Letter 3905a and Letter 2762: Difference between pages
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{{letterhead | {{letterhead | ||
|Date= | |Date=8/20 September 1885 | ||
|To=[[ | |To=[[Félix Mackar]] | ||
|Place=[[ | |Place=[[Maydanovo]] | ||
|Language=French | |Language=French | ||
|Autograph={{ | |Autograph=[[Paris]] (France): {{F-Pn}} | ||
|Publication={{ | |Publication=''{{bibx|1968/16| Revue de musicologie}}'', tome 64 (1968), no. 1, p. 42–44<br/>{{bib|1971/89|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 139–141 | ||
}} | }} | ||
| Line 12: | Line 12: | ||
|Language=French | |Language=French | ||
|Translator=Luis Sundkvist | |Translator=Luis Sundkvist | ||
|Original text={{right| | |Original text={{right|''Kline'', près Moscou<br/>8/20 Septembre 1885}} | ||
{{centre| | {{centre|Monsieur!}} | ||
Je | Je reçois Votre lettre trois jours après que je V[ou]s ai expédié la mienne : elles se sont croisées en chemin. Je n'ai donc plus besoin de V[ou]s dire combien je suis heureux et flatté de pouvoir entrer en relations avec V[ou]s. je V[ou]s remercie infiniment d'avoir bien voulu me servir de parrain auprès de la Société des Auteurs et compositeurs. Si par hasard dans le courant de cette saison les concerts auquels V[ou]s faites allusion dans Votre lettre, s'organisent, — je viendrai avec le plus grand plaisir à Paris et ma première sortie sera destinée certainement au plaisir de V[ou]s rendre visite et de V[ou]s serrer la main. | ||
Maintenant je m'empresse de répondre à Vos questions. ''L'unique éditeur propriétaire de mon ouverture « Romeo et Juliette » pour tous pays (la Russie inclusivement) est M[essieu]rs Bote et Bock''. Les droits que M[onsieu]r Bessel s'arroge sur cette œuvre sont purement arbitraires. Il est vrai, que fort imprudemment j'ai donné à M[onsieu]r Bessel il y a une quinzaine d'années {{und2|un semblant de droits}}' sur cette ouverture, mais ensuite j'ai fait tout mon possible pour réparer le tort que j'ai inconsciemment causé à ''M[essieu]rs Bote et Bock'' et des démarches légales ont été faites par M[onsieu]r Jurgenson pour empêcher ''M[onsieu]r Bessel'' de s'attribuer des droits sur ''« Romeo »''. M[onsieu]r Jurgenson pourra V[ou]s renseigner {{sic|la dessu|là-dessus}}. ''Moralement'' M[onsieu]r Bessel peut avoir {{und2|eu}} raison de placer cette ouverture dans le catalogue de ses éditions, mais ''légalement'' il a tort. | |||
Quant aux œuvres 16, 17, 21 e[t] 25 il en est le vrai propriétaire ainsi que de {{sic|l'opera|l'opéra}} ''Opritschnik''. J'ai effectivement cédé à M[onsieu]r Bessel le droit de représentation sur cet {{sic|opera|opéra}}. Cependant il y a quelques mois, M[onsieu]r Bessel, m'a proposé de refaire la partition de ''l'Opritschnik'' (qui est une œuvre de jeunesse fort imparfaite) et parmi les conditions émises par lui, celle de me rendre mes droits {{sic|d'auteurs|d'auteur}} était au premier plan. Il est donc évident que le droit de représentation qu'il revendique est purement illusoire. Ou bien je vais refaire la partition et alors je reprendrai mes droits, ou bien je ne le ferai pas, et alors l'opéra étant plus que médiocre, ne peut être donné et n'a aucun avenir. M[onsieu]r Bernard a le droit de propriété sur mes 12 morceaux pour tous pays, mais je ne puis éclaircir la question du № 37 et je ne sais vraiment pas comment cela est arrivé. J'en parlerai à M[onsieu]r Jurgenson quand j'irai à ''Moscou'' ; il pourra {{sic|peut être|peut-être}} éclaircir la chose. | |||
Si je ne me trompe pas il y a une notice biographique me concernant dans le supplément de la Biographie universelle de ''Fétis''. Il y a deux ans j'en ai lu une autre dans un livre publié par un professeur du Conservatoire de Paris (je crois que c'est un traité de l'histoire de la musique) dont je ne me souviens pas le nom. Cette dernière est très exacte, autant qu'il m'en souvient. Veuillez me dire, Monsieur, si elles V[ou]s conviennent ; si non, — je V[ou]s en écrirai une moi-même. | |||
Permettez moi de V[ou]s dire franchement ce que je pense de mes opéras (existant déjà) par rapport à la possibilité de les monter en France. ''Il me semble'' qu'il se passera encore bien du temps avant que cet honneur vienne combler mon ambition d'auteur. Leur genre {{sic|héterogène|hétérogène}}, leur manière un peu Wagnérienne, enfin une grande multitude de raisons, empêche je crois qu'elles soient données en France ''à présent'', quand mon nom commence à peine à être connu à l'étranger. ''Mais ne serait-il pas possible que je mette en musique un petit acte quelconque en français et n'est-ce pas une trop folle ambition que de souhaiter de le voir monté sur la scène de Votre Opéra-Comique''. Je suis sûr que je pourrai bien faire, mais je sais que beaucoup de compositeurs français attendent longuement et souvent vainement de parvenir à se faire jouer à l'Opéra-Comique. Cependant je prends la liberté de V[ou]s donner cette idée. Ah, si je pouvais seulement débuter comme compositeur d'opéras modestement par un acte à l'Opéra-Comique — combien je serais content et combien je suis ''sûr'' que je pourrai bien faire !!! J'ai même en idée un sujet splendidement poétique. Veuillez me dire ce que V[ou]s pensez {{sic|la dessu|là-dessus}} franchement. | |||
Dès que j'aurai terminé ma {{sic|simphonie|symphonie}} je m'adonnerai à l'étude de Vos éditions qui m'ont été remises par P.-I. Jurgenson et je V[ou]s en dirai mon opinion. | |||
Agréez, Monsieur, l'assurance de ma considération la plus distinguée. | |||
{{right|P. Tschaikovsky}} | |||
|Translated text={{right|''[[Klin]]'', near [[Moscow]]<br/>8/20 September 1885}} | |||
{{centre|Monsieur!}} | |||
I received your letter three days after I had sent off mine: they have crossed in the post <ref name="note1"/>. There is thus no longer any need for me to tell you how happy and flattered I am to be able to establish a relationship with you. I thank you infinitely for having been so kind as to act as my sponsor before the Society of Authors and Composers <ref name="note2"/>. If by any chance the concerts to which you allude in your letter should happen to be organized in the course of this season, I shall be most delighted to come to [[Paris]], and my first sortie will of course be directed towards the pleasure of paying you a visit and shaking your hand <ref name="note3"/>. | |||
I now hasten to answer your questions. ''The sole publisher with property rights to my overture [[Romeo and Juliet]] for all countries (including Russia) is Messrs Bote and [[Bock]]''. The rights which Mr [[Bessel]] claims to have regarding this work are quite arbitrary. It is true that some fifteen years ago I very imprudently gave Mr [[Bessel]] {{und2|a semblance of rights}} to this overture, but I subsequently did all I could to remedy the injury which I had unwittingly caused ''Messrs Bote and [[Bock]]'', and legal proceedings were taken by Mr [[Jurgenson]] in order to prevent ''Mr [[Bessel]]'' from claiming rights to ''[[Romeo]]''. Mr [[Jurgenson]] will be able to give you more information about that. ''Morally'', Mr [[Bessel]] may have {{und2|had}} grounds to include this overture in his publisher's catalogue, but ''legally'' he is in the wrong <ref name="note4"/>. | |||
As for Opuses 16, 17, 21, and 25, he is the legitimate owner of those, as he is, too, of the opera ''[[The Oprichnik]]''. I did indeed assign to Mr [[Bessel]] the performance rights to this opera. A few months ago, however, Mr [[Bessel]] suggested that I revise the score of ''[[The Oprichnik]]'' (which is a youthful and very imperfect work), and among the conditions he proposed, that of returning to me my author's rights was one of the most prominent. So it is evident that the performance rights which he is now claiming are quite illusory <ref name="note5"/>. Either I shall revise the score, in which case I will retrieve my rights, or I shall let it be, and in that case the opera, which is no more than mediocre, cannot be performed and has no future whatsoever. Mr [[Bernard]] does have the property rights to my [[The Seasons|12 pieces]] for all countries, but I cannot clarify for you the question as to why they are Op. 37, and I truly do not know how this came about. I shall discuss this with Mr [[Jurgenson]] when I come to ''[[Moscow]]''; maybe he will be able to shed light on the matter <ref name="note6"/>. | |||
If I am not mistaken, there is a biographical notice about me in the supplement of ''Fétis's'' Biographie universelle <ref name="note7"/>. Two years ago, I read another one in a book published by a professor of the [[Paris]] Conservatory (I think it was a treatise on music history) whose name I no longer recall. The latter notice is very accurate, as far as I can remember <ref name="note8"/>. Please let me know, Monsieur, if these will do for you. If not, I shall write you one myself <ref name="note9"/>. | |||
I | |||
Allow me to tell you frankly what I think of my operas (the already existing ones) with regard to the possibility of their being staged in France. ''It seems to me'' that it will still take a long time yet before such an honour can crown my authorial ambitions <ref name="note10"/>. Their heterogeneous nature, their slightly Wagnerian manner — in short, a whole host of reasons prevent me from believing that they could be performed in France ''at present'', when my name is only just beginning to become known abroad. ''However, would it not be possible for me to set to music a small one-act [piece] in French? Would it be too crazy an ambition to then wish to see it produced on the stage of your Opéra-Comique?'' I am certain that I could do that well, though I do realise that many French composers have to wait for a long time, and often in vain, for the opportunity to be performed at the Opéra-Comique. Still, I take the liberty of putting this idea to you. Ah, if only I could make my debut as an opera compose in this modest fashion, with just one act at the Opéra-Comique — how glad I would be and how ''certain'' I am, too, that I would be able to do it well!!! I even have a splendidly poetic subject in mind <ref name="note11"/>. Please tell me frankly what you think about this idea. | |||
As soon as I have finished my symphony <ref name="note12"/>, I shall devote myself to the study of your editions, which were forwarded to me by [[P. I. Jurgenson]], and I shall give you my opinion on them <ref name="note13"/>. | |||
Please accept, Monsieur, the assurance of my highest esteem. | |||
{{right|P. Tchaikovsky}} | {{right|P. Tchaikovsky}} | ||
}} | }} | ||
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==Notes and References== | ==Notes and References== | ||
<references> | <references> | ||
<ref name="note1"> | <ref name="note1">Tchaikovsky's first letter to [[Mackar]] is dated 31 August/12 September ([[Letter 2758]]). [[Mackar]]'s first letter to Tchaikovsky from [[Paris]] is dated 2/14 September 1885, and when he wrote it he had not yet received Tchaikovsky's. In his letter, which has been published (in Russian translation only) in {{bib|1970/6|Чайковский и зарубежные музыканты}} (1970), p. 146–147, [[Mackar]] had written: "I take this opportunity to tell you, dear Sir, that I am extremely happy to make your acquaintance. Over several years I have had the pleasure of listening and applauding to your music, and it was a sense of artistic fascination at your talent that induced me to enter into negotiations with Mr [[Jurgenson]] so as to acquire your works for France and Belgium".</ref> | ||
<ref name=" | <ref name="note2">In his letter of 2/14 September 1885, [[Mackar]] wrote that [[Jurgenson]] had forwarded to him Tchaikovsky's request to join the ''Société des auteurs, compositeurs et éditeurs de musique'' (SACEM; the powerful association collecting payments of artists' rights which was set up in France in 1851). Tchaikovsky's formal application was in fact drawn up by [[Mackar]], who also seconded it, together with the French-born Russian composer Anton Yulyevich Simon (1850–1916). [[Mackar]] explained to Tchaikovsky that his application would be considered at the society's next session. As the archives of SACEM show, Tchaikovsky was admitted as a member on 19/31 October 1885 — note based on information provided by Vladimir Fédorov in {{bibx|1968/16|Revue de musicologie}}, tome 64 (1968), no. 1, p. 44, note 2.</ref> | ||
<ref name="note3">After explaining how glad he was to receive [[Jurgenson]]'s approval (on behalf of Tchaikovsky) of his offer to acquire the publication and distribution rights to Tchaikovsky's works in France and Belgium (see note 1 above), [[Mackar]] had written: "I hope that our relations will not be limited to this, since I have an ardent desire to become acquainted with you as widely as possible. If circumstances should take you to [[Paris]], you may rest assured that in my house you will receive the most cordial welcome, and that I shall do everything that is in my power to facilitate performances of your works by our best artists, whom you of course know". Further on, [[Mackar]] noted that the newspapers were announcing details of [[Anton Rubinstein]]'s forthcoming recitals in [[Paris]] that winter, and he expressed the hope that Tchaikovsky might be able to visit the French capital at the same time, so that he could arrange for [[Colonne]]'s orchestra to give "Tchaikovsky and [[Anton Rubinstein|Rubinstein]] concerts". Tchaikovsky did not come to [[ Paris]] that winter, but in the summer of 1886, during his month-long stay there, he called on [[Mackar]] and made his personal acquaintance. See also the diary entry for 21 May/6 June 1886 quoted in note 5 in the commentary for [[Letter 2758]].</ref> | |||
<ref name="note4">In his letter of 2/14 September 1885 [[Mackar]] had made the following enquiry: "I have already entered into correspondence with Mr [[Bessel]] with a view to acquiring those works of yours which I don't have yet. In this respect, I would be very grateful if you could tell me which publisher is currently the owner of your ''[[Romeo]]'' overture? On the one hand, [[Bessel]], and on the other, Messrs. Bote & [[Bock]] of [[Berlin]] are claiming exclusive ownership rights to this work for all countries. This very morning I received a letter from the latter, in which they inform me that they are in possession of an agreement signed by you which assigns that right to them. How, then, can Mr [[Bessel]] be offering to sell me a work which doesn't belong to him? I don't know which of these gentlemen I should trust". The full score of the overture ''[[Romeo and Juliet]]'' had been printed in 1871 by Bote & [[ Bock]] of [[Berlin]]. In 1872, the [[Saint Petersburg]]-based publisher [[Vasily Bessel]] had issued [[Nadezhda Purgold]]'s arrangement of the overture for piano duet, as well as [[Karl Klindworth]]'s arrangement for two pianos and four hands. The full score and arrangement for piano duet (by Tchaikovsky himself) of the final version of the overture were published by Bote & [[Bock]] in [[Berlin]] in 1881.</ref> | |||
<ref name="note5">Following on from his enquiry regarding the ''[[Romeo and Juliet]]'' overture, [[Mackar]] had asked: "You would do me a great favour by confirming whether Mr [[Bessel]] is the owner of your op. 16, 17, 21, 25, and of the opera ''[[The Oprichnik]]''. He is offering to sell me these works, as well as the performance rights to ''[[The Oprichnik]]''. Since those rights usually remain exclusively with the author, it is essential for me that you confirm this yourself, i.e. whether by way of an exception you renounced this right in favour of Mr [[Bessel]]?".</ref> | |||
<ref name="note6">In his letter of 2/14 September 1885 [[Mackar]] had asked: "Why have these pieces [''[[The Seasons]]''] been given opus no. 37, when that number has already been assigned to your [[Grand Sonata]] for piano?". Tchaikovsky's Op. 37, the [[Grand Sonata]], was written in 1878, two years after ''[[The Seasons]]''. [[Jurgenson]] had recently, in the summer of 1885, acquired the latter set of piano pieces from [[Nikolay Bernard]] (in whose journal ''Nuvellist'' they had first appeared, in 1876), and republished them as Op. 37a, evidently having chosen that opus number to emphasize that they were from around the same period as the [[Grand Sonata]] — note based on that in {{bib|1970/6|Чайковский и зарубежные музыканты}} (1970), p. 165, note 6.</ref> | |||
<ref name="note7">At the end of his letter [[Mackar]] had asked: "Could you tell me where I might have the opportunity to glean very precise biographical information concerning yourself?" Vladimir Fédorov notes that Tchaikovsky is referring to Vol. 2, p. 588–591, of the augmented 1881 edition of the famous ''Biographie universelle des musiciens'' by François-Joseph Fétis (1784–1871), the first edition of which had been published in [[Brussels]] in several volumes from 1835 to 1844, and observes: "The notice, which contains some errors and misspells some names, seems in our view to have been inspired by [[Cui]]'s book ''La musique en Russie'', 1880, which included a chapter on Tchaikovsky, treated together with [[Anton Rubinstein]]]. A quite comprehensive list of Tchaikovsky's works accompanies the notice" — see {{bibx|1968/16|Revue de musicologie}}, tome 64 (1968), no. 1, p. 44, note 5.</ref> | |||
<ref name="note8">According to Vladimir Fédorov: "No history of music to have appeared in France between 1882 and 1885 mentions Tchaikovsky, unless we assume it is Octave Fouque's ''Les Révolutionnaires de la musique... La musique russe'' ([[Paris]], 1882), which, however, devotes just four lines to him" — see {{bibx|1968/16|Revue de musicologie}}, tome 64 (1968), no. 1, p. 44, note 6}.</ref> | |||
<ref name="note9">[[Mackar]] would take up this offer, which Tchaikovsky duly fulfilled in [[Letter 2854]] of 14/26 January 1886.</ref> | |||
<ref name="note10">Vladimir Fédorov observes that it was not until the winter of 1892/93 that specific plans were made for a production of one of Tchaikovsky's operas in [[Paris]], when Pedro Gailhard (1848–1918), the director of the Opéra at the time, apparently expressed the intention of staging ''[[Yevgeny Onegin]]'' there. These plans, however, came to nothing, and the first performance of an opera by Tchaikovsky in France would not take place until 7 March 1895 {{NS}}, when ''[[Onegin]]'' was staged in [[Nice]] see {{bibx|1968/16|Revue de musicologie}}, tome 64 (1968), no. 1, p. 44–45, note 7.</ref> | |||
<ref name="note11">|Vladimir Fédorov suggests that Tchaikovsky may well have been thinking of setting one of [[Alfred de Musset]]'s plays to music, and quotes from [[Letter 897]] to [[Nadezhda von Meck]], 14/26 August–17/29 August 1878: "I passionately love all of [[Musset]]'s dramatic works. How many times have I dreamt of creating a libretto out of one of his comedies or dramas! Alas! most of them are too French, and are inconceivable and would lose all their charm if they were to be translated into a foreign language — for example, ''Le chandelier'' or ''Les Caprices de Marianne''. Those which are less specifically French — such as ''Carmosine ''or ''André del Sarto'', for example — are devoid of dramatic action or are too packed with philosophical reflections, as in ''La coupe et les lèvres''. I don't understand why no French composer so far has drawn from this rich mine ... Do re-read, my friend, his ''Comédies et proverbes'' ... and, in particular, ''Les Caprices de Marianne'', ''Il ne faut pas badiner avec l'amour'' or ''Carmosine''. Tell me, are all these works not just asking to be set to music?" He also quotes [[Letter 898]] to [[Modest Tchaikovsky]] of 16/28 August 1878, which again refers to the composer's (unrealised) plans for an opera ''[[Les Caprices de Marianne]]''. Fédorov's hypothesis is supported by [[Letter 3581a]] to the librettist [[Léonce Détroyat]] of 30 May/11 June 1888, in which Tchaikovsky again returned to his "dream" of writing a French-language opera based on one of [[Musset]]'s plays.</ref> | |||
<ref name="note12">The symphony ''[[Manfred]]'', Op. 58.</ref> | |||
<ref name="note13">See [[Letter 2819]] of 22 November/4 December 1885, in which Tchaikovsky comments on a few works by French composers recently published by [[Mackar]].</ref> | |||
</references> | </references> | ||
Latest revision as of 14:47, 12 July 2022
| Date | 8/20 September 1885 |
|---|---|
| Addressed to | Félix Mackar |
| Where written | Maydanovo |
| Language | French |
| Autograph Location | Paris (France): Bibliothèque nationale de France, Département de la Musique |
| Publication | Revue de musicologie, tome 64 (1968), no. 1, p. 42–44 П. И. Чайковский. Полное собрание сочинений, том XIII (1971), p. 139–141 |
Text and Translation
| French text (original) |
English translation By Luis Sundkvist |
Kline, près Moscou 8/20 Septembre 1885 Monsieur!
Je reçois Votre lettre trois jours après que je V[ou]s ai expédié la mienne : elles se sont croisées en chemin. Je n'ai donc plus besoin de V[ou]s dire combien je suis heureux et flatté de pouvoir entrer en relations avec V[ou]s. je V[ou]s remercie infiniment d'avoir bien voulu me servir de parrain auprès de la Société des Auteurs et compositeurs. Si par hasard dans le courant de cette saison les concerts auquels V[ou]s faites allusion dans Votre lettre, s'organisent, — je viendrai avec le plus grand plaisir à Paris et ma première sortie sera destinée certainement au plaisir de V[ou]s rendre visite et de V[ou]s serrer la main. Maintenant je m'empresse de répondre à Vos questions. L'unique éditeur propriétaire de mon ouverture « Romeo et Juliette » pour tous pays (la Russie inclusivement) est M[essieu]rs Bote et Bock. Les droits que M[onsieu]r Bessel s'arroge sur cette œuvre sont purement arbitraires. Il est vrai, que fort imprudemment j'ai donné à M[onsieu]r Bessel il y a une quinzaine d'années un semblant de droits' sur cette ouverture, mais ensuite j'ai fait tout mon possible pour réparer le tort que j'ai inconsciemment causé à M[essieu]rs Bote et Bock et des démarches légales ont été faites par M[onsieu]r Jurgenson pour empêcher M[onsieu]r Bessel de s'attribuer des droits sur « Romeo ». M[onsieu]r Jurgenson pourra V[ou]s renseigner la dessu. Moralement M[onsieu]r Bessel peut avoir eu raison de placer cette ouverture dans le catalogue de ses éditions, mais légalement il a tort. Quant aux œuvres 16, 17, 21 e[t] 25 il en est le vrai propriétaire ainsi que de l'opera Opritschnik. J'ai effectivement cédé à M[onsieu]r Bessel le droit de représentation sur cet opera. Cependant il y a quelques mois, M[onsieu]r Bessel, m'a proposé de refaire la partition de l'Opritschnik (qui est une œuvre de jeunesse fort imparfaite) et parmi les conditions émises par lui, celle de me rendre mes droits d'auteurs était au premier plan. Il est donc évident que le droit de représentation qu'il revendique est purement illusoire. Ou bien je vais refaire la partition et alors je reprendrai mes droits, ou bien je ne le ferai pas, et alors l'opéra étant plus que médiocre, ne peut être donné et n'a aucun avenir. M[onsieu]r Bernard a le droit de propriété sur mes 12 morceaux pour tous pays, mais je ne puis éclaircir la question du № 37 et je ne sais vraiment pas comment cela est arrivé. J'en parlerai à M[onsieu]r Jurgenson quand j'irai à Moscou ; il pourra peut être éclaircir la chose. Si je ne me trompe pas il y a une notice biographique me concernant dans le supplément de la Biographie universelle de Fétis. Il y a deux ans j'en ai lu une autre dans un livre publié par un professeur du Conservatoire de Paris (je crois que c'est un traité de l'histoire de la musique) dont je ne me souviens pas le nom. Cette dernière est très exacte, autant qu'il m'en souvient. Veuillez me dire, Monsieur, si elles V[ou]s conviennent ; si non, — je V[ou]s en écrirai une moi-même. Permettez moi de V[ou]s dire franchement ce que je pense de mes opéras (existant déjà) par rapport à la possibilité de les monter en France. Il me semble qu'il se passera encore bien du temps avant que cet honneur vienne combler mon ambition d'auteur. Leur genre héterogène, leur manière un peu Wagnérienne, enfin une grande multitude de raisons, empêche je crois qu'elles soient données en France à présent, quand mon nom commence à peine à être connu à l'étranger. Mais ne serait-il pas possible que je mette en musique un petit acte quelconque en français et n'est-ce pas une trop folle ambition que de souhaiter de le voir monté sur la scène de Votre Opéra-Comique. Je suis sûr que je pourrai bien faire, mais je sais que beaucoup de compositeurs français attendent longuement et souvent vainement de parvenir à se faire jouer à l'Opéra-Comique. Cependant je prends la liberté de V[ou]s donner cette idée. Ah, si je pouvais seulement débuter comme compositeur d'opéras modestement par un acte à l'Opéra-Comique — combien je serais content et combien je suis sûr que je pourrai bien faire !!! J'ai même en idée un sujet splendidement poétique. Veuillez me dire ce que V[ou]s pensez la dessu franchement. Dès que j'aurai terminé ma simphonie je m'adonnerai à l'étude de Vos éditions qui m'ont été remises par P.-I. Jurgenson et je V[ou]s en dirai mon opinion. Agréez, Monsieur, l'assurance de ma considération la plus distinguée. P. Tschaikovsky |
Monsieur!
I received your letter three days after I had sent off mine: they have crossed in the post [1]. There is thus no longer any need for me to tell you how happy and flattered I am to be able to establish a relationship with you. I thank you infinitely for having been so kind as to act as my sponsor before the Society of Authors and Composers [2]. If by any chance the concerts to which you allude in your letter should happen to be organized in the course of this season, I shall be most delighted to come to Paris, and my first sortie will of course be directed towards the pleasure of paying you a visit and shaking your hand [3]. I now hasten to answer your questions. The sole publisher with property rights to my overture Romeo and Juliet for all countries (including Russia) is Messrs Bote and Bock. The rights which Mr Bessel claims to have regarding this work are quite arbitrary. It is true that some fifteen years ago I very imprudently gave Mr Bessel a semblance of rights to this overture, but I subsequently did all I could to remedy the injury which I had unwittingly caused Messrs Bote and Bock, and legal proceedings were taken by Mr Jurgenson in order to prevent Mr Bessel from claiming rights to Romeo. Mr Jurgenson will be able to give you more information about that. Morally, Mr Bessel may have had grounds to include this overture in his publisher's catalogue, but legally he is in the wrong [4]. As for Opuses 16, 17, 21, and 25, he is the legitimate owner of those, as he is, too, of the opera The Oprichnik. I did indeed assign to Mr Bessel the performance rights to this opera. A few months ago, however, Mr Bessel suggested that I revise the score of The Oprichnik (which is a youthful and very imperfect work), and among the conditions he proposed, that of returning to me my author's rights was one of the most prominent. So it is evident that the performance rights which he is now claiming are quite illusory [5]. Either I shall revise the score, in which case I will retrieve my rights, or I shall let it be, and in that case the opera, which is no more than mediocre, cannot be performed and has no future whatsoever. Mr Bernard does have the property rights to my 12 pieces for all countries, but I cannot clarify for you the question as to why they are Op. 37, and I truly do not know how this came about. I shall discuss this with Mr Jurgenson when I come to Moscow; maybe he will be able to shed light on the matter [6]. If I am not mistaken, there is a biographical notice about me in the supplement of Fétis's Biographie universelle [7]. Two years ago, I read another one in a book published by a professor of the Paris Conservatory (I think it was a treatise on music history) whose name I no longer recall. The latter notice is very accurate, as far as I can remember [8]. Please let me know, Monsieur, if these will do for you. If not, I shall write you one myself [9]. Allow me to tell you frankly what I think of my operas (the already existing ones) with regard to the possibility of their being staged in France. It seems to me that it will still take a long time yet before such an honour can crown my authorial ambitions [10]. Their heterogeneous nature, their slightly Wagnerian manner — in short, a whole host of reasons prevent me from believing that they could be performed in France at present, when my name is only just beginning to become known abroad. However, would it not be possible for me to set to music a small one-act [piece] in French? Would it be too crazy an ambition to then wish to see it produced on the stage of your Opéra-Comique? I am certain that I could do that well, though I do realise that many French composers have to wait for a long time, and often in vain, for the opportunity to be performed at the Opéra-Comique. Still, I take the liberty of putting this idea to you. Ah, if only I could make my debut as an opera compose in this modest fashion, with just one act at the Opéra-Comique — how glad I would be and how certain I am, too, that I would be able to do it well!!! I even have a splendidly poetic subject in mind [11]. Please tell me frankly what you think about this idea. As soon as I have finished my symphony [12], I shall devote myself to the study of your editions, which were forwarded to me by P. I. Jurgenson, and I shall give you my opinion on them [13]. Please accept, Monsieur, the assurance of my highest esteem. P. Tchaikovsky |
Notes and References
- ↑ Tchaikovsky's first letter to Mackar is dated 31 August/12 September (Letter 2758). Mackar's first letter to Tchaikovsky from Paris is dated 2/14 September 1885, and when he wrote it he had not yet received Tchaikovsky's. In his letter, which has been published (in Russian translation only) in Чайковский и зарубежные музыканты (1970), p. 146–147, Mackar had written: "I take this opportunity to tell you, dear Sir, that I am extremely happy to make your acquaintance. Over several years I have had the pleasure of listening and applauding to your music, and it was a sense of artistic fascination at your talent that induced me to enter into negotiations with Mr Jurgenson so as to acquire your works for France and Belgium".
- ↑ In his letter of 2/14 September 1885, Mackar wrote that Jurgenson had forwarded to him Tchaikovsky's request to join the Société des auteurs, compositeurs et éditeurs de musique (SACEM; the powerful association collecting payments of artists' rights which was set up in France in 1851). Tchaikovsky's formal application was in fact drawn up by Mackar, who also seconded it, together with the French-born Russian composer Anton Yulyevich Simon (1850–1916). Mackar explained to Tchaikovsky that his application would be considered at the society's next session. As the archives of SACEM show, Tchaikovsky was admitted as a member on 19/31 October 1885 — note based on information provided by Vladimir Fédorov in Revue de musicologie, tome 64 (1968), no. 1, p. 44, note 2.
- ↑ After explaining how glad he was to receive Jurgenson's approval (on behalf of Tchaikovsky) of his offer to acquire the publication and distribution rights to Tchaikovsky's works in France and Belgium (see note 1 above), Mackar had written: "I hope that our relations will not be limited to this, since I have an ardent desire to become acquainted with you as widely as possible. If circumstances should take you to Paris, you may rest assured that in my house you will receive the most cordial welcome, and that I shall do everything that is in my power to facilitate performances of your works by our best artists, whom you of course know". Further on, Mackar noted that the newspapers were announcing details of Anton Rubinstein's forthcoming recitals in Paris that winter, and he expressed the hope that Tchaikovsky might be able to visit the French capital at the same time, so that he could arrange for Colonne's orchestra to give "Tchaikovsky and Rubinstein concerts". Tchaikovsky did not come to Paris that winter, but in the summer of 1886, during his month-long stay there, he called on Mackar and made his personal acquaintance. See also the diary entry for 21 May/6 June 1886 quoted in note 5 in the commentary for Letter 2758.
- ↑ In his letter of 2/14 September 1885 Mackar had made the following enquiry: "I have already entered into correspondence with Mr Bessel with a view to acquiring those works of yours which I don't have yet. In this respect, I would be very grateful if you could tell me which publisher is currently the owner of your Romeo overture? On the one hand, Bessel, and on the other, Messrs. Bote & Bock of Berlin are claiming exclusive ownership rights to this work for all countries. This very morning I received a letter from the latter, in which they inform me that they are in possession of an agreement signed by you which assigns that right to them. How, then, can Mr Bessel be offering to sell me a work which doesn't belong to him? I don't know which of these gentlemen I should trust". The full score of the overture Romeo and Juliet had been printed in 1871 by Bote & Bock of Berlin. In 1872, the Saint Petersburg-based publisher Vasily Bessel had issued Nadezhda Purgold's arrangement of the overture for piano duet, as well as Karl Klindworth's arrangement for two pianos and four hands. The full score and arrangement for piano duet (by Tchaikovsky himself) of the final version of the overture were published by Bote & Bock in Berlin in 1881.
- ↑ Following on from his enquiry regarding the Romeo and Juliet overture, Mackar had asked: "You would do me a great favour by confirming whether Mr Bessel is the owner of your op. 16, 17, 21, 25, and of the opera The Oprichnik. He is offering to sell me these works, as well as the performance rights to The Oprichnik. Since those rights usually remain exclusively with the author, it is essential for me that you confirm this yourself, i.e. whether by way of an exception you renounced this right in favour of Mr Bessel?".
- ↑ In his letter of 2/14 September 1885 Mackar had asked: "Why have these pieces [The Seasons] been given opus no. 37, when that number has already been assigned to your Grand Sonata for piano?". Tchaikovsky's Op. 37, the Grand Sonata, was written in 1878, two years after The Seasons. Jurgenson had recently, in the summer of 1885, acquired the latter set of piano pieces from Nikolay Bernard (in whose journal Nuvellist they had first appeared, in 1876), and republished them as Op. 37a, evidently having chosen that opus number to emphasize that they were from around the same period as the Grand Sonata — note based on that in Чайковский и зарубежные музыканты (1970), p. 165, note 6.
- ↑ At the end of his letter Mackar had asked: "Could you tell me where I might have the opportunity to glean very precise biographical information concerning yourself?" Vladimir Fédorov notes that Tchaikovsky is referring to Vol. 2, p. 588–591, of the augmented 1881 edition of the famous Biographie universelle des musiciens by François-Joseph Fétis (1784–1871), the first edition of which had been published in Brussels in several volumes from 1835 to 1844, and observes: "The notice, which contains some errors and misspells some names, seems in our view to have been inspired by Cui's book La musique en Russie, 1880, which included a chapter on Tchaikovsky, treated together with Anton Rubinstein]. A quite comprehensive list of Tchaikovsky's works accompanies the notice" — see Revue de musicologie, tome 64 (1968), no. 1, p. 44, note 5.
- ↑ According to Vladimir Fédorov: "No history of music to have appeared in France between 1882 and 1885 mentions Tchaikovsky, unless we assume it is Octave Fouque's Les Révolutionnaires de la musique... La musique russe (Paris, 1882), which, however, devotes just four lines to him" — see Revue de musicologie, tome 64 (1968), no. 1, p. 44, note 6}.
- ↑ Mackar would take up this offer, which Tchaikovsky duly fulfilled in Letter 2854 of 14/26 January 1886.
- ↑ Vladimir Fédorov observes that it was not until the winter of 1892/93 that specific plans were made for a production of one of Tchaikovsky's operas in Paris, when Pedro Gailhard (1848–1918), the director of the Opéra at the time, apparently expressed the intention of staging Yevgeny Onegin there. These plans, however, came to nothing, and the first performance of an opera by Tchaikovsky in France would not take place until 7 March 1895 [N.S.], when Onegin was staged in Nice see Revue de musicologie, tome 64 (1968), no. 1, p. 44–45, note 7.
- ↑ |Vladimir Fédorov suggests that Tchaikovsky may well have been thinking of setting one of Alfred de Musset's plays to music, and quotes from Letter 897 to Nadezhda von Meck, 14/26 August–17/29 August 1878: "I passionately love all of Musset's dramatic works. How many times have I dreamt of creating a libretto out of one of his comedies or dramas! Alas! most of them are too French, and are inconceivable and would lose all their charm if they were to be translated into a foreign language — for example, Le chandelier or Les Caprices de Marianne. Those which are less specifically French — such as Carmosine or André del Sarto, for example — are devoid of dramatic action or are too packed with philosophical reflections, as in La coupe et les lèvres. I don't understand why no French composer so far has drawn from this rich mine ... Do re-read, my friend, his Comédies et proverbes ... and, in particular, Les Caprices de Marianne, Il ne faut pas badiner avec l'amour or Carmosine. Tell me, are all these works not just asking to be set to music?" He also quotes Letter 898 to Modest Tchaikovsky of 16/28 August 1878, which again refers to the composer's (unrealised) plans for an opera Les Caprices de Marianne. Fédorov's hypothesis is supported by Letter 3581a to the librettist Léonce Détroyat of 30 May/11 June 1888, in which Tchaikovsky again returned to his "dream" of writing a French-language opera based on one of Musset's plays.
- ↑ The symphony Manfred, Op. 58.
- ↑ See Letter 2819 of 22 November/4 December 1885, in which Tchaikovsky comments on a few works by French composers recently published by Mackar.
