Tschaikowsky’s room at the Hotel Constanzi overlooked the barracks of the Royal Cuirassiers. Apparently the bugle-call sounded nightly in the barracks yards contributed another theme “heard in the streets,” for it may be heard in the trumpet passage of the introduction. The _Italian Fantasia_ was fully sketched out in Rome and the orchestration begun. With the title now changed to _Capriccio Italien_, the work was completed that summer on Tschaikowsky’s return to Russia. Nicholas Rubinstein directed the première at Moscow on December 18, 1880. Six years later Walter Damrosch introduced it to America at a concert in the Metropolitan Opera House, the precise date being November 6, 1886. After the introductory section, the strings chant a lyric theme of slightly melancholy hue, which the orchestra then develops. Later the oboes announce, in thirds, a simple folk melody of less sombre character. This, too, is elaborately worked out, before the tempo changes and violins and flutes bring in another tune. This promptly subsides as a brisk march section sets in, followed by a return of the opening theme. There is a transition to a lively tarantella, then another bright theme in triple rhythm, and finally the Presto section, with a second tarantella motif leading to a brilliant close. “It is a piece of music which relies entirely on its orchestration for its effects,” writes Evans in the Master Musicians Series. “Its musical value is comparatively slight, but the coloring is so vivid and so fascinating, and the movement throughout so animated, that one does not realize this when listening to the work. It is only afterwards that one experiences certain pangs of regret that such a rich garment should bedeck so thin a figure.” SUITE FOR STRINGS, _Souvenir de Florence_, OPUS 70 Compared with his output in other forms, Tschaikowsky’s chamber music is small, consisting of an early quartet, of which only the first movement survives, three complete string quartets, a trio, and the _Souvenir de Florence_, written for violins, violas, and ’cellos in pairs. As the title implies, the work grew out of a visit to Italy early in 1890, though as a clew to the mood and manner of the music, _Souvenir de Florence_ is a better title for the first two movements than for the others. The remaining _Allegretto moderato_ and _Allegro vivace_ bear an Italian “memory” only insofar as much other music by Tschaikowsky and other composers may share the same quality. Even a marked Slavic character is evident in places, which is only natural. As is well known, Tschaikowsky’s overture-fantasy _Romeo and Juliet_ is often dubbed “Romeo and Juliet of the Steppes.”