Suite from "Swan Lake"

From Wind Repertory Project
Peter I Tchaikovsky

Pytor Ilyich Tchaikovsky (trans. Akira Yodo)

This work bears the designation Opus 20a.

General Info

Year: 1876 / 1989
Duration: c. 30:00
Difficulty: (see Ratings for explanation)
Original Medium: Orchestra
Publisher: Wind Gallery
Cost: Score and Parts - Rental


1. Introduction -2:55
2. Scène (Act II) - 3:25
3. Valse
4. Danses des petits cygnes
5. Scène
6. Scène finale


Full Score
Piccolo (doubling Flute III)
Flute I-II
Oboe I-II
English horn
Bassoon I-II
E-flat Clarinet
B-flat Soprano Clarinet Solo-I-II
E-flat Alto Clarinet
B-flat Bass Clarinet
B-flat Contrabass Clarinet (optional)
B-flat Soprano Saxophone (optional)
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II
B-flat Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II-III
String Bass
Harp (or Piano)
Percussion, including:

  • Bass Drum
  • Castagnet
  • Crash Cymbal
  • Glockenspiel
  • Marimba
  • Snare Drum
  • Tambourine
  • Tam-Tam
  • Triangle
  • Vibraphone


None discovered thus far.

Program Notes

Tchaikovsky was not pleased with the initial reaction to his ballet Swan Lake. It would become immensely popular after his death, but an 1882 revival of it at the Bolshoi neither succeeded in bringing it into the repertory nor in pleasing the composer. Later that same year, Tchaikovsky asked his publisher, Pyotr Ivanovich Jurgenson, for a copy of the score, intending to distill a suite from it and possibly to revise the entire work itself. For various reasons, neither ever happened.

The Op. 20a suite performed today typically consists of six numbers, the first and last containing the work’s famous music associated with Odette and the swans. The second number is the carefree but spirited waltz from Act I, played in the ballet to accompany the Arrival of the Guests. The Dance of the Swans comes next, a memorable piece whose bubbly manner and brilliant writing for winds combine to make this short piece one of the more memorable numbers here. The next section, Scene (Pas d’action), is enchanting and mostly slow, featuring some delightful solo violin writing. The fifth number is the Hungarian Dance (Czardas), which becomes fast, rhythmic, and quite exotic in its latter half. As suggested above, however, it is the opening and closing movements that contain the most famous and probably the best music. The oboe introduces the fantasy-like theme -- one of the composer’s most memorable -- accompanied by harp. In the finale, this music begins with an Allegro agitato marking, thus heightening the tension in preparation for the story’s climactic events.

- Program Note by Robert Cummings for the University of Texas Wind Symphony concert program, 9 December 2018


State Ratings

None discovered thus far.


To submit a performance please join The Wind Repertory Project

  • University of Texas (Austin) Wind Symphony (Scott Hanna, conductor) – 9 December 2018

Works for Winds by This Composer

Adaptable Music

All Wind Works


  • University of Texas Wind Symphony concert program, 9 December 2018