Letter 1579 and Ivan Vsevolozhsky: Difference between pages

Tchaikovsky Research
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{{letterhead
{{picture|file=Ivan Vsevolozhsky.jpg|caption='''Ivan Vsevolozhsky''' (1835-1909)}}
|Date=5/17 September 1880
Russian diplomat, theatre director, and designer (b. 2/14 April 1835; d. 10/23 November 1909 in [[Saint Petersburg]]), born Prince '''''Ivan Aleksandrovich Vsevolozhsky''''' (Иван Александрович Всеволожский).
|To=[[Eduard Nápravník]]
|Place=[[Kamenka]]
|Language=Russian
|Autograph={{locunknown}} <ref name="note1"/>
|Publication={{bibx|1924/2|Чайковский. Воспоминания и письма}} (1924), p. 127–128<br/>{{bib|1959/20|Е. Ф. Направник. Автобиографические, творческие материалы, документы, письма}} (1959), p. 109<br/>{{bib|1965/80|П. И. Чайковский. Полное собрание сочинений ; том IX}} (1965), p. 257
|Notes=Typed copy in [[Klin]] (Russia): {{RUS-KLč}}
}}
==Text and Translation==
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
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''Каменка''<br/>5 сент[ября] 1880 г[ода]}}
{{centre|Дорогой Эдуард Францович!}}
Очень неприятно мне Вас отрывать от дела, но всё-таки решаюсь побеспокоить Вас просьбой написать мне несколько слов. Мне решительно ничего неизвестно: пойдёт моя опера или нет в текущем сезоне? Между тем мне очень важно знать это, ибо от этого обстоятельства зависят мои проекты проведения зимы где-нибудь за границей. Если опера пойдёт, то я, конечно, буду в Петербурге перед постановкой; если же не пойдёт, то уеду на всю зиму в Италию. Будьте так добры, разрешите мои сомнения и колебания и скажите мне, во-1-х, будет ли идти моя опера, а во 2-х, приблизительно в какое время? Знайте, пожалуйста, что я в полном Вашем распоряжении и, когда Вы мне назначите приехать в Петербург, — тогда и приеду. Если Вы к письму своему прибавите хоть два слова о Вашем здоровье и u том, как провели лето, то буду крайне обрадован.


Надеюсь, что Юргенсон вовремя доставил экземпляры клавираусцуга и что моё обещание представить их к 1-му августа в дирекцию, — исполнено. Все лето я упорно возился с корректурой, и, кажется, никаких крупных ошибок нет, — но есть, однако ж, кое-какие незначительные опечатки.
==Biography==
After graduating from [[Saint Petersburg]] University, Vsevolozhsky worked in the Asian Department at the Ministry of Foreign Affairs for some years before being sent on diplomatic postings to The Hague and [[Paris]]. In 1881, he was appointed Director of Imperial Theatres for [[Moscow]], with responsibility for the city's two main venues (the Bolshoi and Maly Theatres). This was a post which suited perfectly Vsevolozhsky's abilities and interests, as he had always been an enthusiast of the theatre, opera, and ballet. He was also an amateur playwright with at least two plays to his name.


До свидания, добрейший Эдуард Францович! Простите, что беспокою Вас.
Vsevolozhsky was convinced that the Imperial Theatres should not just be run as a commercial enterprise or cater solely to the court, but that they should serve a wider educational purpose in Russian society. Thus, in 1882 he wrote a report to the Minister of the Court, emphasizing that the theatre provided "a means by which the illusions of the stage allow the viewer to experience in a few hours those lifetime experiences for which one would ordinarily have to sacrifice one's childhood. In a word, the theatre is a universal school for people of all ages, callings, and incomes". His ambitious reform proposals were accepted by [[Alexander III]], and so he was able to increase the salaries and royalties paid to artists, have a new rehearsal hall built for the ballet school, and initiate the publication of the ''Yearbook of the Imperial Theatres'' (Ежегодник императорских театров) in 1892.


Искренно преданный но уважающий Вас,
==Tchaikovsky and Vsevolozhsky==
{{right|П. Чайковский}}
Although in music Vsevolozhsky's preferences were clearly with Italian opera and he generally disliked the younger generation of Russian composers, the crucial exception was Tchaikovsky, whom he thought very highly of. Already in 1885 he had suggested to the composer the idea of writing an opera ''[[The Captain's Daughter]]'' based on [[Pushkin]]'s historical novel, but Tchaikovsky had proved reluctant to tackle this subject. Around 1885, Vsevolozhsky also first floated the idea of an opera based on [[Pushkin]]'s ''[[The Queen of Spades]]'', though not yet involving Tchaikovsky.
''Адрес. Киевской губ[ернии] по Фастовской жел[езной] дороге, ст[анция] Каменка''.


|Translated text={{right|''[[Kamenka]]''<br/>5 September 1880}}
In 1886, Vsevolozhsky was appointed Director of Imperial Theatres for [[Saint Petersburg]] — a post he would occupy until 1899. There he was in charge of the Mariinsky, Aleksandrinsky, and Mikhaylovsky Theatres, and it was under his supervision that the Imperial Ballet and Opera moved from their previous location in the Bolshoi Kamennyi (Great Stone) Theatre to the Mariinsky in 1886. In that year he also tried to persuade Tchaikovsky to write a ballet ''[[Undina]]'', but nothing came of this project either.
{{centre|Dear [[Eduard Frantsovich]]!}}
It's very unpleasant for me to tear you away from business, but all the same I'ave decided to pester you with a request to write me a few words. I know absolutely nothing about whether or not my opera is going on in the current season? At the moment it's very important for me to know this, because my plans for spending the winter abroad somewhere hinge on this turn of events. If the opera is on, then, of course, I'll be in [[Petersburg]] before the production; if it's not going on, then I'll leave for Italy for the whole winter. Be so kind as to resolve my doubts and vacillations, and tell me, 1) will my opera be going on, and 2) approximately when this will be? Please know that I am at your complete disposal, and I'll come to [[Petersburg]] whenever you stipulate. If you add a couple of words to your letter about your health and how you spent the summer, then I shall be extremely glad.


I hope that [[Jurgenson]] delivered the copies of the piano reduction in good time, and that my promise to submit them to the Directorate by 1st August has been fulfilled. I've been obstinately grappling with the proofreading all summer, and there seem to be no major mistakes — although there are, however, some minor printing errors.
In 1888, however, Vsevolozhsky commissioned a new ballet from Tchaikovsky — ''[[The Sleeping Beauty]]'' — for which he provided a detailed scenario, as well as suggestions as to how the epoch of Louis XIV was to be reproduced in the music and on the stage. This time the composer was enthusiastic about the subject and readily set to work on the assignment. Vsevolozhsky arranged the initial meeting between Tchaikovsky and [[Marius Petipa]], and throughout their fruitful collaboration on this first joint project he acted as an intermediary between them. A fine draughtsman, Vsevolozhsky also produced sketches of the costumes for the ballet's fairy-tale figures and supervised the work of the set designers, always striving for historical authenticity. The successful premiere of ''[[The Sleeping Beauty]]'' at the Mariinsky Theatre on 3/15 January 1890 vindicated his creative vision, and Yelena Fedosova has rightly emphasized that Vsevolozhsky anticipated by two decades the idea commonly attributed to Sergey Diaghilev (1872–1929) of "uniting composer, ballet master, and visual artist in the creation of a work". Tchaikovsky acknowledged Vsevolozhsky's vital contribution and support by dedicating ''[[The Sleeping Beauty]]'' to him.


Until we meet, most kind [[Eduard Frantsovich]]! Forgive me for bothering you.
Vsevolozhsky was also responsible for commissioning ''[[The Nutcracker]]'' in 1890 (for which he also provided the libretto and designed the costumes), as well as the opera ''[[Iolanta]]''. After Tchaikovsky's death he continued the model successfully established with ''[[The Sleeping Beauty]]'' by bringing together [[Petipa]] and [[Aleksandr Glazunov]] to work on ''Raymonda'', which was premiered in 1898. All in all, during his directorship of the Imperial Theatres (1881–99), Vsevolozhsky designed the costumes for some 25 ballets and operas.


Your sincerely devoted but respectful,
In 1899, he was appointed Director of the Hermitage Museum in [[Saint Petersburg]], and he held this post until his death.
{{right|P. Tchaikovsky}}
 
''Address: [[Kiev]] province, on the Fastov railway line, [[Kamenka]] station''.
==Dedications==
}}
Tchaikovsky dedicated his ballet ''[[The Sleeping Beauty]]'', Op. 66 (1888–89), to Ivan Vsevolozhsky. "... don't forget to put this on the title page in big letters", the composer told [[Jurgenson]]. "He is terribly proud of my dedication" <ref name="note1"/>.
 
==Correspondence with Tchaikovsky==
30 letters from Tchaikovsky to Ivan Vsevolozshky have survived, dating from 1883 to 1892, of which those highlighted in bold have been translated into English on this website:
* [[Letter 2393]] – 20 November/2 December 1883, from [[Moscow]]
* '''[[Letter 2410]]''' – 14/26 January 1884, from [[Moscow]]
* [[Letter 2617a]] – 9/21 December 1884, from [[Saint Petersburg]]
* [[Letter 2752]] – 22 August/3 September 1885, from [[Maydanovo]]
* '''[[Letter 3130]]''' – 25 December 1886/6 January 1887, from [[Moscow]]
* '''[[Letter 3255]]''' – 13/25 May 1887, from [[Saint Petersburg]]
* [[Letter 3418]] – 25 November/7 December 1887, from [[Maydanovo]]
* '''[[Letter 3422]]''' – 28 November/10 December 1887, from [[Maydanovo]]
* '''[[Letter 3458]]''' – 2/14 January 1888, from [[Lübeck]]
* '''[[Letter 3459]]''' – 2/14 January 1888, from [[Lübeck]]
* [[Letter 3566]] – 11/23 May 1888, from [[Frolovskoye]]
* '''[[Letter 3636]]''' – 7/19 August 1888, from [[Frolovskoye]]
* '''[[Letter 3643]]''' – 13/25 August 1888, from [[Frolovskoye]]
* '''[[Letter 3647]]''' – 22 August/3 September 1888, from [[Moscow]]
* '''[[Letter 3720]]''' – 3/15 November 1888, from [[Saint Petersburg]]
* '''[[Letter 3758]]''' – 6/18 January 1889, from [[Frolovskoye]]
* '''[[Letter 3761]]''' – 9/21 January 1889, from [[Frolovskoye]]
* '''[[Letter 4078]]''' – 26 March/7 April 1890, from [[Florence]]
* '''[[Letter 4101]]''' – 1/13 May 1890, from [[Saint Petersburg]]
* '''[[Letter 4184]]''' – 22 July/3 August 1890, from [[Frolovskoye]]
* [[Letter 4186]] – 1/13 August 1890, from [[Saint Petersburg]]
* '''[[Letter 4198]]''' – 18/30 August 1890, from [[Kamenka]]
* [[Letter 4214]] – 9/21 September 1890, from [[Tiflis]]
* '''[[Letter 4296]]''' – 11/23 January 1891, from [[Frolovskoye]]
* '''[[Letter 4324]]''' – 12/24 February 1891, from [[Frolovskoye]]
* '''[[Letter 4346]]''' – 13/25 March 1891, from [[Paris]]
* [[Letter 4363]] – 3/15 April 1891, from [[Rouen]]
* '''[[Letter 4366a]]''' – 6/18 April 1891, from [[Rouen]]
* '''[[Letter 4613]]''' – 3/15 February 1892, from [[Maydanovo]]
* '''[[Letter 4617]]''' – 13/25 February 1892, from [[Moscow]]
 
21 letters from Vsevolozhsky to the composer, dating from 1883 to 1892, are preserved in the {{RUS-KLč}} at [[Klin]] (a{{sup|4}}, Nos. 473–493).
 
==Bibliography==
* {{bib|1933/27}} (1933)
* {{bib|1935/11}} (1935)
* {{bib|1951/30}} (1951)
* {{bib|1974/47}} (1974)
* {{bib|1990/80}} (1990)
* {{bib|1995/43}} (1995)
* {{bib|1999/103}} (1999)
* Fedosova, Ye. {{und|The Grandee of the Russian Ballet}} (in the programme booklet for the Kirov Opera and Ballet Season at the Royal Opera House, Covent Garden, [[London]], June–July 2000)
* Manulkina, P. {{und|Visions of the Past: The Sleeping Beauty on the Threshold of Neoclassicism}} (in the programme booklet for the Kirov Opera and Ballet Season at the Royal Opera House, Covent Garden, [[London]], June–July 2000)
* {{bib|2003/73}} (2003)
* {{bib|2013/44}} (2013)
 
==External Links==
* [[wikipedia:Ivan_Vsevolozhsky|Wikipedia]]
* {{viaf|21055094}}


==Notes and References==
==Notes and References==
<references>
<references>
<ref name="note1">The autograph was auctioned on 4 December 2007 by Sotheby's, [[London]], and was subsequently owned by the {{F-Pmlm}} in [[Paris]], until the closure of that institution in 2015.</ref> </references>
<ref name="note1">[[Letter 3983]] to [[Pyotr Jurgenson]], 11/23 December 1889.</ref>
</references>
 
[[Category:People|Vsevolozhsky, Ivan]]
[[Category:Correspondents|Vsevolozhsky, Ivan]]
[[Category:Dedicatees|Vsevolozhsky, Ivan]]
__NOTOC__

Latest revision as of 15:24, 11 April 2024

Ivan Vsevolozhsky (1835-1909)

Russian diplomat, theatre director, and designer (b. 2/14 April 1835; d. 10/23 November 1909 in Saint Petersburg), born Prince Ivan Aleksandrovich Vsevolozhsky (Иван Александрович Всеволожский).

Biography

After graduating from Saint Petersburg University, Vsevolozhsky worked in the Asian Department at the Ministry of Foreign Affairs for some years before being sent on diplomatic postings to The Hague and Paris. In 1881, he was appointed Director of Imperial Theatres for Moscow, with responsibility for the city's two main venues (the Bolshoi and Maly Theatres). This was a post which suited perfectly Vsevolozhsky's abilities and interests, as he had always been an enthusiast of the theatre, opera, and ballet. He was also an amateur playwright with at least two plays to his name.

Vsevolozhsky was convinced that the Imperial Theatres should not just be run as a commercial enterprise or cater solely to the court, but that they should serve a wider educational purpose in Russian society. Thus, in 1882 he wrote a report to the Minister of the Court, emphasizing that the theatre provided "a means by which the illusions of the stage allow the viewer to experience in a few hours those lifetime experiences for which one would ordinarily have to sacrifice one's childhood. In a word, the theatre is a universal school for people of all ages, callings, and incomes". His ambitious reform proposals were accepted by Alexander III, and so he was able to increase the salaries and royalties paid to artists, have a new rehearsal hall built for the ballet school, and initiate the publication of the Yearbook of the Imperial Theatres (Ежегодник императорских театров) in 1892.

Tchaikovsky and Vsevolozhsky

Although in music Vsevolozhsky's preferences were clearly with Italian opera and he generally disliked the younger generation of Russian composers, the crucial exception was Tchaikovsky, whom he thought very highly of. Already in 1885 he had suggested to the composer the idea of writing an opera The Captain's Daughter based on Pushkin's historical novel, but Tchaikovsky had proved reluctant to tackle this subject. Around 1885, Vsevolozhsky also first floated the idea of an opera based on Pushkin's The Queen of Spades, though not yet involving Tchaikovsky.

In 1886, Vsevolozhsky was appointed Director of Imperial Theatres for Saint Petersburg — a post he would occupy until 1899. There he was in charge of the Mariinsky, Aleksandrinsky, and Mikhaylovsky Theatres, and it was under his supervision that the Imperial Ballet and Opera moved from their previous location in the Bolshoi Kamennyi (Great Stone) Theatre to the Mariinsky in 1886. In that year he also tried to persuade Tchaikovsky to write a ballet Undina, but nothing came of this project either.

In 1888, however, Vsevolozhsky commissioned a new ballet from Tchaikovsky — The Sleeping Beauty — for which he provided a detailed scenario, as well as suggestions as to how the epoch of Louis XIV was to be reproduced in the music and on the stage. This time the composer was enthusiastic about the subject and readily set to work on the assignment. Vsevolozhsky arranged the initial meeting between Tchaikovsky and Marius Petipa, and throughout their fruitful collaboration on this first joint project he acted as an intermediary between them. A fine draughtsman, Vsevolozhsky also produced sketches of the costumes for the ballet's fairy-tale figures and supervised the work of the set designers, always striving for historical authenticity. The successful premiere of The Sleeping Beauty at the Mariinsky Theatre on 3/15 January 1890 vindicated his creative vision, and Yelena Fedosova has rightly emphasized that Vsevolozhsky anticipated by two decades the idea commonly attributed to Sergey Diaghilev (1872–1929) of "uniting composer, ballet master, and visual artist in the creation of a work". Tchaikovsky acknowledged Vsevolozhsky's vital contribution and support by dedicating The Sleeping Beauty to him.

Vsevolozhsky was also responsible for commissioning The Nutcracker in 1890 (for which he also provided the libretto and designed the costumes), as well as the opera Iolanta. After Tchaikovsky's death he continued the model successfully established with The Sleeping Beauty by bringing together Petipa and Aleksandr Glazunov to work on Raymonda, which was premiered in 1898. All in all, during his directorship of the Imperial Theatres (1881–99), Vsevolozhsky designed the costumes for some 25 ballets and operas.

In 1899, he was appointed Director of the Hermitage Museum in Saint Petersburg, and he held this post until his death.

Dedications

Tchaikovsky dedicated his ballet The Sleeping Beauty, Op. 66 (1888–89), to Ivan Vsevolozhsky. "... don't forget to put this on the title page in big letters", the composer told Jurgenson. "He is terribly proud of my dedication" [1].

Correspondence with Tchaikovsky

30 letters from Tchaikovsky to Ivan Vsevolozshky have survived, dating from 1883 to 1892, of which those highlighted in bold have been translated into English on this website:

21 letters from Vsevolozhsky to the composer, dating from 1883 to 1892, are preserved in the Tchaikovsky State Memorial Musical Museum-Reserve at Klin (a4, Nos. 473–493).

Bibliography

External Links

Notes and References

  1. ↑ Letter 3983 to Pyotr Jurgenson, 11/23 December 1889.
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