Letter 1914 - Revision history

Brett: Text replacement - " н " to " и "

2025-05-22T18:53:37Z

Text replacement - " н " to " и "

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	\|Translator=Brett Langston		\|Translator=Brett Langston
	\|Original text={{right\|''Рим''<br/>15/27 дек[абря] 1881}}		\|Original text={{right\|''Рим''<br/>15/27 дек[абря] 1881}}
	Душа моя! Недавно я зашёл в ''Café'', и попалась мне в руки «''Neue Freie Presse''» со статьёй Ганслика о венских концертах. Между прочим, он отзывается о моем концерте скрипичном и столь курьёзно, что советую тебе достать (к сожалению, я не догадался посмотреть, какой №). Ганслик говорит, что моя музыка ''вонючая'' — eine ''stinkende Musik''! Разумеется, слегка бранит ''Бродского'' за то, что он выбрал этот концерт. Вот в чем дело. Если ты знаешь адрес Бродского, то, пожалуйста, напиши ему, что я ''глубоко тронут'' тем мужеством, которое он выказал, взявшись перед предубеждённой публикой играть вещь столь трудную и, по-видимому, неблагодарную. Когда ''Котек'', мой ближайший друг, струсил и малодушно отменил своё намерение познакомить Петербург с моим концертам (а между тем, это была его прямая обязанность, ибо на его ответственности ''Spielbarkeit'' скрипичной партии), когда ''Ауэр'', которому концерт посвящён, делает мне всякие пакости, — как не быть тронутым и благодарным милому ''Бродскому'', терпящему теперь из-за меня ругательства венских газет. Не везёт мне в критике. В России, с тех пор как ушёл Ларош, нет ни одного дружелюбно н тепло относящегося ко мне рецензент; за границей мою музыку первый авторитет называет ''вонючей''. Ах, чтоб их черти заели!		Душа моя! Недавно я зашёл в ''Café'', и попалась мне в руки «''Neue Freie Presse''» со статьёй Ганслика о венских концертах. Между прочим, он отзывается о моем концерте скрипичном и столь курьёзно, что советую тебе достать (к сожалению, я не догадался посмотреть, какой №). Ганслик говорит, что моя музыка ''вонючая'' — eine ''stinkende Musik''! Разумеется, слегка бранит ''Бродского'' за то, что он выбрал этот концерт. Вот в чем дело. Если ты знаешь адрес Бродского, то, пожалуйста, напиши ему, что я ''глубоко тронут'' тем мужеством, которое он выказал, взявшись перед предубеждённой публикой играть вещь столь трудную и, по-видимому, неблагодарную. Когда ''Котек'', мой ближайший друг, струсил и малодушно отменил своё намерение познакомить Петербург с моим концертам (а между тем, это была его прямая обязанность, ибо на его ответственности ''Spielbarkeit'' скрипичной партии), когда ''Ауэр'', которому концерт посвящён, делает мне всякие пакости, — как не быть тронутым и благодарным милому ''Бродскому'', терпящему теперь из-за меня ругательства венских газет. Не везёт мне в критике. В России, с тех пор как ушёл Ларош, нет ни одного дружелюбно и тепло относящегося ко мне рецензент; за границей мою музыку первый авторитет называет ''вонючей''. Ах, чтоб их черти заели!

	Напиши, пожалуйста, Бродскому.		Напиши, пожалуйста, Бродскому.

Tony: Punctuation for ease of reading

2024-12-04T15:13:48Z

Punctuation for ease of reading

← Older revision		Revision as of 17:13, 4 December 2024
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	\|Translated text={{right\|''[[Rome]]''<br/>15/27 December 1881}}		\|Translated text={{right\|''[[Rome]]''<br/>15/27 December 1881}}
	My dear chap! I recently stopped by at a ''Café'', and happened across the ''Neue Freie Presse'' with an article by Hanslick about the [[Vienna]] concert <ref name="note1"/>. Amongst other things he reviews my [[Violin Concerto\|violin concerto]] and it's so curious that I advise you to obtain it (unfortunately I didn't have the presence of mind to note the number). Hanslick says that my music ''stinks'' — eine ''stinkende Musik''! Of course this is a passing swipe at ''[[Brodsky]]'' for having chosen this concerto. The point is this. If you know [[Brodsky]]'s address, then please write to him that I am ''deeply touched'' by the courage he showed by undertaking to play something so difficult before a prejudiced and, it seems, unappreciative audience. When ''[[Kotek]]'', my closest friend, took fright and cravenly abandoned his intention of acquainting the [[Petersburg]] public with my concerto (which by the way he was frankly obliged to do, because the ''Spielbarkeit'' <ref name="note2"/> of the violin part was his responsibility), when ''[[Auer]]'', the dedicatee of the concerto, played all manner of dirty tricks on me — how could I not be touched and grateful to dear ''[[Brodsky]]'', who's now suffering because the Viennese newspapers are cursing me. I don't fare well with the critics. In Russia, ever since [[Laroche]] left, no reviewer has had a single friendly word or warm recommendation from a critic; and the leading authority abroad calls my music ''stinking''. Ah, to hell with them!		My dear chap! I recently stopped by at a ''Café'' and happened across the ''Neue Freie Presse'' with an article by Hanslick about the [[Vienna]] concert <ref name="note1"/>. Amongst other things, he reviews my [[Violin Concerto\|violin concerto]] and it's so curious that I advise you to obtain it (unfortunately I didn't have the presence of mind to note the number). Hanslick says that my music ''stinks'' — eine ''stinkende Musik''! Of course, this is a passing swipe at ''[[Brodsky]]'' for having chosen this concerto. The point is this. If you know [[Brodsky]]'s address, then please write to him that I am ''deeply touched'' by the courage he showed by undertaking to play something so difficult before a prejudiced and, it seems, unappreciative audience. When ''[[Kotek]]'', my closest friend, took fright and cravenly abandoned his intention of acquainting the [[Petersburg]] public with my concerto (which by the way he was frankly obliged to do, because the ''Spielbarkeit'' <ref name="note2"/> of the violin part was his responsibility), when ''[[Auer]]'', the dedicatee of the concerto, played all manner of dirty tricks on me — how could I not be touched and grateful to dear ''[[Brodsky]]'', who's now suffering because the Viennese newspapers are cursing me. I don't fare well with the critics. In Russia, ever since [[Laroche]] left, no reviewer has had a single friendly word or warm recommendation from a critic; and the leading authority abroad calls my music ''stinking''. Ah, to hell with them!

	Please, write to [[Brodsky]].		Please, write to [[Brodsky]].

Brett at 11:22, 2 August 2022

2022-08-02T11:22:21Z

← Older revision		Revision as of 13:22, 2 August 2022
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	<references>		<references>
	<ref name="note1">[[Adolph Brodsky]] introduced Tchaikovsky's [[Violin Concerto]] to [[Vienna]] at a Philharmonic Society concert on 22 November/4 December 1881, conducted by Hans Richter. The influential music critic Eduard Hanslick (1825–1904) published his notorious review of the concerto in the 24 December 1881 {{NS}} issue of the Viennese newspaper ''Neue Freie Presse'', in which he observed how in the first movement "crudeness" eventually won the upper hand over musical elegance; how the Adagio, with its "gentle Slavic melancholy" reconciled one briefly with the work; but how the Finale then plunged one into "the brutal, sad merriness of a Russian parish fair": "We see nothing but wild, vulgar faces, hear coarse swearing and can literally smell the cheap liquor. Friedrich Vischer [a famous writer on aesthetics] once observed, referring to obscene descriptions in literature, that there are images "which one can see stink". Tchaikovsky's [[Violin Concerto]] suggests the dreadful thought that there might well also be works of music whose stinking one can hear".</ref>		<ref name="note1">[[Adolph Brodsky]] introduced Tchaikovsky's [[Violin Concerto]] to [[Vienna]] at a Philharmonic Society concert on 22 November/4 December 1881, conducted by Hans Richter. The influential music critic Eduard Hanslick (1825–1904) published his notorious review of the concerto in the 24 December 1881 {{NS}} issue of the Viennese newspaper ''Neue Freie Presse'', in which he observed how in the first movement "crudeness" eventually won the upper hand over musical elegance; how the Adagio, with its "gentle Slavic melancholy" reconciled one briefly with the work; but how the Finale then plunged one into "the brutal, sad merriness of a Russian parish fair": "We see nothing but wild, vulgar faces, hear coarse swearing and can literally smell the cheap liquor. Friedrich Vischer [a famous writer on aesthetics] once observed, referring to obscene descriptions in literature, that there are images "which one can see stink". Tchaikovsky's [[Violin Concerto]] suggests the dreadful thought that there might well also be works of music whose stinking one can hear".</ref>
			<ref name="note2">'Spielbarkeit' (German) = "playability".</ref>
	</references>		</references>

Brett at 10:52, 2 August 2022

2022-08-02T10:52:23Z

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	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">[[Adolph Brodsky]] ~~gave the world premiere of~~ Tchaikovsky's [[Violin Concerto]] on 22 November/4 December 1881~~, at a Philharmonic Society concert in [[Vienna]]~~, conducted by Hans Richter. The influential music critic Eduard Hanslick (1825–1904) published his notorious review of the concerto in the 24 December 1881 {{NS}} issue of the Viennese newspaper ''Neue Freie Presse'', in which he observed how in the first movement "crudeness" eventually won the upper hand over musical elegance; how the Adagio, with its "gentle Slavic melancholy" reconciled one briefly with the work; but how the Finale then plunged one into "the brutal, sad merriness of a Russian parish fair": "We see nothing but wild, vulgar faces, hear coarse swearing and can literally smell the cheap liquor. Friedrich Vischer [a famous writer on aesthetics] once observed, referring to obscene descriptions in literature, that there are images "which one can see stink". Tchaikovsky's [[Violin Concerto]] suggests the dreadful thought that there might well also be works of music whose stinking one can hear"~~.</ref>~~		<ref name="note1">[[Adolph Brodsky]] introduced Tchaikovsky's [[Violin Concerto]] to [[Vienna]] at a Philharmonic Society concert on 22 November/4 December 1881, conducted by Hans Richter. The influential music critic Eduard Hanslick (1825–1904) published his notorious review of the concerto in the 24 December 1881 {{NS}} issue of the Viennese newspaper ''Neue Freie Presse'', in which he observed how in the first movement "crudeness" eventually won the upper hand over musical elegance; how the Adagio, with its "gentle Slavic melancholy" reconciled one briefly with the work; but how the Finale then plunged one into "the brutal, sad merriness of a Russian parish fair": "We see nothing but wild, vulgar faces, hear coarse swearing and can literally smell the cheap liquor. Friedrich Vischer [a famous writer on aesthetics] once observed, referring to obscene descriptions in literature, that there are images "which one can see stink". Tchaikovsky's [[Violin Concerto]] suggests the dreadful thought that there might well also be works of music whose stinking one can hear".</ref>
	~~<ref name="note2">German: 'playability'~~.</ref>
	</references>		</references>

Brett: 1 revision imported

2022-07-12T12:25:29Z

1 revision imported

← Older revision	Revision as of 14:25, 12 July 2022
(No difference)

Brett at 11:18, 14 December 2019

2019-12-14T11:18:35Z

New page

{{letterhead
|Date=15/27 December 1881
|To=[[Pyotr Jurgenson]]
|Place=[[Rome]]
|Language=Russian
|Autograph=[[Klin]] (Russia): {{RUS-KLč}} (a{{sup|3}}, No. 2361)
|Publication={{bib|1901/24|Жизнь Петра Ильича Чайковского ; том 2}} (1901), p. 504–505 (abridged)<br/>{{bib|1938/40|П. И. Чайковский. Переписка с П. И. Юргенсоном ; том 1}} (1938), p. 219–220<br/>{{bib|1966/44|П. И. Чайковский. Полное собрание сочинений ; том X}} (1966), p. 294–295
}}
==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''Рим''<br/>15/27 дек[абря] 1881}}
Душа моя! Недавно я зашёл в ''Café'', и попалась мне в руки «''Neue Freie Presse''» со статьёй Ганслика о венских концертах. Между прочим, он отзывается о моем концерте скрипичном и столь курьёзно, что советую тебе достать (к сожалению, я не догадался посмотреть, какой №). Ганслик говорит, что моя музыка ''вонючая'' — eine ''stinkende Musik''! Разумеется, слегка бранит ''Бродского'' за то, что он выбрал этот концерт. Вот в чем дело. Если ты знаешь адрес Бродского, то, пожалуйста, напиши ему, что я ''глубоко тронут'' тем мужеством, которое он выказал, взявшись перед предубеждённой публикой играть вещь столь трудную и, по-видимому, неблагодарную. Когда ''Котек'', мой ближайший друг, струсил и малодушно отменил своё намерение познакомить Петербург с моим концертам (а между тем, это была его прямая обязанность, ибо на его ответственности ''Spielbarkeit'' скрипичной партии), когда ''Ауэр'', которому концерт посвящён, делает мне всякие пакости, — как не быть тронутым и благодарным милому ''Бродскому'', терпящему теперь из-за меня ругательства венских газет. Не везёт мне в критике. В России, с тех пор как ушёл Ларош, нет ни одного дружелюбно н тепло относящегося ко мне рецензент; за границей мою музыку первый авторитет называет ''вонючей''. Ах, чтоб их черти заели!

Напиши, пожалуйста, Бродскому.

Обнимаю.
{{right|П. Чайковский}}
Модест и Кондратьев тебе ''очень'' кланяются.

|Translated text={{right|''[[Rome]]''<br/>15/27 December 1881}}
My dear chap! I recently stopped by at a ''Café'', and happened across the ''Neue Freie Presse'' with an article by Hanslick about the [[Vienna]] concert <ref name="note1"/>. Amongst other things he reviews my [[Violin Concerto|violin concerto]] and it's so curious that I advise you to obtain it (unfortunately I didn't have the presence of mind to note the number). Hanslick says that my music ''stinks'' — eine ''stinkende Musik''! Of course this is a passing swipe at ''[[Brodsky]]'' for having chosen this concerto. The point is this. If you know [[Brodsky]]'s address, then please write to him that I am ''deeply touched'' by the courage he showed by undertaking to play something so difficult before a prejudiced and, it seems, unappreciative audience. When ''[[Kotek]]'', my closest friend, took fright and cravenly abandoned his intention of acquainting the [[Petersburg]] public with my concerto (which by the way he was frankly obliged to do, because the ''Spielbarkeit'' <ref name="note2"/> of the violin part was his responsibility), when ''[[Auer]]'', the dedicatee of the concerto, played all manner of dirty tricks on me — how could I not be touched and grateful to dear ''[[Brodsky]]'', who's now suffering because the Viennese newspapers are cursing me. I don't fare well with the critics. In Russia, ever since [[Laroche]] left, no reviewer has had a single friendly word or warm recommendation from a critic; and the leading authority abroad calls my music ''stinking''. Ah, to hell with them!

Please, write to [[Brodsky]].

I embrace you.
{{right|P. Tchaikovsky}}
[[Modest]] and [[Kondratyev]] send their ''utmost'' regards.

}}
==Notes and References==
<references>
<ref name="note1">[[Adolph Brodsky]] gave the world premiere of Tchaikovsky's [[Violin Concerto]] on 22 November/4 December 1881, at a Philharmonic Society concert in [[Vienna]], conducted by Hans Richter. The influential music critic Eduard Hanslick (1825–1904) published his notorious review of the concerto in the 24 December 1881 {{NS}} issue of the Viennese newspaper ''Neue Freie Presse'', in which he observed how in the first movement "crudeness" eventually won the upper hand over musical elegance; how the Adagio, with its "gentle Slavic melancholy" reconciled one briefly with the work; but how the Finale then plunged one into "the brutal, sad merriness of a Russian parish fair": "We see nothing but wild, vulgar faces, hear coarse swearing and can literally smell the cheap liquor. Friedrich Vischer [a famous writer on aesthetics] once observed, referring to obscene descriptions in literature, that there are images "which one can see stink". Tchaikovsky's [[Violin Concerto]] suggests the dreadful thought that there might well also be works of music whose stinking one can hear".</ref>
<ref name="note2">German: 'playability'.</ref>
</references>