A Conversation with P. I. Tchaikovsky - Revision history

Brett: Text replacement - "Solovyev" to "Solovyov"

2025-08-21T12:50:15Z

Text replacement - "Solovyev" to "Solovyov"

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	<ref name="note20">See Tchaikovsky's ''[[Autobiography]]'' of 1889 and ''[[Tchaikovsky: A Life]]'' by Alexander Poznansky for more details on how Tchaikovsky, at the age of 22, finally decided to make music his profession, despite having been groomed for a career in the civil service by his upbringing and family expectations.</ref>		<ref name="note20">See Tchaikovsky's ''[[Autobiography]]'' of 1889 and ''[[Tchaikovsky: A Life]]'' by Alexander Poznansky for more details on how Tchaikovsky, at the age of 22, finally decided to make music his profession, despite having been groomed for a career in the civil service by his upbringing and family expectations.</ref>
	<ref name="note21">Tchaikovsky is tactfully referring to the way in which censorship in Russia prevented the free discussion of sensitive political topics in the press, and how ever since the days of the great literary critic Vissarion Belinsky (1811–1848), extended articles about literature (and later about painting and music, too) would often be used as a springboard for a more or less subtly veiled discussion of contemporary social problems — '' translator's note''.</ref>		<ref name="note21">Tchaikovsky is tactfully referring to the way in which censorship in Russia prevented the free discussion of sensitive political topics in the press, and how ever since the days of the great literary critic Vissarion Belinsky (1811–1848), extended articles about literature (and later about painting and music, too) would often be used as a springboard for a more or less subtly veiled discussion of contemporary social problems — '' translator's note''.</ref>
	<ref name="note22">Here Tchaikovsky is alluding mainly to one of his bugbears—the formidable critic and (less formidable) composer [[César Cui]]! But he may also have had in mind [[Nikolay ~~Solovyev~~]] and Mikhail Ivanov (1849–1927), both of whom were regular music critics but also regarded themselves as composers. As [[Alina Bryullova]] recalls in her memoirs of the composer: "Tchaikovsky was very tolerant and inclined not to bear grudges, but all of [Mikhail] Ivanov's work both as a critic and as a composer was sickening to his artistic and ethical nature." See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.106–119 (107). Vasily Yastrebtsev (1866–1934) similarly recalled how Tchaikovsky had once said in 1893: "Well, personally I do not consider Mr I[vanov] to be a composer and I cannot stand the works of [[~~Solovyev~~\|S[olovyev]]] , just as I cannot stand those glorified charlatans of the ilk of Arrigo Boito, with whom I had the misfortune to share the ceremony of obtaining my honorary doctorate at [[Cambridge]] University, or Leoncavallo." See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.212–215 (214) — ''translator's note''.</ref>		<ref name="note22">Here Tchaikovsky is alluding mainly to one of his bugbears—the formidable critic and (less formidable) composer [[César Cui]]! But he may also have had in mind [[Nikolay Solovyov]] and Mikhail Ivanov (1849–1927), both of whom were regular music critics but also regarded themselves as composers. As [[Alina Bryullova]] recalls in her memoirs of the composer: "Tchaikovsky was very tolerant and inclined not to bear grudges, but all of [Mikhail] Ivanov's work both as a critic and as a composer was sickening to his artistic and ethical nature." See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.106–119 (107). Vasily Yastrebtsev (1866–1934) similarly recalled how Tchaikovsky had once said in 1893: "Well, personally I do not consider Mr I[vanov] to be a composer and I cannot stand the works of [[Solovyov\|S[olovyev]]] , just as I cannot stand those glorified charlatans of the ilk of Arrigo Boito, with whom I had the misfortune to share the ceremony of obtaining my honorary doctorate at [[Cambridge]] University, or Leoncavallo." See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.212–215 (214) — ''translator's note''.</ref>
	<ref name="note23">Tchaikovsky contributed regular [[Articles\|music review articles]] for the [[Moscow]]-based journal ''The Russian Register'' (Русские ведомости) from 1872 to 1875. The reasons why he made so many 'enemies' were, however, more complex than what is suggested by the above self-deprecating explanation, for Tchaikovsky had always sought to be objective and fair in his judgements (see, for example, the section of his 1873 article [[TH 283]] entitled "A Frank Discussion with the Reader") — ''translator's note''.</ref>		<ref name="note23">Tchaikovsky contributed regular [[Articles\|music review articles]] for the [[Moscow]]-based journal ''The Russian Register'' (Русские ведомости) from 1872 to 1875. The reasons why he made so many 'enemies' were, however, more complex than what is suggested by the above self-deprecating explanation, for Tchaikovsky had always sought to be objective and fair in his judgements (see, for example, the section of his 1873 article [[TH 283]] entitled "A Frank Discussion with the Reader") — ''translator's note''.</ref>
	<ref name="note24">It is very likely that Tchaikovsky is thinking here of [[Musorgsky]], the most innovative of the composers of the 'Mighty Handful' and the one whose music Tchaikovsky would most frequently revile in the sharpest of terms, whilst also recognizing the originality of his talent. See, for example, the extracts from [[Letter 705]] to [[Nadezhda von Meck]], 24 December 1877/5 January 1878, quoted in the entry on [[Musorgsky]] — ''translator's note''.</ref>		<ref name="note24">It is very likely that Tchaikovsky is thinking here of [[Musorgsky]], the most innovative of the composers of the 'Mighty Handful' and the one whose music Tchaikovsky would most frequently revile in the sharpest of terms, whilst also recognizing the originality of his talent. See, for example, the extracts from [[Letter 705]] to [[Nadezhda von Meck]], 24 December 1877/5 January 1878, quoted in the entry on [[Musorgsky]] — ''translator's note''.</ref>

Tony: /* Notes and References */

2023-03-10T19:27:29Z

Notes and References

← Older revision		Revision as of 21:27, 10 March 2023
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	<ref name="note19">The book in question is {{und\|Музыка и её представители. Разговор о музыке}} [Music and its exponents. A conversation about music] (Moscow, 1891).</ref>		<ref name="note19">The book in question is {{und\|Музыка и её представители. Разговор о музыке}} [Music and its exponents. A conversation about music] (Moscow, 1891).</ref>
	<ref name="note20">See Tchaikovsky's ''[[Autobiography]]'' of 1889 and ''[[Tchaikovsky: A Life]]'' by Alexander Poznansky for more details on how Tchaikovsky, at the age of 22, finally decided to make music his profession, despite having been groomed for a career in the civil service by his upbringing and family expectations.</ref>		<ref name="note20">See Tchaikovsky's ''[[Autobiography]]'' of 1889 and ''[[Tchaikovsky: A Life]]'' by Alexander Poznansky for more details on how Tchaikovsky, at the age of 22, finally decided to make music his profession, despite having been groomed for a career in the civil service by his upbringing and family expectations.</ref>
	<ref name="note21">Tchaikovsky is tactfully referring to the way in which censorship in Russia prevented the free discussion of sensitive political topics in the press, and how ever since the days of the great literary critic Vissarion Belinsky (1811–1848) extended articles about literature (and later about painting and music, too) would often be used as a springboard for a more or less subtly veiled discussion of contemporary social problems — '' translator's note''.</ref>		<ref name="note21">Tchaikovsky is tactfully referring to the way in which censorship in Russia prevented the free discussion of sensitive political topics in the press, and how ever since the days of the great literary critic Vissarion Belinsky (1811–1848), extended articles about literature (and later about painting and music, too) would often be used as a springboard for a more or less subtly veiled discussion of contemporary social problems — '' translator's note''.</ref>
	<ref name="note22">Here Tchaikovsky is alluding mainly to one of his bugbears—the formidable critic and (less formidable) composer [[César Cui]]! But he may also have had in mind [[Nikolay Solovyev]] and Mikhail Ivanov (1849–1927), both of whom were regular music critics but also regarded themselves as composers. As [[Alina Bryullova]] recalls in her memoirs of the composer: "Tchaikovsky was very tolerant and inclined not to bear grudges, but all of [Mikhail] Ivanov's work both as a critic and as a composer was sickening to his artistic and ethical nature." See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.106–119 (107). Vasily Yastrebtsev (1866–1934) similarly recalled how Tchaikovsky had once said in 1893: "Well, personally I do not consider Mr I[vanov] to be a composer and I cannot stand the works of [[Solovyev\|S[olovyev]]] , just as I cannot stand those glorified charlatans of the ilk of Arrigo Boito, with whom I had the misfortune to share the ceremony of obtaining my honorary doctorate at [[Cambridge]] University, or Leoncavallo." See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.212–215 (214) — ''translator's note''.</ref>		<ref name="note22">Here Tchaikovsky is alluding mainly to one of his bugbears—the formidable critic and (less formidable) composer [[César Cui]]! But he may also have had in mind [[Nikolay Solovyev]] and Mikhail Ivanov (1849–1927), both of whom were regular music critics but also regarded themselves as composers. As [[Alina Bryullova]] recalls in her memoirs of the composer: "Tchaikovsky was very tolerant and inclined not to bear grudges, but all of [Mikhail] Ivanov's work both as a critic and as a composer was sickening to his artistic and ethical nature." See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.106–119 (107). Vasily Yastrebtsev (1866–1934) similarly recalled how Tchaikovsky had once said in 1893: "Well, personally I do not consider Mr I[vanov] to be a composer and I cannot stand the works of [[Solovyev\|S[olovyev]]] , just as I cannot stand those glorified charlatans of the ilk of Arrigo Boito, with whom I had the misfortune to share the ceremony of obtaining my honorary doctorate at [[Cambridge]] University, or Leoncavallo." See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.212–215 (214) — ''translator's note''.</ref>
	<ref name="note23">Tchaikovsky contributed regular [[Articles\|music review articles]] for the [[Moscow]]-based journal ''The Russian Register'' (Русские ведомости) from 1872 to 1875. The reasons why he made so many 'enemies' were, however, more complex than what is suggested by the above self-deprecating explanation, for Tchaikovsky had always sought to be objective and fair in his judgements (see, for example, the section of his 1873 article [[TH 283]] entitled "A Frank Discussion with the Reader") — ''translator's note''.</ref>		<ref name="note23">Tchaikovsky contributed regular [[Articles\|music review articles]] for the [[Moscow]]-based journal ''The Russian Register'' (Русские ведомости) from 1872 to 1875. The reasons why he made so many 'enemies' were, however, more complex than what is suggested by the above self-deprecating explanation, for Tchaikovsky had always sought to be objective and fair in his judgements (see, for example, the section of his 1873 article [[TH 283]] entitled "A Frank Discussion with the Reader") — ''translator's note''.</ref>

Tony: /* Notes and References */

2023-03-08T20:13:36Z

Notes and References

← Older revision		Revision as of 22:13, 8 March 2023
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	<ref name="note9">According to the memoirs of [[Vladimir Nápravník]], who was a guest at Tchaikovsky's house in [[Maydanovo]] from 29 January/10 February to 26 February/10 March 1892 while preparing for his law exams, he and Tchaikovsky would play through four-hand piano transcriptions in the evenings. Amongst the contemporary composers whose works they studied in this way, Anton Bruckner (1824–1896) is named alongside [[Grieg]] and [[Brahms]]. See [[Vladimir Nápravník]]'s memoirs in {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p. 220; the same extract is also in David Brown, {{bib\|1999/33\|Tchaikovsky Remembered}} (1993), p.112–113. However, Tchaikovsky nowhere seems to have recorded his impressions of Bruckner's music — ''translator's note''.</ref>		<ref name="note9">According to the memoirs of [[Vladimir Nápravník]], who was a guest at Tchaikovsky's house in [[Maydanovo]] from 29 January/10 February to 26 February/10 March 1892 while preparing for his law exams, he and Tchaikovsky would play through four-hand piano transcriptions in the evenings. Amongst the contemporary composers whose works they studied in this way, Anton Bruckner (1824–1896) is named alongside [[Grieg]] and [[Brahms]]. See [[Vladimir Nápravník]]'s memoirs in {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p. 220; the same extract is also in David Brown, {{bib\|1999/33\|Tchaikovsky Remembered}} (1993), p.112–113. However, Tchaikovsky nowhere seems to have recorded his impressions of Bruckner's music — ''translator's note''.</ref>
	<ref name="note10">Tchaikovsky seems to have revised (or concealed!) his opinion of Richard Strauss (1864–1949) somewhat, since after hearing the younger man's tone poem ''Aus Italien'', Op.16, at a concert conducted by the work's dedicatee [[Hans von Bülow]] in [[Berlin]] on 11/23 January 1888, he had written to [[Nikolay Hubert]] and his wife [[Aleksandra Hubert\|Aleksandra]]: "I must confess that the last piece of rubbish by the most worthless of our own Russian composers is far better than this exceptionally untalented work. Incidentally, today (the 12th) I have softened a bit and started to think that perhaps I didn't understand it, or rather that I didn't get to its '' core''." ([[Letter 3470]], 12/24 January 1888, quoted in {{bib\|1940/107\|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p.435). On the same day, however, he also wrote to his brother [[Modest]] from [[Magdeburg]], where he had just arrived: "In [[Berlin]] I heard a work by a new German genius, Richard Strauss. [[Bülow]] is fussing over him just as he once did over [[Brahms]] and others. I don't think there has ever been a more outrageously talentless person, yet quite full of pretensions, as this [Richard Strauss]." ([[Letter 3472]] to [[Modest Tchaikovsky]], 12/24 January 1888). Tchaikovsky was introduced to the young Richard Strauss at this concert in [[Berlin]], as the entry in his diary for 11/23 January 1888 shows: "Symphony by Strauss. His lack of talent. Meeting with [[Bülow]], Wolff, Schneider, etc. Made the acquaintance of Ehrlich and Strauss." See {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p.192. Heinrich Ehrlich (1822–1899) was a well-known German pianist and music critic —''translator's note''.</ref>		<ref name="note10">Tchaikovsky seems to have revised (or concealed!) his opinion of Richard Strauss (1864–1949) somewhat, since after hearing the younger man's tone poem ''Aus Italien'', Op.16, at a concert conducted by the work's dedicatee [[Hans von Bülow]] in [[Berlin]] on 11/23 January 1888, he had written to [[Nikolay Hubert]] and his wife [[Aleksandra Hubert\|Aleksandra]]: "I must confess that the last piece of rubbish by the most worthless of our own Russian composers is far better than this exceptionally untalented work. Incidentally, today (the 12th) I have softened a bit and started to think that perhaps I didn't understand it, or rather that I didn't get to its '' core''." ([[Letter 3470]], 12/24 January 1888, quoted in {{bib\|1940/107\|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p.435). On the same day, however, he also wrote to his brother [[Modest]] from [[Magdeburg]], where he had just arrived: "In [[Berlin]] I heard a work by a new German genius, Richard Strauss. [[Bülow]] is fussing over him just as he once did over [[Brahms]] and others. I don't think there has ever been a more outrageously talentless person, yet quite full of pretensions, as this [Richard Strauss]." ([[Letter 3472]] to [[Modest Tchaikovsky]], 12/24 January 1888). Tchaikovsky was introduced to the young Richard Strauss at this concert in [[Berlin]], as the entry in his diary for 11/23 January 1888 shows: "Symphony by Strauss. His lack of talent. Meeting with [[Bülow]], Wolff, Schneider, etc. Made the acquaintance of Ehrlich and Strauss." See {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p.192. Heinrich Ehrlich (1822–1899) was a well-known German pianist and music critic —''translator's note''.</ref>
	<ref name="note11">In Chapter XII of his ''[[Autobiographical Account]]'' (TH 316) of his first conducting tour to western Europe in 1888 Tchaikovsky comments that at his meeting in [[Berlin]] with the Polish composer and pianist Moritz Moszkowski (1854–1925) he had found his personality to be "just as attractive as his music" —''translator's note''.</ref>		<ref name="note11">In Chapter XII of his ''[[Autobiographical Account]]'' (TH 316) of his first conducting tour to western Europe in 1888, Tchaikovsky comments that at his meeting in [[Berlin]] with the Polish composer and pianist Moritz Moszkowski (1854–1925) he had found his personality to be "just as attractive as his music" —''translator's note''.</ref>
	<ref name="note12">Tchaikovsky first heard [[Mascagni]]'s opera ''Cavalleria rusticana'' (1890) in [[Warsaw]] on 11 January 1892 {{NS}}, and was very impressed by this work, which had taken the opera-houses of Europe by storm. See also the entry for [[Pietro Mascagni]], and also the article on [[Rachmaninoff]] for details on how ''Cavalleria'' to some extent influenced ''Aleko'', an opera of which Tchaikovsky thought very highly —''translator's note''.</ref>		<ref name="note12">Tchaikovsky first heard [[Mascagni]]'s opera ''Cavalleria rusticana'' (1890) in [[Warsaw]] on 11 January 1892 {{NS}}, and was very impressed by this work, which had taken the opera-houses of Europe by storm. See also the entry for [[Pietro Mascagni]], and also the article on [[Rachmaninoff]] for details on how ''Cavalleria'' to some extent influenced ''Aleko'', an opera of which Tchaikovsky thought very highly —''translator's note''.</ref>
	<ref name="note13">See the entry on [[Wagner]] for more details of Tchaikovsky's criticism of the German composer's choice of mythological subjects for most of his music dramas — ''translator's note''.</ref>		<ref name="note13">See the entry on [[Wagner]] for more details of Tchaikovsky's criticism of the German composer's choice of mythological subjects for most of his music dramas — ''translator's note''.</ref>
	<ref name="note14">In Chapter IX of his ''[[Autobiographical Account]]'' (TH 316) Tchaikovsky discusses in some detail the development of Ferruccio Busoni (1866–1924) as a composer. He had met the younger man at a chamber music soirée in [[Leipzig]] on 17/29 January 1888 and was impressed by his talent, whilst lamenting at the same time that in his aspiration to depth and complexity Busoni was "seeking to come across as a German at all costs". In the same section of his ''[[Autobiographical Account]]'' Tchaikovsky also noted how both Busoni and [[Giovanni Sgambati]] were "ashamed to be Italians; they are afraid of letting even just a particle of melody show up in their compositions, and they want to be 'profound' in the German manner. A very lamentable phenomenon!" — ''translator's note''.</ref>		<ref name="note14">In Chapter IX of his ''[[Autobiographical Account]]'' (TH 316), Tchaikovsky discusses in some detail the development of Ferruccio Busoni (1866–1924) as a composer. He had met the younger man at a chamber music soirée in [[Leipzig]] on 17/29 January 1888 and was impressed by his talent, whilst lamenting at the same time that in his aspiration to depth and complexity Busoni was "seeking to come across as a German at all costs". In the same section of his ''[[Autobiographical Account]]'', Tchaikovsky also noted how both Busoni and [[Giovanni Sgambati]] were "ashamed to be Italians; they are afraid of letting even just a particle of melody show up in their compositions, and they want to be 'profound' in the German manner. A very lamentable phenomenon!" — ''translator's note''.</ref>
	<ref name="note15">Although Tchaikovsky did not think so highly of the talent of [[Johan Svendsen]] (1840–1911) as that of his countryman [[Grieg]], in two review articles of the 1870s he discussed favourably some of [[Svendsen]]'s works (see [[TH 268]] and [[TH 295]]), also noting his great popularity in Russia in the ''[[Autobiographical Account]]'' of 1888 (TH 316). [[Svendsen]] in his turn had featured several works by Tchaikovsky in the concerts he conducted in Copenhagen (where he was principal conductor at the Royal Theatre), and from [[Nikolay Kashkin]]'s memoirs we know that Tchaikovsky towards the end of October 1893 sent his Norwegian colleague a letter (unfortunately lost) promising to come to Denmark soon. See [[Nikolay Kashkin]], {{bib\|1954/50\|Воспоминания о П. И. Чайковском}} (1954), p.184. [[Svendsen]] received this letter on the day that he read about Tchaikovsky's death in the newspapers. Thus, the Russian composer's hopes of touring Scandinavia (which he had discussed on several occasions) were never realised — ''translator's note''.</ref>		<ref name="note15">Although Tchaikovsky did not think so highly of the talent of [[Johan Svendsen]] (1840–1911) as that of his countryman [[Grieg]], in two review articles of the 1870s he discussed favourably some of [[Svendsen]]'s works (see [[TH 268]] and [[TH 295]]), also noting his great popularity in Russia in the ''[[Autobiographical Account]]'' of 1888 (TH 316). [[Svendsen]] in his turn had featured several works by Tchaikovsky in the concerts he conducted in Copenhagen (where he was principal conductor at the Royal Theatre), and from [[Nikolay Kashkin]]'s memoirs we know that Tchaikovsky towards the end of October 1893 sent his Norwegian colleague a letter (unfortunately lost) promising to come to Denmark soon. See [[Nikolay Kashkin]], {{bib\|1954/50\|Воспоминания о П. И. Чайковском}} (1954), p.184. [[Svendsen]] received this letter on the day that he read about Tchaikovsky's death in the newspapers. Thus, the Russian composer's hopes of touring Scandinavia (which he had discussed on several occasions) were never realised — ''translator's note''.</ref>
	<ref name="note16">Zdeněk Fibich (1850–1900), Czech composer, second conductor at the [[Prague]] National Theatre from 1876.</ref>		<ref name="note16">Zdeněk Fibich (1850–1900), Czech composer, second conductor at the [[Prague]] National Theatre from 1876.</ref>

Tony: /* Notes and References */ Year replacement - "1950" to "1960"

2023-03-08T20:10:18Z

Notes and References: Year replacement - "1950" to "1960"

← Older revision		Revision as of 22:10, 8 March 2023
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	<ref name="note2">The interviewer "G.B." is identified as Grigory Anatolyevich Blokh (1867–1927), a [[Saint Petersburg]]-based poet and music journalist, in Ernst Kuhn, {{bib\|1994/85\|Tschaikowsky aus der Nähe}} (1994), p. 220, note 483, as well as in Alexander Poznansky, {{bib\|1999/93\|Tchaikovsky through Others' Eyes}} (1999), p. 194. Ernst Kuhn has pointed out that the initials "G.B." were regularly used by Grigory Blokh when signing his articles, so it is very likely that he conducted this interview with Tchaikovsky.</ref>		<ref name="note2">The interviewer "G.B." is identified as Grigory Anatolyevich Blokh (1867–1927), a [[Saint Petersburg]]-based poet and music journalist, in Ernst Kuhn, {{bib\|1994/85\|Tschaikowsky aus der Nähe}} (1994), p. 220, note 483, as well as in Alexander Poznansky, {{bib\|1999/93\|Tchaikovsky through Others' Eyes}} (1999), p. 194. Ernst Kuhn has pointed out that the initials "G.B." were regularly used by Grigory Blokh when signing his articles, so it is very likely that he conducted this interview with Tchaikovsky.</ref>
	<ref name="note3">The writing of his [[First Symphony]] over several months in 1866 had taken a great toll on Tchaikovsky's physical and mental health, in particular because he often stayed up all night to work on it—something that he swore he would never do again, as his brother [[Modest]] recalled in his biography of the composer: "As a result of this exceptionally hard work he began to suffer from insomnia, and the sleepless nights paralyzed his creative energies. At the end of July all this erupted into a terrible nervous attack, the like of which he never experienced again during his lifetime [...] The most distressing symptoms of this illness were dreadful hallucinations, which were so frightening that they resulted in a feeling of complete numbness in all his extremities." The dread of these nervous attacks recurring was such that "all his life he abstained from working at night. After this symphony, not a single note from any of his compositions was written at night." See {{bib\|1900/35\|Жизнь Петра Ильича Чайковского ; том 1}} (1900), p. 248 — ''translator's note'' (quoting a passage translated earlier by Brett Langston).</ref>		<ref name="note3">The writing of his [[First Symphony]] over several months in 1866 had taken a great toll on Tchaikovsky's physical and mental health, in particular because he often stayed up all night to work on it—something that he swore he would never do again, as his brother [[Modest]] recalled in his biography of the composer: "As a result of this exceptionally hard work he began to suffer from insomnia, and the sleepless nights paralyzed his creative energies. At the end of July all this erupted into a terrible nervous attack, the like of which he never experienced again during his lifetime [...] The most distressing symptoms of this illness were dreadful hallucinations, which were so frightening that they resulted in a feeling of complete numbness in all his extremities." The dread of these nervous attacks recurring was such that "all his life he abstained from working at night. After this symphony, not a single note from any of his compositions was written at night." See {{bib\|1900/35\|Жизнь Петра Ильича Чайковского ; том 1}} (1900), p. 248 — ''translator's note'' (quoting a passage translated earlier by Brett Langston).</ref>
	<ref name="note4">Tchaikovsky was perhaps exaggerating his lack of musical memory, but it is true that several reminiscences of the composer by contemporaries include anecdotes of how he would sometimes not recognize a particular musical phrase as being from an earlier work of his, and how he was then genuinely surprised when he was told who its author was! As for his working methods, Tchaikovsky discusses these at length in [[Letter 862]] to [[Nadezhda von Meck]], 24 June/6 July 1878, where, as in this later interview, he also emphasizes the discipline which an artist needed to have. In a conversation in 1889 with the young Igor Grabar' (~~1871–1950~~), who would go on to become a distinguished art historian, Tchaikovsky likewise stressed that "inspiration is born only out of work and during such work". See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.288–289. The account by Grabar' of this conversation is also included in David Brown, {{bib\|1999/33\|Tchaikovsky Remembered}} (1993), p.83–85 — ''translator's note''.</ref>		<ref name="note4">Tchaikovsky was perhaps exaggerating his lack of musical memory, but it is true that several reminiscences of the composer by contemporaries include anecdotes of how he would sometimes not recognize a particular musical phrase as being from an earlier work of his, and how he was then genuinely surprised when he was told who its author was! As for his working methods, Tchaikovsky discusses these at length in [[Letter 862]] to [[Nadezhda von Meck]], 24 June/6 July 1878, where, as in this later interview, he also emphasizes the discipline which an artist needed to have. In a conversation in 1889 with the young Igor Grabar' (1871–1960), who would go on to become a distinguished art historian, Tchaikovsky likewise stressed that "inspiration is born only out of work and during such work". See {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p.288–289. The account by Grabar' of this conversation is also included in David Brown, {{bib\|1999/33\|Tchaikovsky Remembered}} (1993), p.83–85 — ''translator's note''.</ref>
	<ref name="note5">In [[Letter 862]] to [[Nadezhda von Meck]], 24 June/6 July 1878, Tchaikovsky had also emphasized how there was no danger of diatonic melodies ever running out, since gifted composers would always be able to produce beautiful tunes based on notes of a triad. To support his point he cited in this letter the examples of " [[Beethoven]], [[Weber]], [[Mendelssohn]], [[Schumann]], and especially [[Wagner]]" — ''translator's note''.</ref>		<ref name="note5">In [[Letter 862]] to [[Nadezhda von Meck]], 24 June/6 July 1878, Tchaikovsky had also emphasized how there was no danger of diatonic melodies ever running out, since gifted composers would always be able to produce beautiful tunes based on notes of a triad. To support his point he cited in this letter the examples of " [[Beethoven]], [[Weber]], [[Mendelssohn]], [[Schumann]], and especially [[Wagner]]" — ''translator's note''.</ref>
	<ref name="note6">Tchaikovsky is quoting Voltaire's famous maxim from the preface to ''L'Enfant prodigue'' (1763): "All genres are good except for the boring genre." — ''translator's note''.</ref>		<ref name="note6">Tchaikovsky is quoting Voltaire's famous maxim from the preface to ''L'Enfant prodigue'' (1763): "All genres are good except for the boring genre." — ''translator's note''.</ref>
	<ref name="note7">The premiere of [[Aleksandr Serov]]'s ''Judith'' took place at the Mariinsky Theatre in [[Saint Petersburg]] on 16/28 May 1863 — note by [[Vasily Yakovlev]].</ref>		<ref name="note7">The premiere of [[Aleksandr Serov]]'s ''Judith'' took place at the Mariinsky Theatre in [[Saint Petersburg]] on 16/28 May 1863 — note by [[Vasily Yakovlev]].</ref>
	<ref name="note8">Tchaikovsky thought highly of the ''Sakuntala'' concert overture by the Hungarian composer Karl Goldmark (1830–1915), enthusiastically praising it in a music review article of 1874 ([[TH 288]]), but he did not like his most popular opera ''Die Königin von Saba'' (1875), whose score he criticized as "boring" and "pretentious" in [[Letter 1076]] to [[Nadezhda von Meck]], 20 January/1 February 1879. A few days later he wrote to his benefactress, who liked Goldmark very much, that this composer was a lamentable "mix of [[Wagner]] and [[Brahms]]" ([[Letter 1080]] to [[Nadezhda von Meck]], 23 January/4 February 1879)! When he heard ''Die Königin von Saba'' (presumably for the first time) at the [[Dresden]] opera in February 1889 his negative impressions of the score were confirmed: "I didn't like the music at all. Bad singers, especially the tenor. Falseness and conventionality." (diary entry for 5/17 February 1889 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 224) — ''translator's note''.</ref>		<ref name="note8">Tchaikovsky thought highly of the ''Sakuntala'' concert overture by the Hungarian composer Karl Goldmark (1830–1915), enthusiastically praising it in a music review article of 1874 ([[TH 288]]), but he did not like his most popular opera ''Die Königin von Saba'' (1875), whose score he criticized as "boring" and "pretentious" in [[Letter 1076]] to [[Nadezhda von Meck]], 20 January/1 February 1879. A few days later he wrote to his benefactress, who liked Goldmark very much, that this composer was a lamentable "mix of [[Wagner]] and [[Brahms]]" ([[Letter 1080]] to [[Nadezhda von Meck]], 23 January/4 February 1879)! When he heard ''Die Königin von Saba'' (presumably for the first time) at the [[Dresden]] opera in February 1889 his negative impressions of the score were confirmed: "I didn't like the music at all. Bad singers, especially the tenor. Falseness and conventionality." (diary entry for 5/17 February 1889 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 224) — ''translator's note''.</ref>
	<ref name="note9">According to the memoirs of [[Vladimir Nápravník]], who was a guest at Tchaikovsky's house in [[Maydanovo]] from 29 January/10 February to 26 February/10 March 1892 while preparing for his law exams, he and Tchaikovsky would play through four-hand piano transcriptions in the evenings. Amongst the contemporary composers whose works they studied in this way Anton Bruckner (1824–1896) is named alongside [[Grieg]] and [[Brahms]]. See [[Vladimir Nápravník]]'s memoirs in {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p. 220; the same extract is also in David Brown, {{bib\|1999/33\|Tchaikovsky Remembered}} (1993), p.112–113. However, Tchaikovsky nowhere seems to have recorded his impressions of Bruckner's music — ''translator's note''.</ref>		<ref name="note9">According to the memoirs of [[Vladimir Nápravník]], who was a guest at Tchaikovsky's house in [[Maydanovo]] from 29 January/10 February to 26 February/10 March 1892 while preparing for his law exams, he and Tchaikovsky would play through four-hand piano transcriptions in the evenings. Amongst the contemporary composers whose works they studied in this way, Anton Bruckner (1824–1896) is named alongside [[Grieg]] and [[Brahms]]. See [[Vladimir Nápravník]]'s memoirs in {{bib\|1980/24\|Воспоминания о П. И. Чайковском}} (1980), p. 220; the same extract is also in David Brown, {{bib\|1999/33\|Tchaikovsky Remembered}} (1993), p.112–113. However, Tchaikovsky nowhere seems to have recorded his impressions of Bruckner's music — ''translator's note''.</ref>
	<ref name="note10">Tchaikovsky seems to have revised (or concealed!) his opinion of Richard Strauss (1864–1949) somewhat, since after hearing the younger man's tone poem ''Aus Italien'', Op.16, at a concert conducted by the work's dedicatee [[Hans von Bülow]] in [[Berlin]] on 11/23 January 1888, he had written to [[Nikolay Hubert]] and his wife [[Aleksandra Hubert\|Aleksandra]]: "I must confess that the last piece of rubbish by the most worthless of our own Russian composers is far better than this exceptionally untalented work. Incidentally, today (the 12th) I have softened a bit and started to think that perhaps I didn't understand it, or rather that I didn't get to its '' core''." ([[Letter 3470]], 12/24 January 1888, quoted in {{bib\|1940/107\|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p.435). On the same day, however, he also wrote to his brother [[Modest]] from [[Magdeburg]], where he had just arrived: "In [[Berlin]] I heard a work by a new German genius, Richard Strauss. [[Bülow]] is fussing over him just as he once did over [[Brahms]] and others. I don't think there has ever been a more outrageously talentless person, yet quite full of pretensions, as this [Richard Strauss]." ([[Letter 3472]] to [[Modest Tchaikovsky]], 12/24 January 1888). Tchaikovsky was introduced to the young Richard Strauss at this concert in [[Berlin]], as the entry in his diary for 11/23 January 1888 shows: "Symphony by Strauss. His lack of talent. Meeting with [[Bülow]], Wolff, Schneider, etc. Made the acquaintance of Ehrlich and Strauss." See {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p.192. Heinrich Ehrlich (1822–1899) was a well-known German pianist and music critic —''translator's note''.</ref>		<ref name="note10">Tchaikovsky seems to have revised (or concealed!) his opinion of Richard Strauss (1864–1949) somewhat, since after hearing the younger man's tone poem ''Aus Italien'', Op.16, at a concert conducted by the work's dedicatee [[Hans von Bülow]] in [[Berlin]] on 11/23 January 1888, he had written to [[Nikolay Hubert]] and his wife [[Aleksandra Hubert\|Aleksandra]]: "I must confess that the last piece of rubbish by the most worthless of our own Russian composers is far better than this exceptionally untalented work. Incidentally, today (the 12th) I have softened a bit and started to think that perhaps I didn't understand it, or rather that I didn't get to its '' core''." ([[Letter 3470]], 12/24 January 1888, quoted in {{bib\|1940/107\|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p.435). On the same day, however, he also wrote to his brother [[Modest]] from [[Magdeburg]], where he had just arrived: "In [[Berlin]] I heard a work by a new German genius, Richard Strauss. [[Bülow]] is fussing over him just as he once did over [[Brahms]] and others. I don't think there has ever been a more outrageously talentless person, yet quite full of pretensions, as this [Richard Strauss]." ([[Letter 3472]] to [[Modest Tchaikovsky]], 12/24 January 1888). Tchaikovsky was introduced to the young Richard Strauss at this concert in [[Berlin]], as the entry in his diary for 11/23 January 1888 shows: "Symphony by Strauss. His lack of talent. Meeting with [[Bülow]], Wolff, Schneider, etc. Made the acquaintance of Ehrlich and Strauss." See {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p.192. Heinrich Ehrlich (1822–1899) was a well-known German pianist and music critic —''translator's note''.</ref>
	<ref name="note11">In Chapter XII of his ''[[Autobiographical Account]]'' (TH 316) of his first conducting tour to western Europe in 1888 Tchaikovsky comments that at his meeting in [[Berlin]] with the Polish composer and pianist Moritz Moszkowski (1854–1925) he had found his personality to be "just as attractive as his music" —''translator's note''.</ref>		<ref name="note11">In Chapter XII of his ''[[Autobiographical Account]]'' (TH 316) of his first conducting tour to western Europe in 1888 Tchaikovsky comments that at his meeting in [[Berlin]] with the Polish composer and pianist Moritz Moszkowski (1854–1925) he had found his personality to be "just as attractive as his music" —''translator's note''.</ref>

Tony at 19:46, 8 March 2023

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	'''''A Conversation with P. I. Tchaikovsky''''' (Беседа с П. И. Чайковским) ([[TH]] 324 ; [[ČW]] 597) <ref name="note1"/>, was the title of an interview between Tchaikovsky and a certain "G. B." <ref name="note2"/>, published in the newspaper ''Petersburg Life'' (Петербургская жизнь) on 12 November 1892 {{OS}}.		'''''A Conversation with P. I. Tchaikovsky''''' (Беседа с П. И. Чайковским) ([[TH]] 324 ; [[ČW]] 597) <ref name="note1"/> was the title of an interview between Tchaikovsky and a certain "G. B." <ref name="note2"/>, published in the newspaper ''Petersburg Life'' (Петербургская жизнь) on 12 November 1892 {{OS}}.

	Tchaikovsky talked about his working methods; the development of musical life and music education in Russia; his favourite operas by [[Mozart]], [[Glinka]], and [[Serov]]; the state of music in Germany, recognizing [[Wagner]]'s overwhelming influence and the lack of any successor of equal stature; his admiration of [[Mascagni]] and ''Cavalleria rusticana'' for its real-life drama; the leading French, Scandinavian, and Czech composers; his reservations about Russian music critics; the 'Mighty Handful' and how people were wrong in assuming that he was at loggerheads with the new Russian school of music, since he had a lot in common with [[Rimsky-Korsakov]], and admired such younger composers as [[Lyadov]] and [[Glazunov]].		Tchaikovsky talked about his working methods; the development of musical life and music education in Russia; his favourite operas by [[Mozart]], [[Glinka]], and [[Serov]]; the state of music in Germany, recognizing [[Wagner]]'s overwhelming influence and the lack of any successor of equal stature; his admiration of [[Mascagni]] and ''Cavalleria rusticana'' for its real-life drama; the leading French, Scandinavian, and Czech composers; his reservations about Russian music critics; the 'Mighty Handful' and how people were wrong in assuming that he was at loggerheads with the new Russian school of music, since he had a lot in common with [[Rimsky-Korsakov]], and admired such younger composers as [[Lyadov]] and [[Glazunov]].
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	First published in the [[Saint Petersburg]] newspaper ''Petersburg Life'' (Петербургская жизнь), 12 November 1892 {{OS}} <ref name="note30"/>.		First published in the [[Saint Petersburg]] newspaper ''Petersburg Life'' (Петербургская жизнь), 12 November 1892 {{OS}} <ref name="note30"/>.

	In 1957 it was included in {{bibx\|1953/58\|volume II}} of the ''[[Complete Collected Works]]'', edited by Vladimir Protopopov.		In 1957, it was included in {{bibx\|1953/58\|volume II}} of the ''[[Complete Collected Works]]'', edited by Vladimir Protopopov.

	==Bibliography==		==Bibliography==

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Text replacement - "Modest Tchaikovsky, {{bib|" to "{{bib|"

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