Although an acknowledge master of song and opera, Tchaikovsky’s heart belonged to the orchestra. He crafted a lush signature sound apparent in all of his orchestral compositions—symphonies, concertos, ballets, as well as the orchestral passages in his operas. His orchestration—choice and use of instruments—was sophisticated, filled with color, and yet framed by the sweeping sound of strings. Thoroughly grounded and trained in Western techniques of composition, he achieved a distinct Russian sound in part based on folk melodies and national dances, but also by recasting the highly popular European waltz as a constant element in his Russian-themed works.

The ballet The Nutcracker presents his fullest, most extended experiment in use of orchestral color. Indeed, it is lauded for its innovations, including the introduction of the celesta as the accompaniment for the Dance of the Sugar Plum Fairy. In a similar vein, the 1812 Overture convincingly presents a mix of sounds from Orthodox liturgy, military ceremony, battle music, and church bells.