ABSTRACT
When a composer envisions a programme for their instrumental piece. Tchaikovsky did everything possible to ensure that the existence of the programme would be perceived, using an almost constant interlacing of musical-dramaturgical and constructive-symphonic planes. For Tchaikovsky, a universal composer with great achievements in both, enriching approach to these genres was only natural. The most dramatic inner struggle, borenie in the Russian spiritual literature, a terrible and passionate cri de coeur of a troubled heart', as Raymond Monelle wrote Monelle, The Sense of Music, irrespective of who the protagonist is is unmistakably recognized here. To arrive at such borenie, Tchaikovsky used many of the rhetorical and semantic devices that had accumulated in European music since even before the seventeenth century. Tchaikovsky followed his findings in Eugene Onegin, created as lyrical scenes, where he successfully shows how one might deal with a literary work, in which the cultural significance far exceeds its plot.
