Letter 2639 - Revision history

Tony: "E-major quarter" to "E-major quartet" / "posseses" to "possesses" / "begining" to "beginning"

2025-01-15T13:56:38Z

"E-major quarter" to "E-major quartet" / "posseses" to "possesses" / "begining" to "beginning"

← Older revision		Revision as of 15:56, 15 January 2025
Line 41:		Line 41:
	\|Translated text={{right\|''5 January 1885''<br/>''[[Moscow]]''}}		\|Translated text={{right\|''5 January 1885''<br/>''[[Moscow]]''}}
	{{centre\|Dear friend [[Eduard Frantsovich]]!}}		{{centre\|Dear friend [[Eduard Frantsovich]]!}}
	On bidding you farewell, I offered to write to you soon after my arrival in [[Moscow]] about "''The Nizhny-Novgoroders''". But due to various reasons, it was only yesterday that I finally had the opportunity to hear your opera. Anyway, it seems to have worked out successfully for me, for everyone said that yesterday's performance was somehow especially brilliant. I'll start with my personal impressions. It would of course be an exaggeration if I were to say that the music of "''The Nizhny-Novgoroders''" ~~posseses~~ artistic beauty of the first order. Even since this opera was written, you have taken steps forward, and in comparison not only with "Harold", but with the charming E-major ~~quarter~~, the G-minor trio, and the symphonic dances, which followed soon after "''The Nizhny-Novgoroders''", this opera is a work of youthful, yet unsteady talent. But, ''I say to you with complete sincerity'' that last evening was remarkably pleasant for me. I listened to the whole opera from ~~begining~~ to end with continuous pleasure, because it is written gracefully, simply and nobly. Some passages, thanks to your excellent knowledge of the stage, produced a strong and overwhelming impression. Naturally, the strongest and most successful of all is the popular third act. The choruses here are written with the most magnificent mastery; the crowd scenes were very beautiful, and the more it goes on, the more interesting it becomes; and as for the end of the act, this resembled singing in church and the murmuring of the people, and in general this whole number serves to guarantee the opera's enduring good fortune. In general it must be said that although, on the one hand, the music of "''The Nizhny-Novgoroders''" is the product of talent, showing the influence of its predecessors, on the other, in terms of staging it's able to engage the listener so that his attention is not strained and his interest can grow. You were already a master then...		On bidding you farewell, I offered to write to you soon after my arrival in [[Moscow]] about "''The Nizhny-Novgoroders''". But due to various reasons, it was only yesterday that I finally had the opportunity to hear your opera. Anyway, it seems to have worked out successfully for me, for everyone said that yesterday's performance was somehow especially brilliant. I'll start with my personal impressions. It would of course be an exaggeration if I were to say that the music of "''The Nizhny-Novgoroders''" possesses artistic beauty of the first order. Even since this opera was written, you have taken steps forward, and in comparison not only with "Harold", but with the charming E-major quartet, the G-minor trio, and the symphonic dances, which followed soon after "''The Nizhny-Novgoroders''", this opera is a work of youthful, yet unsteady talent. But, ''I say to you with complete sincerity'' that last evening was remarkably pleasant for me. I listened to the whole opera from beginning to end with continuous pleasure, because it is written gracefully, simply and nobly. Some passages, thanks to your excellent knowledge of the stage, produced a strong and overwhelming impression. Naturally, the strongest and most successful of all is the popular third act. The choruses here are written with the most magnificent mastery; the crowd scenes were very beautiful, and the more it goes on, the more interesting it becomes; and as for the end of the act, this resembled singing in church and the murmuring of the people, and in general this whole number serves to guarantee the opera's enduring good fortune. In general it must be said that although, on the one hand, the music of "''The Nizhny-Novgoroders''" is the product of talent, showing the influence of its predecessors, on the other, in terms of staging it's able to engage the listener so that his attention is not strained and his interest can grow. You were already a master then...

	To be wholly sincere, I shall say that in this respect I felt some some envy towards you yesterday. I imagined how magnificient "Harold" will be in this respect! There is one more thing of which you are a great master — this is orchestration; it is magnificent, brilliant and effective. I spoke with the orchestral musicians; they said that it was so convenient and pleasant to play, and the singers are pleased that the orchestra never interferes with them. And so, golubchik, in general "''The Nizhny-Novgoroders''" gave me great pleasure, combined with a small, quite despicable feeling of envy for your mastery of the opera.		To be wholly sincere, I shall say that in this respect I felt some some envy towards you yesterday. I imagined how magnificient "Harold" will be in this respect! There is one more thing of which you are a great master — this is orchestration; it is magnificent, brilliant and effective. I spoke with the orchestral musicians; they said that it was so convenient and pleasant to play, and the singers are pleased that the orchestra never interferes with them. And so, golubchik, in general "''The Nizhny-Novgoroders''" gave me great pleasure, combined with a small, quite despicable feeling of envy for your mastery of the opera.

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

2023-09-23T15:27:37Z

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

← Older revision		Revision as of 17:27, 23 September 2023
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	}}		}}
	==Text and Translation==		==Text and Translation==
	Based on a typed copy in the [[Klin]] ~~House-Museum Archive~~, which may contain differences in formatting and content from Tchaikovsky's original letter.		Based on a typed copy in the {{RUS-KLč}} at [[Klin]], which may contain differences in formatting and content from Tchaikovsky's original letter.
	{{Lettertext		{{Lettertext
	\|Language=Russian		\|Language=Russian

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: Text replacement - "все-таки" to "всё-таки"

2020-04-23T12:53:42Z

Text replacement - "все-таки" to "всё-таки"

New page

{{letterhead
|Date=5/17 January 1885
|To=[[Eduard Nápravník]]
|Place=[[Moscow]]
|Language=Russian
|Autograph={{locunknown}} <ref name="note1"/>
|Publication={{bib|1902/25|Жизнь Петра Ильича Чайковского ; том 3}} (1902), p. 17–18 (abridged) {{bibx|1924/2|Чайковский. Воспоминания и письма}} (1924), p. 164–168 {{bib|1959/20|Е. Ф. Направник. Автобиографические, творческие материалы, документы, письма}} (1959), p. 136–138 {{bib|1971/89|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 19–21
|Notes=Typed copy in [[Klin]] (Russia): {{RUS-KLč}}
}}
==Text and Translation==
Based on a typed copy in the [[Klin]] House-Museum Archive, which may contain differences in formatting and content from Tchaikovsky's original letter.
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''5 янв[аря] 1885'' ''Москва''}}
{{centre|Дорогой друг Эдуард Францович!}}
Прощаясь с Вами, я вызвался вскоре по приезде в Москву написать Вам о «''Нижегородцах''». Но вследствие разных причин мне только вчера удалось наконец прослушать Вашу оперу. Впрочем, это, кажется, вышло для меня удачно, ибо всё говорили, что вчерашнее представление было как-то особенно блестяще. Начну с моего личного впечатления. Было бы, конечно, преувеличено, если бы я сказал, что музыка «''Нижегородцев''» обладает первоклассными художественными красотами. С тех пор как эта опера была написана, Вы шагнули далеко вперёд, и в сравнении не только с «Гарольдом» но и с прелестным Е-duг'ным квартетом, g-шоll'ным трио, симфоническими танцами, последовавшими вскоре после «''Нижегородцев''», эта опера есть произведение юношеского, ещё неустановившегося таланта. Но, ''говорю Вам совершенно искренне'', что вчерашний вечер был для меня чрезвычайно приятен. Вся опера от начала до конца слушается с постоянным удовольствием, ибо написана изящно, просто, благородно. Местами, благодаря Вашему превосходному знанию сцены, впечатление делается сильным и потрясающим. Разумеется, сильнее и удачнее всего третье, народное действие. Хоры тут написаны с величайшим мастерством; сцена народного возбуждения очень красива, и чем дальше, тем становится интереснее, а что касается конца действия, то это пение в церкви, и шёпот народа, и вообще весь этот номер служит ручательством прочного благополучия оперы. Вообще нужно сказать, что хотя, с одной стороны, музыка «''Нижегородцев''» есть плод таланта, находящегося под влиянием предшественников, — но, с другой стороны, в отношении сценичности, умения действовать на слушателя так, чтобы его внимание не напрягалось и интерес возрастал, — Вы и тогда уже были мастером...

Чтобы быть вполне искренним, скажу, что в этом отношении я ощущал вчера по отношению к Вам некоторую зависть. Воображаю, как «Гарольд» будет великолепен в этом отношении! Ещё в чем Вы великий мастер — так это оркестровка; она великолепна, блестяща, эффектна. Я говорил с музыкантами оркестра; они говорят, что им так удобно и приятно играть, а певцы довольны тем, что оркестр никогда не мешает им. Итак, голубчик, в общем «''Нижегородцы''» доставили мне большое удовольствие, смешанное с маленьким, довольно подлым, ощущением зависти к Вашему мастерству в оперном деле.

Теперь скажу Вам то, что, наверное, доставит Вам большое удовольствие. Опера имела вчера ''колоссальный'' успех. После церковного хора был тот настоящий ''гром'' рукоплесканий, который бывает, когда вся зала проникнута одним сильным и глубоко потрясённым чувством. Вызывали не только артистов, но и весь хор с Авранеком и Альтани. Исполнение в отношении оркестра и особенно ''хора'' образцовое. Впрочем, это Вы знаете. Театр был переполнен. Я заплатил барышнику за своё кресло лишних 3 рубля.

Теперь, сказав Вам вещи приятные, перехожу к неприятным. ''Корсов'' говорит, что будет петь у Вас Мазепу и желает петь вставную арию. Я тоже этого желаю и, если будет оркестровая репетиция, прошу Вас, милый друг, дать ему возможность исполнить эту вещь. Но главная неприятность следующая. Я должен просить Вас сделать ещё одну перемену в дуэте ''Мазепы с Марией''. Впрочем, тут вписывать ничего не придётся, а лишь расставить в другом такте два существовавших прежде аккорда. Дело в том, что по сюжету необходимо нужно, чтобы прежде, чем Мария начала своё изъяснение в любви, ''Мазепа'' мог спросить её, кого из них — отца или его — она больше любит. Вследствие сделанной мной перемены, вопрос Мазепы пропадает, а между тем он необходим, и здесь, в Москве, я ещё осенью вставил его, но в Петербурге не решился просить Вас снова менять что-нибудь в этой сцене.

Перемена следующая: ''странице 163''. После фразы
[[File:2639 ex1.jpg|300px|center]]
и слов Мазепы
[[File:2639 ex2.jpg|350px|center]]
нужно поставить не 3/2, а C и несколько иначе расставить следующие два аккорда, а именно так:
[[File:2639 ex3.jpg|350px|center]]
[[File:2639 ex4.jpg|350px|center]]
засим следует дуэт. Вы видите, голубчик, что никакой существенной перемены нет, но всё-таки я стыжусь, что снова должен Вас беспокоить подобной просьбой. Ради Бога, не сердитесь, простите и, если можно, сделайте это.

Весьма может быть, что вскоре после получения этого письма я лично явлюсь к Вам, так как я обещал ''Бюлову'' приехать, если он будет играть мою новую сюиту.

Прошу поклониться и поздравить от меня с Новым годом Ольгу Эдуардовну; Вас от души поздравляю.

Будьте здоровы, добрый, милый друг!
{{right|Ваш П. Чайковский}}

|Translated text={{right|''5 January 1885'' ''[[Moscow]]''}}
{{centre|Dear friend [[Eduard Frantsovich]]!}}
On bidding you farewell, I offered to write to you soon after my arrival in [[Moscow]] about "''The Nizhny-Novgoroders''". But due to various reasons, it was only yesterday that I finally had the opportunity to hear your opera. Anyway, it seems to have worked out successfully for me, for everyone said that yesterday's performance was somehow especially brilliant. I'll start with my personal impressions. It would of course be an exaggeration if I were to say that the music of "''The Nizhny-Novgoroders''" posseses artistic beauty of the first order. Even since this opera was written, you have taken steps forward, and in comparison not only with "Harold", but with the charming E-major quarter, the G-minor trio, and the symphonic dances, which followed soon after "''The Nizhny-Novgoroders''", this opera is a work of youthful, yet unsteady talent. But, ''I say to you with complete sincerity'' that last evening was remarkably pleasant for me. I listened to the whole opera from begining to end with continuous pleasure, because it is written gracefully, simply and nobly. Some passages, thanks to your excellent knowledge of the stage, produced a strong and overwhelming impression. Naturally, the strongest and most successful of all is the popular third act. The choruses here are written with the most magnificent mastery; the crowd scenes were very beautiful, and the more it goes on, the more interesting it becomes; and as for the end of the act, this resembled singing in church and the murmuring of the people, and in general this whole number serves to guarantee the opera's enduring good fortune. In general it must be said that although, on the one hand, the music of "''The Nizhny-Novgoroders''" is the product of talent, showing the influence of its predecessors, on the other, in terms of staging it's able to engage the listener so that his attention is not strained and his interest can grow. You were already a master then...

To be wholly sincere, I shall say that in this respect I felt some some envy towards you yesterday. I imagined how magnificient "Harold" will be in this respect! There is one more thing of which you are a great master — this is orchestration; it is magnificent, brilliant and effective. I spoke with the orchestral musicians; they said that it was so convenient and pleasant to play, and the singers are pleased that the orchestra never interferes with them. And so, golubchik, in general "''The Nizhny-Novgoroders''" gave me great pleasure, combined with a small, quite despicable feeling of envy for your mastery of the opera.

Now I'll tell you something that may well give you great pleasure. The opera had ''colossal'' success yesterday. After the church chorus there was a veritable ''thunderclap'' of applause, which happens when the whole hall is imbued with a singularly strong feeling of profound astonishment. Not only the artists were called back, but the whole chorus with Avranek and [[Altani]]. As regards the orchestra and especially the choir, the performances were exemplary. Anyway, you know this. The theatre was full. I paid the young lady an extra 3 rubles for my seat.

Now, having told you pleasant things, I move to unpleasant ones. ''[[Korsov]]'' says that he'll be singing Mazepa with you and he wishes to sing an additional aria. I want this too, and if there is to be an orchestral rehearsal, I ask you, dear friend, to give him the opportunity to perform this item. But the principle nuisance is the following: I must ask you to make another change in the duet for ''Mazepa with Mariya''. At least there's nothing to insert here, but merely moving two pre-existing chords to another bar. The point is that the story requires that before Mariya begins her declaration of love, ''Mazepa'' must ask her which of them — her father or him — she loves more. As a result of the alterations I made, Mazepa's question vanished, but at the same time it is still necessary; here, in [[Moscow]], I already included it in the autumn — but in [[Petersburg]] I decided not to dare ask you to alter something again in this scene.

The change is as follows: ''page 163''. After the phrase
[[File:2639 ex1.jpg|300px|center]]
and Mazepa's words
[[File:2639 ex2.jpg|350px|center]]
you need to put not 3/2, but C, and to distribute the two following chords slightly differently, namely:
[[File:2639 ex3.jpg|350px|center]]
[[File:2639 ex4.jpg|350px|center]]
whereupon the duet follows. You will see, golubchik, that this is by no means a significant change, but all the same I am ashamed that I should again be pestering you with another request. For God's sake don't be angry, and please do it if possible.

It may very well be that soon after receiving this letter I will come to you in person, since I promised ''[[Bülow]]'' I would come if he plays my new suite. Please give my regards and wish [[Olga Nápravník (mother)|Olga Eduardovna]] a happy new year from me. My heartfelt congratulations to you.

Keep well, my good, dear friend!
{{right|P. Tchaikovsky}}
}}
==Notes and References==
<references>
<ref name="note1">The autograph was auctioned on 11 July 2018 at Christie's, [[London]] [https://www.christies.com/LotFinder/lot_details.aspx?intObjectID=6154545].</ref>
</references>