Letter 2747 - Revision history

Brett: Text replacement - "Solovyev" to "Solovyov"

2025-08-21T12:49:57Z

Text replacement - "Solovyev" to "Solovyov"

← Older revision		Revision as of 14:49, 21 August 2025
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	<ref name="note1">Strictly speaking, Tchaikovsky should have said "[[Vakula the Smith]] in its renovated form", because [[Cherevichki]] was the revised version of that earlier opera. The vocal-piano reduction of [[Cherevichki]] had been published by [[Jurgenson]] earlier that summer.</ref>		<ref name="note1">Strictly speaking, Tchaikovsky should have said "[[Vakula the Smith]] in its renovated form", because [[Cherevichki]] was the revised version of that earlier opera. The vocal-piano reduction of [[Cherevichki]] had been published by [[Jurgenson]] earlier that summer.</ref>
	<ref name="note2">In her letter to Tchaikovsky of 3/15 August 1885, [[Emiliya Pavlovskaya]] spoke enthusiastically about [[Cherevichki]], whose piano score she had been studying, and emphasized how happy she was to see that Tchaikovsky had had her in mind when rewriting the part of Oksana. She added that she was now looking for a way in which she might be released from her obligations at the [[Saint Petersburg]] Bolshoi (Kamenny) Theatre so that she could come to [[Moscow]] for a week and sing in some performances of [[Cherevichki]]. (The opera had been accepted only for staging in [[Moscow]]). These hopes were not fulfilled, though, and [[Mariya Klimentova]] was the first to sing Oksana at the opera's premiere at the [[Moscow]] Bolshoi Theatre on 19/31 January 1887. [[Pavlovskaya]]'s letter has been published in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 353–355 .</ref>		<ref name="note2">In her letter to Tchaikovsky of 3/15 August 1885, [[Emiliya Pavlovskaya]] spoke enthusiastically about [[Cherevichki]], whose piano score she had been studying, and emphasized how happy she was to see that Tchaikovsky had had her in mind when rewriting the part of Oksana. She added that she was now looking for a way in which she might be released from her obligations at the [[Saint Petersburg]] Bolshoi (Kamenny) Theatre so that she could come to [[Moscow]] for a week and sing in some performances of [[Cherevichki]]. (The opera had been accepted only for staging in [[Moscow]]). These hopes were not fulfilled, though, and [[Mariya Klimentova]] was the first to sing Oksana at the opera's premiere at the [[Moscow]] Bolshoi Theatre on 19/31 January 1887. [[Pavlovskaya]]'s letter has been published in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 353–355 .</ref>
	<ref name="note3">The scheduled new additions to the repertoire of the [[Saint Petersburg]] Imperial Theatres for the 1885/86 season included [[Bizet]]'s ''Carmen'', [[Eduard Nápravník]]'s ''Harold'', and [[Nikolay ~~Solovyev~~]]'s '' Cordelia''.</ref>		<ref name="note3">The scheduled new additions to the repertoire of the [[Saint Petersburg]] Imperial Theatres for the 1885/86 season included [[Bizet]]'s ''Carmen'', [[Eduard Nápravník]]'s ''Harold'', and [[Nikolay Solovyov]]'s '' Cordelia''.</ref>
	<ref name="note4">[[Dmitry Usatov]] (1847–1913), Russian lyrical tenor. Tchaikovsky dedicated to him the romance '' Death'' (No. 5 of the [[Six Romances, Op. 57]].</ref>		<ref name="note4">[[Dmitry Usatov]] (1847–1913), Russian lyrical tenor. Tchaikovsky dedicated to him the romance '' Death'' (No. 5 of the [[Six Romances, Op. 57]].</ref>
	<ref name="note5">Earlier that day, Tchaikovsky had returned from a brief trip to the village of [[Pleshcheyevo]], where he had gone together with [[Modest]], [[Anatoly]] and the latter's wife and daughter.</ref>		<ref name="note5">Earlier that day, Tchaikovsky had returned from a brief trip to the village of [[Pleshcheyevo]], where he had gone together with [[Modest]], [[Anatoly]] and the latter's wife and daughter.</ref>

Tony: "Kammenyi" to "Kamenny" / "-ize" verbs to "-ise"

2025-01-21T11:23:41Z

"Kammenyi" to "Kamenny" / "-ize" verbs to "-ise"

← Older revision		Revision as of 13:23, 21 January 2025
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	\|Language=Russian		\|Language=Russian
	\|Autograph=[[Moscow]] (Russia): {{RUS-Mt}} (Pavlovskaya collection)		\|Autograph=[[Moscow]] (Russia): {{RUS-Mt}} (Pavlovskaya collection)
	\|Publication={{bibx\|1940/226\|Чайковский на Московской сцене}} (1940), p. 356–357<br/>{{bib\|1971/89\|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 125–126. }}		\|Publication={{bibx\|1940/226\|Чайковский на Московской сцене}} (1940), p. 356–357<br/>{{bib\|1971/89\|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 125–126 }}

	==Text and Translation==		==Text and Translation==
Line 25:		Line 25:
	\|Translated text={{right\|10 August 1885<br/>[[Maydanovo]] village}}		\|Translated text={{right\|10 August 1885<br/>[[Maydanovo]] village}}
	{{centre\|My dear and ever so kind [[Emiliya Karlovna]]!}}		{{centre\|My dear and ever so kind [[Emiliya Karlovna]]!}}
	On my return from a trip to see some relatives I found your letter waiting for me here. It made me extremely happy. Until now I hadn't shown ''[[Cherevichki]]'' in its renovated form to anyone <ref name="note1"/>, I had received no one's opinion or response, and that is why it was especially pleasant for me that the first agreeable response should come to me from you, my ever so nice benefactress <ref name="note2"/>. It goes without saying that there was no one I wanted to please more than you, since I place great hopes on your performance of the role of Oksana. But when will this happen?! It will be very difficult to ~~organize~~ this in [[Moscow]]. I am by no means afraid of the possibility of Miss [[Klimentova]] being angry at me — let her be angry if such is her temperament. No, what worries me is that all the principal roles in the new operas in [[Petersburg]] have been allocated to you <ref name="note3"/>, and, consequently, it seems very improbable that they would release you so that you can come to [[Moscow]], even if only for a short time. It is far more likely that I shall get to experience the joy of seeing you in the role of Oksana in [[Petersburg]] during the season coming after this one. Maybe I shall live to see this! But for the time being I can rejoice at the thought that this role is to your liking. You were indeed vividly present in my imagination when I worked on the revision of my opera this spring.		On my return from a trip to see some relatives, I found your letter waiting for me here. It made me extremely happy. Until now I hadn't shown ''[[Cherevichki]]'' in its renovated form to anyone <ref name="note1"/>, I had received no one's opinion or response, and that is why it was especially pleasant for me that the first agreeable response should come to me from you, my ever so nice benefactress <ref name="note2"/>. It goes without saying that there was no one I wanted to please more than you, since I place great hopes on your performance of the role of Oksana. But when will this happen?! It will be very difficult to organise this in [[Moscow]]. I am by no means afraid of the possibility of Miss [[Klimentova]] being angry at me — let her be angry if such is her temperament. No, what worries me is that all the principal roles in the new operas in [[Petersburg]] have been allocated to you <ref name="note3"/>, and, consequently, it seems very improbable that they would release you so that you can come to [[Moscow]], even if only for a short time. It is far more likely that I shall get to experience the joy of seeing you in the role of Oksana in [[Petersburg]] during the season coming after this one. Maybe I shall live to see this! But for the time being I can rejoice at the thought that this role is to your liking. You were indeed vividly present in my imagination when I worked on the revision of my opera this spring.

	As for my [[Moscow]] cast, I must say — this is between you and me — that ''Oksana'' worries me far less than does ''Vakula''. With her pretty little voice, her good looks and those manners she has of a simple ''country lass'', [[Klimentova]] will in any case not be bad, although in my eyes she ''cannot'' replace you, not even one-hundredth part of you. But my dear ''[[Usatov]]'' <ref name="note4"/>, all my respect and sympathy for his merits notwithstanding, seems to me very unsuitable for the role of Vakula, and I am very, very worried on his account.		As for my [[Moscow]] cast, I must say — this is between you and me — that ''Oksana'' worries me far less than does ''Vakula''. With her pretty little voice, her good looks and those manners she has of a simple ''country lass'', [[Klimentova]] will in any case not be bad, although in my eyes she ''cannot'' replace you, not even one-hundredth part of you. But my dear ''[[Usatov]]'' <ref name="note4"/>, all my respect and sympathy for his merits notwithstanding, seems to me very unsuitable for the role of Vakula, and I am very, very worried on his account.

	I am ''frightfully, incredibly'' tired as a result of my current work, and for the sake of taking a small break I went down the Kursk railway on a trip to a village <ref name="note5"/>. But alas! I have at least a month of hard work to do left. On the other hand, I think that [[Manfred\|my symphony]] will turn out to be the best of all my compositions in the symphonic genre. You must give me your word of honour that when it is played in [[Petersburg]] you will go and hear it. I take great pride in this work and I want those people whose sympathy I value more than anything else in the world (among whom you are in the foremost row) to experience, when listening to it, a reflection of the delight with which I wrote this thing. Oh! if only I could be through quicker with my current heavy labour <ref name="note6"/>. Then I would probably make a trip to [[Petersburg]] and call on you. Anyway, for now I kiss your hand very warmly.		I am ''frightfully, incredibly'' tired as a result of my current work, and for the sake of taking a small break I went down the Kursk railway on a trip to a village <ref name="note5"/>. But alas! I have at least a month of hard work to do left. On the other hand, I think that [[Manfred\|my symphony]] will turn out to be the best of all my compositions in the symphonic genre. You must give me your word of honour that when it is played in [[Petersburg]] you will go and hear it. I take great pride in this work, and I want those people whose sympathy I value more than anything else in the world (among whom you are in the foremost row) to experience, when listening to it, a reflection of the delight with which I wrote this thing. Oh! if only I could be through quicker with my current heavy labour <ref name="note6"/>. Then I would probably make a trip to [[Petersburg]] and call on you. Anyway, for now I kiss your hand very warmly.

	Yours unto the grave,		Yours unto the grave,
Line 38:		Line 38:
	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">Strictly speaking, Tchaikovsky should have said "''[[Vakula the Smith]]'' in its renovated form", because ''[[Cherevichki]]'' was the revised version of that earlier opera. The vocal-piano reduction of ''[[Cherevichki]]'' had been published by [[Jurgenson]] earlier that summer.</ref>		<ref name="note1">Strictly speaking, Tchaikovsky should have said "[[Vakula the Smith]] in its renovated form", because [[Cherevichki]] was the revised version of that earlier opera. The vocal-piano reduction of [[Cherevichki]] had been published by [[Jurgenson]] earlier that summer.</ref>
	<ref name="note2">In her letter to Tchaikovsky of 3/15 August 1885 [[Emiliya Pavlovskaya]] spoke enthusiastically about ''[[Cherevichki]]'', whose piano score she had been studying, and emphasized how happy she was to see that Tchaikovsky had had her in mind when rewriting the part of Oksana. She added that she was now looking for a way in which she might be released from her obligations at the [[Saint Petersburg]] Bolshoi (~~Kamennyi~~) Theatre so that she could come to [[Moscow]] for a week and sing in some performances of ''[[Cherevichki]]''. (The opera had been accepted only for staging in [[Moscow]]). These hopes were not fulfilled, though, and [[Mariya Klimentova]] was the first to sing Oksana at the opera's premiere at the [[Moscow]] Bolshoi Theatre on 19/31 January 1887. [[Pavlovskaya]]'s letter has been published in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 353–355 .</ref>		<ref name="note2">In her letter to Tchaikovsky of 3/15 August 1885, [[Emiliya Pavlovskaya]] spoke enthusiastically about [[Cherevichki]], whose piano score she had been studying, and emphasized how happy she was to see that Tchaikovsky had had her in mind when rewriting the part of Oksana. She added that she was now looking for a way in which she might be released from her obligations at the [[Saint Petersburg]] Bolshoi (Kamenny) Theatre so that she could come to [[Moscow]] for a week and sing in some performances of [[Cherevichki]]. (The opera had been accepted only for staging in [[Moscow]]). These hopes were not fulfilled, though, and [[Mariya Klimentova]] was the first to sing Oksana at the opera's premiere at the [[Moscow]] Bolshoi Theatre on 19/31 January 1887. [[Pavlovskaya]]'s letter has been published in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 353–355 .</ref>
	<ref name="note3">The scheduled new additions to the repertoire of the [[Saint Petersburg]] Imperial Theatres for the 1885/86 season included [[Bizet]]'s ''Carmen'', [[Eduard Nápravník]]'s ''Harold'', and [[Nikolay Solovyev]]'s '' Cordelia''.</ref>		<ref name="note3">The scheduled new additions to the repertoire of the [[Saint Petersburg]] Imperial Theatres for the 1885/86 season included [[Bizet]]'s ''Carmen'', [[Eduard Nápravník]]'s ''Harold'', and [[Nikolay Solovyev]]'s '' Cordelia''.</ref>
	<ref name="note4">[[Dmitry Usatov]] (1847–1913), Russian lyrical tenor. Tchaikovsky dedicated to him the romance '' Death'' (No. 5 of the [[Six Romances, Op. 57]].</ref>		<ref name="note4">[[Dmitry Usatov]] (1847–1913), Russian lyrical tenor. Tchaikovsky dedicated to him the romance '' Death'' (No. 5 of the [[Six Romances, Op. 57]].</ref>
	<ref name="note5">Earlier that day Tchaikovsky had returned from a brief trip to the village of [[Pleshcheyevo]], where he had gone together with [[Modest]], [[Anatoly]], and the latter's wife and daughter.</ref>		<ref name="note5">Earlier that day, Tchaikovsky had returned from a brief trip to the village of [[Pleshcheyevo]], where he had gone together with [[Modest]], [[Anatoly]] and the latter's wife and daughter.</ref>
	<ref name="note6">Tchaikovsky had completed the rough sketches for the ''[[Manfred]]'' symphony in early/mid July 1885, but its orchestration over the following months cost him a great deal of effort.</ref>		<ref name="note6">Tchaikovsky had completed the rough sketches for the ''[[Manfred]]'' symphony in early/mid-July 1885, but its orchestration over the following months cost him a great deal of effort.</ref>
	<ref name="note7">[[Emiliya Pavlovskaya]]'s husband, Sergey Yevgrafovich Pavlovsky (1846–1915), was also a singer (a baritone) and a member of the [[Saint Petersburg]] Mariinsky Theatre's troupe. Tchaikovsky added this note at the top of the first page of the letter.</ref>		<ref name="note7">[[Emiliya Pavlovskaya]]'s husband, Sergey Yevgrafovich Pavlovsky (1846–1915), was also a singer (a baritone) and a member of the [[Saint Petersburg]] Mariinsky Theatre's troupe. Tchaikovsky added this note at the top of the first page of the letter.</ref>
	</references>		</references>

Brett: Text replacement - " sympathetic " to " agreeable "

2024-07-18T19:19:56Z

Text replacement - " sympathetic " to " agreeable "

← Older revision		Revision as of 21:19, 18 July 2024
Line 25:		Line 25:
	\|Translated text={{right\|10 August 1885<br/>[[Maydanovo]] village}}		\|Translated text={{right\|10 August 1885<br/>[[Maydanovo]] village}}
	{{centre\|My dear and ever so kind [[Emiliya Karlovna]]!}}		{{centre\|My dear and ever so kind [[Emiliya Karlovna]]!}}
	On my return from a trip to see some relatives I found your letter waiting for me here. It made me extremely happy. Until now I hadn't shown ''[[Cherevichki]]'' in its renovated form to anyone <ref name="note1"/>, I had received no one's opinion or response, and that is why it was especially pleasant for me that the first ~~sympathetic~~ response should come to me from you, my ever so nice benefactress <ref name="note2"/>. It goes without saying that there was no one I wanted to please more than you, since I place great hopes on your performance of the role of Oksana. But when will this happen?! It will be very difficult to organize this in [[Moscow]]. I am by no means afraid of the possibility of Miss [[Klimentova]] being angry at me — let her be angry if such is her temperament. No, what worries me is that all the principal roles in the new operas in [[Petersburg]] have been allocated to you <ref name="note3"/>, and, consequently, it seems very improbable that they would release you so that you can come to [[Moscow]], even if only for a short time. It is far more likely that I shall get to experience the joy of seeing you in the role of Oksana in [[Petersburg]] during the season coming after this one. Maybe I shall live to see this! But for the time being I can rejoice at the thought that this role is to your liking. You were indeed vividly present in my imagination when I worked on the revision of my opera this spring.		On my return from a trip to see some relatives I found your letter waiting for me here. It made me extremely happy. Until now I hadn't shown ''[[Cherevichki]]'' in its renovated form to anyone <ref name="note1"/>, I had received no one's opinion or response, and that is why it was especially pleasant for me that the first agreeable response should come to me from you, my ever so nice benefactress <ref name="note2"/>. It goes without saying that there was no one I wanted to please more than you, since I place great hopes on your performance of the role of Oksana. But when will this happen?! It will be very difficult to organize this in [[Moscow]]. I am by no means afraid of the possibility of Miss [[Klimentova]] being angry at me — let her be angry if such is her temperament. No, what worries me is that all the principal roles in the new operas in [[Petersburg]] have been allocated to you <ref name="note3"/>, and, consequently, it seems very improbable that they would release you so that you can come to [[Moscow]], even if only for a short time. It is far more likely that I shall get to experience the joy of seeing you in the role of Oksana in [[Petersburg]] during the season coming after this one. Maybe I shall live to see this! But for the time being I can rejoice at the thought that this role is to your liking. You were indeed vividly present in my imagination when I worked on the revision of my opera this spring.

	As for my [[Moscow]] cast, I must say — this is between you and me — that ''Oksana'' worries me far less than does ''Vakula''. With her pretty little voice, her good looks and those manners she has of a simple ''country lass'', [[Klimentova]] will in any case not be bad, although in my eyes she ''cannot'' replace you, not even one-hundredth part of you. But my dear ''[[Usatov]]'' <ref name="note4"/>, all my respect and sympathy for his merits notwithstanding, seems to me very unsuitable for the role of Vakula, and I am very, very worried on his account.		As for my [[Moscow]] cast, I must say — this is between you and me — that ''Oksana'' worries me far less than does ''Vakula''. With her pretty little voice, her good looks and those manners she has of a simple ''country lass'', [[Klimentova]] will in any case not be bad, although in my eyes she ''cannot'' replace you, not even one-hundredth part of you. But my dear ''[[Usatov]]'' <ref name="note4"/>, all my respect and sympathy for his merits notwithstanding, seems to me very unsuitable for the role of Vakula, and I am very, very worried on his account.

Brett at 13:14, 16 September 2023

2023-09-16T13:14:59Z

← Older revision		Revision as of 15:14, 16 September 2023
Line 27:		Line 27:
	On my return from a trip to see some relatives I found your letter waiting for me here. It made me extremely happy. Until now I hadn't shown ''[[Cherevichki]]'' in its renovated form to anyone <ref name="note1"/>, I had received no one's opinion or response, and that is why it was especially pleasant for me that the first sympathetic response should come to me from you, my ever so nice benefactress <ref name="note2"/>. It goes without saying that there was no one I wanted to please more than you, since I place great hopes on your performance of the role of Oksana. But when will this happen?! It will be very difficult to organize this in [[Moscow]]. I am by no means afraid of the possibility of Miss [[Klimentova]] being angry at me — let her be angry if such is her temperament. No, what worries me is that all the principal roles in the new operas in [[Petersburg]] have been allocated to you <ref name="note3"/>, and, consequently, it seems very improbable that they would release you so that you can come to [[Moscow]], even if only for a short time. It is far more likely that I shall get to experience the joy of seeing you in the role of Oksana in [[Petersburg]] during the season coming after this one. Maybe I shall live to see this! But for the time being I can rejoice at the thought that this role is to your liking. You were indeed vividly present in my imagination when I worked on the revision of my opera this spring.		On my return from a trip to see some relatives I found your letter waiting for me here. It made me extremely happy. Until now I hadn't shown ''[[Cherevichki]]'' in its renovated form to anyone <ref name="note1"/>, I had received no one's opinion or response, and that is why it was especially pleasant for me that the first sympathetic response should come to me from you, my ever so nice benefactress <ref name="note2"/>. It goes without saying that there was no one I wanted to please more than you, since I place great hopes on your performance of the role of Oksana. But when will this happen?! It will be very difficult to organize this in [[Moscow]]. I am by no means afraid of the possibility of Miss [[Klimentova]] being angry at me — let her be angry if such is her temperament. No, what worries me is that all the principal roles in the new operas in [[Petersburg]] have been allocated to you <ref name="note3"/>, and, consequently, it seems very improbable that they would release you so that you can come to [[Moscow]], even if only for a short time. It is far more likely that I shall get to experience the joy of seeing you in the role of Oksana in [[Petersburg]] during the season coming after this one. Maybe I shall live to see this! But for the time being I can rejoice at the thought that this role is to your liking. You were indeed vividly present in my imagination when I worked on the revision of my opera this spring.

	As for my [[Moscow]] cast, I must say — this is between you and me — that ''Oksana'' worries me far less than does ''Vakula''. With her pretty little voice, her good looks and those manners she has of a simple ''country lass'', [[Klimentova]] will in any case not be bad, although in my eyes she ''cannot'' replace you, not even one-hundredth part of you. But my dear ''Usatov'' <ref name="note4"/>, all my respect and sympathy for his merits notwithstanding, seems to me very unsuitable for the role of Vakula, and I am very, very worried on his account.		As for my [[Moscow]] cast, I must say — this is between you and me — that ''Oksana'' worries me far less than does ''Vakula''. With her pretty little voice, her good looks and those manners she has of a simple ''country lass'', [[Klimentova]] will in any case not be bad, although in my eyes she ''cannot'' replace you, not even one-hundredth part of you. But my dear ''[[Usatov]]'' <ref name="note4"/>, all my respect and sympathy for his merits notwithstanding, seems to me very unsuitable for the role of Vakula, and I am very, very worried on his account.

	I am ''frightfully, incredibly'' tired as a result of my current work, and for the sake of taking a small break I went down the Kursk railway on a trip to a village <ref name="note5"/>. But alas! I have at least a month of hard work to do left. On the other hand, I think that [[Manfred\|my symphony]] will turn out to be the best of all my compositions in the symphonic genre. You must give me your word of honour that when it is played in [[Petersburg]] you will go and hear it. I take great pride in this work and I want those people whose sympathy I value more than anything else in the world (among whom you are in the foremost row) to experience, when listening to it, a reflection of the delight with which I wrote this thing. Oh! if only I could be through quicker with my current heavy labour <ref name="note6"/>. Then I would probably make a trip to [[Petersburg]] and call on you. Anyway, for now I kiss your hand very warmly.		I am ''frightfully, incredibly'' tired as a result of my current work, and for the sake of taking a small break I went down the Kursk railway on a trip to a village <ref name="note5"/>. But alas! I have at least a month of hard work to do left. On the other hand, I think that [[Manfred\|my symphony]] will turn out to be the best of all my compositions in the symphonic genre. You must give me your word of honour that when it is played in [[Petersburg]] you will go and hear it. I take great pride in this work and I want those people whose sympathy I value more than anything else in the world (among whom you are in the foremost row) to experience, when listening to it, a reflection of the delight with which I wrote this thing. Oh! if only I could be through quicker with my current heavy labour <ref name="note6"/>. Then I would probably make a trip to [[Petersburg]] and call on you. Anyway, for now I kiss your hand very warmly.
Line 41:		Line 41:
	<ref name="note2">In her letter to Tchaikovsky of 3/15 August 1885 [[Emiliya Pavlovskaya]] spoke enthusiastically about ''[[Cherevichki]]'', whose piano score she had been studying, and emphasized how happy she was to see that Tchaikovsky had had her in mind when rewriting the part of Oksana. She added that she was now looking for a way in which she might be released from her obligations at the [[Saint Petersburg]] Bolshoi (Kamennyi) Theatre so that she could come to [[Moscow]] for a week and sing in some performances of ''[[Cherevichki]]''. (The opera had been accepted only for staging in [[Moscow]]). These hopes were not fulfilled, though, and [[Mariya Klimentova]] was the first to sing Oksana at the opera's premiere at the [[Moscow]] Bolshoi Theatre on 19/31 January 1887. [[Pavlovskaya]]'s letter has been published in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 353–355 .</ref>		<ref name="note2">In her letter to Tchaikovsky of 3/15 August 1885 [[Emiliya Pavlovskaya]] spoke enthusiastically about ''[[Cherevichki]]'', whose piano score she had been studying, and emphasized how happy she was to see that Tchaikovsky had had her in mind when rewriting the part of Oksana. She added that she was now looking for a way in which she might be released from her obligations at the [[Saint Petersburg]] Bolshoi (Kamennyi) Theatre so that she could come to [[Moscow]] for a week and sing in some performances of ''[[Cherevichki]]''. (The opera had been accepted only for staging in [[Moscow]]). These hopes were not fulfilled, though, and [[Mariya Klimentova]] was the first to sing Oksana at the opera's premiere at the [[Moscow]] Bolshoi Theatre on 19/31 January 1887. [[Pavlovskaya]]'s letter has been published in {{bibx\|1940/226\| Чайковский на московской сцене}} (1940), p. 353–355 .</ref>
	<ref name="note3">The scheduled new additions to the repertoire of the [[Saint Petersburg]] Imperial Theatres for the 1885/86 season included [[Bizet]]'s ''Carmen'', [[Eduard Nápravník]]'s ''Harold'', and [[Nikolay Solovyev]]'s '' Cordelia''.</ref>		<ref name="note3">The scheduled new additions to the repertoire of the [[Saint Petersburg]] Imperial Theatres for the 1885/86 season included [[Bizet]]'s ''Carmen'', [[Eduard Nápravník]]'s ''Harold'', and [[Nikolay Solovyev]]'s '' Cordelia''.</ref>
	<ref name="note4">Dmitry ~~Andreyevich~~ Usatov (1847–1913), Russian lyrical tenor. Tchaikovsky dedicated to him the romance '' Death'' (No. 5 of the [[Six Romances, Op. 57]].</ref>		<ref name="note4">[[Dmitry Usatov]] (1847–1913), Russian lyrical tenor. Tchaikovsky dedicated to him the romance '' Death'' (No. 5 of the [[Six Romances, Op. 57]].</ref>
	<ref name="note5">Earlier that day Tchaikovsky had returned from a brief trip to the village of [[Pleshcheyevo]], where he had gone together with [[Modest]], [[Anatoly]], and the latter's wife and daughter.</ref>		<ref name="note5">Earlier that day Tchaikovsky had returned from a brief trip to the village of [[Pleshcheyevo]], where he had gone together with [[Modest]], [[Anatoly]], and the latter's wife and daughter.</ref>
	<ref name="note6">Tchaikovsky had completed the rough sketches for the ''[[Manfred]]'' symphony in early/mid July 1885, but its orchestration over the following months cost him a great deal of effort.</ref>		<ref name="note6">Tchaikovsky had completed the rough sketches for the ''[[Manfred]]'' symphony in early/mid July 1885, but its orchestration over the following months cost him a great deal of effort.</ref>
	<ref name="note7">[[Emiliya Pavlovskaya]]'s husband, Sergey Yevgrafovich Pavlovsky (1846–1915), was also a singer (a baritone) and a member of the [[Saint Petersburg]] Mariinsky Theatre's troupe. Tchaikovsky added this note at the top of the first page of the letter.</ref>		<ref name="note7">[[Emiliya Pavlovskaya]]'s husband, Sergey Yevgrafovich Pavlovsky (1846–1915), was also a singer (a baritone) and a member of the [[Saint Petersburg]] Mariinsky Theatre's troupe. Tchaikovsky added this note at the top of the first page of the letter.</ref>
	</references>		</references>

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{{letterhead
|Date=10/22 August 1885
|To=[[Emiliya Pavlovskaya]]
|Place=[[Maydanovo]]
|Language=Russian
|Autograph=[[Moscow]] (Russia): {{RUS-Mt}} (Pavlovskaya collection)
|Publication={{bibx|1940/226|Чайковский на Московской сцене}} (1940), p. 356–357<br/>{{bib|1971/89|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 125–126. }}

==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Luis Sundkvist
|Original text={{right|10 августа 1885<br/>с[ело] Майданово}}
{{centre|Дорогая, добрейшая моя Эмилия Карловна!}}
Возвратившись из поездки к родным, нашёл здесь письмо Ваше, до крайности меня обрадовавшее. До сих пор я ещё никому не показывал ''Черевичек'' в обновленном виде, ничьего мнения и отзыва не получал, а потому мне особенно приятно, что первый сочувственный отзыв пришёл мне от Вас, моя симпатичнейшая благодетельница. Уж, конечно, никому я так не желал угодить, как Вам, ибо возлагаю большие надежды на Ваше исполнение роли Оксаны. Когда-то это будет! В Москве это очень трудно будет устроить. Я не того вовсе боюсь, что Г-жа Климентова рассердится: пусть её сердится, если таков её нрав; но того боюсь, что на Вас в Петербурге возложены все главные партии новых опер и, следовательно, трудно предположить, чтобы Вас отпустили в Москву, хотя бы и не надолго. Вероятнее всего, что мне придётся испытать радость видеть Вас в роли Оксаны в Петербурге в дальнейшем за наступающим теперь сезоне. Авось, доживу до этого! А покамест буду радоваться при мысли, что роль Вам по сердцу. Я в самом деле живо воображал себе Вас, когда весной занимался переработкой оперы.

Что касается моих Московских исполнителей, то, между нами будь сказано, меня гораздо менее беспокоит ''Оксана'', чем ''Вакула''. Климентова с её хорошеньким голоском, с её наружностью и ухватками простой ''девчины'' будет во всяком случае не дурна, хотя ''не'' заменит для меня и Вашей сотой частички. Но милейший мой ''Усатов'', несмотря на всё моё уважение и сочувствие к его достоинствам, кажется мне мало подходящим к партии Вакулы, и я очень, очень беспокоюсь на этот счёт. Ну, да там увидим!

Я ''страшно, неимоверно'' устал от своей теперешней работы и ради небольшого отдыха совершил поездку в деревню по Курской жел. дор. Но увы! мне остаётся ещё по крайней мере месяц трудной работы. Зато, мне кажется, что симфония моя будет лучшим из всех моих сочинений в симфоническом роде. Беру с Вас слово, что, когда её будут играть в Петербурге, Вы пойдёте слушать. Я очень горжусь этим произведением и хочу, чтобы люди, сочувствием которых больше всего на свете дорожу (а Вы между ними в первейшем ряду), испытывали, слушая его, отражение восторга, с которым я писал эту вещь. Ах! лишь бы с теперешней чёрной работой поскорее разделаться. Тогда я, вероятно, в Петербург съезжу и Вас повидаю. А покамест крепко, крепко целую Вашу ручку.

Ваш до гроба,
{{right|П. Чайковский}}
Сергею Евграфовичу и сестре Вашей потрудитесь передать мои приветствия.

|Translated text={{right|10 August 1885<br/>[[Maydanovo]] village}}
{{centre|My dear and ever so kind [[Emiliya Karlovna]]!}}
On my return from a trip to see some relatives I found your letter waiting for me here. It made me extremely happy. Until now I hadn't shown ''[[Cherevichki]]'' in its renovated form to anyone <ref name="note1"/>, I had received no one's opinion or response, and that is why it was especially pleasant for me that the first sympathetic response should come to me from you, my ever so nice benefactress <ref name="note2"/>. It goes without saying that there was no one I wanted to please more than you, since I place great hopes on your performance of the role of Oksana. But when will this happen?! It will be very difficult to organize this in [[Moscow]]. I am by no means afraid of the possibility of Miss [[Klimentova]] being angry at me — let her be angry if such is her temperament. No, what worries me is that all the principal roles in the new operas in [[Petersburg]] have been allocated to you <ref name="note3"/>, and, consequently, it seems very improbable that they would release you so that you can come to [[Moscow]], even if only for a short time. It is far more likely that I shall get to experience the joy of seeing you in the role of Oksana in [[Petersburg]] during the season coming after this one. Maybe I shall live to see this! But for the time being I can rejoice at the thought that this role is to your liking. You were indeed vividly present in my imagination when I worked on the revision of my opera this spring.

As for my [[Moscow]] cast, I must say — this is between you and me — that ''Oksana'' worries me far less than does ''Vakula''. With her pretty little voice, her good looks and those manners she has of a simple ''country lass'', [[Klimentova]] will in any case not be bad, although in my eyes she ''cannot'' replace you, not even one-hundredth part of you. But my dear ''Usatov'' <ref name="note4"/>, all my respect and sympathy for his merits notwithstanding, seems to me very unsuitable for the role of Vakula, and I am very, very worried on his account.

I am ''frightfully, incredibly'' tired as a result of my current work, and for the sake of taking a small break I went down the Kursk railway on a trip to a village <ref name="note5"/>. But alas! I have at least a month of hard work to do left. On the other hand, I think that [[Manfred|my symphony]] will turn out to be the best of all my compositions in the symphonic genre. You must give me your word of honour that when it is played in [[Petersburg]] you will go and hear it. I take great pride in this work and I want those people whose sympathy I value more than anything else in the world (among whom you are in the foremost row) to experience, when listening to it, a reflection of the delight with which I wrote this thing. Oh! if only I could be through quicker with my current heavy labour <ref name="note6"/>. Then I would probably make a trip to [[Petersburg]] and call on you. Anyway, for now I kiss your hand very warmly.

Yours unto the grave,
{{right|P. Tchaikovsky}}
Be so kind as to give my greetings to Sergey Yevgrafovich and your sister <ref name="note7"/>.
}}

==Notes and References==
<references>
<ref name="note1">Strictly speaking, Tchaikovsky should have said "''[[Vakula the Smith]]'' in its renovated form", because ''[[Cherevichki]]'' was the revised version of that earlier opera. The vocal-piano reduction of ''[[Cherevichki]]'' had been published by [[Jurgenson]] earlier that summer.</ref>
<ref name="note2">In her letter to Tchaikovsky of 3/15 August 1885 [[Emiliya Pavlovskaya]] spoke enthusiastically about ''[[Cherevichki]]'', whose piano score she had been studying, and emphasized how happy she was to see that Tchaikovsky had had her in mind when rewriting the part of Oksana. She added that she was now looking for a way in which she might be released from her obligations at the [[Saint Petersburg]] Bolshoi (Kamennyi) Theatre so that she could come to [[Moscow]] for a week and sing in some performances of ''[[Cherevichki]]''. (The opera had been accepted only for staging in [[Moscow]]). These hopes were not fulfilled, though, and [[Mariya Klimentova]] was the first to sing Oksana at the opera's premiere at the [[Moscow]] Bolshoi Theatre on 19/31 January 1887. [[Pavlovskaya]]'s letter has been published in {{bibx|1940/226| Чайковский на московской сцене}} (1940), p. 353–355 .</ref>
<ref name="note3">The scheduled new additions to the repertoire of the [[Saint Petersburg]] Imperial Theatres for the 1885/86 season included [[Bizet]]'s ''Carmen'', [[Eduard Nápravník]]'s ''Harold'', and [[Nikolay Solovyev]]'s '' Cordelia''.</ref>
<ref name="note4">Dmitry Andreyevich Usatov (1847–1913), Russian lyrical tenor. Tchaikovsky dedicated to him the romance '' Death'' (No. 5 of the [[Six Romances, Op. 57]].</ref>
<ref name="note5">Earlier that day Tchaikovsky had returned from a brief trip to the village of [[Pleshcheyevo]], where he had gone together with [[Modest]], [[Anatoly]], and the latter's wife and daughter.</ref>
<ref name="note6">Tchaikovsky had completed the rough sketches for the ''[[Manfred]]'' symphony in early/mid July 1885, but its orchestration over the following months cost him a great deal of effort.</ref>
<ref name="note7">[[Emiliya Pavlovskaya]]'s husband, Sergey Yevgrafovich Pavlovsky (1846–1915), was also a singer (a baritone) and a member of the [[Saint Petersburg]] Mariinsky Theatre's troupe. Tchaikovsky added this note at the top of the first page of the letter.</ref>
</references>