Pyotr Ilyich Tchaikovsky
Antecedents and influences

Of Tchaikovsky's Western predecessors, Robert Schumann stands out as an influence in formal structure, harmonic practices, and piano writing, according to Brown and musicologist Roland John Wiley. Boris Asafyev comments that Schumann left his mark on Tchaikovsky not just as a formal influence but also as an example of musical dramaturgy and self-expression. Leon Botstein argues the music of Franz Liszt and Richard Wagner also left their imprints on Tchaikovsky's orchestral style. The late-Romantic trend for writing orchestral suites, begun by Franz Lachner, Jules Massenet, and Joachim Raff after the rediscovery of Bach 's works in that genre, may have influenced Tchaikovsky to try his own hand at them.

Tchaikovsky's teacher Anton Rubinstein's opera The Demon became a model for the final tableau of Eugene Onegin. So did Léo Delibes ' ballets Coppélia and Sylvia for The Sleeping Beauty and Georges Bizet 's opera Carmen (a work Tchaikovsky admired tremendously) for The Queen of Spades. Otherwise, it was to composers of the past that Tchaikovsky turned—Beethoven, whose music he respected; Mozart, whose music he loved; Glinka, whose opera A Life for the Tsar made an indelible impression on him as a child and whose scoring he studied assiduously; and Adolphe Adam, whose ballet Giselle was a favorite of his from his student days and whose score he consulted while working on The Sleeping Beauty. Beethoven's string quartets may have influenced Tchaikovsky's attempts in that medium. Other composers whose work interested Tchaikovsky included Hector Berlioz, Felix Mendelssohn, Giacomo Meyerbeer, Gioachino Rossini, Giuseppe Verdi, Vincenzo Bellini, Carl Maria von Weber and Henry Litolff.
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