overture: at the start, the conflict between the two families, represented by ''ff'' and presto, then little by little out of all the noise and blather (depicting the feud) emerges a divine hymn of love (''pp''), with the trumpets and cellos representing the love and character of Romeo, and the violins and flutes—Juliet. Finally, this hymn reaches a point of terrifying passionateness and acquires an ominous character as it is interrupted all the time by the first theme of the feud, but suddenly all at once, after a terrible''ff'', there comes a pause and then a sombre phrase which resolves itself into gentle arpeggiated chords" ([[Klin]] House-Museum Archive). Tchaikovsky replied: "Fortunately I have managed to complete the overture you ordered on ''Romeo and Juliet'', and it will be performed at one of the forthcoming concerts" (letter 161 to [[Modest Tchaikovsky]], 18/30 November 1869). On the eve of the performance he wrote: "The day after tomorrow my overture to ''Romeo'' will be performed, which owes much to your ideas" (letter 183 to [[Modest Tchaikovsky]], 2/14–3/15 March 1870).</ref>		<ref name="note5">[[Letter 155]] to [[Modest Tchaikovsky]], 7/19 October 1869. See also letter from [[Modest Tchaikovsky]] to the composer, 18/30 October 1869, in which he writes: "I was very surprised to find out that you are writing an overture to ''Romeo and Juliet'', in the first place, because I myself, after recently reading this play, sketched out an overture to it, and secondly, because you, without suspecting it, have fulfilled one of my most cherished wishes [...] Here is the programme of my overture: at the start, the conflict between the two families, represented by ''ff'' and presto, then little by little out of all the noise and blather (depicting the feud) emerges a divine hymn of love (''pp''), with the trumpets and cellos representing the love and character of Romeo, and the violins and flutes—Juliet. Finally, this hymn reaches a point of terrifying passionateness and acquires an ominous character as it is interrupted all the time by the first theme of the feud, but suddenly all at once, after a terrible ''ff'', there comes a pause and then a sombre phrase which resolves itself into gentle arpeggiated chords" ([[Klin]] House-Museum Archive). Tchaikovsky replied: "Fortunately I have managed to complete the overture you ordered on ''Romeo and Juliet'', and it will be performed at one of the forthcoming concerts" (letter 161 to [[Modest Tchaikovsky]], 18/30 November 1869). On the eve of the performance he wrote: "The day after tomorrow my overture to ''Romeo'' will be performed, which owes much to your ideas" (letter 183 to [[Modest Tchaikovsky]], 2/14–3/15 March 1870).</ref>
	<ref name="note6">In the second and third versions the introduction was set in F-sharp minor.</ref>		<ref name="note6">In the second and third versions the introduction was set in F-sharp minor.</ref>
	<ref name="note7">[[Letter 156]] to [[Mily Balakirev]], 28 October/9 November 1869.</ref>		<ref name="note7">[[Letter 156]] to [[Mily Balakirev]], 28 October/9 November 1869.</ref>

Tony: /* Related Works */

2023-01-14T09:36:41Z

Related Works

← Older revision		Revision as of 11:36, 14 January 2023
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	==Related Works==		==Related Works==
	: ''See [[Romeo and Juliet (projected opera)]]''.		: ''See [[Romeo and Juliet (projected opera)]]''.
	Between 1878 and 1881 Tchaikovsky sketched part of a duet scena for an opera on the subject of ''Romeo and Juliet'', using themes from the overture-fantasia.		Between 1878 and 1881, Tchaikovsky sketched part of a duet scena for an opera on the subject of ''Romeo and Juliet'', using themes from the overture-fantasia.

	==External Links==		==External Links==

Tony at 20:20, 13 January 2023

2023-01-13T20:20:49Z

← Older revision		Revision as of 22:20, 13 January 2023
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	==Subject==		==Subject==
	The overture-fantasia is based on characters and incidents from [[William Shakespeare]]'s tragedy ''Romeo and Juliet'' (ca.1594).		The overture-fantasia is based on characters and incidents from [[William Shakespeare]]'s tragedy ''Romeo and Juliet'' (ca. 1594).

	==Composition==		==Composition==
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	On 30 October/11 November the composer told [[Anatoly Tchaikovsky]]: "I have almost written the draft of the overture to the tragedy ''Romeo and Juliet''" <ref name="note8"/>. By 18/30 November the overture had been scored, and Tchaikovsky was hopeful that it would soon be performed at one of the Russian Musical Society concerts <ref name="note9"/>.		On 30 October/11 November the composer told [[Anatoly Tchaikovsky]]: "I have almost written the draft of the overture to the tragedy ''Romeo and Juliet''" <ref name="note8"/>. By 18/30 November the overture had been scored, and Tchaikovsky was hopeful that it would soon be performed at one of the Russian Musical Society concerts <ref name="note9"/>.

	Soon after completing the overture-fantasia, Tchaikovsky sent its main themes to [[Mily Balakirev]] in a letter of 17/29 November 1869 <ref name="note10"/>. In reply he received a number of critical comments. [[Balakirev]] wrote:		Soon after completing the overture-fantasia, Tchaikovsky sent its main themes to [[Mily Balakirev]] in a letter of 17/29 November 1869 <ref name="note10"/>. In reply, he received a number of critical comments. [[Balakirev]] wrote:
	{{quote\|The first theme is not at all to my taste. Perhaps when it's worked out it attains some degree of beauty, but when noted down plainly as you've sent it to me, it conveys neither beauty nor strength, and it does not even depict the character of Father Lawrence in the way required. Here there should be a sort of Lisztian chorale in an old Catholic style, similar to the Orthodox [church music] [...] As for the B minor theme you've written out, this is not a theme, but a ''very beautiful introduction to a theme'', and after the C major rushing about there ought to be a strong, energetic melodic idea [...] The first D-flat major theme is beautiful, although somewhat overripe, but the second D-flat tune is simply ''delightful''" <ref name="note11"/>.}}		{{quote\|The first theme is not at all to my taste. Perhaps when it's worked out it attains some degree of beauty, but when noted down plainly as you've sent it to me, it conveys neither beauty nor strength, and it does not even depict the character of Father Lawrence in the way required. Here there should be a sort of Lisztian chorale in an old Catholic style, similar to the Orthodox [church music] [...] As for the B minor theme you've written out, this is not a theme, but a ''very beautiful introduction to a theme'', and after the C major rushing about there ought to be a strong, energetic melodic idea [...] The first D-flat major theme is beautiful, although somewhat overripe, but the second D-flat tune is simply ''delightful''" <ref name="note11"/>.}}

	It seems that when they met face to face in early/mid January or May 1870, [[Balakirev]] urged Tchaikovsky to revise the overture in line with his suggestions <ref name="note12"/>, even though it had not yet been performed.		It seems that when they met face to face in early/mid-January or May 1870, [[Balakirev]] urged Tchaikovsky to revise the overture in line with his suggestions <ref name="note12"/>, even though it had not yet been performed.

	===Second Version (1870)===		===Second Version (1870)===
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	Tchaikovsky returned once more to his fantasy-overture at [[Kamenka]] in August 1880. He introduced further alterations, about which he wrote in letters to [[Pyotr Jurgenson]] and [[Nadezhda von Meck]] <ref name="note17"/>. The changes were confined to only the last 80 bars of the work, of which 34 bars were completely new: the end of the ''Moderato assai'' was written afresh (24 bars in the third version) and the coda was completely restructured, to exclude the E-flat major episode.		Tchaikovsky returned once more to his fantasy-overture at [[Kamenka]] in August 1880. He introduced further alterations, about which he wrote in letters to [[Pyotr Jurgenson]] and [[Nadezhda von Meck]] <ref name="note17"/>. The changes were confined to only the last 80 bars of the work, of which 34 bars were completely new: the end of the ''Moderato assai'' was written afresh (24 bars in the third version) and the coda was completely restructured, to exclude the E-flat major episode.

	In 1884 as one of a number of the best works in Russian classical music, the fantasy-overture ''Romeo and Juliet'' was awarded a prize amounting to 500 rubles <ref name="note18"/>.		In 1884, as one of a number of the best works in Russian classical music, the fantasy-overture ''Romeo and Juliet'' was awarded a prize amounting to 500 rubles <ref name="note18"/>.

	==Arrangements==		==Arrangements==
	In 1880 Tchaikovsky revised the arrangement for piano 4 hands by [[Nadezhda Rimskaya-Korsakova]] to incorporate the new ending of the work, which was only attributed to [[Nadezhda Rimskaya-Korsakova]] in the published score <ref name="note19"/>.		In 1880, Tchaikovsky revised the arrangement for piano 4 hands by [[Nadezhda Rimskaya-Korsakova]] to incorporate the new ending of the work, which was only attributed to [[Nadezhda Rimskaya-Korsakova]] in the published score <ref name="note19"/>.

	==Performances==		==Performances==

Brett: /* Performances */

2022-08-13T15:56:37Z

Performances

← Older revision		Revision as of 17:56, 13 August 2022
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	* [[Moscow]], Electrical Exhibition concert, 30 October 1892, conducted by Rudolf Bullerian		* [[Moscow]], Electrical Exhibition concert, 30 October 1892, conducted by Rudolf Bullerian
	* [[Kharkov]], 2nd RMS symphony concert, 14 November 1893, conducted by [[Ilya Slatin]]		* [[Kharkov]], 2nd RMS symphony concert, 14 November 1893, conducted by [[Ilya Slatin]]
			* Amsterdam, Concertgebouw, subscription concert, 3/15 March 1896, conducted by Willem Mengelberg
	* [[Vienna]], 5th Philharmonic Society subscription concert, 12/24 January 1897, conducted by Hans Richter		* [[Vienna]], 5th Philharmonic Society subscription concert, 12/24 January 1897, conducted by Hans Richter

Brett: /* Performances */

2022-08-13T15:33:22Z

Performances

← Older revision		Revision as of 17:33, 13 August 2022
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	* [[London]], St James's Hall, 20 May/1 June 1889, conducted by Pablo de Sarasate		* [[London]], St James's Hall, 20 May/1 June 1889, conducted by Pablo de Sarasate
	* Boston, Music Hall, 26 January/7 February 1890, conducted by [[Arthur Nikisch]]		* Boston, Music Hall, 26 January/7 February 1890, conducted by [[Arthur Nikisch]]
	* [[Pavlovsk]], 1st symphony concert, 11 May 1890, conducted by [[Julius Laube]]		* [[Pavlovsk]], 1st symphony concert, 11/23 May 1890, conducted by [[Julius Laube]]
	* [[Kiev]], 5th RMS symphony concert, 8 April 1891, conducted by Aleksandr Vinogradsky		* Amsterdam, Concertgebouw, subscription concert, 12/24 July 1890, conducted by Frans Wedemeijer
			* [[Kiev]], 5th RMS symphony concert, 8/20 April 1891, conducted by Aleksandr Vinogradsky
	* [[Saint Petersburg]], 9th RMS symphony concert, 7 March 1892, conducted by Tchaikovsky		* [[Saint Petersburg]], 9th RMS symphony concert, 7 March 1892, conducted by Tchaikovsky
	* [[Moscow]], Electrical Exhibition concert, 30 October 1892, conducted by Rudolf Bullerian		* [[Moscow]], Electrical Exhibition concert, 30 October 1892, conducted by Rudolf Bullerian

Romeo and Juliet - Revision history

Brett: /* First Version (1869) */

Brett: /* First Version (1869) */

Brett: Text replacement - "4" to "{{sup|4}}"

Brett at 12:01, 2 August 2023

Tony: /* Notes and References */

Tony: /* Notes and References */

Tony: /* Related Works */

Tony at 20:20, 13 January 2023

Brett: /* Performances */

Brett: /* Performances */

Brett: Text replacement - "⁴" to "{{sup|4}}"