Pyotr Ilyich Tchaikovsky had the deepest and the darkest of all secrets known to humanity. The secrets were so worrying that he would not dare to share with anyone because of being afraid of being judged by the people around him. Tchaikovsky’s greatest secret was being a homosexual. He has also had the disorder of inherited nervous condition, sessions of depression, and doubts on his musical skills. As a result of his conditions, he became famous and loved because of emotional and beautiful music that he wrote (Shakespeare 43).
The five-act tragedy of excellent verbal and dramatic density of Romeo and Juliet was condensed into a fantasy-overture, which lasts for 18 minutes, authored by Tchaikovsky (Shakespeare 43). Despite the fact that he did not supply the exact program for the work which was completed in 1869, Tchaikovsky had a primary focus on the main idea of hostility. The hatred rises between Montagues and Capulets and the soaring ill-fated passion of the two young lovers. The music, in particular, does not have any orientation to the local color of the Verona but begins with a lengthy slow introduction. The mood of the music can be described as being in the manner of prelude or invocation, somber or foreboding. A sense of romantic history which occurs at a distance is added upon by harp arpeggios. The core suddenly changes to B minor, and a mood of distress prevails with the entrance of feuding theme (Shakespeare 43). An English horn introduces a great love theme which comes with a dark yearning sensuality that has an irresistible tune which is limitlessly recycled in the favorite songs. An example of the songs is “Our love is like a melody.” The continuous development of vibrant musical ideas that ends with a plaintive restatement of the love theme comes against timpani sounding of a funeral beat which is made possible by Tchaikovsky.
Shakespeare, William. Romeo and Juliet. Cambridge University Press, 2002.