Letter 2498 - Revision history

Tony: "stating from " to "starting from" / "Konstainogradsky" to "Konstantinogradsky"

2025-01-10T13:32:35Z

"stating from " to "starting from" / "Konstainogradsky" to "Konstantinogradsky"

← Older revision		Revision as of 15:32, 10 January 2025
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	Tomorrow, dear chap. I'm sending you the proofs of "''[[The Marriage of Figaro (Mozart)\|Figaro]]''" and the pieces I've chosen, some of which I've added markings to.		Tomorrow, dear chap. I'm sending you the proofs of "''[[The Marriage of Figaro (Mozart)\|Figaro]]''" and the pieces I've chosen, some of which I've added markings to.

	Regarding "''[[The Marriage of Figaro (Mozart)\|Figaro]]''", I have to say the following. It's a great pity that you've printed a different arrangement than the one Breitkopf have in their edition, because it is far better. So far as the discrepancies between my recitatives and the originals are concerned, I must explain the matter. After all, I translated the opera for a ~~conservatory~~ production, and (I don't remember whether this was on [[Nikolay Grigoryevich]]'s instructions or on my own initiative) I had to exclude all the crudities in the original — for example, very many are spoken in ''droit de seigneur''; moreover, in view of the difficulties of this sort of recitative for the Russian language, I simply omitted superfluous details here and there. ''Recitativo secco'' is not ''music'', but rather ''speaking to music'', and it can be abridged completely unceremoniously, provided that the original sequence of modulations is preserved. Yet in the truly musical numbers I never even allowed myself to modify the rhythmic metre, as is customarily permitted for translations, and in general I am proud of the artistry with which I carried out this task (pardon my boasting). In any case, I ask you to print the enclosed suggested preface on the first page, explaining the reason for the discrepancy between the translation and the original recitatives. There are three passages in the Italian text that I find ''incomprehensible'' and Galvani or another of the Italians can clarify. I have indicated these sort of clarifications where necessary. The proofreading was sent most incompletely, with many pages missing. In my opinion, ''one'' more proof is insufficient, and at least ''two'' are necessary, because there are so many mistakes in the text.		Regarding "''[[The Marriage of Figaro (Mozart)\|Figaro]]''", I have to say the following. It's a great pity that you've printed a different arrangement than the one Breitkopf have in their edition, because it is far better. So far as the discrepancies between my recitatives and the originals are concerned, I must explain the matter. After all, I translated the opera for a Conservatory production, and (I don't remember whether this was on [[Nikolay Grigoryevich]]'s instructions or on my own initiative) I had to exclude all the crudities in the original — for example, very many are spoken in ''droit de seigneur''; moreover, in view of the difficulties of this sort of recitative for the Russian language, I simply omitted superfluous details here and there. ''Recitativo secco'' is not ''music'', but rather ''speaking to music'', and it can be abridged completely unceremoniously, provided that the original sequence of modulations is preserved. Yet in the truly musical numbers I never even allowed myself to modify the rhythmic metre, as is customarily permitted for translations, and in general I am proud of the artistry with which I carried out this task (pardon my boasting). In any case, I ask you to print the enclosed suggested preface on the first page, explaining the reason for the discrepancy between the translation and the original recitatives. There are three passages in the Italian text that I find ''incomprehensible'' and Galvani or another of the Italians can clarify. I have indicated these sort of clarifications where necessary. The proofreading was sent most incompletely, with many pages missing. In my opinion, ''one'' more proof is insufficient, and at least ''two'' are necessary, because there are so many mistakes in the text.

	Regarding the ''Ausgewählte Werke'', I'll only say that I've deprived very few pieces of the honour of being selected. Perhaps I've been too indulgent, but I give ''[[Pabst]]'' the authority to unceremoniously dispense with whatever he considers unworthy. In general, I ask that [[Pabst]] should act very freely and with authority regarding the editing of details, provided that he doesn't change anything materially.		Regarding the ''Ausgewählte Werke'', I'll only say that I've deprived very few pieces of the honour of being selected. Perhaps I've been too indulgent, but I give ''[[Pabst]]'' the authority to unceremoniously dispense with whatever he considers unworthy. In general, I ask that [[Pabst]] should act very freely and with authority regarding the editing of details, provided that he doesn't change anything materially.
Line 59:		Line 59:
	<td>25 ''pieces''</td></tr>		<td>25 ''pieces''</td></tr>
	</table>		</table>
	They will need to be printed in some sort of systematic order, i.e. ~~stating~~ from the ''Etude'', the waltzes all together, with the most difficult (Op. 4) at the end; in general the order should progress from simple to difficult, and therefore the Scherzo from Op. 1 should be at the very end, or perhaps, in view of its difficulty, you would prefer not to print it at all? Do as you wish; I only chose it because [[Nikolay Grigoryevich]] played it. But better to let [[Pabst]] decide on all this. I absolutely agree that his name should be on the edition.		They will need to be printed in some sort of systematic order, i.e. starting from the ''Etude'', the waltzes all together, with the most difficult (Op. 4) at the end; in general, the order should progress from simple to difficult, and therefore the Scherzo from Op. 1 should be at the very end, or perhaps, in view of its difficulty, you would prefer not to print it at all? Do as you wish; I only chose it because [[Nikolay Grigoryevich]] played it. But better to let [[Pabst]] decide on all this. I absolutely agree that his name should be on the edition.

	[[Bessel]] asked [[Hubert]] to let me know that he ''agrees'' to have new plates engraved for "''[[The Oprichnik]]"'' provided that I make alterations, and he's even prepared to offer me ''a thousand rubles, but no more''. I instructed [[Hubert]] to answer [[Bessel]] that it was premature to speak of this now, but when I come to do the alterations, we shall ''discuss'' it. In point of fact I shall never do them, but I should like everyone besides you to seriously believe in my readiness to rework it.		[[Bessel]] asked [[Hubert]] to let me know that he ''agrees'' to have new plates engraved for "''[[The Oprichnik]]"'' provided that I make alterations, and he's even prepared to offer me ''a thousand rubles, but no more''. I instructed [[Hubert]] to answer [[Bessel]] that it was premature to speak of this now, but when I come to do the alterations, we shall ''discuss'' it. In point of fact I shall never do them, but I should like everyone besides you to seriously believe in my readiness to rework it.
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	Until we meet.		Until we meet.
	{{right\|Yours P. Tchaikovsky}}		{{right\|Yours P. Tchaikovsky}}
	''Address''. Poltava province, ~~Konstainogradsky~~ district, to Novo-Nikolayevka postal station, thence to [[Grankino]].		''Address''. Poltava province, Konstantinogradsky district, to Novo-Nikolayevka postal station, thence to [[Grankino]].
	}}		}}

Brett: 1 revision imported

2022-07-12T12:20:05Z

1 revision imported

← Older revision	Revision as of 14:20, 12 July 2022
(No difference)

Brett at 18:39, 19 June 2021

2021-06-19T18:39:27Z

New page

{{letterhead
|Date=31 May/12 June 1884
|To=[[Pyotr Jurgenson]]
|Place=[[Kamenka]]
|Language=Russian
|Autograph=[[Klin]] (Russia): {{RUS-KLč}} (a{{sup|3}}, No. 2457)
|Publication={{bib|1901/24|Жизнь Петра Ильича Чайковского ; том 2}} (1901), p. 645–647 (abridged) {{bib|1952/58|П. И. Чайковский. Переписка с П. И. Юргенсоном ; том 2}} (1952), p. 11–12 {{bib|1970/86|П. И. Чайковский. Полное собрание сочинений ; том XII}} (1970), p. 382–384
}}
==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''Каменка'' 31 мая}}
Завтра, душа моя, я высылаю тебе корректуру «''Фигаро''» и выбранные мной пиэсы, из коих некоторые снабжены моими отметками.

Относительно «Фигаро» имею сказать следующее. Очень жаль, что переложение ты напечатал не то, которое имеется в издании Брейткопфа, ибо оно лучше гораздо. Относительно несоответствия моих речитативов с подлинными, должен объяснить в чем дело. Ведь я переводил оперу для консерваторского спектакля и должен был (не помню, по поручению Ник[олая] Гр[игорьевича] Руб[инштейна] или по собственной инициативе) исключать все скабрёзные места, а ведь в подлиннике, напр[имер], очень много говорится ''о праве первой ночи''; кроме того, ввиду трудности этого рода речитативов для русского языка, я кое-где просто сократил излишние подробности. ''Recitativo secco'' не есть ''музыка'', а ''разговор под музыку'' и можно совершенно бесцеремонно сокращать, лишь бы сохранилось подлинное последование модуляции. Зато в настоящих музыкальных нумерах я даже ни разу не позволил себе изменить ритмическое деление, как это принято допускать при переводах, и вообще горжусь искусством, с коим я исполнил этот труд (извини за хвастовство). Во всяком случае прошу тебя напечатать на первой стр[анице] предлагаемое при сем предисловьице, объяснющее причину несоответствия перевода с подлинником в речитативах. В итальянском тексте есть три места, которые мне ''непонятны'' и которые может разъяснить Гальвани или кто-нибудь другой из итальянцев. Я отметил, где нужно, подобного рода разъяснения. Корректура прислана очень неполно, многих стр[аниц] недостает. По-моему, недостаточно ещё ''одной'' корректуры, нужно ''две'' по крайней мере, ибо ошибок в тексте очень много.

Относительно ''Ausgewählte Werke'' скажу, что я лишь очень немногие пиэсы лишил чести попасть в избранные. Может быть, я был слишком снисходителен, но я даю ''Пабсту'' полномочие бесцеремонно выбрасывать что ему покажется недостойным. Вообще прошу Пабста очень свободно и авторитетно действовать относительно редакции подробностей, лишь бы существенного ничего не менял.

Выбраны мной следующие пиэсы.

<table width=90% align="center">
<tr>
<td>''Из op[us'а]]'' 1-го ''Sсhеrzо'' — op. 2 Все три       4       5       7       9 №№ 1 и 3-ий       10 обе Из ор. 19 №№ 1, 3, 4, 6 Из ор. 51 все шесть</td>
<td>1 3 1 1 1 2 2 4 6</td></tr>
<tr><td> </td><td></td></tr>
<tr><td>Кроме того, из 12 пиэс средней трудности нужны: ''Вальс'' (fis-moll) ''этюд'', ''Réverie interrompue''</td>
<td> 3</td></tr>
<tr><td> </td><td></td></tr>
<tr><td>          Итого</td>
<td>25 ''пиэс''</td></tr>
</table>
Нужно их напечатать в каком-либо сист[ематическом] порядке, т. е. начать с ''этюда'', вальсы все вместе, причём самый' трудный (ор. 4) в конце; вообще последование должно быть от лёгкого к трудному, а поэтому скерцо из ор. 1 должно быть в самом конце, а может быть, ввиду его трудности, ты предпочтёшь вовсе его не печатать? Как хочешь; я его выбрал только потому что Н[иколай] Гр[игорьевич] его играл. А лучше пусть все это решит Пабст. Я совершенно согласен, чтобы его имя стояло на издании.

Бессель через Губерта просил мне дать знать, что он ''согласен'' будет в «''Опричнике''» награвировать новые доски, если я сделаю переделки, и даже готов предложить мне ''тысячу рублей, но не более''. Я поручил Губерту отвечать Бесселю, что преждевременно говорить об этом теперь, а вот когда сделаю переделки, тогда ''поговорим''. В сущности, вернее, что никогда их не сделаю, но желал бы, чтобы кроме тебя все серьёзно верили в мою готовность переделывать.

До свиданья.
{{right|П. Чайковский}}
''Адресуй''. Полт[авской] губ[ернии] Константиноградского уезда, на почт[овую] ст[анцию] Ново-Николаевку, оттуда в Гранкино.

|Translated text={{right|''[[Kamenka]]'' 31 May}}
Tomorrow, dear chap. I'm sending you the proofs of "''[[The Marriage of Figaro (Mozart)|Figaro]]''" and the pieces I've chosen, some of which I've added markings to.

Regarding "''[[The Marriage of Figaro (Mozart)|Figaro]]''", I have to say the following. It's a great pity that you've printed a different arrangement than the one Breitkopf have in their edition, because it is far better. So far as the discrepancies between my recitatives and the originals are concerned, I must explain the matter. After all, I translated the opera for a conservatory production, and (I don't remember whether this was on [[Nikolay Grigoryevich]]'s instructions or on my own initiative) I had to exclude all the crudities in the original — for example, very many are spoken in ''droit de seigneur''; moreover, in view of the difficulties of this sort of recitative for the Russian language, I simply omitted superfluous details here and there. ''Recitativo secco'' is not ''music'', but rather ''speaking to music'', and it can be abridged completely unceremoniously, provided that the original sequence of modulations is preserved. Yet in the truly musical numbers I never even allowed myself to modify the rhythmic metre, as is customarily permitted for translations, and in general I am proud of the artistry with which I carried out this task (pardon my boasting). In any case, I ask you to print the enclosed suggested preface on the first page, explaining the reason for the discrepancy between the translation and the original recitatives. There are three passages in the Italian text that I find ''incomprehensible'' and Galvani or another of the Italians can clarify. I have indicated these sort of clarifications where necessary. The proofreading was sent most incompletely, with many pages missing. In my opinion, ''one'' more proof is insufficient, and at least ''two'' are necessary, because there are so many mistakes in the text.

Regarding the ''Ausgewählte Werke'', I'll only say that I've deprived very few pieces of the honour of being selected. Perhaps I've been too indulgent, but I give ''[[Pabst]]'' the authority to unceremoniously dispense with whatever he considers unworthy. In general, I ask that [[Pabst]] should act very freely and with authority regarding the editing of details, provided that he doesn't change anything materially.

I have selected the following pieces.
<table width=90% align="center">
<tr>
<td>''From Opus'' 1st ''Sсhеrzо'' — Op. 2 all three       4       5       7       9 Nos. 1 and 3       10 both From Op. 19 Nos. 1, 3, 4, 6 All six from Op. 51</td>
<td>1 3 1 1 1 2 2 4 6</td></tr>
<tr><td> </td><td></td></tr>
<tr><td>Besides these, from the 12 pieces of moderate difficulty: ''Waltz'' (F-sharp minor), ''Etude'', ''Réverie interrompue''</td>
<td> 3</td></tr>
<tr><td> </td><td></td></tr>
<tr><td>          Total</td>
<td>25 ''pieces''</td></tr>
</table>
They will need to be printed in some sort of systematic order, i.e. stating from the ''Etude'', the waltzes all together, with the most difficult (Op. 4) at the end; in general the order should progress from simple to difficult, and therefore the Scherzo from Op. 1 should be at the very end, or perhaps, in view of its difficulty, you would prefer not to print it at all? Do as you wish; I only chose it because [[Nikolay Grigoryevich]] played it. But better to let [[Pabst]] decide on all this. I absolutely agree that his name should be on the edition.

[[Bessel]] asked [[Hubert]] to let me know that he ''agrees'' to have new plates engraved for "''[[The Oprichnik]]"'' provided that I make alterations, and he's even prepared to offer me ''a thousand rubles, but no more''. I instructed [[Hubert]] to answer [[Bessel]] that it was premature to speak of this now, but when I come to do the alterations, we shall ''discuss'' it. In point of fact I shall never do them, but I should like everyone besides you to seriously believe in my readiness to rework it.

Until we meet.
{{right|Yours P. Tchaikovsky}}
''Address''. Poltava province, Konstainogradsky district, to Novo-Nikolayevka postal station, thence to [[Grankino]].
}}