_Miniature Overture_ (_Allegro giusto_, B-flat, 4-4), featuring two sharply differentiated themes, scored largely for the higher instruments. _March_ (_Tempo di marcia vivo_, G major, 4-4), in which the main theme is chanted by clarinets, horns and trumpets, as the children make their measured entrance. _Dance of the Sugarplum Fairy_ (_Andante con moto_, E minor, 2-4). Here the celesta gives out the entrancing melody, with pizzicato strings accompanying. _Russian Dance: Trepak_ (_Tempo di trepak, molto vivace_, G major, 2-4), which grows out of a brisk rhythmic figure heard at the beginning. _Arabian Dance_ (_Allegretto_, G minor, 3-8). Intended to convey the idea of “Coffee.” A melody in Oriental mood is announced by the clarinet, later picked up by the violins. _Chinese Dance_ (_Allegretto moderato_, B-flat major, 4-4). Intended to convey the idea of “Tea.” The melody is given to the flute against a pizzicato figure sustained by bassoons and double basses. _Dance of the Mirlitons_ (_Moderato assai_, D major, 2-4). For the main theme three flutes join forces. Then comes a different melody given out by the trumpets in F-sharp minor before the chief subject is back. _Waltz of the Flowers_ (_Tempo di valse_, D major, 3-4). Woodwinds and horns, aided by a harp-cadenza, offer some introductory phrases. Then the horns give out the fetching main melody. Soon the clarinets take it up. Flute, oboe, and strings bring in other themes, and the waltz comes to a brilliant close. CONCERTOS CONCERTO FOR VIOLIN AND ORCHESTRA, IN D MAJOR, OPUS 35 Before occupying its permanent niche in the repertory, Tschaikowsky’s violin concerto had to run a fierce gantlet of fault-finding. Friend and foe alike took pokes at it. The wonder is that it survived at all. Even Mme. von Meck, Tschaikowsky’s patroness-saint, picked serious flaws in the work, and the lady was known for her unwavering faith in Tschaikowsky’s genius. As a matter of fact, Tschaikowsky, often an unsparing critic of his own music, started the trend by finding objection with the Andante and rewriting it whole. That was in April, 1878. He was spending the spring at Clarens, Switzerland. Joseph Kotek, a Russian violinist and composer, was staying with him. Tschaikowsky and Kotek went over the work several times, and evidently saw eye-to-eye on its merits. Then came the first outside rebuff. Mme. von Meck was frankly dissatisfied and showed why in detail. Tschaikowsky meekly wrote back pleading guilty on some counts but advancing the hope that in time his Lady Bountiful might come to like the concerto. He stood pat on the first movement, which Mme. von Meck particularly assailed.