Letter 1264 - Revision history

Brett: Text replacement - "notorious" to "infamous"

2025-09-24T13:53:57Z

Text replacement - "notorious" to "infamous"

← Older revision		Revision as of 15:53, 24 September 2025
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	3) You write: "''The [[Slavonic March]] is ready for printing in full score''". How can it be ready when the proofs are with me and I haven't done them yet? Are you confusing it with the suite?		3) You write: "''The [[Slavonic March]] is ready for printing in full score''". How can it be ready when the proofs are with me and I haven't done them yet? Are you confusing it with the suite?

	4) You write that you are interested in my views on the proofs of "''[[Onegin]]''"? And yet, not only have I not seen these ~~notorious~~ proofs, which, the Lord alone knows why, vanished on the way from [[Kamenka]] to Sumy, where my brother-in-law addressed it to me with his own hand — but even now I do not understand the ''hows, whys and wherefores'' because the one time I asked you for an explanation, you didn't reply.		4) You write that you are interested in my views on the proofs of "''[[Onegin]]''"? And yet, not only have I not seen these infamous proofs, which, the Lord alone knows why, vanished on the way from [[Kamenka]] to Sumy, where my brother-in-law addressed it to me with his own hand — but even now I do not understand the ''hows, whys and wherefores'' because the one time I asked you for an explanation, you didn't reply.

	5) Let [[Messer]] think that I did the piano reduction of the 3rd act, which, it goes without saying, is ready and has been done ''splendidly'', contrary to your frivolous assumption, for the simple reason that [[Kotek]] is a ''splendid musician'', albeit a violinist, which cannot be said of some other admirers of my music, who claim to be ''[[Klindworth]]s''. [[Klindworth]]! That's easy to prove. Although Wotan may be formidable and occasionally tedious and unpleasant, when it comes to business he's eaten a dog <ref name="note1"/>.		5) Let [[Messer]] think that I did the piano reduction of the 3rd act, which, it goes without saying, is ready and has been done ''splendidly'', contrary to your frivolous assumption, for the simple reason that [[Kotek]] is a ''splendid musician'', albeit a violinist, which cannot be said of some other admirers of my music, who claim to be ''[[Klindworth]]s''. [[Klindworth]]! That's easy to prove. Although Wotan may be formidable and occasionally tedious and unpleasant, when it comes to business he's eaten a dog <ref name="note1"/>.

Tony: "weights" to "weighs" / "see" to "seen" due to context

2024-07-25T09:31:46Z

"weights" to "weighs" / "see" to "seen" due to context

← Older revision		Revision as of 11:31, 25 July 2024
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	\|Translated text={{right\|''24 August''<br/>''[[Simaki]]''}}		\|Translated text={{right\|''24 August''<br/>''[[Simaki]]''}}
	1) ''I do not have'' either the ''full score of the [[Sérénade mélancolique\|Serenade]]'', nor the copy of "''[[Onegin]]''" with the separate numbers marked. The first of these I had in my hands in your office, when, at your request, I wrote the marks on the piano reduction for ''Sarasate''. Thereafter I heard no more about it until July, when in your letter you attempted to assure me that it had been sent to me — which, however, it could not have been, because although I often lose cigarette cases and canes, ''never in my life'' have I lost the materials of my work, and proofs are indeed ''work''. Any work ~~weights~~ on my shoulders like a lead weight, until I can put it down ''by carrying out the work'' — and not otherwise. Consequently I could not have forgotten about the proofs as well as the draft score that came with it. As for your obstinate insistence that I must have the copy of "''[[Onegin]]''" with the individual numbers marked, then this is truly incomprehensible! I made these marks ''in your office, on Neglinny'', on a copy purposely brought from downstairs by the clerk, whose name I don't know, but whose face I remember perfectly. Well tell me, please, where the hell would I have taken this copy? It stayed ''with you'' and ought to be ''with you''.		1) ''I do not have'' either the ''full score of the [[Sérénade mélancolique\|Serenade]]'', nor the copy of "''[[Onegin]]''" with the separate numbers marked. The first of these I had in my hands in your office, when, at your request, I wrote the marks on the piano reduction for ''Sarasate''. Thereafter I heard no more about it until July, when in your letter you attempted to assure me that it had been sent to me — which, however, it could not have been, because although I often lose cigarette cases and canes, ''never in my life'' have I lost the materials of my work, and proofs are indeed ''work''. Any work weighs on my shoulders like a lead weight, until I can put it down ''by carrying out the work'' — and not otherwise. Consequently, I could not have forgotten about the proofs as well as the draft score that came with it. As for your obstinate insistence that I must have the copy of "''[[Onegin]]''" with the individual numbers marked, then this is truly incomprehensible! I made these marks ''in your office, on Neglinny'', on a copy purposely brought from downstairs by the clerk, whose name I don't know, but whose face I remember perfectly. Well tell me, please, where the hell would I have taken this copy? It stayed ''with you'' and ought to be ''with you''.

	2) You write: "''the [[Suite No. 1\|suite]] is read in full score, you saw the proofs''". What does this mean? ''I've ~~see~~ no proofs whatsoever''. I'm not writing to you from [[Kamenka]]. If they are there, then they will reach me. But did you send them?		2) You write: "''the [[Suite No. 1\|suite]] is read in full score, you saw the proofs''". What does this mean? ''I've seen no proofs whatsoever''. I'm not writing to you from [[Kamenka]]. If they are there, then they will reach me. But did you send them?

	3) You write: "''The [[Slavonic March]] is ready for printing in full score''". How can it be ready when the proofs are with me and I haven't done them yet? Are you confusing it with the suite?		3) You write: "''The [[Slavonic March]] is ready for printing in full score''". How can it be ready when the proofs are with me and I haven't done them yet? Are you confusing it with the suite?
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	5) Let [[Messer]] think that I did the piano reduction of the 3rd act, which, it goes without saying, is ready and has been done ''splendidly'', contrary to your frivolous assumption, for the simple reason that [[Kotek]] is a ''splendid musician'', albeit a violinist, which cannot be said of some other admirers of my music, who claim to be ''[[Klindworth]]s''. [[Klindworth]]! That's easy to prove. Although Wotan may be formidable and occasionally tedious and unpleasant, when it comes to business he's eaten a dog <ref name="note1"/>.		5) Let [[Messer]] think that I did the piano reduction of the 3rd act, which, it goes without saying, is ready and has been done ''splendidly'', contrary to your frivolous assumption, for the simple reason that [[Kotek]] is a ''splendid musician'', albeit a violinist, which cannot be said of some other admirers of my music, who claim to be ''[[Klindworth]]s''. [[Klindworth]]! That's easy to prove. Although Wotan may be formidable and occasionally tedious and unpleasant, when it comes to business he's eaten a dog <ref name="note1"/>.

	Everything above was written by a person who was rather furious with you, and expressed his rage in words filled with poisonous irony.		Everything above was written by a person who was rather furious with you and expressed his rage in words filled with poisonous irony.

	The end of the letter will, alas, be written in another tone entirely, because here is a ''contrite'' man, a dog with a tail between its legs (however, not the one that ''[[Klindworth]]'' ate), and not with the twirly pointed tail with which he so haughtily dismissed your reprimands at the beginning of the letter.		The end of the letter will, alas, be written in another tone entirely, because here is a ''contrite'' man, a dog with a tail between its legs (however, not the one that ''[[Klindworth]]'' ate), and not with the twirly pointed tail with which he so haughtily dismissed your reprimands at the beginning of the letter.

Brett: 1 revision imported

2022-07-12T12:23:33Z

1 revision imported

← Older revision	Revision as of 14:23, 12 July 2022
(No difference)

Brett at 11:24, 14 January 2021

2021-01-14T11:24:15Z

New page

{{letterhead
|Date=24 August/5 September 1879
|To=[[Pyotr Jurgenson]]
|Place=[[Simaki]]
|Language=Russian
|Autograph=[[Klin]] (Russia): {{RUS-KLč}} (a{{sup|3}}, No. 2260)
|Publication={{bib|1901/24|Жизнь Петра Ильича Чайковского ; том 2}} (1901), p. 303–305 (abridged) {{bib|1938/40|П. И. Чайковский. Переписка с П. И. Юргенсоном ; том 1}} (1938), p. 109–110 {{bib|1963/6|П. И. Чайковский. Полное собрание сочинений ; том VIII}} (1963), p. 332–334
}}
==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''24 авг[уста]'' ''Симаки''}}
1) ''Ни партитуры серенады'', ни экземпляра «''Онегина''» с отметкой отдельных нумеров ''у меня быть не может''. Первую из них я имел у себя в руках в твоём кабинете, когда по твоей просьбе писал для ''Сарразата'' отметки на клавираусцуге. Засим ничего о ней не слышал до июля месяца, когда ты в письме своём тщился уверять меня, что она была ко мне послана, чего, однако ж, не могло быть, ибо я часто теряю портсигары и палки, но ''ни разу в жизни'' не терял предметов своей работы, а ведь корректура — ''работа''. Всякая работа сидит у меня тяжёлой многопудовой гирей на плечах до тех пор, пока не опущу её ''посредством исполнения работы'', — не иначе. Следовательно, забыть о корректуре вместе с присланной при ней черновой партитурой я не мог. Что касается упорства, с которым ты доказываешь, что у меня экземпляр «''Онегина''» с отметками отдельных нумеров, то это, права, непостижимо! Эти отметки я сделал ''у тебя в кабинете, на Неглинной'', на экземпляре, нарочно для того принесённом снизу прикащиком, фамилии коего не знаю, но отлична помню лицо его. Ну скажи, пожалуйста, на кой чорт я бы взял себе этот экземпляр? Он остался ''у тебя'' и должен быть ''у тебя''.

2) Ты пишешь: «''сюита готова в партитуре, ты видел корректуру''». Что это значит? ''Никакой корректуры я не видал''. Пишу тебе не из Каменки. Если она там, то дойдёт до меня. Но посылал ли ты её?

3) Ты пишешь: «''Славянский марш готов в партитуре к печати''». Каким образом он может быть готов, когда корректура у меня и ещё мной не сделана? Не смешиваешь ли ты её с сюитой?

4) Ты пишешь, что тебя интересует мой отзыв о корректуре «''Онегина''»? Но ведь я не только не видел этой знаменитой корректуры, которая, черт знает почему, пропала на пути из Каменки в Сумы, куда мне адресовал её мой зять собственноручно, — но даже до сих пор не могу понять, ''что это такое, зачем и почему'', ибо я однажды просил тебя объяснить, в чем дело, но ты не ответил.

5) Пусть Мессер думает, что я сделал клавираусцуг 3 акта, который, к слову сказать, готов и сделан, несогласно с твоим легкомысленным предположением ''отлично'' по той простой причине, что Котек ''отличный музыкант'', хотя и скрипач, чего нельзя сказать о некоторых других поклонниках моей музыки, претендующих быть ''Клиндвортами''. Клиндворт! Легко оказать. Он хоть и Вотан, хоть и грозен и подчас скучен и неприятен, но зато уж в своём деле собаку съел.

Все вышеизложенное писал человек, немножко на тебя озлившийся и сурово выразивший свой гнев в словах, полных самой ядовитой иронии.

Конец письма будет, увы, написан в другом тоне, ибо здесь является человек ''виноватый'', собака с хвостом поджатым (впрочем, не та, которую съел ''Клиндворт''), а не с тем закорючкой свёрнутым хвостом, который так горделиво отмахивался от твоих нареканий в начале письма.

Итак, поджав хвост, начинаю выть.

О мой милый, мой благодетельный Юргенсон! Прости, что, когда сюита уже награвирована, я послал тебе новую часть и прошу её всучить в злополучную сюиту вместо миниатюрного марша! Прости, — но сделай по-моему, ибо я буду несчастнейшим человеком, если просьба моя не будет уважена!

Я приеду в Москву, вероятно, в начале сентября и привезу с собой:
:а) Партитуру последних двух действий, б) Клавираусцуг этих же действий. в) Клавираусцуг 1-го акта в исправленном виде. г) Либретто оперы «''Орлеанская дева». д) Корректуру партитуры ''Славянского'' марша.

Не посылай мне больше ничего. А если соблаговолишь отвечать, то адресуй: ''Екатеринославской губ[ерния], Новомосковского уезда, почтовая станция Перещепино, оттуда в Гранкино. П. И. Ч.''

Прощай, душа моя, и прости.

''Выдачи особе прошу тебя продолжать''.

|Translated text={{right|''24 August'' ''[[Simaki]]''}}
1) ''I do not have'' either the ''full score of the [[Sérénade mélancolique|Serenade]]'', nor the copy of "''[[Onegin]]''" with the separate numbers marked. The first of these I had in my hands in your office, when, at your request, I wrote the marks on the piano reduction for ''Sarasate''. Thereafter I heard no more about it until July, when in your letter you attempted to assure me that it had been sent to me — which, however, it could not have been, because although I often lose cigarette cases and canes, ''never in my life'' have I lost the materials of my work, and proofs are indeed ''work''. Any work weights on my shoulders like a lead weight, until I can put it down ''by carrying out the work'' — and not otherwise. Consequently I could not have forgotten about the proofs as well as the draft score that came with it. As for your obstinate insistence that I must have the copy of "''[[Onegin]]''" with the individual numbers marked, then this is truly incomprehensible! I made these marks ''in your office, on Neglinny'', on a copy purposely brought from downstairs by the clerk, whose name I don't know, but whose face I remember perfectly. Well tell me, please, where the hell would I have taken this copy? It stayed ''with you'' and ought to be ''with you''.

2) You write: "''the [[Suite No. 1|suite]] is read in full score, you saw the proofs''". What does this mean? ''I've see no proofs whatsoever''. I'm not writing to you from [[Kamenka]]. If they are there, then they will reach me. But did you send them?

3) You write: "''The [[Slavonic March]] is ready for printing in full score''". How can it be ready when the proofs are with me and I haven't done them yet? Are you confusing it with the suite?

4) You write that you are interested in my views on the proofs of "''[[Onegin]]''"? And yet, not only have I not seen these notorious proofs, which, the Lord alone knows why, vanished on the way from [[Kamenka]] to Sumy, where my brother-in-law addressed it to me with his own hand — but even now I do not understand the ''hows, whys and wherefores'' because the one time I asked you for an explanation, you didn't reply.

5) Let [[Messer]] think that I did the piano reduction of the 3rd act, which, it goes without saying, is ready and has been done ''splendidly'', contrary to your frivolous assumption, for the simple reason that [[Kotek]] is a ''splendid musician'', albeit a violinist, which cannot be said of some other admirers of my music, who claim to be ''[[Klindworth]]s''. [[Klindworth]]! That's easy to prove. Although Wotan may be formidable and occasionally tedious and unpleasant, when it comes to business he's eaten a dog <ref name="note1"/>.

Everything above was written by a person who was rather furious with you, and expressed his rage in words filled with poisonous irony.

The end of the letter will, alas, be written in another tone entirely, because here is a ''contrite'' man, a dog with a tail between its legs (however, not the one that ''[[Klindworth]]'' ate), and not with the twirly pointed tail with which he so haughtily dismissed your reprimands at the beginning of the letter.

And so, with my tail between my legs, I begin to howl.

Oh my dear, my beneficent [[Jurgenson]]! Forgive me for sending you, when the suite has already been engraved, a new movement and asking you to slip it into the ill-fated suite instead of the miniature march! Forgive me — but do it for me, because I will be a most unfortunate person if my request isn't honoured.

I'm coming to [[Moscow]], probably, at the beginning of September, and bring with me:
:a) The full score of the last two acts, b) The piano reduction of these acts. c) The piano reduction of the first act, in amended form. d) The libretto of the opera "''[[The Maid of Orleans]]''". e) The proofs of the full score of the [[Slavonic March|''Slavonic'' March]].

Don't send me anything else. But if you want to reply, then address it to ''Yekaterinoslav province, Novomoskva district, Pereshchipino post office, thence to Grankino, P. I. T.''.

Farewell, my dear chap, and forgive me.

''I ask you to carry on with the special delivery''.
}}
==Notes and References==
<references>
<ref name="note1">"He ate a dog" (Собаку съел) is an old Russian idiom referring to someone with great expertise in their field, similar to the English phrase "he knows his onions".</ref>
</references>