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Thanks to Dumbo for the opportunity to discuss this amazing piece with you.

I have a friend who insisted he did not like Tschaikowsky.  He knew the symphonies and the 1812 Overture and the concertos.  This was back in the days of LP records, which walked the earth with dinosaurs - oh, wait, that's another diary.

I did not know much of Tschaikowsky's chamber music.  I had heard some piano solo music and the Sextet.  Then I found a recording of the Trio, played by Vladimir Ashkenazy, Itzakh Perlman, and Lynn Harrell.  I invited this friend and his wife over and played it for them, not saying what it was and hiding the record jacket.  (Which, by the way, on the back says Lynn Harrell, piano, and Vladimir Ashkenazy, cello.  I wonder if it's worth money, like stamps with misprints.)

He became at least a partial convert.

Nicolai Rubinstein, brother of Anton Rubinstein, was Tschaikowsky's good friend and colleague from 1865 until his death in 1881, except for an estrangement of almost four years, when Rubinstein severely criticized the First Piano Concerto.  Eventually he apologized, saying he had been wrong, and became one of its foremost interpreters. Tschaikowsky was greatly grieved by his death and unable to write for some months.

When he began a tribute to Rubinstein, he chose a form he had previously refused to write, saying he disliked the combination of piano and strings.  This is important: one of the things I want you to observe is the various ways he uses the instruments in this piece.  It is one of its strongest factors, especially in the passages that are devastating in their mournfulness and their beauty.  You may remember that Dumbo used the final movement of Tschaikowsky's Symphonie Pathetique last week as the opposite of the victorious finale of Brahms' First Symphony.  It's that same quality that shines through in certain passages in the Trio, dedicated "a la memoire d'un grand artiste."

Before I analyze the work, a word about interpretation.  I chose the above performance because of its beauty and power, but also because watching the performers adds to the intensity of the experience.  There are several other performances well worth listening to.  I have listened to so many recently and some are jarring to me at times, one is ponderous, and many are lovely though different.  Some of historical interest include this from 1961 by the Moscow Soloists Trio (, and another by Barenboim, Zuckerman and DuPre which is remarkable not only for the performance, but because Jacqui makes a mistake ( Two other performances worth the listening are the Agerich, Kremer, Maisky ( and one from the 2008 Zagreb  Music Festival which I would have used for this diary if it weren't in five parts ( This link is for the first part.

This is a very long piece, in two movements.  The first, Pezzo Elegiaco, is an elegy in  a free sonata form.  The exposition, which presents the themes to be developed, begins without introduction.  The first theme goes until 2:11, followed by the bridge.  The second theme group starts at 3:04 and is followed by a third lovely lyrical theme at 3:49.  The development starts at 5:25 and ends with a violin cadenza of sorts.  The recapitulation, in which the themes are brought back all in the tonic key (a minor) sneaks in with a haunting violin solo on the G string (at 9:49), and is easy to miss - when I decided to write this, I realized that this was the recap of the first theme only when I realized that the theme was no longer fragmented as in the development.  This is one of those devestating passages that show the depth of feeling with which Tschaikowsky wrote this trio. This time the second theme group is in the tonic major rather than the minor, a shift started by Beethoven in the Fifth Symphony.  Another is the coda, which begins at 17:02, where the violin and cello play a motif up and down over the piano chords, and we are back in the minor.  Achingly beautiful.

The second movement last close to 30 minutes and is a theme with 12 variations.  Some of the variations are traditional in that they have the same number of measures as the theme - my favorites include a gypsy variation, and a music box variation.  Some others are longer, almost standing on their own.  Most notable among these are a waltz that begins in the cello - have I mentioned that Tschaikowsky is one of my favorite waltz composers? - a mazurka for the piano, the fugue, and the final variation which is a sort of finale.  The coda brings back the first theme from the first movement, and is a powerful end to this piece of mourning.

Originally posted to ramara on Thu Jun 28, 2012 at 05:00 PM PDT.

Also republished by DKOMA and Community Spotlight.

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Comment Preferences

  •  Hotlisted so I can listen in peace, later. (8+ / 0-)

    If love could have saved you, you would have lived forever.

    by weck on Thu Jun 28, 2012 at 05:23:42 PM PDT

  •  I think it was Jim Svejda who said (12+ / 0-)

    that Tchaikovsky is the composer who draws us into classical music, then we learn to be too 'sophisticated' for him, but we secretly keep his CDs under our beds to listen to when no one's looking.  I think that's about right.  Some of his stuff annoys me to no end (he did have a gift for earworms), but at his best, he's a masterful orchestrator and formal constructionist.  

    Saint, n. A dead sinner revised and edited. - Ambrose Bierce

    by pico on Thu Jun 28, 2012 at 05:26:05 PM PDT

    •  I'm too astonished at discovering (8+ / 0-)

      those things which do appeal to me to let the snob in me dictate terms.  

      I used to think people who hated Tchaikovsky had some chromosomal abnormality, but I try to be fair now and assume they're being honest about it and they just don't like it.  It's not like he's the most emotional composer who ever lived.  Chopin and Mahler outperform him in that arena.  I think the snobbery comes from the accessibility of his music, which perhaps makes it easy for lazy people to lump him in with those cheesy euro-pop type classical PBS subscriber specials.  He doesn't deserve that.  I think, given another hundred years or so, his sound is going to become so out of style that he'll make a big comeback.  There will be grown men, not even young ones, going, "Oh my god, I heard this new thing called THE NUTCRACKER SUITE LAST NIGHT!  MY LIFE IS CHANGED!"

      I remember when the first Star Wars film came out about 1977, nobody could get enough John Williams.  Pieces from it were becoming pop music hits on top-40 stations.  Eventually, we reached some kind of John Williams Saturation Point, after which, people (well, like me) were annoyed to hear yet one more Williams-type-clone film score.  I suppose after Tchaikovsky makes his future comeback, there will be a future John Williams comeback, where people will marvel at Star Wars for the first time and be amazed at the music.

      Tchaikovsky really suffers from two problems, to my mind.  One, he's uneven.  Sometimes he's GREAT, the other times, mediocre.  I thought about doing a diary on his Manfred Symphony, for instance, but within the same work, he wobbles between those two extremes to the point where I started to feel uncomfortable.

      The other problem is a problem with 1880-ish romanticism itself and its focus on middle class emotions.  That can be very powerful the first several times you hear it, just as Star Wars the film, can be, but it doesn't necessarily have the sustaining power of something more abstract like Mozart.  I can listen to the same Mozart piece a gazillion times (and I have!) and just continue to be amazed by it because I'm not compelled by the music to participate in a particular psychodrama.  

      Beethoven has that same problem for me, too.  My favorite symphony is the Eroica, but I can't listen to the funeral march.  I understand that's most people's favorite part of the symphony.  When I first bought the album as a young man, I wore out the funeral march.  But that's the part I skip today, waiting for the kickass double-variations finale which is more abstract, more like a complicated puzzle with hidden rewards.

      I'm going to do a whole crapload of Dvorak music in coming months.  Three symphonies and at least one chamber work coming up.  Dvorak is less well known than Tchaikovsky, but he's in the same kind of romantic genre.  It's interesting to me how people are more accepting of Dvorak than Tchaikovsky.  Less stigma is involved, which seems irrational to me.

      •  When I worked with disturbed children (5+ / 0-)
        Recommended by:
        Dumbo, martyc35, JKTownsend, pico, linkage

        in Chicago I taught a music appreciation class.  I began with rhythm, and I forget what I used, but it was undoubtedly first caliber great.  Next I did melody, and used Dvorak's Eighth, because I love the melodies in that.  But the kids had a harder time concentrating - I think they instinctively knew the difference between the great and the good.

        I hope you do the cello concerto.  Brahms said that if he knew a cello concerto could sound like that, he would have written one.  Of course the Double Concerto does that. : )

        Old people are like old houses - lots of character, but the plumbing leaks.

        by ramara on Thu Jun 28, 2012 at 07:14:00 PM PDT

        [ Parent ]

        •  Well, I disagree with your kids. (6+ / 0-)

          Dvorak's 8th IS great.  So is his 7th and 9th.  

          But despite that, you are very, very right about kids knowing the difference between the great and the good music.  

          I keep retelling the story of my musical conversion when I was a kid and I heard the Bach Little Fugue in G minor, the Stokowski orchestrated version, when I was a kid.  The also exposed us to a number of romantic and expressionist works.  I remember, for instance, being impressed by Debussy's Afternoon of a Faun.  But it was the Bach that blew my socks off because it was so complicated, but it followed rules, and I knew I could follow it all if I just tried a little bit harder.  It TEMPTED ME with something just slightly out of reach.  There weren't the same issues with other classical pieces of having to learn the historical and formal contexts of things.  

          The Bach piece they played for me spoke to a part of my brain that wanted to process musical language, something children are actually better equipped to do than adults, I believe.  Just as they learn languages infinitely more easily than the brightest adults.  The machinery is there for that, and its in its fittest condition in our youth.  The romantic pieces they played for us, though, were not language-oriented but story-oriented.  

          You have these two aspects then of classical music that sometimes compete with each other -- the formal language processing aspect that Bach represents, and the emotional story-telling aspect that composers like Mahler and Tchaikovsky represent.  With a great deal of admixture, of course.  

          •  The part of the brain (5+ / 0-)
            Recommended by:
            Dumbo, martyc35, JKTownsend, pico, linkage

            that also works for math.  I'm convinced we respond to the logic of music because it does speak to that part of the brain that gives order.

            But sometimes I just want to listen to the great melodists.

            Old people are like old houses - lots of character, but the plumbing leaks.

            by ramara on Thu Jun 28, 2012 at 07:32:38 PM PDT

            [ Parent ]

            •  I posted this before... (5+ / 0-)
              Recommended by:
              JKTownsend, pico, martyc35, linkage, ramara

              about AI composer David Cope:

                 [...]Cope’s earliest memory is looking up at the underside of a grand piano as his mother played. He began lessons at the age of 2, eventually picking up the cello and a range of other instruments, even building a few himself. The Cope family often played "the game" — his mother would put on a classical record, and the children would try to divine the period, the style, the composer and the name of works they’d read about but hadn’t heard. The music of masters like Rachmaninov and Stravinsky instilled in him a sense of awe and wonder.

                  Nothing, though, affected Cope like Tchaikovsky‘s Romeo and Juliet, which he first heard around age 12. Its unconventional chord changes and awesome Sturm und Drang sound gave him goose bumps. From then on, he had only one goal: writing a piece that some day, somewhere, would move some child the same way Tchaikovsky moved him. "That, just simply, was the orgasm of my life," Cope says.

                  He begged his parents to pay for the score, brought it home and translated it to piano; he studied intensely and bought theory books, divining, scientifically, what made it work. It was then he knew he had to become a composer...

              •  If exposed to great music at an early age ... (3+ / 0-)
                Recommended by:
                Dumbo, martyc35, ramara

                ... young children learn to appreciate it, especially the more emotional melodic works, or colorful programmatic works. Sometimes, as with my pre-teen daughters, they are eventually prompted by their right brain to choose to learn musical instruments. From their time as toddlers, I tucked them in bed to the sound of softly-playing classical music on a portable radio-CD player. Of course, they listen to Taylor Swift and such too, but they don't complain and are attentive when I play classical music on car trips. My own father playing classical music LPs constantly helped me develop my own tastes when I was under his roof. I still remember an elementary school music class in which my teacher played short pieces and asked the pupils to write brief stories about the pictures the music drew in their imaginations. Although this was 50 years ago, I was so proud when singled out to read a dark vampire story I created while listening to one of these pieces. The work in question? The "Sunset" movement from Grofe's Grand Canyon Suite.

                Ah, my friends from the prison, they ask unto me, "how good, how good does it feel to be free? " And I answer them most mysteriously, "are birds free from the chains of the skyway? " (Bob Dylan)

                by JKTownsend on Thu Jun 28, 2012 at 08:15:12 PM PDT

                [ Parent ]

                •  One of the few good things I've done (7+ / 0-)

                  in this life was to expose my own kid to music from an early age.  I didn't realize that it was taking root.

                  Fast forward several years, and I'm at a birthday party with her and her boyfriend, and I give her some music CDs as a gift.  She starts to tell us all how Beethoven is her favorite composer.  That's news to me...  She then goes on to ask me what that symphony was that I took her and the family to when she was a little girl (she must have been about five) that had those women in those beautiful dresses, they were this color and that color and...

                  I ransack my memory.  Uh yeah, hmm, was it Mahler's 8th?

                  She says, oh yes, I loved that!  Especially with the story that goes along with it.

                  What story???  I don't understand.  It's in German!  And Latin!

                  Yes, but you told me the story of what was happening while we were listening to it.

                  For the life of me, I can't remember doing that, but I must have!  Because she says so, and it sounds like the kind of thing I would do.  I hate to imagine how pissed off everybody in the Hollywood Bowl audience must have been with my whispering.  "Okay now here comes the Mater Gloriosa, the Glorious Mother, and she's telling Faust, Come on!  Raise yourself to the heavenly sphere!"

                  Who would have thought Mahler's 8th would be good children's introductory music?

                  •  Mahler's 8th as an introductory work? (4+ / 0-)
                    Recommended by:
                    Dumbo, martyc35, linkage, ramara

                    That blows me away! -- That she remembers and that your commentary was significant to her. It just shows we never really know the true extent of our influence on our kids or other people, sometimes until years or decades later.

                    Ah, my friends from the prison, they ask unto me, "how good, how good does it feel to be free? " And I answer them most mysteriously, "are birds free from the chains of the skyway? " (Bob Dylan)

                    by JKTownsend on Thu Jun 28, 2012 at 10:21:40 PM PDT

                    [ Parent ]

                  •  I wish you were my father (3+ / 0-)
                    Recommended by:
                    martyc35, Dumbo, myrealname

                    I actually grew up with 50's pop which I don't like, and musical comedy, which I do.  I got to know classical music only when I started playing at age 9.  I don't think I ever heard an entire symphony until I was 15 and played one with the NYC Youth Symphony, though I had played single movements of several by then.

                    The good part was that my ear developed as my competence on violin did, so I didn't have to suffer through those early scratchings.

                    Bernstein discusses Mahler in one of the Young People's Concerts, which he says his friends told him was not for children.  I love those concerts.  

                    Old people are like old houses - lots of character, but the plumbing leaks.

                    by ramara on Fri Jun 29, 2012 at 02:08:43 PM PDT

                    [ Parent ]

                    •  Oh trust me, you don't wish I was (2+ / 0-)
                      Recommended by:
                      JKTownsend, ramara

                      your father.  I was pretty much a waste as a parental unit.  

                      It's funny, though.  When you reach a certain age, your stunted parental instincts kick in in unusual situations.  Tom Cruise just divorced Katie Holmes I hear.  I remember when I firat heard he was going to marry her, a few years back, I thought to myself, I wish I was Katie Holmes' dad so I could go royally kick Tom Cruise's ass.  

                      I always had troubled relationships with girlfriend's fathers.  Fathers who hated me dating their daughters because was a recurring theme.  Funny then that I should develop the same instincts, eh?

                      She introduced her boyfriend to me that day she reminded me about the Mahler concert and then launched into a discourse with me about Wagner, etc.  At first, I thought, jeez, she's showing off for her boyfriend.  Then I realized, hey, maybe this is flattering: she's showing ME off to him.  

                      I didn't like him, though.  He was a musician.  Musicians are bad news.  I've known too many.  

              •  Funny thing about (4+ / 0-)
                Recommended by:
                Dumbo, martyc35, ramara, JKTownsend

                Tchaikovsky's Romeo and Juliet: his fellow Russians complained that it sounded too Middle Eastern.  Heh.

                Saint, n. A dead sinner revised and edited. - Ambrose Bierce

                by pico on Thu Jun 28, 2012 at 10:44:28 PM PDT

                [ Parent ]

                •  The other complaint against him, (4+ / 0-)
                  Recommended by:
                  martyc35, pico, ramara, JKTownsend

                  (and this is the one blows my mind) was that he used TOO MUCH COUNTERPOINT.  Now wait... when is that a bad thing, right?  Well, the Russian nationalist musicians and their deep pocket patrons were of the opinion (and this sounds as dumb as the way I heard it, although I can't give you a source) that heavy counterpoint was THE GERMAN way of doing things.  And since they were establishing a new Russian way of doing music, well... there you go.  Tchaikovsky's friend and mentor Rubinstein was another despised member of the pro-counterpoint axis.

                  •  Nope, you are correct. (3+ / 0-)
                    Recommended by:
                    ramara, Dumbo, JKTownsend

                    Although it does get exaggerated a bit, but the more nationalist-leaning composers avoided what they considered too-German influence, so: minimal counterpoint, no symphonies, no sonata-allegro form, etc.  

                    Every now and then an exception slips by, like Mussorgsky's unfinished sonata for four hands.  But in general they were driven to 'realistic' music, tone poems, and opera.  

                    Saint, n. A dead sinner revised and edited. - Ambrose Bierce

                    by pico on Fri Jun 29, 2012 at 11:17:07 AM PDT

                    [ Parent ]

      •  For what it's worth (4+ / 0-)
        Recommended by:
        Dumbo, martyc35, ramara, JKTownsend

        I really don't care much for Dvořák, but part of the reason (my bias) is that his piano music is really, really weak - whereas Tchaikovsky writes pretty well for piano.   As far as the Czech composers go I'll take Martinů or Janáček.  

        You're right that Tchaikovsky swings wildly between mediocre and sublime, and sometimes within the same piece.  I'm a big fan of the second symphony, which minimizes the psychodrama... the last movement is a little repetitive, but very well-constructed and imaginative in its variations.  The man was insanely talented in melody-writing, too.  No one can match him in that area.  

        I hope to god you're wrong about John Williams.  :)

        Saint, n. A dead sinner revised and edited. - Ambrose Bierce

        by pico on Thu Jun 28, 2012 at 10:43:39 PM PDT

        [ Parent ]

  •  Couldn't resist (4+ / 0-)
    Recommended by:
    ER Doc, ExStr8, Dumbo, martyc35

    Here's the first movement from Zagreb.

    Presenting different interpretations may become my signature.

    Old people are like old houses - lots of character, but the plumbing leaks.

    by ramara on Thu Jun 28, 2012 at 05:37:50 PM PDT

  •  Thanks for these ramara (6+ / 0-)
    Recommended by:
    ramara, ER Doc, Dumbo, ExStr8, martyc35, JKTownsend

    Dumbo, et al.

  •  This is the good stuff. (3+ / 0-)
    Recommended by:
    ramara, martyc35, JKTownsend

    Better than most of Tchaikovsky's symphonies even.  The mature Tchaikovsky.  I really wish he could have done more chamber music, even trios, because his music communicates more effectively in solo hands and without the special effects.

    As I sit here listening to the Tchaikovsky piece and sipping coffee out of my special coffee cup, I heard one interesting thing I really wanted to note, something I'm going to call the Tchaikovsky chord progression.  Listen starting at about 7:34 and then pay attention at about 8:01.  That right there, that's so familiar from so many of his works, especially at key moments in Swan Lake and Nutcracker.  

    Ramara, if your friends didn't know that was Tchaikovsky when they sat down, they should have known right at that moment.  That's Tchaikovsky's tell!

    Thanks for posting this.  I'm a Tchaikovsky fan, too.  I suspect some people are stumped, though, to see a Thursday Classical Music diary so uncharacteristically ON TIME!

    Brief Dumbo Spam: I'll be back hosting next Thursday with a diary on the Saint-Saens Symphony #3 in C Minor, "The Organ Symphony," another romantic work in the Beethoven-triumph-symphony genre, and one with a final movement that is one of the great stereo-buster E-ticket rides.  

  •  Excellent commentary, Ramara! Bravo for the trio! (3+ / 0-)
    Recommended by:
    Dumbo, martyc35, ramara

    Tschaikowsky (using your spelling of his name) is either revered or despised for any number of reasons. For me, I enjoy his ballets and when I'm in a warhorse mood for a hoary chestnut that doesn't make too many demands, the symphonies and concerti fit the bill. There are still times, certain days, when the Pathetique brings tears to my eyes. On the other hand, one of my very favorite composer/conductor/violinist/pianists, Georges Enescu, absolutely despised the sixth symphony and hated conducting it, because it was too simplistic, too maudlin for his sensibilities. As a frame of reference, Enescu's symphonies (and compositions in general) are very, very dense with musical ideas and require herculean efforts on the audience's part: it helps to have perfect pitch and photographic memory to understand his works upon first listen! He was the anti-Tschaikowsky.

    Ah, my friends from the prison, they ask unto me, "how good, how good does it feel to be free? " And I answer them most mysteriously, "are birds free from the chains of the skyway? " (Bob Dylan)

    by JKTownsend on Thu Jun 28, 2012 at 10:43:10 PM PDT

    •  That spelling (2+ / 0-)
      Recommended by:
      Dumbo, JKTownsend

      was the one used when I was in 5th grade and our orchestra played themes by different composers, which included themes from the Pathetique.

      I have sometimes used the v, but it just doesn't look right. : )

      Old people are like old houses - lots of character, but the plumbing leaks.

      by ramara on Sat Jun 30, 2012 at 02:22:06 PM PDT

      [ Parent ]

  •  Ramara, my thanks for a most rewarding (3+ / 0-)
    Recommended by:
    Dumbo, ramara, JKTownsend

    listening (and watching) experience. I love Tchaikovsky and suffered through the snobs in my earlier life. This was so mournful and lovely, and I will include the names of the performers here because I couldn't find them in your diary (might have missed that) and they don't show up well on the video title: Evgeny Kissin, piano; Joshua Bell, violin; and Misha Maisky, cello.
    I have listened to all of these folks on other recordings, and they never fail to amaze me. Only recently have I begun to hear Bell in chamber works, apart from his solo work, and seeing him tonight impressed me even more. It was clear that he had memorized the violin part, while Kissin had a page turner and was slightly amused watching Bell search for the right page to start the second movement. Maisky is fast becoming one of my new favorite (although a bit flamboyant) cellists.

    Now, to some of your discussion above: I have studied language acquisition and language and the brain, and you are all correct about how quickly children learn language (I think the same is true for music). Many years ago, when I was in grad school in linguistics, I read the studies of neurologist Michael Gazzaniga among others, and he wondered in print whether children might be using both hemispheres of their brains while mastering whichever language they were exposed to, since they did it so rapidly, effortlessly, and damn near completely by age three. Later on, language usually settles into the left hemisphere, but what children accomplish in such a short time is so astounding that I have always thought he had something there. And that might account for the Mozart phenomenon, too. Well, for part of it, anyway.

    This has been a great day. Last night I listened to a whole lot of the great Mexican singer/songwriter, Oscar Chavez, who has championed the cause of democracy throughout Latin America for over thirty years, and tonight I see Maisky, whose hair has turned white, like the classical guitarist John Williams, and I think there is something good about aging, especially for those who are passionate about what they do.

    Looking forward to Saint Saens and Dvorak, and all the good stuff to come. Thanks to both of you.

    W. H. Auden: "We must love one another or die."

    by martyc35 on Fri Jun 29, 2012 at 12:27:06 AM PDT

    •  I once read (3+ / 0-)
      Recommended by:
      martyc35, Dumbo, JKTownsend

      that there are three things for which there are genuine prodigies - music, mathematics, and chess.  There is so much these things have in common, and I think the logic and seeing outcomes is one of them.

      Old people are like old houses - lots of character, but the plumbing leaks.

      by ramara on Fri Jun 29, 2012 at 02:29:33 PM PDT

      [ Parent ]

      •  And brain-readiness, for lack of a better term. (3+ / 0-)
        Recommended by:
        ramara, Dumbo, JKTownsend

        I had a student once who was more than slightly autistic. If I asked the class if anyone had any questions, his hand shot up, and he asked, "Are we going to put the chairs back in rows when we are done?" Yet, the diagnostic testing folks gave him a tough math test, and he aced it, which was supposed to be impossible. Lots we don't know...yet.

        W. H. Auden: "We must love one another or die."

        by martyc35 on Fri Jun 29, 2012 at 03:30:32 PM PDT

        [ Parent ]

  •  Great reminder that music is not created (5+ / 0-)
    Recommended by:
    Dumbo, linkage, ramara, martyc35, JKTownsend

    in a vacuum, composers and artists are first and foremost human beings.

    How I wish I could make my right and left hand function independently so I could competently play piano.  French Horn only for me, alas.

    "Hey Joe Walsh, when did you stop deadbeating your wife?"

    by wretchedhive on Fri Jun 29, 2012 at 04:48:58 AM PDT

  •  Thank You .... ramara - N/T (4+ / 0-)
    Recommended by:
    ramara, martyc35, Dumbo, JKTownsend

    "Upward, not Northward" - Flatland, by EA Abbott

    by linkage on Fri Jun 29, 2012 at 08:20:47 AM PDT

  •  favorite ever (4+ / 0-)
    Recommended by:
    ramara, martyc35, Dumbo, JKTownsend

    Have always gotten tears listening to this one. First heard it on the trip when my "baby" brother came "out" to me many years ago....

  •  I don't have time to read your diary now (4+ / 0-)
    Recommended by:
    ramara, martyc35, Dumbo, JKTownsend

    but I just want to take a minute to thank you for doing it. Love Tchaikovsky, and not enough people are familiar with his wonderful chamber works.

    Looking forward to diving into your diary as soon as time allows.

    If "elitist" just means "not the dumbest motherfucker in the room", I'll be an elitist! - David Rees from "Get Your War On".

    by Oaktown Girl on Fri Jun 29, 2012 at 02:18:00 PM PDT

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