The Queen of Spades - Revision history

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

2025-08-21T12:50:16Z

Text replacement - "Solovyev" to "Solovyov"

← Older revision		Revision as of 14:50, 21 August 2025
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	The opera was performed for the first time in [[Saint Petersburg]] at the Mariinsky Theatre on 7/19 December 1890, conducted by [[Eduard Nápravník]]. The soloists were: [[Nikolay Figner]] (''Herman''), [[Ivan Melnikov]] (''Tomsky''), Leonid Yakovlev (''Yeletsky''), Vasily Vasilyev II (''Chekalinsky''), Yalmar Frey (''Surin''), Konstantin Kondaraki (''Chaplitsky''), Vladimir Sobolev (''Narumov''), Vasily Yefimov (''Stage Manager''), [[Mariya Slavina]] (''Countess''), Medea Figner (''Liza''), Mariya Dolina (''Polina''), Mariya Pilz (''Governess''), Yuliya Yunosova (''Masha''), Olga Olgina (''Prilepa''), Nina Friede (''Milovzor''), Aleksandr Klimov II (''Zlatogor'').		The opera was performed for the first time in [[Saint Petersburg]] at the Mariinsky Theatre on 7/19 December 1890, conducted by [[Eduard Nápravník]]. The soloists were: [[Nikolay Figner]] (''Herman''), [[Ivan Melnikov]] (''Tomsky''), Leonid Yakovlev (''Yeletsky''), Vasily Vasilyev II (''Chekalinsky''), Yalmar Frey (''Surin''), Konstantin Kondaraki (''Chaplitsky''), Vladimir Sobolev (''Narumov''), Vasily Yefimov (''Stage Manager''), [[Mariya Slavina]] (''Countess''), Medea Figner (''Liza''), Mariya Dolina (''Polina''), Mariya Pilz (''Governess''), Yuliya Yunosova (''Masha''), Olga Olgina (''Prilepa''), Nina Friede (''Milovzor''), Aleksandr Klimov II (''Zlatogor'').

	On 19/31 December it was staged at the [[Kiev]] Opera Theatre, conducted by [[Josef Přibík]], with soloists: Mikhail Medvedev (''Herman''), Nikolay Dementyev (''Tomsky''), Ioakim Tartakov (''Yeletsky''), Mariya Smirnova (''Countess''), Aleksandra ~~Solovyeva~~-Matsulevich (''Liza''), Sofya Nechaeva (''Polina'' / ''Milovzor''), Nadezhda Milanova (''Governess'' / ''Prilepa'').		On 19/31 December it was staged at the [[Kiev]] Opera Theatre, conducted by [[Josef Přibík]], with soloists: Mikhail Medvedev (''Herman''), Nikolay Dementyev (''Tomsky''), Ioakim Tartakov (''Yeletsky''), Mariya Smirnova (''Countess''), Aleksandra Solovyova-Matsulevich (''Liza''), Sofya Nechaeva (''Polina'' / ''Milovzor''), Nadezhda Milanova (''Governess'' / ''Prilepa'').

	In [[Moscow]] the opera was performed for the first time at the Bolshoi Theatre on 4/16 November 1891, conducted by [[Ippolit Altani]], with soloists: Mikhail Medvedev (''Herman''), [[Bogomir Korsov]] (''Tomsky''), Pavel Khokhlov (''Yeletsky''), Nikolay Ukrayintsev (''Chekalinsky''), Vladimir Mayboroda (''Surin''), Ivan Matchinsky (''Narumov''), Moysey Tolchanov (''Chaplitsky''), Shalamov (''Stage Manager''), Mariya Deysha-Sionitskaya (''Liza''), Vera Gnucheva (''Polina''), [[Aleksandra Krutikova]] (''Countess''), Olimpiada Pavlova (''Governess''), Aleksandra Saburova (''Masha''), Margarita Eichenwald (''Prilepa''), Varvara Pavlenkova (''Milovzor''), Aleksandr Strizhevsky (''Zlatogor'') <ref name="note75"/>.		In [[Moscow]] the opera was performed for the first time at the Bolshoi Theatre on 4/16 November 1891, conducted by [[Ippolit Altani]], with soloists: Mikhail Medvedev (''Herman''), [[Bogomir Korsov]] (''Tomsky''), Pavel Khokhlov (''Yeletsky''), Nikolay Ukrayintsev (''Chekalinsky''), Vladimir Mayboroda (''Surin''), Ivan Matchinsky (''Narumov''), Moysey Tolchanov (''Chaplitsky''), Shalamov (''Stage Manager''), Mariya Deysha-Sionitskaya (''Liza''), Vera Gnucheva (''Polina''), [[Aleksandra Krutikova]] (''Countess''), Olimpiada Pavlova (''Governess''), Aleksandra Saburova (''Masha''), Margarita Eichenwald (''Prilepa''), Varvara Pavlenkova (''Milovzor''), Aleksandr Strizhevsky (''Zlatogor'') <ref name="note75"/>.

Brett: Text replacement - "very sympathetic" to "most agreeable"

2024-07-18T09:21:14Z

Text replacement - "very sympathetic" to "most agreeable"

← Older revision		Revision as of 11:21, 18 July 2024
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	In the draft sketches of the opera, after the sketch for the introduction, Tchaikovsky wrote: "Thanks be to God! I have finished ''composing'' the opera, begun on 19(31) Jan[uary] at 6.30 in the morning, 3(15) March". Therefore the entire work on sketches of the opera was finished within an extremely short period—less than 44 days. On 3/15 March, on the day when the opera was finished, Tchaikovsky told [[Modest Tchaikovsky]]: "[[Laroche]] wrote to me that he and [[Nápravník]] ''grumble'' that I have finished so quickly. How could they not understand that fast work is ''my intransient'' quality. I can not work anything other than ''quickly''. But the speed does not mean at all that I have written the opera in an ''off-hand'' way … The trick is to write with ''love''. And ''The Queen of Spades'' was written with particular love. My God how tearful I was yesterday when my poor Herman was given the last rites" <ref name="note48"/>.		In the draft sketches of the opera, after the sketch for the introduction, Tchaikovsky wrote: "Thanks be to God! I have finished ''composing'' the opera, begun on 19(31) Jan[uary] at 6.30 in the morning, 3(15) March". Therefore the entire work on sketches of the opera was finished within an extremely short period—less than 44 days. On 3/15 March, on the day when the opera was finished, Tchaikovsky told [[Modest Tchaikovsky]]: "[[Laroche]] wrote to me that he and [[Nápravník]] ''grumble'' that I have finished so quickly. How could they not understand that fast work is ''my intransient'' quality. I can not work anything other than ''quickly''. But the speed does not mean at all that I have written the opera in an ''off-hand'' way … The trick is to write with ''love''. And ''The Queen of Spades'' was written with particular love. My God how tearful I was yesterday when my poor Herman was given the last rites" <ref name="note48"/>.

	In the same letter Tchaikovsky wrote: "I finished the opera 3 hours ago, and sent [[Nazar]] [Modest's valet] immediately with a telegram to you … Today I wrote the ''Brindisi'' (that was conceived earlier) and ''finished off'' the introduction. I wrote the very end of the opera yesterday before dinner, and when I reached the scene with Herman's death and finale chorus, I felt such ''pity'' for Herman that I suddenly began to weep aloud. This crying lasted a terribly long time and transformed itself into a mild hysteria of a very pleasant nature, i.e. my crying was terribly enjoyable. Afterwards I had realised why this has occurred (for never before it happened to me that I cried because of the fate of my hero, and I tried to comprehend as to why I have such an urge to cry). In reality ''Herman'' was not for me only a pretext to write some music or other, but throughout he was a real living person, and ~~very sympathetic~~ to me. <ref name="note49"/>.		In the same letter Tchaikovsky wrote: "I finished the opera 3 hours ago, and sent [[Nazar]] [Modest's valet] immediately with a telegram to you … Today I wrote the ''Brindisi'' (that was conceived earlier) and ''finished off'' the introduction. I wrote the very end of the opera yesterday before dinner, and when I reached the scene with Herman's death and finale chorus, I felt such ''pity'' for Herman that I suddenly began to weep aloud. This crying lasted a terribly long time and transformed itself into a mild hysteria of a very pleasant nature, i.e. my crying was terribly enjoyable. Afterwards I had realised why this has occurred (for never before it happened to me that I cried because of the fate of my hero, and I tried to comprehend as to why I have such an urge to cry). In reality ''Herman'' was not for me only a pretext to write some music or other, but throughout he was a real living person, and most agreeable to me. <ref name="note49"/>.

	Tchaikovsky wrote about his deep involvement in composing ''The Queen of Spades'' in many other letters as well. Thus, in a letter to [[Grand Duke Konstantin Konstantinovich]], dated 5/17 August 1890, we read: "I wrote it with an unusual zeal and enthusiasm, having suffered and felt vividly all what is happening in the opera (to such an extent that for a time I feared that the appearance of the ''ghost of the Queen of Spades''), and I hope that all my delights, worries and enthusiasm as the author reverberate in the hearts of a sympathetic audience" <ref name="note50"/> .		Tchaikovsky wrote about his deep involvement in composing ''The Queen of Spades'' in many other letters as well. Thus, in a letter to [[Grand Duke Konstantin Konstantinovich]], dated 5/17 August 1890, we read: "I wrote it with an unusual zeal and enthusiasm, having suffered and felt vividly all what is happening in the opera (to such an extent that for a time I feared that the appearance of the ''ghost of the Queen of Spades''), and I hope that all my delights, worries and enthusiasm as the author reverberate in the hearts of a sympathetic audience" <ref name="note50"/> .

Brett: Text replacement - "breakfast" to "lunch"

2024-03-07T10:12:25Z

Text replacement - "breakfast" to "lunch"

← Older revision		Revision as of 12:12, 7 March 2024
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	On 22 February/6 March a diary note indicates: "Finished the 5th scene. Somehow I'm not entirely satisfied with it, — some of its passages are disagreeable, but I haven't been able to change them" <ref name="note41"/>. Thus the whole scene was more or less composed on 20 and 21 February.		On 22 February/6 March a diary note indicates: "Finished the 5th scene. Somehow I'm not entirely satisfied with it, — some of its passages are disagreeable, but I haven't been able to change them" <ref name="note41"/>. Thus the whole scene was more or less composed on 20 and 21 February.

	On 23 February/7 March, Tchaikovsky had already started work on the 6th scene: "I had a terrible time the whole morning till ~~breakfast~~ as I was writing ''verses'' for Liza's arioso... The ''arioso'' is written" <ref name="note42"/>.		On 23 February/7 March, Tchaikovsky had already started work on the 6th scene: "I had a terrible time the whole morning till lunch as I was writing ''verses'' for Liza's arioso... The ''arioso'' is written" <ref name="note42"/>.

	On 25 February/9 March the composer finished the 6th scene, and not having yet the libretto for the 7th scene, began to compose the introduction. In a letter to [[Modest Tchaikovsky]] of that date he reported: "I have finished the 6th scene and started to compose the ''introduction-overture.'' I should be very upset if the 7th scene does not arrive tomorrow. I would hate to interrupt this particular draft. I suspect that the sixth scene has come out right, and I am very happy now that it has been done—without it the work would be unbalanced" <ref name="note43"/>. But on the following day Tchaikovsky received the libretto of the 7th scene and started to compose the music for it, having set the introduction aside for the time being <ref name="note44"/>: "I have received the ''seventh'' scene. It is superb. The Brindisi needs another couplet <ref name="note45"/>. I will try to write it, and for your part could you come up with something and send it over? … It's astonishing that last night I finished the 6th scene, and already have the 7th in my hands" <ref name="note46"/>.		On 25 February/9 March the composer finished the 6th scene, and not having yet the libretto for the 7th scene, began to compose the introduction. In a letter to [[Modest Tchaikovsky]] of that date he reported: "I have finished the 6th scene and started to compose the ''introduction-overture.'' I should be very upset if the 7th scene does not arrive tomorrow. I would hate to interrupt this particular draft. I suspect that the sixth scene has come out right, and I am very happy now that it has been done—without it the work would be unbalanced" <ref name="note43"/>. But on the following day Tchaikovsky received the libretto of the 7th scene and started to compose the music for it, having set the introduction aside for the time being <ref name="note44"/>: "I have received the ''seventh'' scene. It is superb. The Brindisi needs another couplet <ref name="note45"/>. I will try to write it, and for your part could you come up with something and send it over? … It's astonishing that last night I finished the 6th scene, and already have the 7th in my hands" <ref name="note46"/>.

Brett: /* Performances */

2023-11-26T19:16:57Z

Performances

← Older revision		Revision as of 21:16, 26 November 2023
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	''The Queen of Spades'' was also staged in [[Kharkov]] on 16/28 December 1891 <ref name="note76"/>, in [[Saratov]] on 23 November/5 December 1892, and in [[Odessa]] on 19/31 January 1893.		''The Queen of Spades'' was also staged in [[Kharkov]] on 16/28 December 1891 <ref name="note76"/>, in [[Saratov]] on 23 November/5 December 1892, and in [[Odessa]] on 19/31 January 1893.

	Outside Russia, the opera was first produced ~~at the [[Hamburg]] Opera Theatre on 7/19 January 1892, conducted by [[Gustav Mahler]];~~ at the National Theatre in [[Prague]] on 29 September/11 October 1892, conducted by [[Adolf Čech]]; at the Metropolitan Opera in [[New York]] on 20 February/5 March 1910, conducted by [[Gustav Mahler]]; and in [[London]] on 16/29 May 1915, conducted by Yevgeny Gurevich.		Outside Russia, the opera was first produced at the National Theatre in [[Prague]] on 29 September/11 October 1892, conducted by [[Adolf Čech]]; at the Metropolitan Opera in [[New York]] on 20 February/5 March 1910, conducted by [[Gustav Mahler]]; and in [[London]] on 16/29 May 1915, conducted by Yevgeny Gurevich.

	==Publication==		==Publication==

Brett at 15:38, 9 September 2023

2023-09-09T15:38:53Z

← Older revision		Revision as of 17:38, 9 September 2023
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	On 19/31 December it was staged at the [[Kiev]] Opera Theatre, conducted by [[Josef Přibík]], with soloists: Mikhail Medvedev (''Herman''), Nikolay Dementyev (''Tomsky''), Ioakim Tartakov (''Yeletsky''), Mariya Smirnova (''Countess''), Aleksandra Solovyeva-Matsulevich (''Liza''), Sofya Nechaeva (''Polina'' / ''Milovzor''), Nadezhda Milanova (''Governess'' / ''Prilepa'').		On 19/31 December it was staged at the [[Kiev]] Opera Theatre, conducted by [[Josef Přibík]], with soloists: Mikhail Medvedev (''Herman''), Nikolay Dementyev (''Tomsky''), Ioakim Tartakov (''Yeletsky''), Mariya Smirnova (''Countess''), Aleksandra Solovyeva-Matsulevich (''Liza''), Sofya Nechaeva (''Polina'' / ''Milovzor''), Nadezhda Milanova (''Governess'' / ''Prilepa'').

	In [[Moscow]] the opera was performed for the first time at the Bolshoi Theatre on 4/16 November 1891, conducted by [[Ippolit Altani]], with soloists: Mikhail Medvedev (''Herman''), [[Bogomir Korsov]] (''Tomsky''), Pavel Khokhlov (''Yeletsky''), Nikolay Ukrayintsev (''Chekalinsky''), Vladimir Mayboroda (''Surin''), Ivan Matchinsky (''Narumov''), Moysey Tolchanov (''Chaplitsky''), Shalamov (''Stage Manager''), Mariya Deysha-Sionitskaya (''Liza''), Vera Gnucheva (''Polina''), Aleksandra Krutikova (''Countess''), Olimpiada Pavlova (''Governess''), Aleksandra Saburova (''Masha''), Margarita Eichenwald (''Prilepa''), Varvara Pavlenkova (''Milovzor''), Aleksandr Strizhevsky (''Zlatogor'') <ref name="note75"/>.		In [[Moscow]] the opera was performed for the first time at the Bolshoi Theatre on 4/16 November 1891, conducted by [[Ippolit Altani]], with soloists: Mikhail Medvedev (''Herman''), [[Bogomir Korsov]] (''Tomsky''), Pavel Khokhlov (''Yeletsky''), Nikolay Ukrayintsev (''Chekalinsky''), Vladimir Mayboroda (''Surin''), Ivan Matchinsky (''Narumov''), Moysey Tolchanov (''Chaplitsky''), Shalamov (''Stage Manager''), Mariya Deysha-Sionitskaya (''Liza''), Vera Gnucheva (''Polina''), [[Aleksandra Krutikova]] (''Countess''), Olimpiada Pavlova (''Governess''), Aleksandra Saburova (''Masha''), Margarita Eichenwald (''Prilepa''), Varvara Pavlenkova (''Milovzor''), Aleksandr Strizhevsky (''Zlatogor'') <ref name="note75"/>.

	''The Queen of Spades'' was also staged in [[Kharkov]] on 16/28 December 1891 <ref name="note76"/>, in [[Saratov]] on 23 November/5 December 1892, and in [[Odessa]] on 19/31 January 1893.		''The Queen of Spades'' was also staged in [[Kharkov]] on 16/28 December 1891 <ref name="note76"/>, in [[Saratov]] on 23 November/5 December 1892, and in [[Odessa]] on 19/31 January 1893.

Tony: /* Related Works */

2023-04-10T12:10:17Z

Related Works

← Older revision		Revision as of 14:10, 10 April 2023
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	==Related Works==		==Related Works==
	Throughout the whole opera, the composer referred to materials that were reminiscent of a characteristic way of life of the period. He studied operatic scores by Salieri, Grétry, and Astatitt <ref name="note72"/>, as well as ~~folk song~~ collections of the eighteenth century. The following uses of earlier material have been identified:		Throughout the whole opera, the composer referred to materials that were reminiscent of a characteristic way of life of the period. He studied operatic scores by Salieri, Grétry, and Astatitt <ref name="note72"/>, as well as folksong collections of the eighteenth century. The following uses of earlier material have been identified:
	* Act I, No. 7. The text of the Duet comes from the elegy ''Evening'' (Вечер) (1806) by [[Vasily Zhukovsky]] (1783-1852).		* Act I, No. 7. The text of the Duet comes from the elegy ''Evening'' (Вечер) (1806) by [[Vasily Zhukovsky]] (1783-1852).
	* Act I, No. 8. Polina's Romance is set to the poem ''Epitaph for a Shepherdess'' (Надпись на гробе пастушки) (1810) by [[Konstantin Batyushkov]] (1787-1855).		* Act I, No. 8. Polina's Romance is set to the poem ''Epitaph for a Shepherdess'' (Надпись на гробе пастушки) (1810) by [[Konstantin Batyushkov]] (1787-1855).

Tony: /* Notes and References */

2023-02-12T19:33:57Z

Notes and References

← Older revision		Revision as of 21:33, 12 February 2023
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	<ref name="note65">[[Letter 4200]] to [[Pyotr Jurgenson]], 19/31 August 1890.</ref>		<ref name="note65">[[Letter 4200]] to [[Pyotr Jurgenson]], 19/31 August 1890.</ref>
	<ref name="note66">See letter from [[Aleksandr Ziloti]] to the composer, 11/23 February 1891 — [[Klin]] House-Museum Archive.</ref>		<ref name="note66">See letter from [[Aleksandr Ziloti]] to the composer, 11/23 February 1891 — [[Klin]] House-Museum Archive.</ref>
	<ref name="note67">[[Letter 4238]] to [[Eduard Nápravník]], 19/31 October 1890. For more concerning work on the third edition see [[Letter 4312]] to [[Anatoly Tchaikovsky]], 22 January/3 February 1891.</ref>		<ref name="note67">[[Letter 4238]] to [[Eduard Nápravník]], 19/31 October 1890. For more concerning work on the third edition, see [[Letter 4312]] to [[Anatoly Tchaikovsky]], 22 January/3 February 1891.</ref>
	<ref name="note68">Letter from [[Modest Tchaikovsky]] to the composer, 29 October/10 November 1890.</ref>		<ref name="note68">Letter from [[Modest Tchaikovsky]] to the composer, 29 October/10 November 1890.</ref>
	<ref name="note69">[[Letter 4248]] to [[Modest Tchaikovsky]], 2/14 November 1890.</ref>		<ref name="note69">[[Letter 4248]] to [[Modest Tchaikovsky]], 2/14 November 1890.</ref>

Tony: /* Related Works */

2023-02-12T11:33:39Z

Related Works

← Older revision		Revision as of 13:33, 12 February 2023
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	==Related Works==		==Related Works==
	Throughout the whole opera, the composer referred to materials that were reminiscent of a characteristic way of life of the period. He studied operatic scores by Salieri, Grétry, and Astatitt <ref name="note72"/>, as well as folk ~~songs~~ collections of the eighteenth century. The following uses of earlier material have been identified:		Throughout the whole opera, the composer referred to materials that were reminiscent of a characteristic way of life of the period. He studied operatic scores by Salieri, Grétry, and Astatitt <ref name="note72"/>, as well as folk song collections of the eighteenth century. The following uses of earlier material have been identified:
	* Act I, No. 7. The text of the Duet comes from the elegy ''Evening'' (Вечер) (1806) by [[Vasily Zhukovsky]] (1783-1852).		* Act I, No. 7. The text of the Duet comes from the elegy ''Evening'' (Вечер) (1806) by [[Vasily Zhukovsky]] (1783-1852).
	* Act I, No. 8. Polina's Romance is set to the poem ''Epitaph for a Shepherdess'' (Надпись на гробе пастушки) (1810) by [[Konstantin Batyushkov]] (1787-1855).		* Act I, No. 8. Polina's Romance is set to the poem ''Epitaph for a Shepherdess'' (Надпись на гробе пастушки) (1810) by [[Konstantin Batyushkov]] (1787-1855).
	* Act II, No. 11. The words of the Chorus are taken from a poem by [[Gavriil Derzhavin]] (1743-1816).		* Act II, No. 11. The words of the Chorus are taken from a poem by [[Gavriil Derzhavin]] (1743-1816).
	* Act II, No. 14. The text for the whole of the Interlude comes from verses by the poet [[Pyotr Karabanov]] (1765-1829), about which Tchaikovsky wrote: "The text of this chorus belongs to the pen of a little known last-century writer ''[[Karabanov]]''. His job was to write texts for greetings and various ''cantatas'' for celebrations by Catherine's nobility. It is quite appropriate to perform this ''cantata'' in my opera, for the verses were written, the music arranged, and performed by ''singers'' at a domestic occasion held by Naryshkin" <ref name="note73"/>		* Act II, No. 14. The text for the whole of the Interlude comes from verses by the poet [[Pyotr Karabanov]] (1765-1829), about which Tchaikovsky wrote: "The text of this chorus belongs to the pen of a little known last-century writer ''[[Karabanov]]''. His job was to write texts for greetings and various ''cantatas'' for celebrations by Catherine's nobility. It is quite appropriate to perform this ''cantata'' in my opera, for the verses were written, the music arranged, and performed by ''singers'' at a domestic occasion held by Naryshkin" <ref name="note73"/>.
	* Act II, No. 15. The concluding chorus of praise to Catherine the Great («Славься сим, Екатерина»)(from bar 103) is based on the theme of Jósef Kozłowski's polonaise ''Let the Thunder of Victory Roar'' (Гром победы раздавайся) (1791); the text for this same section was adapted by the composer from [[Gavriil Derzhavin]]'s verses ''To Catherine the Great in Honour of the Victories of Count Suvorov-Ryminsky in 1794'' (Екатерине II на победу графа Суворова-Рыминского 1794 годп).		* Act II, No. 15. The concluding chorus of praise to Catherine the Great («Славься сим, Екатерина») (from bar 103) is based on the theme of Jósef Kozłowski's polonaise ''Let the Thunder of Victory Roar'' (Гром победы раздавайся) (1791); the text for this same section was adapted by the composer from [[Gavriil Derzhavin]]'s verses ''To Catherine the Great in Honour of the Victories of Count Suvorov-Ryminsky in 1794'' (Екатерине II на победу графа Суворова-Рыминского 1794 годп).
	* Act II, No. 16. The Countess's recollections of her youth open with a reference to the French song 'Vive Henri Quatre' (bars 205–211), followed by the aria 'Je crains de lui parler la nuit' (bars 212–237), from André-Ernest-Modeste Grétry's opera ''Richard Coeur-de-lion'' (1784) <ref name="note74"/>		* Act II, No. 16. The Countess's recollections of her youth open with a reference to the French song 'Vive Henri Quatre' (bars 205–211), followed by the aria 'Je crains de lui parler la nuit' (bars 212–237), from André-Ernest-Modeste Grétry's opera ''Richard Coeur-de-lion'' (1784) <ref name="note74"/>.
	* Act III, No. 18. The Chorus 'Lord My Terrible Dream' (Господи мой страшный сон) is based on the Russian funeral chant 'My Prayer Flows Out to the Lord' (Модитву пролью ко господу).		* Act III, No. 18. The Chorus 'Lord My Terrible Dream' (Господи мой страшный сон) is based on the Russian funeral chant 'My Prayer Flows Out to the Lord' (Модитву пролью ко господу).
	* Act III, No. 23. The text of Tomsky's Song comes from [[Gavriil Derzhavin]]'s poem ''The Comical Wish'' (Шуточное желание) (1802).		* Act III, No. 23. The text of Tomsky's Song comes from [[Gavriil Derzhavin]]'s poem ''The Comical Wish'' (Шуточное желание) (1802).

Tony: /* Autographs */ Added "in" for ease of reading

2023-02-12T11:21:45Z

Autographs: Added "in" for ease of reading

← Older revision		Revision as of 13:21, 12 February 2023
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	==Autographs==		==Autographs==
	Tchaikovsky's manuscript full score is the Central Music Library of the Mariinsky Theatre in [[Saint Petersburg]] (VII.1.4.154), while his vocal-piano reduction is preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2\|pikovaya-dama-opera-v-3-h-deystviyah-7-mi-kartinah\|(ф. 88, No. 43)}}.		Tchaikovsky's manuscript full score is in the Central Music Library of the Mariinsky Theatre in [[Saint Petersburg]] (VII.1.4.154), while his vocal-piano reduction is preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2\|pikovaya-dama-opera-v-3-h-deystviyah-7-mi-kartinah\|(ф. 88, No. 43)}}.

	An autograph fragment of the full score of Tomsky's Ballad (Act I, No. 5), containing only the last five bars, is also preserved in the {{RUS-Mcm}} {{TOW2\|pikovaya-dama-opera-v-3-h-deystviyah-7-mi-kartinah-ballada-tomskogo-d-i-no-5-fragment\|(ф. 88, No. 202)}}.		An autograph fragment of the full score of Tomsky's Ballad (Act I, No. 5), containing only the last five bars, is also preserved in the {{RUS-Mcm}} {{TOW2\|pikovaya-dama-opera-v-3-h-deystviyah-7-mi-kartinah-ballada-tomskogo-d-i-no-5-fragment\|(ф. 88, No. 202)}}.
Line 385:		Line 385:

	==Related Works==		==Related Works==
	Throughout the whole opera the composer referred to materials that were reminiscent of a characteristic way of life of the period. He studied operatic scores by Salieri, Grétry, and Astatitt <ref name="note72"/>, as well as folk songs collections of the eighteenth century. The following uses of earlier material have been identified:		Throughout the whole opera, the composer referred to materials that were reminiscent of a characteristic way of life of the period. He studied operatic scores by Salieri, Grétry, and Astatitt <ref name="note72"/>, as well as folk songs collections of the eighteenth century. The following uses of earlier material have been identified:
	* Act I, No. 7. The text of the Duet comes from the elegy ''Evening'' (Вечер) (1806) by [[Vasily Zhukovsky]] (1783-1852).		* Act I, No. 7. The text of the Duet comes from the elegy ''Evening'' (Вечер) (1806) by [[Vasily Zhukovsky]] (1783-1852).
	* Act I, No. 8. Polina's Romance is set to the poem ''Epitaph for a Shepherdess'' (Надпись на гробе пастушки) (1810) by [[Konstantin Batyushkov]] (1787-1855).		* Act I, No. 8. Polina's Romance is set to the poem ''Epitaph for a Shepherdess'' (Надпись на гробе пастушки) (1810) by [[Konstantin Batyushkov]] (1787-1855).

Tony: /* Publication */ Omitted "want" to avoid repetition

2023-02-12T11:08:04Z

Publication: Omitted "want" to avoid repetition

← Older revision		Revision as of 13:08, 12 February 2023
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	In October, responding to a request by [[Eduard Nápravník]] and [[Nikolay Figner]], Tchaikovsky agreed to make a number of changes in the score: "I am very glad that [[Figner]] will sing the ''Brindisi'' in B-flat. I ask you to alter as much as you want the inconvenient tessitura in Herman's part and in other parts as well", Tchaikovsky wrote to [[Nápravník]]. "''I will accept in advance everything that you consider needs changing''. I am very interested to know what alterations are required in the death scene. If we are talking about a small cut, then again I entirely rely on you, while I have to admit I am not too happy about it" <ref name="note67"/>.		In October, responding to a request by [[Eduard Nápravník]] and [[Nikolay Figner]], Tchaikovsky agreed to make a number of changes in the score: "I am very glad that [[Figner]] will sing the ''Brindisi'' in B-flat. I ask you to alter as much as you want the inconvenient tessitura in Herman's part and in other parts as well", Tchaikovsky wrote to [[Nápravník]]. "''I will accept in advance everything that you consider needs changing''. I am very interested to know what alterations are required in the death scene. If we are talking about a small cut, then again I entirely rely on you, while I have to admit I am not too happy about it" <ref name="note67"/>.

	On 29 October/10 November [[Modest Tchaikovsky]] wrote to the composer: "On the question of the finale of ''The Queen of Spades''. Everyone strongly… insists on the need to amend it, starting from the moment of Herman's suicide. Everyone wants ~~want~~ melodic décor to accompany his death. What is your view on that?" <ref name="note68"/>.		On 29 October/10 November [[Modest Tchaikovsky]] wrote to the composer: "On the question of the finale of ''The Queen of Spades''. Everyone strongly… insists on the need to amend it, starting from the moment of Herman's suicide. Everyone wants melodic décor to accompany his death. What is your view on that?" <ref name="note68"/>.

	In his letter of reply dated 2/14 November 1890, Tchaikovsky wrote: "Needless to say, I would be extremely loathe to agree to any sort of revision. The idea to introduce changes is certainly down to ''[[Figner]]'', who probably wants something like the last aria in ''Lucia'' [''di Lammermoor''] with its interruptions, dying gasps, etc... But such a thing is impossible?!!!" <ref name="note69"/>.		In his letter of reply dated 2/14 November 1890, Tchaikovsky wrote: "Needless to say, I would be extremely loathe to agree to any sort of revision. The idea to introduce changes is certainly down to ''[[Figner]]'', who probably wants something like the last aria in ''Lucia'' [''di Lammermoor''] with its interruptions, dying gasps, etc... But such a thing is impossible?!!!" <ref name="note69"/>.