are false or entirely wanting in the ordinary Slide Trumpet (including even the low A♭ and E♭ when playing on the higher crooks), but greatly facilitates transposition and rapid passages, while comparatively little practice is required to become familiar with its use.
TSCHAIKOWSKY, Peter Iltitsch, one of the most remarkable Russian composers of the day, was born April 25, 1840, at Wotkinsk in the government of Wiatka (Ural District), where his father was engineer to the Imperial mines. In 1850 the father was appointed Director of the Technological Institute at St. Petersburgh, and there the boy entered the School of Jurisprudence, into which only the sons of high-class government officials are admitted. Having completed the prescribed course in 1859, he was appointed to a post in the ministry of Justice. In 1862, however, when the Conservatoire of Music was founded at St. Petersburg, he left the service of the state, and entered the new school as a student of music. He remained there till 1865, studying harmony and counterpoint under Prof. Zaremba, and composition under Anton Rubinstein. In 1865 he took his diploma as a musician, together with a prize medal for the composition of a cantata on Schiller's ode, 'An die Freude.' In 1866 Nicholas Rubinstein invited him to take the post of Professor of Harmony, Composition, and the History of Music at the new Conservatoire of Moscow; he held this post, doing good service as a teacher, for twelve years. Since 1878 he has devoted himself entirely to composition, and has been living in St. Petersburg, Italy, Switzerland, and Kiew. M. Tschaikowsky makes frequent use of the rhythm and tunes of Russian People's songs and dances, occasionally also of certain quaint harmonic sequences peculiar to Russian church music. His compositions, more or less, bear the impress of the Slavonic temperament—fiery exaltation on a basis of languid melancholy. He is fond of huge and fantastic outlines, of bold modulations and strongly marked rhythms, of subtle melodic turns and exuberant figuration, and he delights in gorgeous effects of orchestration. His music everywhere makes the impression of genuine spontaneous originality.
The following is a list[1] of his works:—
| Op. | 1. Scherzo Russe and Impromptu, for PF. solo. 2. Souvenir de Hapsal. 3 morceaux. PF. solo. |
| Operas and Ballets:— | |
| 1. Voievode. Represented 1869. 2. Opritschnik. Represented 1874. | |
| Works without opus number:— | |
| Overture to Romeo and Juliet. 50 Russian Volksmelodien, arranged for PF. 4 hands. | |
| Literary works:— | |
| Harmonie-Lehre. Do. for Schools. | |
| App. p.804 "to list of works add:— | |
| Op. | 58. Symphony, 'Nach Byron's Manfred.' 61. 'Mozartiana,' movements from Mozart arranged for orchestra. |
TSCHUDI, Burkhardt, founder of the house of Broadwood. [See Shudi.]
TUA, Maria Felicita, known as Teresina, was born May 22, 1867, at Turin. She completed her musical education at the Paris 'Conservatoire,' where she received instruction on the violin from M. Massart, and obtained in 1880 a 'premium' or first prize. She afterwards played with brilliant success in concert tours over the greater part of the continent. On May 5, 1883, she made her first appearance in England at the Crystal Palace, and played with so much success that she was re-engaged for the concert of the following week. She played at the Philharmonic on May 9 and 30; at the Floral Hall Concerts June 9; at Mr. Cusins's concert, with whom she was heard in Beethoven's 'Kreutzer' Sonata; and at other concerts. She returned to the continent, and did not re-appear for the season of 1884 as was expected. Apropos to her first appearance in London, May 9, the critic of the 'Daily Telegraph' mentioned that 'she was heard under more favourable circumstances. Yet even St. James's Hall is too large for an artist whose delicacy of style and small volume of tone suit the narrow limits of a "chamber." Her playing was marked by very high qualities, such as exquisite phrasing, refinement, with power of expression and executive skill equal to almost every call upon it.' It was also marked by an obvious tendency to caricature the style of a great living artist, which though amusing, hardly added to the artistic qualities of Signora Tua's performances.
TUBA. A generic and somewhat vague title given to the Bass instruments of the Saxhorn family, also termed Bombardons. All of them are furnished with valves, and are liable to the usual defects inherent in this mode of construction.
- ↑ The vacant Nos. are reserved for the Operas.
