Cherevichki - Revision history

Brett: Text replacement - "proof-read" to "proofread"

2024-08-23T08:55:49Z

Text replacement - "proof-read" to "proofread"

← Older revision		Revision as of 10:55, 23 August 2024
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	==Publication==		==Publication==
	In 1885, [[Pyotr Jurgenson]] published the piano score of the opera <ref name="note21"/> and the orchestral parts; the full score of the opera was only printed in 1898 <ref name="note22"/>. [[Aleksandra Hubert]] assisted Tchaikovsky with ~~proof-reading~~ and the piano arrangement of some numbers <ref name="note23"/>. The third set of proofs, it seems, were checked by Tchaikovsky alone. On 8/20 July 1885 he wrote to [[Sergey Taneyev]]: "... I am overwhelmed with proofs of the opera" <ref name="note24"/>.		In 1885, [[Pyotr Jurgenson]] published the piano score of the opera <ref name="note21"/> and the orchestral parts; the full score of the opera was only printed in 1898 <ref name="note22"/>. [[Aleksandra Hubert]] assisted Tchaikovsky with proofreading and the piano arrangement of some numbers <ref name="note23"/>. The third set of proofs, it seems, were checked by Tchaikovsky alone. On 8/20 July 1885 he wrote to [[Sergey Taneyev]]: "... I am overwhelmed with proofs of the opera" <ref name="note24"/>.

	Responding to the enquiry by [[Pyotr Jurgenson]] regarding the possibility of selling individual numbers from ''[[Vakula the Smith]]'' <ref name="note25"/>, Tchaikovsky replied: "''[[Vakula the Smith]]'' should have been destroyed a long time ago. One can certainly sell individual numbers, but only a few of them remain unchanged:		Responding to the enquiry by [[Pyotr Jurgenson]] regarding the possibility of selling individual numbers from ''[[Vakula the Smith]]'' <ref name="note25"/>, Tchaikovsky replied: "''[[Vakula the Smith]]'' should have been destroyed a long time ago. One can certainly sell individual numbers, but only a few of them remain unchanged:

Brett at 13:15, 16 September 2023

2023-09-16T13:15:20Z

← Older revision		Revision as of 15:15, 16 September 2023
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	After the new score had already been compiled, apparently during rehearsals, Tchaikovsky altered the instrumentation in Oksana's aria, as well as the beginning of the vocal part <ref name="note15"/>.		After the new score had already been compiled, apparently during rehearsals, Tchaikovsky altered the instrumentation in Oksana's aria, as well as the beginning of the vocal part <ref name="note15"/>.

	At the request of Dmitry Usatov, who sang the part of Vakula, Tchaikovsky wrote an additional song for Vakula in the first scene of the third act to words by the poet [[Nikolay Chayev]] <ref name="note16"/>.		At the request of [[Dmitry Usatov]], who sang the part of Vakula, Tchaikovsky wrote an additional song for Vakula in the first scene of the third act to words by the poet [[Nikolay Chayev]] <ref name="note16"/>.

	==Arrangements==		==Arrangements==
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	Despite the directorate's promise, the staging of ''Cherevichki'' did not take place in the 1885/86 season, owing to the prolonged illness of [[Ippolit Altani]] and Tchaikovsky's reluctance to engage another, less experienced conductor. An offer by the author to conduct the opera by himself, received a sympathetic reaction in the theatre; nevertheless, due to apparent constraints of the repertoire, the premiere was rescheduled for the next season <ref name="note18"/>.		Despite the directorate's promise, the staging of ''Cherevichki'' did not take place in the 1885/86 season, owing to the prolonged illness of [[Ippolit Altani]] and Tchaikovsky's reluctance to engage another, less experienced conductor. An offer by the author to conduct the opera by himself, received a sympathetic reaction in the theatre; nevertheless, due to apparent constraints of the repertoire, the premiere was rescheduled for the next season <ref name="note18"/>.

	The first performance of ''Cherevichki'' took place on 19/31 January 1887 in [[Moscow]] at the Bolshoi Theatre, conducted by the composer himself, with the following cast: Dmitry Usatov (''Vakula''), [[Aleksandra Svyatlovskaya]] (''Solokha''), [[Bogomir Korsov]] (''Devil''), Ivan Matchinsky (''Chub''), [[Mariya Klimentova]] (''Oksana''), Vladimir Streletsky (''Mayor''), Pyotr Grigoryev (''Panas''), [[Aleksandr Dodonov]] (''Schoolmaster)'', Pavel Khokhlov (''His Highness''), Romuald Vasilyevsky (''Master of Ceremonies''). Tchaikovsky also conducted the next two performances on 23 January/4 February and 27 January/8 February with the same cast, except that [[Aleksandra Krutikova]] replaced [[Aleksandra Svyatlovskaya]] as Solokha.		The first performance of ''Cherevichki'' took place on 19/31 January 1887 in [[Moscow]] at the Bolshoi Theatre, conducted by the composer himself, with the following cast: [[Dmitry Usatov]] (''Vakula''), [[Aleksandra Svyatlovskaya]] (''Solokha''), [[Bogomir Korsov]] (''Devil''), Ivan Matchinsky (''Chub''), [[Mariya Klimentova]] (''Oksana''), Vladimir Streletsky (''Mayor''), Pyotr Grigoryev (''Panas''), [[Aleksandr Dodonov]] (''Schoolmaster)'', Pavel Khokhlov (''His Highness''), Romuald Vasilyevsky (''Master of Ceremonies''). Tchaikovsky also conducted the next two performances on 23 January/4 February and 27 January/8 February with the same cast, except that [[Aleksandra Krutikova]] replaced [[Aleksandra Svyatlovskaya]] as Solokha.

	This was the start of Tchaikovsky's career as a conductor. On 4/16 December 1886 he wrote to [[Modest Tchaikovsky]]: "Today [...] an event of great significance for me has occurred. ''I conducted'' at the first orchestral rehearsal, and in such a way that (if this isn't just boasting) surprised everyone, because everyone expected that I would disgrace myself … Now I know that I ''can conduct''" <ref name="note19"/>. After the premiere, Tchaikovsky described his debut: "At the appointed time I felt semi-conscious. When the fateful moment came, I walked to the podium like an automaton. Deafening applause broke out, wreathes were handed down from the stage, and the orchestra played a flourish. At once I began to feel relaxed. I began the overture very confidently, and as time went on I became calmer and calmer… The unanimous view is that I am a talented conductor" <ref name="note20"/>. However, after two further performances on 9/21 and 11/23 February 1887, conducted by [[Ippolit Altani]], the opera was withdrawn from the repertoire.		This was the start of Tchaikovsky's career as a conductor. On 4/16 December 1886 he wrote to [[Modest Tchaikovsky]]: "Today [...] an event of great significance for me has occurred. ''I conducted'' at the first orchestral rehearsal, and in such a way that (if this isn't just boasting) surprised everyone, because everyone expected that I would disgrace myself … Now I know that I ''can conduct''" <ref name="note19"/>. After the premiere, Tchaikovsky described his debut: "At the appointed time I felt semi-conscious. When the fateful moment came, I walked to the podium like an automaton. Deafening applause broke out, wreathes were handed down from the stage, and the orchestra played a flourish. At once I began to feel relaxed. I began the overture very confidently, and as time went on I became calmer and calmer… The unanimous view is that I am a talented conductor" <ref name="note20"/>. However, after two further performances on 9/21 and 11/23 February 1887, conducted by [[Ippolit Altani]], the opera was withdrawn from the repertoire.

Brett at 15:36, 9 September 2023

2023-09-09T15:36:26Z

← Older revision		Revision as of 17:36, 9 September 2023
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	Despite the directorate's promise, the staging of ''Cherevichki'' did not take place in the 1885/86 season, owing to the prolonged illness of [[Ippolit Altani]] and Tchaikovsky's reluctance to engage another, less experienced conductor. An offer by the author to conduct the opera by himself, received a sympathetic reaction in the theatre; nevertheless, due to apparent constraints of the repertoire, the premiere was rescheduled for the next season <ref name="note18"/>.		Despite the directorate's promise, the staging of ''Cherevichki'' did not take place in the 1885/86 season, owing to the prolonged illness of [[Ippolit Altani]] and Tchaikovsky's reluctance to engage another, less experienced conductor. An offer by the author to conduct the opera by himself, received a sympathetic reaction in the theatre; nevertheless, due to apparent constraints of the repertoire, the premiere was rescheduled for the next season <ref name="note18"/>.

	The first performance of ''Cherevichki'' took place on 19/31 January 1887 in [[Moscow]] at the Bolshoi Theatre, conducted by the composer himself, with the following cast: Dmitry Usatov (''Vakula''), [[Aleksandra Svyatlovskaya]] (''Solokha''), [[Bogomir Korsov]] (''Devil''), Ivan Matchinsky (''Chub''), [[Mariya Klimentova]] (''Oksana''), Vladimir Streletsky (''Mayor''), Pyotr Grigoryev (''Panas''), [[Aleksandr Dodonov]] (''Schoolmaster)'', Pavel Khokhlov (''His Highness''), Romuald Vasilyevsky (''Master of Ceremonies''). Tchaikovsky also conducted the next two performances on 23 January/4 February and 27 January/8 February with the same cast, except that Aleksandra Krutikova replaced [[Aleksandra Svyatlovskaya]] as Solokha.		The first performance of ''Cherevichki'' took place on 19/31 January 1887 in [[Moscow]] at the Bolshoi Theatre, conducted by the composer himself, with the following cast: Dmitry Usatov (''Vakula''), [[Aleksandra Svyatlovskaya]] (''Solokha''), [[Bogomir Korsov]] (''Devil''), Ivan Matchinsky (''Chub''), [[Mariya Klimentova]] (''Oksana''), Vladimir Streletsky (''Mayor''), Pyotr Grigoryev (''Panas''), [[Aleksandr Dodonov]] (''Schoolmaster)'', Pavel Khokhlov (''His Highness''), Romuald Vasilyevsky (''Master of Ceremonies''). Tchaikovsky also conducted the next two performances on 23 January/4 February and 27 January/8 February with the same cast, except that [[Aleksandra Krutikova]] replaced [[Aleksandra Svyatlovskaya]] as Solokha.

	This was the start of Tchaikovsky's career as a conductor. On 4/16 December 1886 he wrote to [[Modest Tchaikovsky]]: "Today [...] an event of great significance for me has occurred. ''I conducted'' at the first orchestral rehearsal, and in such a way that (if this isn't just boasting) surprised everyone, because everyone expected that I would disgrace myself … Now I know that I ''can conduct''" <ref name="note19"/>. After the premiere, Tchaikovsky described his debut: "At the appointed time I felt semi-conscious. When the fateful moment came, I walked to the podium like an automaton. Deafening applause broke out, wreathes were handed down from the stage, and the orchestra played a flourish. At once I began to feel relaxed. I began the overture very confidently, and as time went on I became calmer and calmer… The unanimous view is that I am a talented conductor" <ref name="note20"/>. However, after two further performances on 9/21 and 11/23 February 1887, conducted by [[Ippolit Altani]], the opera was withdrawn from the repertoire.		This was the start of Tchaikovsky's career as a conductor. On 4/16 December 1886 he wrote to [[Modest Tchaikovsky]]: "Today [...] an event of great significance for me has occurred. ''I conducted'' at the first orchestral rehearsal, and in such a way that (if this isn't just boasting) surprised everyone, because everyone expected that I would disgrace myself … Now I know that I ''can conduct''" <ref name="note19"/>. After the premiere, Tchaikovsky described his debut: "At the appointed time I felt semi-conscious. When the fateful moment came, I walked to the podium like an automaton. Deafening applause broke out, wreathes were handed down from the stage, and the orchestra played a flourish. At once I began to feel relaxed. I began the overture very confidently, and as time went on I became calmer and calmer… The unanimous view is that I am a talented conductor" <ref name="note20"/>. However, after two further performances on 9/21 and 11/23 February 1887, conducted by [[Ippolit Altani]], the opera was withdrawn from the repertoire.

Brett: Text replacement - "Klin House-Museum Archive" to "{{RUS-KLč}} at Klin"

2023-08-09T20:52:38Z

Text replacement - "Klin House-Museum Archive" to "{{RUS-KLč}} at Klin"

← Older revision		Revision as of 22:52, 9 August 2023
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	<ref name="note23">See [[Letter 2674]], 16/28 March 1885; [[Letter 2692]], 23 April/5 May 1885; [[Letter 2720]], 11/23 June 1885; and [[Letter 2847a]], undated, all to [[Aleksandra Hubert]].</ref>		<ref name="note23">See [[Letter 2674]], 16/28 March 1885; [[Letter 2692]], 23 April/5 May 1885; [[Letter 2720]], 11/23 June 1885; and [[Letter 2847a]], undated, all to [[Aleksandra Hubert]].</ref>
	<ref name="note24">[[Letter 2733]] to [[Sergey Taneyev]], 8/20 July 1885.</ref>		<ref name="note24">[[Letter 2733]] to [[Sergey Taneyev]], 8/20 July 1885.</ref>
	<ref name="note25">See letter from [[Pyotr Jurgenson]] to Tchaikovsky, 30 June/12 August 1890 — Klin ~~House-Museum Archive~~.</ref>		<ref name="note25">See letter from [[Pyotr Jurgenson]] to Tchaikovsky, 30 June/12 August 1890 — {{RUS-KLč}} at [[Klin]].</ref>
	<ref name="note26">[[Letter 4163]] to [[Pyotr Jurgenson]], 2/14 July 1890.</ref>		<ref name="note26">[[Letter 4163]] to [[Pyotr Jurgenson]], 2/14 July 1890.</ref>
	<ref name="note27">See {{und\|Двести шестнадцать украивских напевов записал и издал А. И. Рубец}} ([[Moscow]]: [[P. Jurgenson]], 1872).</ref>		<ref name="note27">See {{und\|Двести шестнадцать украивских напевов записал и издал А. И. Рубец}} ([[Moscow]]: [[P. Jurgenson]], 1872).</ref>
	</references>		</references>
	[[Category:Operas]]		[[Category:Operas]]

Tony: /* Related Works */

2023-04-11T18:32:12Z

Related Works

← Older revision		Revision as of 20:32, 11 April 2023
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	==Related Works==		==Related Works==
	In Act III, No. 17, the melody of Vakula's Song (from bar 21) is based on the folk-tune 'Oh, Don't Scare the Fearful' (Ой, не пугай, пугаченьку), taken from Aleksandr Rubets' collection of Ukrainian folksongs (part 1, No. 1) <ref name="note27"/>.		In Act III, No. 17, the melody of Vakula's Song (from bar 21) is based on the folk tune 'Oh, Don't Scare the Fearful' (Ой, не пугай, пугаченьку), taken from Aleksandr Rubets' collection of Ukrainian folksongs (part 1, No. 1) <ref name="note27"/>.

	The Russian Dance in the same act (No. 22a), includes the folk tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).		The Russian Dance in the same act (No. 22a), includes the folk tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).

Tony: /* Related Works */ "folk-tunes" to "folk tunes" (2 words)

2023-04-11T09:55:49Z

Related Works: "folk-tunes" to "folk tunes" (2 words)

← Older revision		Revision as of 11:55, 11 April 2023
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	==Related Works==		==Related Works==
	In Act III, No. 17, the melody of Vakula's Song (from bar 21) is based on the folk-tune 'Oh, Don't Scare the Fearful' (Ой, не пугай, пугаченьку), taken from Aleksandr Rubets' collection of Ukrainian ~~folk songs~~ (part 1, No. 1) <ref name="note27"/>.		In Act III, No. 17, the melody of Vakula's Song (from bar 21) is based on the folk-tune 'Oh, Don't Scare the Fearful' (Ой, не пугай, пугаченьку), taken from Aleksandr Rubets' collection of Ukrainian folksongs (part 1, No. 1) <ref name="note27"/>.

	The Russian Dance in the same act (No. 22a), includes the folk-tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).		The Russian Dance in the same act (No. 22a), includes the folk tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).

	==External Links==		==External Links==

Tony: /* Notes and References */

2023-02-04T19:57:02Z

Notes and References

← Older revision		Revision as of 21:57, 4 February 2023
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	<ref name="note13">See [[Letter 2703]] to [[Pyotr Jurgenson]], 2/14 May 1885.</ref>		<ref name="note13">See [[Letter 2703]] to [[Pyotr Jurgenson]], 2/14 May 1885.</ref>
	<ref name="note14">The following sections of ''Cherevichki'' were newly composed or rescored: Overture (bars 63, 67–82); Act I, No. 1 (bars 193–207), No. 2 (bars 110–111, 127–168, 176), No. 3 (bars 97–111), No. 4 (bars 57–73, 86–103), No. 5 (bars 1–13, 22–40), No. 6 (bars 1–4, 31–178); Act II, No. 10 (bars 51–102), No. 11 (bars 25–82), No. 12 (bars 52–54), No. 13 (bars 65–94, 132–153), No. 14 (bars 78–96, 143–157, 168–182, 253–260); Act III, No. 17 (bars 8–16, 20–126), No. 19 (bars 114–164), No. 23 (bars 25–51); Act IV, No. 25 (bars 82–137, 315–339). Throughout the rest of the opera, Tchaikovsky made numerous alterations to dynamic, phrasing and tempo markings.</ref>		<ref name="note14">The following sections of ''Cherevichki'' were newly composed or rescored: Overture (bars 63, 67–82); Act I, No. 1 (bars 193–207), No. 2 (bars 110–111, 127–168, 176), No. 3 (bars 97–111), No. 4 (bars 57–73, 86–103), No. 5 (bars 1–13, 22–40), No. 6 (bars 1–4, 31–178); Act II, No. 10 (bars 51–102), No. 11 (bars 25–82), No. 12 (bars 52–54), No. 13 (bars 65–94, 132–153), No. 14 (bars 78–96, 143–157, 168–182, 253–260); Act III, No. 17 (bars 8–16, 20–126), No. 19 (bars 114–164), No. 23 (bars 25–51); Act IV, No. 25 (bars 82–137, 315–339). Throughout the rest of the opera, Tchaikovsky made numerous alterations to dynamic, phrasing and tempo markings.</ref>
	<ref name="note15">Until 1940 this version of the orchestration remained unknown and unperformed.</ref>		<ref name="note15">Until 1940, this version of the orchestration remained unknown and unperformed.</ref>
	<ref name="note16">The composer's diaries show that on 22 November 1886 {{OS}} he met with [[Nikolay Chayev]], who provided the text for the song, although there is no reference to their having discussed the opera.</ref>		<ref name="note16">The composer's diaries show that on 22 November 1886 {{OS}} he met with [[Nikolay Chayev]], who provided the text for the song, although there is no reference to their having discussed the opera.</ref>
	<ref name="note17">See [[Letter 2674]], 16/28 March 1885 and [[Letter 2692]], 23 April/5 May 1885, to [[Aleksandra Hubert]].</ref>		<ref name="note17">See [[Letter 2674]], 16/28 March 1885 and [[Letter 2692]], 23 April/5 May 1885, to [[Aleksandra Hubert]].</ref>

Tony: /* Notes and References */

2023-02-03T20:32:54Z

Notes and References

← Older revision		Revision as of 22:32, 3 February 2023
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	<ref name="note12">[[Letter 2701]] to [[Nadezhda von Meck]], 30 April/12 May 1885.</ref>		<ref name="note12">[[Letter 2701]] to [[Nadezhda von Meck]], 30 April/12 May 1885.</ref>
	<ref name="note13">See [[Letter 2703]] to [[Pyotr Jurgenson]], 2/14 May 1885.</ref>		<ref name="note13">See [[Letter 2703]] to [[Pyotr Jurgenson]], 2/14 May 1885.</ref>
	<ref name="note14">The following sections of ''Cherevichki'' were newly-composed or rescored: Overture (bars 63, 67–82); Act I, No. 1 (bars 193–207), No. 2 (bars 110–111, 127–168, 176), No. 3 (bars 97–111), No. 4 (bars 57–73, 86–103), No. 5 (bars 1–13, 22–40), No. 6 (bars 1–4, 31–178); Act II, No. 10 (bars 51–102), No. 11 (bars 25–82), No. 12 (bars 52–54), No. 13 (bars 65–94, 132–153), No. 14 (bars 78–96, 143–157, 168–182, 253–260); Act III, No. 17 (bars 8–16, 20–126), No. 19 (bars 114–164), No. 23 (bars 25–51); Act IV, No. 25 (bars 82–137, 315–339). Throughout the rest of the opera Tchaikovsky made numerous alterations to dynamic, phrasing and tempo markings.</ref>		<ref name="note14">The following sections of ''Cherevichki'' were newly composed or rescored: Overture (bars 63, 67–82); Act I, No. 1 (bars 193–207), No. 2 (bars 110–111, 127–168, 176), No. 3 (bars 97–111), No. 4 (bars 57–73, 86–103), No. 5 (bars 1–13, 22–40), No. 6 (bars 1–4, 31–178); Act II, No. 10 (bars 51–102), No. 11 (bars 25–82), No. 12 (bars 52–54), No. 13 (bars 65–94, 132–153), No. 14 (bars 78–96, 143–157, 168–182, 253–260); Act III, No. 17 (bars 8–16, 20–126), No. 19 (bars 114–164), No. 23 (bars 25–51); Act IV, No. 25 (bars 82–137, 315–339). Throughout the rest of the opera, Tchaikovsky made numerous alterations to dynamic, phrasing and tempo markings.</ref>
	<ref name="note15">Until 1940 this version of the orchestration remained unknown and unperformed.</ref>		<ref name="note15">Until 1940 this version of the orchestration remained unknown and unperformed.</ref>
	<ref name="note16">The composer's diaries show that on 22 November 1886 {{OS}} he met with [[Nikolay Chayev]], who provided the text for the song, although there is no reference to their having discussed the opera.</ref>		<ref name="note16">The composer's diaries show that on 22 November 1886 {{OS}} he met with [[Nikolay Chayev]], who provided the text for the song, although there is no reference to their having discussed the opera.</ref>

Tony: /* Autographs */

2023-02-03T19:36:40Z

Autographs

← Older revision		Revision as of 21:36, 3 February 2023
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	==Autographs==		==Autographs==
	The following manuscripts are preserved in the {{RUS-Mcm}} in [[Moscow]]		The following manuscripts are preserved in the {{RUS-Mcm}} in [[Moscow]]:
	* Full score of Overture and Act I {{TOW2\|cherevichki-komiko-fantasticheskaya-opera-v-4-h-deystviyah-8-mi-kartinah-uvertyura-i-deystvie-i\|(ф. 88, No. 46a)}}.		* Full score of Overture and Act I {{TOW2\|cherevichki-komiko-fantasticheskaya-opera-v-4-h-deystviyah-8-mi-kartinah-uvertyura-i-deystvie-i\|(ф. 88, No. 46a)}}.
	* Full score of Act II {{TOW2\|cherevichki-komiko-fantasticheskaya-opera-v-4-h-deystviyah-8-mi-kartinah-deystvie-ii\|(ф. 88, No. 46b)}}.		* Full score of Act II {{TOW2\|cherevichki-komiko-fantasticheskaya-opera-v-4-h-deystviyah-8-mi-kartinah-deystvie-ii\|(ф. 88, No. 46b)}}.
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	==Related Works==		==Related Works==
	In Act III, No. 17, the melody of Vakula's Song (from bar 21), is based on the ~~folktune~~ 'Oh, Don't Scare the Fearful' (Ой, не пугай, пугаченьку), taken from Aleksandr Rubets' collection of Ukrainian folk songs (part 1, No. 1) <ref name="note27"/>.		In Act III, No. 17, the melody of Vakula's Song (from bar 21) is based on the folk-tune 'Oh, Don't Scare the Fearful' (Ой, не пугай, пугаченьку), taken from Aleksandr Rubets' collection of Ukrainian folk songs (part 1, No. 1) <ref name="note27"/>.

	The Russian Dance in the same act (No. 22a), includes the ~~folktunes~~ 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).		The Russian Dance in the same act (No. 22a), includes the folk-tunes 'Do Not Fly, Falcon' (Не летаи же ты, сокол) — used as No. 5 of Vasily Prokunin's [[65 Russian Folksongs (Prokunin)\|65 Russian Folksongs]] — and 'My Green Vineyard' (Зеленок моё виноградье), which Tchaikovsky arranged as No. 11 of [[Fifty Russian Folksongs]] (1868-69).

	==External Links==		==External Links==

Tony: /* Publication */

2023-02-03T19:33:00Z

Publication

← Older revision		Revision as of 21:33, 3 February 2023
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	==Publication==		==Publication==
	In 1885 [[Pyotr Jurgenson]] published the piano score of the opera <ref name="note21"/> and the orchestral parts; the full score of the opera was only printed in 1898 <ref name="note22"/>. [[Aleksandra Hubert]] assisted Tchaikovsky with proof-reading and the piano arrangement of some numbers <ref name="note23"/>. The third set of proofs, it seems, were checked by Tchaikovsky alone. On 8/20 July 1885 he wrote to [[Sergey Taneyev]]: "... I am overwhelmed with proofs of the opera" <ref name="note24"/>.		In 1885, [[Pyotr Jurgenson]] published the piano score of the opera <ref name="note21"/> and the orchestral parts; the full score of the opera was only printed in 1898 <ref name="note22"/>. [[Aleksandra Hubert]] assisted Tchaikovsky with proof-reading and the piano arrangement of some numbers <ref name="note23"/>. The third set of proofs, it seems, were checked by Tchaikovsky alone. On 8/20 July 1885 he wrote to [[Sergey Taneyev]]: "... I am overwhelmed with proofs of the opera" <ref name="note24"/>.

	Responding to the enquiry by [[Pyotr Jurgenson]] regarding the possibility of selling individual numbers from ''[[Vakula the Smith]]'' <ref name="note25"/>, Tchaikovsky replied: "''[[Vakula the Smith]]'' should have been destroyed a long time ago. One can certainly sell individual numbers, but only a few of them remain unchanged:		Responding to the enquiry by [[Pyotr Jurgenson]] regarding the possibility of selling individual numbers from ''[[Vakula the Smith]]'' <ref name="note25"/>, Tchaikovsky replied: "''[[Vakula the Smith]]'' should have been destroyed a long time ago. One can certainly sell individual numbers, but only a few of them remain unchanged: