Diaries (May 1884) - Revision history

https://en.tchaikovsky-research.net/index.php?action=history&feed=atom&title=Diaries_%28May_1884%29 Diaries (May 1884) - Revision history 2026-10-29T14:02:05Z Revision history for this page on the wiki MediaWiki 1.38.2 https://en.tchaikovsky-research.net/index.php?title=Diaries_(May_1884)&diff=63760&oldid=prev Brett: Text replacement - "in the Klin House-Museum Archive" to "in the {{RUS-KLč}} at Klin" 2023-09-23T15:28:13Z

<p>Text replacement - "in the <a href="/pages/Klin" title="Klin">Klin</a> House-Museum Archive" to "in the {{RUS-KLč}} at <a href="/pages/Klin" title="Klin">Klin</a>"</p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en-GB"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 16:28, 23 September 2023</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l233">Line 233:</td> <td colspan="2" class="diff-lineno">Line 233:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note35">Here Tchaikovsky himself makes a tentative effort to describe the feelings that he designated "X" and "Z". This self-observation seems to be related to different aspects of one and the same psychological experience, which Tchaikovsky, inclined to introspection, sought to comprehend, but either found difficult to express in words in the diary, or simply decided just to avoid any such written formulation. It is evident that "X" was used in connection with a misanthropic anger at those around him (see for instance his displeasure with Flegont, a day earlier) and "Z" the guilt resulting from such emotion, especially in the context of playing cards.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note35">Here Tchaikovsky himself makes a tentative effort to describe the feelings that he designated "X" and "Z". This self-observation seems to be related to different aspects of one and the same psychological experience, which Tchaikovsky, inclined to introspection, sought to comprehend, but either found difficult to express in words in the diary, or simply decided just to avoid any such written formulation. It is evident that "X" was used in connection with a misanthropic anger at those around him (see for instance his displeasure with Flegont, a day earlier) and "Z" the guilt resulting from such emotion, especially in the context of playing cards.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note36">[[Nikolay Konradi|Nikolay ("Kolya") Konradi]] (1868-1922), the sixteen-year-old deaf-mute pupil of [[Modest Tchaikovsky]]. The heir apparent to the Russian throne at this time was Grand Duke Nikolay Aleksandrovich, the future Tsar Nicholas II.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note36">[[Nikolay Konradi|Nikolay ("Kolya") Konradi]] (1868-1922), the sixteen-year-old deaf-mute pupil of [[Modest Tchaikovsky]]. The heir apparent to the Russian throne at this time was Grand Duke Nikolay Aleksandrovich, the future Tsar Nicholas II.</ref></div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><ref name="note37">A few sketches of the Third Suite have survived in Tchaikovsky's notebook, preserved in the [[Klin]] <del style="font-weight: bold; text-decoration: none;">House-Museum Archive </del>(ref. a{{sup|2}}, No. 15). One sketch from the finale, inscribed "Trio for polonaise", is dated 14/26 May 1884.</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ref name="note37">A few sketches of the Third Suite have survived in Tchaikovsky's notebook, preserved in the <ins style="font-weight: bold; text-decoration: none;">{{RUS-KLč}} at </ins>[[Klin]] (ref. a{{sup|2}}, No. 15). One sketch from the finale, inscribed "Trio for polonaise", is dated 14/26 May 1884.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note38">Ivan Andreyevich Krylov (1769-1844), playwright and author of Russian fables.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note38">Ivan Andreyevich Krylov (1769-1844), playwright and author of Russian fables.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note39">Verlop was a local architect who was attempting to complete the works on the 'big house' on the Davydovs' estate.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note39">Verlop was a local architect who was attempting to complete the works on the 'big house' on the Davydovs' estate.</ref></div></td></tr> </table>

Brett https://en.tchaikovsky-research.net/index.php?title=Diaries_(May_1884)&diff=53937&oldid=prev Brett: /* Notes and References */ 2022-07-13T17:09:05Z

<p><span dir="auto"><span class="autocomment">Notes and References</span></span></p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <col class="diff-marker" /> <col class="diff-content" /> <col class="diff-marker" /> <col class="diff-content" /> <tr class="diff-title" lang="en-GB"> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:09, 13 July 2022</td> </tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l224">Line 224:</td> <td colspan="2" class="diff-lineno">Line 224:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note26">[[Natalya Plesskaya|Natalya Andreyevna Plesskaya]] ("Nata") was Vladimir Plessky's sister , and a very close friend and confidant of Tchaikovsky's own sister [[Aleksandra Davydova|Sasha]]. See {{bib|1962/23|Записки о П. И. Чайковском}}(1962), p. 36-37.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note26">[[Natalya Plesskaya|Natalya Andreyevna Plesskaya]] ("Nata") was Vladimir Plessky's sister , and a very close friend and confidant of Tchaikovsky's own sister [[Aleksandra Davydova|Sasha]]. See {{bib|1962/23|Записки о П. И. Чайковском}}(1962), p. 36-37.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note27">The lily-of-the-valley was Tchaikovsky's favourite flower, about which he wrote a long poem at the end of 1878. For the special significance of lily-of-the-valley in the composer's life and for the poem itself, see Alexander Poznansky, ''{{bib|1993/186|Tchaikovsky. The Quest for the Inner Man}}'' (1993), p. 335-338.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note27">The lily-of-the-valley was Tchaikovsky's favourite flower, about which he wrote a long poem at the end of 1878. For the special significance of lily-of-the-valley in the composer's life and for the poem itself, see Alexander Poznansky, ''{{bib|1993/186|Tchaikovsky. The Quest for the Inner Man}}'' (1993), p. 335-338.</ref></div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><ref name="note28">Vonifaty (Boniface) or "Votya" Sangursky, a boy from [[Kamenka]] and Tchaikovsky<del style="font-weight: bold; text-decoration: none;">;</del>s protegé. The composer took much interest in his education and sent him to study painting at the Art school in [[Moscow]]. Later Vonifaty became a teacher of drawing. Some of his paintings are preserved in the Tchaikovsky House-Museum at [[Klin]].</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ref name="note28">Vonifaty (Boniface) or "Votya" Sangursky, a boy from [[Kamenka]] and Tchaikovsky<ins style="font-weight: bold; text-decoration: none;">'</ins>s protegé. The composer took much interest in his education and sent him to study painting at the Art school in [[Moscow]]. Later Vonifaty became a teacher of drawing. Some of his paintings are preserved in the Tchaikovsky House-Museum at [[Klin]].</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note29">According to Dr Anton Neumayr, this decription "probably matches the functonal breathing diturbance, called Da Costa syndrome or effort syndrome, which gives the patient the feeling of no longer being able to inhale sufficiently". See Anton Neumayr, ''{{bib|1997/70|Music and Medicine}}'', vol. 3 (1997), p. 302.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note29">According to Dr Anton Neumayr, this decription "probably matches the functonal breathing diturbance, called Da Costa syndrome or effort syndrome, which gives the patient the feeling of no longer being able to inhale sufficiently". See Anton Neumayr, ''{{bib|1997/70|Music and Medicine}}'', vol. 3 (1997), p. 302.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note30">These two themes were subsequently used by Tchaikovsky in the second movement of his [[Concert Fantasia]] for piano and orchestra, Op. 56, composed the following month.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note30">These two themes were subsequently used by Tchaikovsky in the second movement of his [[Concert Fantasia]] for piano and orchestra, Op. 56, composed the following month.</ref></div></td></tr> <tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l232">Line 232:</td> <td colspan="2" class="diff-lineno">Line 232:</td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note34">Madame Croazot was the governess of Nikolay Davydov's daughters: Mariya (known as "Manya") and Varvara.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note34">Madame Croazot was the governess of Nikolay Davydov's daughters: Mariya (known as "Manya") and Varvara.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note35">Here Tchaikovsky himself makes a tentative effort to describe the feelings that he designated "X" and "Z". This self-observation seems to be related to different aspects of one and the same psychological experience, which Tchaikovsky, inclined to introspection, sought to comprehend, but either found difficult to express in words in the diary, or simply decided just to avoid any such written formulation. It is evident that "X" was used in connection with a misanthropic anger at those around him (see for instance his displeasure with Flegont, a day earlier) and "Z" the guilt resulting from such emotion, especially in the context of playing cards.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note35">Here Tchaikovsky himself makes a tentative effort to describe the feelings that he designated "X" and "Z". This self-observation seems to be related to different aspects of one and the same psychological experience, which Tchaikovsky, inclined to introspection, sought to comprehend, but either found difficult to express in words in the diary, or simply decided just to avoid any such written formulation. It is evident that "X" was used in connection with a misanthropic anger at those around him (see for instance his displeasure with Flegont, a day earlier) and "Z" the guilt resulting from such emotion, especially in the context of playing cards.</ref></div></td></tr> <tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><ref name="note36">[[Nikolay Konradi|Nikolay ("Kolya") Konradi]] (1868-1922), the sixteen-year-old deaf-mute pupil of [[Modest Tchaikovsky]]. The heir apparent to the Russian throne <del style="font-weight: bold; text-decoration: none;">was </del>at this time was Grand Duke Nikolay Aleksandrovich, the future Tsar Nicholas II.</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ref name="note36">[[Nikolay Konradi|Nikolay ("Kolya") Konradi]] (1868-1922), the sixteen-year-old deaf-mute pupil of [[Modest Tchaikovsky]]. The heir apparent to the Russian throne at this time was Grand Duke Nikolay Aleksandrovich, the future Tsar Nicholas II.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note37">A few sketches of the Third Suite have survived in Tchaikovsky's notebook, preserved in the [[Klin]] House-Museum Archive (ref. a{{sup|2}}, No. 15). One sketch from the finale, inscribed "Trio for polonaise", is dated 14/26 May 1884.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note37">A few sketches of the Third Suite have survived in Tchaikovsky's notebook, preserved in the [[Klin]] House-Museum Archive (ref. a{{sup|2}}, No. 15). One sketch from the finale, inscribed "Trio for polonaise", is dated 14/26 May 1884.</ref></div></td></tr> <tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note38">Ivan Andreyevich Krylov (1769-1844), playwright and author of Russian fables.</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note38">Ivan Andreyevich Krylov (1769-1844), playwright and author of Russian fables.</ref></div></td></tr> </table>

Brett https://en.tchaikovsky-research.net/index.php?title=Diaries_(May_1884)&diff=42998&oldid=prev Brett: 1 revision imported 2022-07-12T12:01:12Z

<p>1 revision imported</p> <table style="background-color: #fff; color: #202122;" data-mw="interface"> <tr class="diff-title" lang="en-GB"> <td colspan="1" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td> <td colspan="1" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 13:01, 12 July 2022</td> </tr><tr><td colspan="2" class="diff-notice" lang="en-GB"><div class="mw-diff-empty">(No difference)</div> </td></tr></table>

Brett https://en.tchaikovsky-research.net/index.php?title=Diaries_(May_1884)&diff=42997&oldid=prev Brett: /* Friday 11/23 May 1884 */ 2021-03-21T09:25:19Z

<p><span dir="auto"><span class="autocomment">Friday 11/23 May 1884</span></span></p> <a href="https://en.tchaikovsky-research.net/index.php?title=Diaries_(May_1884)&diff=42997">Show changes</a>

Brett