Iolanta - Revision history

Brett: Text replacement - "proof-read" to "proofread"

2024-08-23T08:55:59Z

Text replacement - "proof-read" to "proofread"

← Older revision		Revision as of 10:55, 23 August 2024
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	On 8/20 July the composer wrote to [[Anatoly Tchaikovsky]]: "As soon as I have replied to all my letters, I shall start working zealously on the opera. If all goes smoothly I hope to complete the draft within a month…" <ref name="note26"/>.		On 8/20 July the composer wrote to [[Anatoly Tchaikovsky]]: "As soon as I have replied to all my letters, I shall start working zealously on the opera. If all goes smoothly I hope to complete the draft within a month…" <ref name="note26"/>.

	And so the composition of the music for ''Iolanta'' began only in early/mid-July. By the composer's own admission, the work initially progressed "very sluggishly and with much difficulty", with a feeling that he was about to repeat himself <ref name="note27"/>. Another commitment had also caused some distraction: ~~proof-reading~~ the new edition of ''[[Yevgeny Onegin]]'', which Tchaikovsky finished on 19/31 July <ref name="note28"/>.		And so the composition of the music for ''Iolanta'' began only in early/mid-July. By the composer's own admission, the work initially progressed "very sluggishly and with much difficulty", with a feeling that he was about to repeat himself <ref name="note27"/>. Another commitment had also caused some distraction: proofreading the new edition of ''[[Yevgeny Onegin]]'', which Tchaikovsky finished on 19/31 July <ref name="note28"/>.

	According to chronological notes among the manuscripts of the sketches, the composer did the most prolific work on ''Iolanta'' on 23 July/4 August and 24 July/5 August.		According to chronological notes among the manuscripts of the sketches, the composer did the most prolific work on ''Iolanta'' on 23 July/4 August and 24 July/5 August.

	On 22 July/3 August, while at [[Maydanovo]], the composer wrote to [[Vladimir Davydov]]: ”Everything depends on "''Iolanta''". Until now it has been progressing slowly and sluggishly, mainly because of the fact that alongside this I had some intolerably tedious work — ~~proof-reading~~ the full score of "Yevgeny Onegin", which [[Jurgenson]] is republishing. This required the corrections of many of my own mistakes and oversights, and a far greater multitude of [[Jurgenson]]'s; this task poisoned my life. Finally I completed it, took the score to [[Moscow]], and I've now returned so that I can devote all my time to the opera. By the way, tell [[Modest]] that the more I immerse myself in composing the music to "Iolanta", the greater admiration I have for the quality of his libretto. It is excellently done, and the poetry is sometimes very, very beautiful. And so when I've enjoyed my fill of composition without disturbance, or when I've pushed it forward to such a point that I can rest easily — God willing — in around three weeks I will go to [[Kamenka]], calling at [[Nikolay Ilyich]]'s on the way, where I'm eagerly awaited" <ref name="note29"/>.		On 22 July/3 August, while at [[Maydanovo]], the composer wrote to [[Vladimir Davydov]]: ”Everything depends on "''Iolanta''". Until now it has been progressing slowly and sluggishly, mainly because of the fact that alongside this I had some intolerably tedious work — proofreading the full score of "Yevgeny Onegin", which [[Jurgenson]] is republishing. This required the corrections of many of my own mistakes and oversights, and a far greater multitude of [[Jurgenson]]'s; this task poisoned my life. Finally I completed it, took the score to [[Moscow]], and I've now returned so that I can devote all my time to the opera. By the way, tell [[Modest]] that the more I immerse myself in composing the music to "Iolanta", the greater admiration I have for the quality of his libretto. It is excellently done, and the poetry is sometimes very, very beautiful. And so when I've enjoyed my fill of composition without disturbance, or when I've pushed it forward to such a point that I can rest easily — God willing — in around three weeks I will go to [[Kamenka]], calling at [[Nikolay Ilyich]]'s on the way, where I'm eagerly awaited" <ref name="note29"/>.

	By 24 July/5 August, the seventh and a part of the eighth scenes were written. In a letter to [[Modest Tchaikovsky]] of 25 July/6 August the composer wrote: "The libretto is splendid. There is one shortcoming, which has nothing to do with you. I find that between the duet about ''light'' and the end we hear too little music — it's all explanation of the action. I'm afraid this might be boring. Yet it's possible that I'm mistaken. I started not from the beginning, but from the scene between ''Iolanta'' and ''Vaudémont''. You did an outstanding job on this scene, and the music could have been magnificent, but it seems to me that I did not do it particularly well. The most awful thing is that I have a tendency towards repeating myself, and a lot in this scene has turned out similar to ''[[The Enchantress]]?!!'' But we shall see. I am doubting myself more and more. But perhaps this stems from a more general depression, and I should temporarily set aside the theatre and write symphonies, piano pieces, quartets, etc. I'm tired of writing operas and ballets, but haven't yet run completely out of steam. At least I hope that's the case. Strangely enough while I was writing the ballet, I thought that it wasn't important, and I would display all my colours when starting work on the opera, and now it seems to me that the ballet is good, while the opera is not turning out particularly well. Although you know from experience that during the creative process, authors can be mistaken in the evaluation of their creations, and things which appear to be bad, sometimes are particularly good" <ref name="note30"/>.		By 24 July/5 August, the seventh and a part of the eighth scenes were written. In a letter to [[Modest Tchaikovsky]] of 25 July/6 August the composer wrote: "The libretto is splendid. There is one shortcoming, which has nothing to do with you. I find that between the duet about ''light'' and the end we hear too little music — it's all explanation of the action. I'm afraid this might be boring. Yet it's possible that I'm mistaken. I started not from the beginning, but from the scene between ''Iolanta'' and ''Vaudémont''. You did an outstanding job on this scene, and the music could have been magnificent, but it seems to me that I did not do it particularly well. The most awful thing is that I have a tendency towards repeating myself, and a lot in this scene has turned out similar to ''[[The Enchantress]]?!!'' But we shall see. I am doubting myself more and more. But perhaps this stems from a more general depression, and I should temporarily set aside the theatre and write symphonies, piano pieces, quartets, etc. I'm tired of writing operas and ballets, but haven't yet run completely out of steam. At least I hope that's the case. Strangely enough while I was writing the ballet, I thought that it wasn't important, and I would display all my colours when starting work on the opera, and now it seems to me that the ballet is good, while the opera is not turning out particularly well. Although you know from experience that during the creative process, authors can be mistaken in the evaluation of their creations, and things which appear to be bad, sometimes are particularly good" <ref name="note30"/>.
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	On 6/18 March 1892, Tchaikovsky sent [[Pyotr Jurgenson]] a letter containing the details of the title page for the piano score of ''Iolanta'' <ref name="note49"/>. On 6/18 April he informed [[Mikhail Ippolitov-Ivanov]] that ''Iolanta'' was being engraved <ref name="note50"/> . From mid/late April, checking was commenced on [[Jurgenson]]'s proofs of the opera ''Iolanta'' and the ballet ''[[The Nutcracker]]'', which took a great deal of Tchaikovsky's time <ref name="note51"/> .		On 6/18 March 1892, Tchaikovsky sent [[Pyotr Jurgenson]] a letter containing the details of the title page for the piano score of ''Iolanta'' <ref name="note49"/>. On 6/18 April he informed [[Mikhail Ippolitov-Ivanov]] that ''Iolanta'' was being engraved <ref name="note50"/> . From mid/late April, checking was commenced on [[Jurgenson]]'s proofs of the opera ''Iolanta'' and the ballet ''[[The Nutcracker]]'', which took a great deal of Tchaikovsky's time <ref name="note51"/> .

	The vocal-piano reduction of ''Iolanta'' was first published in late April/early May 1892 <ref name="note52"/>, but Tchaikovsky was dissatisfied with this edition. He was equally unhappy with an arrangement for solo piano made by [[Eduard Langer]] <ref name="note53"/> . Writing to [[Pyotr Jurgenson]] on 13/25 July, the composer asked him to send over the piano score "to mark up whatever needs to be corrected for the next edition”. On 16/28 July he wrote to [[Mikhail Ippolitov-Ivanov]]: "I am currently staying home, ~~proof-reading~~ the opera and ballet in all their forms, commencing with their respective full scores. All this requires tremendous haste… I think that over the next month and a half at least, I would be busy doing nothing but this unbearably tormenting work" <ref name="note54"/>.		The vocal-piano reduction of ''Iolanta'' was first published in late April/early May 1892 <ref name="note52"/>, but Tchaikovsky was dissatisfied with this edition. He was equally unhappy with an arrangement for solo piano made by [[Eduard Langer]] <ref name="note53"/> . Writing to [[Pyotr Jurgenson]] on 13/25 July, the composer asked him to send over the piano score "to mark up whatever needs to be corrected for the next edition”. On 16/28 July he wrote to [[Mikhail Ippolitov-Ivanov]]: "I am currently staying home, proofreading the opera and ballet in all their forms, commencing with their respective full scores. All this requires tremendous haste… I think that over the next month and a half at least, I would be busy doing nothing but this unbearably tormenting work" <ref name="note54"/>.

	[[Pyotr Jurgenson]] was simultaneously printing the scores of the opera ''Iolanta'' and the ballet ''[[The Nutcracker]]'', and also their various arrangements, while the composer undertook almost all the ~~proof-reading~~ himself. "Just imagine", the composer wrote to [[Sergey Taneyev]] on 11/23 August 1892, "that I am currently: 1) checking all three sets of proofs of the full scores of the opera and ballet; 2) amending and correcting [[Langer]]'s awful two-hand arrangement; 3) making a simplified arrangement of the ballet; 4) correcting your arrangement of the ballet. As a result I have developed such a hatred, such a revulsion towards my both creations, that I do not imagine I shall ever be rid of these feelings!". In August he wrote, "...there is one more set of proofs, i.e. a ''foreign'' edition of ''Iolanta''" <ref name="note55"/>.		[[Pyotr Jurgenson]] was simultaneously printing the scores of the opera ''Iolanta'' and the ballet ''[[The Nutcracker]]'', and also their various arrangements, while the composer undertook almost all the proofreading himself. "Just imagine", the composer wrote to [[Sergey Taneyev]] on 11/23 August 1892, "that I am currently: 1) checking all three sets of proofs of the full scores of the opera and ballet; 2) amending and correcting [[Langer]]'s awful two-hand arrangement; 3) making a simplified arrangement of the ballet; 4) correcting your arrangement of the ballet. As a result I have developed such a hatred, such a revulsion towards my both creations, that I do not imagine I shall ever be rid of these feelings!". In August he wrote, "...there is one more set of proofs, i.e. a ''foreign'' edition of ''Iolanta''" <ref name="note55"/>.

	On 27 August, while sending the first edition of the vocal-piano reduction of ''Iolanta'' to [[Mikhail Ippolitov-Ivanov]], Tchaikovsky wrote that: "this edition still has errors—there will be another" <ref name="note56"/>.		On 27 August, while sending the first edition of the vocal-piano reduction of ''Iolanta'' to [[Mikhail Ippolitov-Ivanov]], Tchaikovsky wrote that: "this edition still has errors—there will be another" <ref name="note56"/>.

Brett: Text replacement - "Riccardo Drigo" to "Riccardo Drigo"

2024-01-01T21:29:45Z

Text replacement - "Riccardo Drigo" to "Riccardo Drigo"

← Older revision		Revision as of 23:29, 1 January 2024
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	==Performances==		==Performances==
	The first performances of ''Iolanta'' and ''[[The Nutcracker]]'' took place on 6/18 December 1892 in [[Saint Petersburg]] on the stage of the Mariinsky Theatre. [[Eduard Nápravník]] conducted the opera, and Riccardo Drigo the ballet. The soloists in ''Iolanta'' were Konstantin Serebryakov (''René''), Leonid Yakovlev (''Robert''), [[Nikolay Figner]] (''Vaudémont''), Arkady Chernov (''Ebn-Hakia''), Vasily Karelin (''Almeric''), Yalmar Frey (''Bertrand''), Medea Figner (''Iolanta''), [[Mariya Kamenskaya]] (''Marthe''), Aleksandra Runge (''Brigitte'') and Mariya Dolina (''Laura'').		The first performances of ''Iolanta'' and ''[[The Nutcracker]]'' took place on 6/18 December 1892 in [[Saint Petersburg]] on the stage of the Mariinsky Theatre. [[Eduard Nápravník]] conducted the opera, and [[Riccardo Drigo]] the ballet. The soloists in ''Iolanta'' were Konstantin Serebryakov (''René''), Leonid Yakovlev (''Robert''), [[Nikolay Figner]] (''Vaudémont''), Arkady Chernov (''Ebn-Hakia''), Vasily Karelin (''Almeric''), Yalmar Frey (''Bertrand''), Medea Figner (''Iolanta''), [[Mariya Kamenskaya]] (''Marthe''), Aleksandra Runge (''Brigitte'') and Mariya Dolina (''Laura'').

	The next day Tchaikovsky wrote: "The opera and ballet had great success yesterday. The opera in particular was to everyone's liking... Both were staged magnificently" <ref name="note46"/>. Three days later he told [[Anatoly]] about the unfavourable response of the press. "I am however quite indifferent to all that, it is not for the first time. And I know that at the end I will rise above it. Once again I am not embittered by such criticism. Nevertheless, I have been in a loathsome spirit, as I usually am, incidentally, in such circumstances. When one lives for a long time, preoccupied by the anticipation of an important event, then when the expected occurs it brings with it some sort of apathy and revulsion towards work, and a feeling of emptiness and futility in all our aspirations" <ref name="note47"/>.		The next day Tchaikovsky wrote: "The opera and ballet had great success yesterday. The opera in particular was to everyone's liking... Both were staged magnificently" <ref name="note46"/>. Three days later he told [[Anatoly]] about the unfavourable response of the press. "I am however quite indifferent to all that, it is not for the first time. And I know that at the end I will rise above it. Once again I am not embittered by such criticism. Nevertheless, I have been in a loathsome spirit, as I usually am, incidentally, in such circumstances. When one lives for a long time, preoccupied by the anticipation of an important event, then when the expected occurs it brings with it some sort of apathy and revulsion towards work, and a feeling of emptiness and futility in all our aspirations" <ref name="note47"/>.

Brett: Text replacement - "Mariya Kamenskaya" to "Mariya Kamenskaya"

2023-09-09T16:11:09Z

Text replacement - "Mariya Kamenskaya" to "Mariya Kamenskaya"

← Older revision		Revision as of 18:11, 9 September 2023
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	==Performances==		==Performances==
	The first performances of ''Iolanta'' and ''[[The Nutcracker]]'' took place on 6/18 December 1892 in [[Saint Petersburg]] on the stage of the Mariinsky Theatre. [[Eduard Nápravník]] conducted the opera, and Riccardo Drigo the ballet. The soloists in ''Iolanta'' were Konstantin Serebryakov (''René''), Leonid Yakovlev (''Robert''), [[Nikolay Figner]] (''Vaudémont''), Arkady Chernov (''Ebn-Hakia''), Vasily Karelin (''Almeric''), Yalmar Frey (''Bertrand''), Medea Figner (''Iolanta''), Mariya Kamenskaya (''Marthe''), Aleksandra Runge (''Brigitte'') and Mariya Dolina (''Laura'').		The first performances of ''Iolanta'' and ''[[The Nutcracker]]'' took place on 6/18 December 1892 in [[Saint Petersburg]] on the stage of the Mariinsky Theatre. [[Eduard Nápravník]] conducted the opera, and Riccardo Drigo the ballet. The soloists in ''Iolanta'' were Konstantin Serebryakov (''René''), Leonid Yakovlev (''Robert''), [[Nikolay Figner]] (''Vaudémont''), Arkady Chernov (''Ebn-Hakia''), Vasily Karelin (''Almeric''), Yalmar Frey (''Bertrand''), Medea Figner (''Iolanta''), [[Mariya Kamenskaya]] (''Marthe''), Aleksandra Runge (''Brigitte'') and Mariya Dolina (''Laura'').

	The next day Tchaikovsky wrote: "The opera and ballet had great success yesterday. The opera in particular was to everyone's liking... Both were staged magnificently" <ref name="note46"/>. Three days later he told [[Anatoly]] about the unfavourable response of the press. "I am however quite indifferent to all that, it is not for the first time. And I know that at the end I will rise above it. Once again I am not embittered by such criticism. Nevertheless, I have been in a loathsome spirit, as I usually am, incidentally, in such circumstances. When one lives for a long time, preoccupied by the anticipation of an important event, then when the expected occurs it brings with it some sort of apathy and revulsion towards work, and a feeling of emptiness and futility in all our aspirations" <ref name="note47"/>.		The next day Tchaikovsky wrote: "The opera and ballet had great success yesterday. The opera in particular was to everyone's liking... Both were staged magnificently" <ref name="note46"/>. Three days later he told [[Anatoly]] about the unfavourable response of the press. "I am however quite indifferent to all that, it is not for the first time. And I know that at the end I will rise above it. Once again I am not embittered by such criticism. Nevertheless, I have been in a loathsome spirit, as I usually am, incidentally, in such circumstances. When one lives for a long time, preoccupied by the anticipation of an important event, then when the expected occurs it brings with it some sort of apathy and revulsion towards work, and a feeling of emptiness and futility in all our aspirations" <ref name="note47"/>.

Tony: /* Notes and References */ Separated "Modest" and "to"

2023-02-14T19:42:44Z

Notes and References: Separated "Modest" and "to"

← Older revision		Revision as of 21:42, 14 February 2023
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	<ref name="note11">See [[Letter 4312]] to [[Modest Tchaikovsky]], 22 January/3 February 1891.</ref>		<ref name="note11">See [[Letter 4312]] to [[Modest Tchaikovsky]], 22 January/3 February 1891.</ref>
	<ref name="note12"> {{bib\|1902/25\| Жизнь Петра Ильича Чайковского ; том 3}} (1902), p. 427.</ref>		<ref name="note12"> {{bib\|1902/25\| Жизнь Петра Ильича Чайковского ; том 3}} (1902), p. 427.</ref>
	<ref name="note13">[[Letter 4283]] to [[Modest Tchaikovsky]], 1/13 January 1891. See also [[Letter 4291]], 6/18 January 1891, in which Tchaikovsky asked [[Modest]]to bring a copy of the drama ''King René's Daughter'' with him to [[Frolovskoye]]. Writing on 5/17 January 1891, [[Modest]] informed the composer that he had commenced work on the libretto — [[Klin]] House-Museum Archive.</ref>		<ref name="note13">[[Letter 4283]] to [[Modest Tchaikovsky]], 1/13 January 1891. See also [[Letter 4291]], 6/18 January 1891, in which Tchaikovsky asked [[Modest]] to bring a copy of the drama ''King René's Daughter'' with him to [[Frolovskoye]]. Writing on 5/17 January 1891, [[Modest]] informed the composer that he had commenced work on the libretto — [[Klin]] House-Museum Archive.</ref>
	<ref name="note14">[[Letter 4312]] to [[Anatoly Tchaikovsky]], 22 January/3 February 1891.</ref>		<ref name="note14">[[Letter 4312]] to [[Anatoly Tchaikovsky]], 22 January/3 February 1891.</ref>
	<ref name="note15">[[Letter 4588]] to [[Nikolay Konradi]], 31 December 1891/12 January 1892. [[Henrik Hertz]] died in 1870.</ref>		<ref name="note15">[[Letter 4588]] to [[Nikolay Konradi]], 31 December 1891/12 January 1892. [[Henrik Hertz]] died in 1870.</ref>

Tony: /* Publication */

2023-02-14T19:40:16Z

Publication

← Older revision		Revision as of 21:40, 14 February 2023
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	==Publication==		==Publication==
	On 6/18 March 1892 Tchaikovsky sent [[Pyotr Jurgenson]] a letter containing the details of the title page for the piano score of ''Iolanta'' <ref name="note49"/>. On 6/18 April he informed [[Mikhail Ippolitov-Ivanov]] that ''Iolanta'' was being engraved <ref name="note50"/> . From mid/late April checking was commenced on [[Jurgenson]]'s proofs of the opera ''Iolanta'' and the ballet ''[[The Nutcracker]]'', which took a great deal of Tchaikovsky's time <ref name="note51"/> .		On 6/18 March 1892, Tchaikovsky sent [[Pyotr Jurgenson]] a letter containing the details of the title page for the piano score of ''Iolanta'' <ref name="note49"/>. On 6/18 April he informed [[Mikhail Ippolitov-Ivanov]] that ''Iolanta'' was being engraved <ref name="note50"/> . From mid/late April, checking was commenced on [[Jurgenson]]'s proofs of the opera ''Iolanta'' and the ballet ''[[The Nutcracker]]'', which took a great deal of Tchaikovsky's time <ref name="note51"/> .

	The vocal-piano reduction of ''Iolanta'' was first published in late April/early May 1892 <ref name="note52"/>, but Tchaikovsky was dissatisfied with this edition. He was equally unhappy with an arrangement for solo piano made by [[Eduard Langer]] <ref name="note53"/> . Writing to [[Pyotr Jurgenson]] on 13/25 July, the composer asked him to send over the piano score "to mark up whatever needs to be corrected for the next edition”. On 16/28 July he wrote to [[Mikhail Ippolitov-Ivanov]]: "I am currently staying home, proof-reading the opera and ballet in all their forms, commencing with their respective full scores. All this requires tremendous haste… I think that over the next month and a half at least, I would be busy doing nothing but this unbearably tormenting work" <ref name="note54"/>.		The vocal-piano reduction of ''Iolanta'' was first published in late April/early May 1892 <ref name="note52"/>, but Tchaikovsky was dissatisfied with this edition. He was equally unhappy with an arrangement for solo piano made by [[Eduard Langer]] <ref name="note53"/> . Writing to [[Pyotr Jurgenson]] on 13/25 July, the composer asked him to send over the piano score "to mark up whatever needs to be corrected for the next edition”. On 16/28 July he wrote to [[Mikhail Ippolitov-Ivanov]]: "I am currently staying home, proof-reading the opera and ballet in all their forms, commencing with their respective full scores. All this requires tremendous haste… I think that over the next month and a half at least, I would be busy doing nothing but this unbearably tormenting work" <ref name="note54"/>.
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	A second edition of the vocal-piano reduction of ''Iolanta'' (with words in Russian and German <ref name="note57"/>) was brought out simultaneously with the full score in September 1892 <ref name="note58"/>. [[Eduard Langer]]'s arrangement for piano (two hands) appeared in November 1892.		A second edition of the vocal-piano reduction of ''Iolanta'' (with words in Russian and German <ref name="note57"/>) was brought out simultaneously with the full score in September 1892 <ref name="note58"/>. [[Eduard Langer]]'s arrangement for piano (two hands) appeared in November 1892.

	On 28 August/9 September 1892 the composer wrote to [[Vladimir Davydov]]: "But tomorrow, at last, I should have finished everything I have to do ... While I was staying with you at [[Vichy]] I could never have imagined the torment that I would have to face. I could not have foreseen it, because never before have the scores of my operas and ballets been published prior to their staging" <ref name="note59"/>.		On 28 August/9 September 1892, the composer wrote to [[Vladimir Davydov]]: "But tomorrow, at last, I should have finished everything I have to do ... While I was staying with you at [[Vichy]] I could never have imagined the torment that I would have to face. I could not have foreseen it, because never before have the scores of my operas and ballets been published prior to their staging" <ref name="note59"/>.

	Tchaikovsky's full score of ''Iolanta'', and [[Sergey Taneyev]]'s arrangement for piano duet, were published in volumes 10 and 42 respectively of Tchaikovsky's ''[[Complete Collected Works]]'', edited by V. D. Vasilyev (1953).		Tchaikovsky's full score of ''Iolanta'', and [[Sergey Taneyev]]'s arrangement for piano duet, were published in volumes 10 and 42 respectively of Tchaikovsky's ''[[Complete Collected Works]]'', edited by V. D. Vasilyev (1953).

Tony: /* Performances */ Text replacement - "Trezvinskyy" to "Trezvinsky"

2023-02-14T12:20:29Z

Performances: Text replacement - "Trezvinskyy" to "Trezvinsky"

← Older revision		Revision as of 14:20, 14 February 2023
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	Shortly after its premiere in [[Saint Petersburg]], ''Iolanta'' was performed in the German cities of [[Hamburg]] and Schwerin. "Although the latter is not a large city", the composer later reported, "the theatre there is enormous and beautiful; its troupe—exemplary. In both of these cities the opera was a complete success, and I received many telegrams" <ref name="note48"/>. The opera was performed in a German translation at the [[Hamburg]] Opera Theatre on 26 August/7 September 1893, in a production conducted by [[Gustav Mahler]], with soloists including: Heinrich Wigand (''René''), Sigmund Songeri (''Robert''), Gustav Zeidel (''Vaudémont''), Friedrich Lissman (''Ebn-Hakia''), Leopold Landau (''Almeric''), Marte Lorent (''Bertrand''), Kati Bettak (''Iolanta'') and Chedi Felden (Marthe'').		Shortly after its premiere in [[Saint Petersburg]], ''Iolanta'' was performed in the German cities of [[Hamburg]] and Schwerin. "Although the latter is not a large city", the composer later reported, "the theatre there is enormous and beautiful; its troupe—exemplary. In both of these cities the opera was a complete success, and I received many telegrams" <ref name="note48"/>. The opera was performed in a German translation at the [[Hamburg]] Opera Theatre on 26 August/7 September 1893, in a production conducted by [[Gustav Mahler]], with soloists including: Heinrich Wigand (''René''), Sigmund Songeri (''Robert''), Gustav Zeidel (''Vaudémont''), Friedrich Lissman (''Ebn-Hakia''), Leopold Landau (''Almeric''), Marte Lorent (''Bertrand''), Kati Bettak (''Iolanta'') and Chedi Felden (Marthe'').

	In [[Moscow]] the first complete performance did not take place until after Tchaikovsky's death — on 11/23 November 1893 at the Bolshoi Theatre, conducted by [[Ippolit Altani]], with soloists: Stepan ~~Trezvinskyy~~ (''René''), [[Bogomir Korsov]] (''Robert''), Lev Klementyev (''Vaudémont''), Stepan Vlasov (''Ebn-Hakia''), Moysey Tolchanov (''Almeric''), Vasily Tsetekov (''Bertrand''), Margarita Eichenwald (''Iolanta''), Lidiya Zviagina (''Marthe''), Yelena Muravyeva (''Brigitte'') and Olga Danilchenko (''Laura'') <ref name="note60"/>.		In [[Moscow]] the first complete performance did not take place until after Tchaikovsky's death — on 11/23 November 1893 at the Bolshoi Theatre, conducted by [[Ippolit Altani]], with soloists: Stepan Trezvinsky (''René''), [[Bogomir Korsov]] (''Robert''), Lev Klementyev (''Vaudémont''), Stepan Vlasov (''Ebn-Hakia''), Moysey Tolchanov (''Almeric''), Vasily Tsetekov (''Bertrand''), Margarita Eichenwald (''Iolanta''), Lidiya Zviagina (''Marthe''), Yelena Muravyeva (''Brigitte'') and Olga Danilchenko (''Laura'') <ref name="note60"/>.

	The first complete performance of ''Iolanta'' in the United States took place at the Garden Theatre in Scarborough-on-Hudson on 10 September 1933. The earliest known production in Britain was during the Camden Festival on 20 March 1968 at St. Pancras Town Hall in [[London]].		The first complete performance of ''Iolanta'' in the United States took place at the Garden Theatre in Scarborough-on-Hudson on 10 September 1933. The earliest known production in Britain was during the Camden Festival on 20 March 1968 at St. Pancras Town Hall in [[London]].

Tony: /* Performances */ Omitted "an" / added "after" for ease of reading

2023-02-14T12:18:05Z

Performances: Omitted "an" / added "after" for ease of reading

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	The next day Tchaikovsky wrote: "The opera and ballet had great success yesterday. The opera in particular was to everyone's liking... Both were staged magnificently" <ref name="note46"/>. Three days later he told [[Anatoly]] about the unfavourable response of the press. "I am however quite indifferent to all that, it is not for the first time. And I know that at the end I will rise above it. Once again I am not embittered by such criticism. Nevertheless, I have been in a loathsome spirit, as I usually am, incidentally, in such circumstances. When one lives for a long time, preoccupied by the anticipation of an important event, then when the expected occurs it brings with it some sort of apathy and revulsion towards work, and a feeling of emptiness and futility in all our aspirations" <ref name="note47"/>.		The next day Tchaikovsky wrote: "The opera and ballet had great success yesterday. The opera in particular was to everyone's liking... Both were staged magnificently" <ref name="note46"/>. Three days later he told [[Anatoly]] about the unfavourable response of the press. "I am however quite indifferent to all that, it is not for the first time. And I know that at the end I will rise above it. Once again I am not embittered by such criticism. Nevertheless, I have been in a loathsome spirit, as I usually am, incidentally, in such circumstances. When one lives for a long time, preoccupied by the anticipation of an important event, then when the expected occurs it brings with it some sort of apathy and revulsion towards work, and a feeling of emptiness and futility in all our aspirations" <ref name="note47"/>.

	Shortly after its premiere in [[Saint Petersburg]], ''Iolanta'' was performed in the German cities of [[Hamburg]] and Schwerin. "Although the latter is not a large city", the composer later reported, "the theatre there is an enormous and beautiful; its troupe—exemplary. In both of these cities the opera was a complete success, and I received many telegrams" <ref name="note48"/>. The opera was performed in a German translation at the [[Hamburg]] Opera Theatre on 26 August/7 September 1893, in a production conducted by [[Gustav Mahler]], with soloists including: Heinrich Wigand (''René''), Sigmund Songeri (''Robert''), Gustav Zeidel (''Vaudémont''), Friedrich Lissman (''Ebn-Hakia''), Leopold Landau (''Almeric''), Marte Lorent (''Bertrand''), Kati Bettak (''Iolanta'') and Chedi Felden ('Marthe'').		Shortly after its premiere in [[Saint Petersburg]], ''Iolanta'' was performed in the German cities of [[Hamburg]] and Schwerin. "Although the latter is not a large city", the composer later reported, "the theatre there is enormous and beautiful; its troupe—exemplary. In both of these cities the opera was a complete success, and I received many telegrams" <ref name="note48"/>. The opera was performed in a German translation at the [[Hamburg]] Opera Theatre on 26 August/7 September 1893, in a production conducted by [[Gustav Mahler]], with soloists including: Heinrich Wigand (''René''), Sigmund Songeri (''Robert''), Gustav Zeidel (''Vaudémont''), Friedrich Lissman (''Ebn-Hakia''), Leopold Landau (''Almeric''), Marte Lorent (''Bertrand''), Kati Bettak (''Iolanta'') and Chedi Felden (Marthe'').

	In [[Moscow]] the first complete performance did not take place until Tchaikovsky's death — on 11/23 November 1893 at the Bolshoi Theatre, conducted by [[Ippolit Altani]], with soloists: Stepan Trezvinskyy (''René''), [[Bogomir Korsov]] (''Robert''), Lev Klementyev (''Vaudémont''), Stepan Vlasov (''Ebn-Hakia''), Moysey Tolchanov (''Almeric''), Vasily Tsetekov (''Bertrand''), Margarita Eichenwald (''Iolanta''), Lidiya Zviagina (''Marthe''), Yelena Muravyeva (''Brigitte'') and Olga Danilchenko (''Laura'') <ref name="note60"/>.		In [[Moscow]] the first complete performance did not take place until after Tchaikovsky's death — on 11/23 November 1893 at the Bolshoi Theatre, conducted by [[Ippolit Altani]], with soloists: Stepan Trezvinskyy (''René''), [[Bogomir Korsov]] (''Robert''), Lev Klementyev (''Vaudémont''), Stepan Vlasov (''Ebn-Hakia''), Moysey Tolchanov (''Almeric''), Vasily Tsetekov (''Bertrand''), Margarita Eichenwald (''Iolanta''), Lidiya Zviagina (''Marthe''), Yelena Muravyeva (''Brigitte'') and Olga Danilchenko (''Laura'') <ref name="note60"/>.

	The first complete performance of ''Iolanta'' in the United States took place at the Garden Theatre in Scarborough-on-Hudson on 10 September 1933. The earliest known production in Britain was during the Camden Festival on 20 March 1968 at St. Pancras Town Hall in [[London]].		The first complete performance of ''Iolanta'' in the United States took place at the Garden Theatre in Scarborough-on-Hudson on 10 September 1933. The earliest known production in Britain was during the Camden Festival on 20 March 1968 at St. Pancras Town Hall in [[London]].

Tony: /* Composition */ Added "1892" to give clarity of context

2023-02-14T12:09:05Z

Composition: Added "1892" to give clarity of context

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	The greater part of the orchestration was completed by 25 October/6 November: "The full score is completely ready (i.e. that which I have sent to you), with the exception of ''tempi'', ''metronome marks'', and also the precise designation of the numbers", Tchaikovsky wrote to [[Sergey Taneyev]]. He promised to put all those instructions later on into the full score, as well as into the piano score being prepared by [[Taneyev]] <ref name="note38"/>. Tchaikovsky indicated the date he finished work on the manuscript of the full score of ''Iolanta'': "20 November 1891, [[Maydanovo]] village". In a letter to [[Pyotr Jurgenson]] of 15/27 November 1891, Tchaikovsky wrote:" I'm finishing off the instrumentation of ''Iolanta''" <ref name="note39"/>. On 9/21 December he asked [[Taneyev]] to send him the full score of ''Iolanta'', so that he could insert the tempi. However, the overture seems not to have been orchestrated at that time, since on 14/26 December 1891 from [[Maydanovo]] he informed [[Modest Tchaikovsky]]: "here I've orchestrated the introduction to ''Iolanta'' and altered the ''draft'' of the sextet" <ref name="note40"/>. On 15/27 December he spent the whole day with [[Taneyev]], "tidying up ''Iolanta'', which is by now completely finished" <ref name="note41"/>.		The greater part of the orchestration was completed by 25 October/6 November: "The full score is completely ready (i.e. that which I have sent to you), with the exception of ''tempi'', ''metronome marks'', and also the precise designation of the numbers", Tchaikovsky wrote to [[Sergey Taneyev]]. He promised to put all those instructions later on into the full score, as well as into the piano score being prepared by [[Taneyev]] <ref name="note38"/>. Tchaikovsky indicated the date he finished work on the manuscript of the full score of ''Iolanta'': "20 November 1891, [[Maydanovo]] village". In a letter to [[Pyotr Jurgenson]] of 15/27 November 1891, Tchaikovsky wrote:" I'm finishing off the instrumentation of ''Iolanta''" <ref name="note39"/>. On 9/21 December he asked [[Taneyev]] to send him the full score of ''Iolanta'', so that he could insert the tempi. However, the overture seems not to have been orchestrated at that time, since on 14/26 December 1891 from [[Maydanovo]] he informed [[Modest Tchaikovsky]]: "here I've orchestrated the introduction to ''Iolanta'' and altered the ''draft'' of the sextet" <ref name="note40"/>. On 15/27 December he spent the whole day with [[Taneyev]], "tidying up ''Iolanta'', which is by now completely finished" <ref name="note41"/>.

	Between 7/19 and 12/24 October, Tchaikovsky, responding to a request by [[Nikolay Figner]], wrote an additional aria (romance) for the part of ''Vaudémont'' ("No, the charm of caresses...") <ref name="note42"/> . [[Modest Tchaikovsky]] had sent him the words for this aria in a letter written back on 29 July/10 August 1892 <ref name="note43"/>. On this very letter from [[Modest]], the composer made the first note of a theme for the second part of the aria, having adapted his own words: "Oh come, illustrious apparition...".		Between 7/19 and 12/24 October 1892, Tchaikovsky, responding to a request by [[Nikolay Figner]], wrote an additional aria (romance) for the part of ''Vaudémont'' ("No, the charm of caresses...") <ref name="note42"/> . [[Modest Tchaikovsky]] had sent him the words for this aria in a letter written back on 29 July/10 August 1892 <ref name="note43"/>. On this very letter from [[Modest]], the composer made the first note of a theme for the second part of the aria, having adapted his own words: "Oh come, illustrious apparition...".

	On 2/14 August he wrote to [[Modest]]: "Just now I have received your letter with the text of the additional aria for Figner. It has turned out very well and I shall certainly write the music for it in any case — but not now: only when I finish my proof-checking" <ref name="note44"/> .		On 2/14 August he wrote to [[Modest]]: "Just now I have received your letter with the text of the additional aria for Figner. It has turned out very well and I shall certainly write the music for it in any case — but not now: only when I finish my proof-checking" <ref name="note44"/> .

Tony: /* Composition */

2023-02-14T12:04:10Z

Composition

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	By 24 July/5 August, the seventh and a part of the eighth scenes were written. In a letter to [[Modest Tchaikovsky]] of 25 July/6 August the composer wrote: "The libretto is splendid. There is one shortcoming, which has nothing to do with you. I find that between the duet about ''light'' and the end we hear too little music — it's all explanation of the action. I'm afraid this might be boring. Yet it's possible that I'm mistaken. I started not from the beginning, but from the scene between ''Iolanta'' and ''Vaudémont''. You did an outstanding job on this scene, and the music could have been magnificent, but it seems to me that I did not do it particularly well. The most awful thing is that I have a tendency towards repeating myself, and a lot in this scene has turned out similar to ''[[The Enchantress]]?!!'' But we shall see. I am doubting myself more and more. But perhaps this stems from a more general depression, and I should temporarily set aside the theatre and write symphonies, piano pieces, quartets, etc. I'm tired of writing operas and ballets, but haven't yet run completely out of steam. At least I hope that's the case. Strangely enough while I was writing the ballet, I thought that it wasn't important, and I would display all my colours when starting work on the opera, and now it seems to me that the ballet is good, while the opera is not turning out particularly well. Although you know from experience that during the creative process, authors can be mistaken in the evaluation of their creations, and things which appear to be bad, sometimes are particularly good" <ref name="note30"/>.		By 24 July/5 August, the seventh and a part of the eighth scenes were written. In a letter to [[Modest Tchaikovsky]] of 25 July/6 August the composer wrote: "The libretto is splendid. There is one shortcoming, which has nothing to do with you. I find that between the duet about ''light'' and the end we hear too little music — it's all explanation of the action. I'm afraid this might be boring. Yet it's possible that I'm mistaken. I started not from the beginning, but from the scene between ''Iolanta'' and ''Vaudémont''. You did an outstanding job on this scene, and the music could have been magnificent, but it seems to me that I did not do it particularly well. The most awful thing is that I have a tendency towards repeating myself, and a lot in this scene has turned out similar to ''[[The Enchantress]]?!!'' But we shall see. I am doubting myself more and more. But perhaps this stems from a more general depression, and I should temporarily set aside the theatre and write symphonies, piano pieces, quartets, etc. I'm tired of writing operas and ballets, but haven't yet run completely out of steam. At least I hope that's the case. Strangely enough while I was writing the ballet, I thought that it wasn't important, and I would display all my colours when starting work on the opera, and now it seems to me that the ballet is good, while the opera is not turning out particularly well. Although you know from experience that during the creative process, authors can be mistaken in the evaluation of their creations, and things which appear to be bad, sometimes are particularly good" <ref name="note30"/>.

	On the same day he complained in a letter to [[Anatoly Tchaikovsky]] that the writing of the opera was progressing "in a sluggish and deplorable way". Then there had been a decisive new phase in the work: "Suddenly my work is ~~been~~ progressing well. I know now that ''Iolanta'' shall not disgrace herself" <ref name="note31"/> .		On the same day he complained in a letter to [[Anatoly Tchaikovsky]] that the writing of the opera was progressing "in a sluggish and deplorable way". Then there had been a decisive new phase in the work: "Suddenly my work is progressing well. I know now that ''Iolanta'' shall not disgrace herself" <ref name="note31"/> .

	On 7/19 August he wrote to [[Modest Tchaikovsky]]: "The time for me to leave for [[Ukolovo]] and [[Kamenka]] is approaching, but in the meantime ''Iolanta'' is far from finished. I shall probably delay its completion until my return … Still, very little remains Now I'm already writing the scene between the ''King'' and ''Ebn-Hakia''. Than I only have to write the scene where Robert and Vaudémont enter and wake up Iolanta. The duet and everything else are already written. Over the past few days my work has progressed steadily, writing with ease and pleasure. I've altered the words here and there, because the rhythm did not match your verses" <ref name="note32"/>. The composer believed that the girls chorus 'Here you have buttercups' "has turned out to be extraordinary successful". "The lullaby has also been a success. I'm generally quite pleased with myself" <ref name="note33"/>.		On 7/19 August he wrote to [[Modest Tchaikovsky]]: "The time for me to leave for [[Ukolovo]] and [[Kamenka]] is approaching, but in the meantime ''Iolanta'' is far from finished. I shall probably delay its completion until my return … Still, very little remains. Now I'm already writing the scene between the ''King'' and ''Ebn-Hakia''. Than I only have to write the scene where Robert and Vaudémont enter and wake up Iolanta. The duet and everything else are already written. Over the past few days my work has progressed steadily, writing with ease and pleasure. I've altered the words here and there, because the rhythm did not match your verses" <ref name="note32"/>. The composer believed that the girls chorus 'Here you have buttercups' "has turned out to be extraordinary successful". "The lullaby has also been a success. I'm generally quite pleased with myself" <ref name="note33"/>.

	On 13/25 August Tchaikovsky left [[Maydanovo]] for [[Moscow]], then to [[Ukolovo]] and [[Kamenka]], while the opera was not fully finished <ref name="note34"/>. Having returned to [[Maydanovo]] on 2/14 September, on 5/17 September he informed [[Modest Tchaikovsky]]: "Yesterday I ''completely finished'' the opera. Tomorrow I will set about the instrumentation of ''[[The Voyevoda (symphonic ballad)\|The Voyevoda]]''" <ref name="note35"/>. The orchestration of the ballad was completed on 22 September/4 October, after which the orchestration of the opera was commenced. "The instrumentation of the opera is coming along, but not especially quickly. This one-act opera is actually enormous, and requires a great deal of attention", Tchaikovsky wrote on 12/24 October 1891 to [[Vladimir Davydov]] <ref name="note36"/>.		On 13/25 August Tchaikovsky left [[Maydanovo]] for [[Moscow]], then to [[Ukolovo]] and [[Kamenka]], while the opera was not fully finished <ref name="note34"/>. Having returned to [[Maydanovo]] on 2/14 September, on 5/17 September, he informed [[Modest Tchaikovsky]]: "Yesterday I ''completely finished'' the opera. Tomorrow I will set about the instrumentation of ''[[The Voyevoda (symphonic ballad)\|The Voyevoda]]''" <ref name="note35"/>. The orchestration of the ballad was completed on 22 September/4 October, after which the orchestration of the opera was commenced. "The instrumentation of the opera is coming along, but not especially quickly. This one-act opera is actually enormous, and requires a great deal of attention", Tchaikovsky wrote on 12/24 October 1891 to [[Vladimir Davydov]] <ref name="note36"/>.

	In a letter to [[Modest Tchaikovsky]] dated 20 October/1 November, we read: "Despite all my care, I am far from finishing ''Iolande'' (by the way, take into consideration that "''Iolanta''" is incorrect — it should be ''Iolande'' because it comes from French, and in French this name is ''Iolande'') <ref name="note37"/>.		In a letter to [[Modest Tchaikovsky]] dated 20 October/1 November, we read: "Despite all my care, I am far from finishing ''Iolande'' (by the way, take into consideration that "''Iolanta''" is incorrect — it should be ''Iolande'' because it comes from French, and in French this name is ''Iolande'')" <ref name="note37"/>.

	The greater part of the orchestration was completed by 25 October/6 November: "The full score is completely ready (i.e. that which I have sent to you), with the exception of ''tempi'', ''metronome marks'', and also the precise designation of the numbers", Tchaikovsky wrote to [[Sergey Taneyev]]. He promised to put all those instructions later on into the full score, as well as into the piano score being prepared by [[Taneyev]] <ref name="note38"/>. Tchaikovsky indicated the date he finished work on the manuscript of the full score of ''Iolanta'': "20 November 1891, [[Maydanovo]] village". In a letter to [[Pyotr Jurgenson]] of 15/27 November 1891, Tchaikovsky wrote:" I'm finishing off the instrumentation of ''Iolanta''" <ref name="note39"/>. On 9/21 December he asked [[Taneyev]] to send him the full score of ''Iolanta'', so that he could insert the tempi. However, the overture seems not to have been orchestrated at that time, since on 14/26 December 1891 from [[Maydanovo]] he informed [[Modest Tchaikovsky]]: "here I've orchestrated the introduction to ''Iolanta'' and altered the ''draft'' of the sextet" <ref name="note40"/>. On 15/27 December he spent the whole day with [[Taneyev]], "tidying up ''Iolanta'', which is by now completely finished" <ref name="note41"/>.		The greater part of the orchestration was completed by 25 October/6 November: "The full score is completely ready (i.e. that which I have sent to you), with the exception of ''tempi'', ''metronome marks'', and also the precise designation of the numbers", Tchaikovsky wrote to [[Sergey Taneyev]]. He promised to put all those instructions later on into the full score, as well as into the piano score being prepared by [[Taneyev]] <ref name="note38"/>. Tchaikovsky indicated the date he finished work on the manuscript of the full score of ''Iolanta'': "20 November 1891, [[Maydanovo]] village". In a letter to [[Pyotr Jurgenson]] of 15/27 November 1891, Tchaikovsky wrote:" I'm finishing off the instrumentation of ''Iolanta''" <ref name="note39"/>. On 9/21 December he asked [[Taneyev]] to send him the full score of ''Iolanta'', so that he could insert the tempi. However, the overture seems not to have been orchestrated at that time, since on 14/26 December 1891 from [[Maydanovo]] he informed [[Modest Tchaikovsky]]: "here I've orchestrated the introduction to ''Iolanta'' and altered the ''draft'' of the sextet" <ref name="note40"/>. On 15/27 December he spent the whole day with [[Taneyev]], "tidying up ''Iolanta'', which is by now completely finished" <ref name="note41"/>.

	Between 7/19 and 12/24 October, Tchaikovsky, responding to a request by [[Nikolay Figner]], wrote an additional aria (romance) for the part of ''Vaudémont'' ("No, the charm of caresses...") <ref name="note42"/> . [[Modest Tchaikovsky]] had sent him the words for this aria in a letter written back on 29 July/10 August 1892 <ref name="note43"/>. On this very letter from [[Modest]] the composer made the first note of a theme for the second part of the aria, having adapted his own words: "Oh come, illustrious apparition..."		Between 7/19 and 12/24 October, Tchaikovsky, responding to a request by [[Nikolay Figner]], wrote an additional aria (romance) for the part of ''Vaudémont'' ("No, the charm of caresses...") <ref name="note42"/> . [[Modest Tchaikovsky]] had sent him the words for this aria in a letter written back on 29 July/10 August 1892 <ref name="note43"/>. On this very letter from [[Modest]], the composer made the first note of a theme for the second part of the aria, having adapted his own words: "Oh come, illustrious apparition...".

	On 2/14 August he wrote to [[Modest]]: "Just now I have received your letter with the text of the additional aria for Figner. It has turned out very well and I shall certainly write the music for it in any case — but not now: only when I finish my proof-checking" <ref name="note44"/> .		On 2/14 August he wrote to [[Modest]]: "Just now I have received your letter with the text of the additional aria for Figner. It has turned out very well and I shall certainly write the music for it in any case — but not now: only when I finish my proof-checking" <ref name="note44"/> .

Tony: /* Composition */ Added "he" for ease of reading

2023-02-14T11:55:47Z

Composition: Added "he" for ease of reading

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	Finishing the sketches for the ballet on 24 June/5 July, Tchaikovsky wrote that he intended to "devote three days to correcting various arrangements and old scores that are being republished, and on the 28th, the eve of my saint's day, I shall get away to [[Petersburg]], where I intend to spend three days. On my return I will set about "''King Rene's Daughter''". We shall see how it goes" <ref name="note24"/>.		Finishing the sketches for the ballet on 24 June/5 July, Tchaikovsky wrote that he intended to "devote three days to correcting various arrangements and old scores that are being republished, and on the 28th, the eve of my saint's day, I shall get away to [[Petersburg]], where I intend to spend three days. On my return I will set about "''King Rene's Daughter''". We shall see how it goes" <ref name="note24"/>.

	On 27 June/9 July, wrote: "... a strong doubt had crept into my mind on whether my creative abilities are sufficient, and this doubt torments me and causes depression. The ballet I wrote with an effort, sensing a decline in my visualization ability. We shall see how I would get on with the ''opera''. If I see that it turns out poorly, despite an excellent and very appealing story, then perhaps I shall give up writing. I am living through some kind of a crisis. Either I shall overcome it and continue to use up music notepaper for a few more years, or I will lay down my weapons" <ref name="note25"/> .		On 27 June/9 July, he wrote: "... a strong doubt had crept into my mind on whether my creative abilities are sufficient, and this doubt torments me and causes depression. The ballet I wrote with an effort, sensing a decline in my visualization ability. We shall see how I would get on with the ''opera''. If I see that it turns out poorly, despite an excellent and very appealing story, then perhaps I shall give up writing. I am living through some kind of a crisis. Either I shall overcome it and continue to use up music notepaper for a few more years, or I will lay down my weapons" <ref name="note25"/> .

	On 8/20 July the composer wrote to [[Anatoly Tchaikovsky]]: "As soon as I have replied to all my letters, I shall start working zealously on the opera. If all goes smoothly I hope to complete the draft within a month…" <ref name="note26"/>.		On 8/20 July the composer wrote to [[Anatoly Tchaikovsky]]: "As soon as I have replied to all my letters, I shall start working zealously on the opera. If all goes smoothly I hope to complete the draft within a month…" <ref name="note26"/>.

	And so the composition of the music for ''Iolanta'' began only in early/mid July. By the composer's own admission, the work initially progressed "very sluggishly and with much difficulty", with a feeling that he was about to repeat himself <ref name="note27"/>. Another commitment had also caused some distraction: proof-reading the new edition of ''[[Yevgeny Onegin]]'', which Tchaikovsky finished on 19/31 July <ref name="note28"/>.		And so the composition of the music for ''Iolanta'' began only in early/mid-July. By the composer's own admission, the work initially progressed "very sluggishly and with much difficulty", with a feeling that he was about to repeat himself <ref name="note27"/>. Another commitment had also caused some distraction: proof-reading the new edition of ''[[Yevgeny Onegin]]'', which Tchaikovsky finished on 19/31 July <ref name="note28"/>.

	According to chronological notes among the manuscripts of the sketches, the composer did the most prolific work on ''Iolanta'' on 23 July/4 August and 24 July/5 August.		According to chronological notes among the manuscripts of the sketches, the composer did the most prolific work on ''Iolanta'' on 23 July/4 August and 24 July/5 August.

	On 22 July/3 August, while at [[Maydanovo]], the composer wrote to [[Vladimir Davydov]]: ”Everything depends on "''Iolanta''". Until now it has been progressing slowly and sluggishly, mainly because of the fact that alongside this I had some intolerably tedious work — ~~proofreading~~ the full score of "Yevgeny Onegin", which [[Jurgenson]] is republishing. This required the corrections of many of my own mistakes and oversights, and a far greater multitude of [[Jurgenson]]'s; this task poisoned my life. Finally I completed it, took the score to [[Moscow]], and I've now returned so that I can devote all my time to the opera. By the way, tell [[Modest]] that the more I immerse myself in composing the music to "Iolanta", the greater admiration I have for the quality of his libretto. It is excellently done, and the poetry is sometimes very, very beautiful. And so when I've enjoyed my fill of composition without disturbance, or when I've pushed it forward to such a point that I can rest easily — God willing — in around three weeks I will go to [[Kamenka]], calling at [[Nikolay Ilyich]]'s on the way, where I'm eagerly awaited" <ref name="note29"/>.		On 22 July/3 August, while at [[Maydanovo]], the composer wrote to [[Vladimir Davydov]]: ”Everything depends on "''Iolanta''". Until now it has been progressing slowly and sluggishly, mainly because of the fact that alongside this I had some intolerably tedious work — proof-reading the full score of "Yevgeny Onegin", which [[Jurgenson]] is republishing. This required the corrections of many of my own mistakes and oversights, and a far greater multitude of [[Jurgenson]]'s; this task poisoned my life. Finally I completed it, took the score to [[Moscow]], and I've now returned so that I can devote all my time to the opera. By the way, tell [[Modest]] that the more I immerse myself in composing the music to "Iolanta", the greater admiration I have for the quality of his libretto. It is excellently done, and the poetry is sometimes very, very beautiful. And so when I've enjoyed my fill of composition without disturbance, or when I've pushed it forward to such a point that I can rest easily — God willing — in around three weeks I will go to [[Kamenka]], calling at [[Nikolay Ilyich]]'s on the way, where I'm eagerly awaited" <ref name="note29"/>.

	By 24 July/5 August the seventh and a part of the eighth scenes were written. In a letter to [[Modest Tchaikovsky]] of 25 July/6 August the composer wrote: "The libretto is splendid. There is one shortcoming, which has nothing to do with you. I find that between the duet about ''light''and the end we hear too little music — it's all explanation of the action. I'm afraid this might be boring. Yet it's possible that I'm mistaken. I started not from the beginning, but from the scene between ''Iolanta'' and ''Vaudémont''. You did an outstanding job on this scene, and the music could have been magnificent, but it seems to me that I did not do it particularly well. The most awful thing is that I have a tendency towards repeating myself, and a lot in this scene has turned out similar to ''[[The Enchantress]]?!!'' But we shall see. I am doubting myself more and more. But perhaps this stems from a more general depression, and I should temporarily set aside the theatre and write symphonies, piano pieces, quartets, etc. I'm tired of writing operas and ballets, but haven't yet run completely out of steam. At least I hope that's the case. Strangely enough while I was writing the ballet, I thought that it wasn't important, and I would display all my colours when starting work on the opera, and now it seems to me that the ballet is good, while the opera is not turning out particularly well. Although you know from experience that during the creative process, authors can be mistaken in the evaluation of their creations, and things which appear to be bad, sometimes are particularly good" <ref name="note30"/>.		By 24 July/5 August, the seventh and a part of the eighth scenes were written. In a letter to [[Modest Tchaikovsky]] of 25 July/6 August the composer wrote: "The libretto is splendid. There is one shortcoming, which has nothing to do with you. I find that between the duet about ''light'' and the end we hear too little music — it's all explanation of the action. I'm afraid this might be boring. Yet it's possible that I'm mistaken. I started not from the beginning, but from the scene between ''Iolanta'' and ''Vaudémont''. You did an outstanding job on this scene, and the music could have been magnificent, but it seems to me that I did not do it particularly well. The most awful thing is that I have a tendency towards repeating myself, and a lot in this scene has turned out similar to ''[[The Enchantress]]?!!'' But we shall see. I am doubting myself more and more. But perhaps this stems from a more general depression, and I should temporarily set aside the theatre and write symphonies, piano pieces, quartets, etc. I'm tired of writing operas and ballets, but haven't yet run completely out of steam. At least I hope that's the case. Strangely enough while I was writing the ballet, I thought that it wasn't important, and I would display all my colours when starting work on the opera, and now it seems to me that the ballet is good, while the opera is not turning out particularly well. Although you know from experience that during the creative process, authors can be mistaken in the evaluation of their creations, and things which appear to be bad, sometimes are particularly good" <ref name="note30"/>.

	On the same day he complained in a letter to [[Anatoly Tchaikovsky]] that the writing of the opera was progressing "in a sluggish and deplorable way". Then there had been a decisive new phase in the work: "Suddenly my work is been progressing well. I know now that ''Iolanta'' shall not disgrace herself" <ref name="note31"/> .		On the same day he complained in a letter to [[Anatoly Tchaikovsky]] that the writing of the opera was progressing "in a sluggish and deplorable way". Then there had been a decisive new phase in the work: "Suddenly my work is been progressing well. I know now that ''Iolanta'' shall not disgrace herself" <ref name="note31"/> .