Letter 2912 - Revision history

Tony: Omitted commas after notes, spacing around em dash

2025-01-29T11:28:42Z

Omitted commas after notes, spacing around em dash

← Older revision		Revision as of 13:28, 29 January 2025
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	\|Language=Russian		\|Language=Russian
	\|Autograph=[[Saint Petersburg]] (Russia): {{RUS-SPsc}} (ф. 834, ед. хр. 12, л. 34–36)		\|Autograph=[[Saint Petersburg]] (Russia): {{RUS-SPsc}} (ф. 834, ед. хр. 12, л. 34–36)
	\|Publication={{bib\|1912/19\|Переписка М. А. Балакирева и П. И. Чайковского}} [1912], p. 95–96<br/>{{bibx\|1962/71\|Милий Алексеевич Балакирев. Воспоминания и письма}} (1962), p. 181–182<br/>{{bib\|1971/89\|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 298–299. }}		\|Publication={{bib\|1912/19\|Переписка М. А. Балакирева и П. И. Чайковского}} [1912], p. 95–96<br/>{{bibx\|1962/71\|Милий Алексеевич Балакирев. Воспоминания и письма}} (1962), p. 181–182<br/>{{bib\|1971/89\|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 298–299 }}

	==Text and Translation==		==Text and Translation==
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	\|Translated text={{right\|13 March 1886, village of [[Maydanovo]]}}		\|Translated text={{right\|13 March 1886, village of [[Maydanovo]]}}
	{{centre\|Dear friend [[Mily Alekseyevich]]!}}		{{centre\|Dear friend [[Mily Alekseyevich]]!}}
	First of all, I thank you wholeheartedly for [looking through] the four-handed arrangement and for your excellent corrections <ref name="note1"/>,. With all my heart I thank you for them. Secondly, I would like to share with you the impressions I had while hearing [[Manfred]] at rehearsals (at the concert I didn't hear ~~it—that~~ is, I was listening from a distance). On the whole, the performance was excellent <ref name="note2"/>,. There were just ''five'' rehearsals, with the first one lasting six hours (including a break), i.e. the strings went through their parts separately, and after them the wind section. The tempi were observed correctly, and I must do full justice both to the conductor and the orchestra in that they put in a lot of effort and hard work. In performance the first movement proved without doubt to be the best. The ''Scherzo'' was played at a very quick tempo. While listening to it I didn't experience any disappointment (which happens to me quite often), but, if I am not mistaken, it is written in such an impractical and difficult way that, with the exception of [[Moscow]], where the musicians are in general very well-disposed towards me, no orchestra will probably want, or be able, to play it. The ''Andante'' sounds not bad. The ''finale'' gains ''a lot'' in performance, and from the audience's point of view it turned out to be the most effective movement. In general I had the impression that the [[Moscow]] public, whose good graces I enjoy in particular, ''didn't like [[Manfred]]''. On the other hand, with each rehearsal the orchestra players were filled with ever greater enthusiasm, and during the general rehearsal they tapped their bows and instruments loudly and for a long time at the end of each movement.		First of all, I thank you wholeheartedly for [looking through] the four-handed arrangement and for your excellent corrections <ref name="note1"/>. With all my heart I thank you for them. Secondly, I would like to share with you the impressions I had while hearing [[Manfred]] at rehearsals (at the concert I didn't hear it — that is, I was listening from a distance). On the whole, the performance was excellent <ref name="note2"/>. There were just ''five'' rehearsals, with the first one lasting six hours (including a break), i.e. the strings went through their parts separately, and after them the wind section. The tempi were observed correctly, and I must do full justice both to the conductor and the orchestra in that they put in a lot of effort and hard work. In performance, the first movement proved without doubt to be the best. The ''Scherzo'' was played at a very quick tempo. While listening to it I didn't experience any disappointment (which happens to me quite often), but, if I am not mistaken, it is written in such an impractical and difficult way that, with the exception of [[Moscow]], where the musicians are in general very well-disposed towards me, no orchestra will probably want, or be able, to play it. The ''Andante'' sounds not bad. The ''finale'' gains ''a lot'' in performance, and from the audience's point of view it turned out to be the most effective movement. In general, I had the impression that the [[Moscow]] public, whose good graces I enjoy in particular, ''didn't like [[Manfred]]''. On the other hand, with each rehearsal the orchestra players were filled with ever greater enthusiasm, and during the general rehearsal they tapped their bows and instruments loudly and for a long time at the end of each movement.

	Among my closest friends some are staunchly for ''[[Manfred]]'', while others are unhappy with it and say that I am ''not myself'' in this work, that it is as if I had covered myself with a mask. I for my part believe that this is my best symphonic composition, but that, because of its complicated and impractical nature, it is doomed to ''failure'' and to suffer the fate of ''being ignored''.		Among my closest friends, some are staunchly for ''[[Manfred]]'', while others are unhappy with it and say that I am ''not myself'' in this work, that it is as if I had covered myself with a mask. I for my part believe that this is my best symphonic composition, but that, because of its complicated and impractical nature, it is doomed to ''failure'' and to suffer the fate of ''being ignored''.

	My brother <ref name="note3"/>, who is going to [[Petersburg]] tomorrow, will bring you four copies of [[Manfred]]. One is for you; the others I kindly ask you to pass on to [[Nikolay Andreyevich Rimsky-Korsakov]], [[Lyadov]], and [[Glazunov]]. In addition, I am also sending you the [[Third Suite]].		My brother <ref name="note3"/>, who is going to [[Petersburg]] tomorrow, will bring you four copies of [[Manfred]]. One is for you; the others I kindly ask you to pass on to [[Nikolay Andreyevich Rimsky-Korsakov]], [[Lyadov]] and [[Glazunov]]. In addition, I am also sending you the [[Third Suite]].

	Goodbye, most kind friend; once again I thank you from the bottom of my heart.		Goodbye, most kind friend; once again I thank you from the bottom of my heart.
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	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">In November 1885 [[Balakirev]] had agreed to look over Tchaikovsky's own arrangement for piano duet of the ''[[Manfred]]'' symphony.</ref>		<ref name="note1">In November 1885, [[Balakirev]] had agreed to look over Tchaikovsky's own arrangement for piano duet of the ''[[Manfred]]'' symphony.</ref>
	<ref name="note2">The ''[[Manfred]]'' symphony was performed for the first time on 11/23 March 1886 in [[Moscow]], at a Russian Musical Society concert (dedicated to the memory of [[Nikolay Rubinstein]]), conducted by [[Max Erdmannsdörfer]].</ref>		<ref name="note2">The ''[[Manfred]]'' symphony was performed for the first time on 11/23 March 1886 in [[Moscow]], at a Russian Musical Society concert (dedicated to the memory of [[Nikolay Rubinstein]]), conducted by [[Max Erdmannsdörfer]].</ref>
	<ref name="note3">[[Modest Tchaikovsky]] had come over specially to [[Moscow]] to attend the first performance of ''[[Manfred]]''.</ref>		<ref name="note3">[[Modest Tchaikovsky]] had come over specially to [[Moscow]] to attend the first performance of ''[[Manfred]]''.</ref>
	</references>		</references>

Brett: 1 revision imported

2022-07-12T12:25:55Z

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← Older revision	Revision as of 14:25, 12 July 2022
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Brett at 20:05, 16 November 2019

2019-11-16T20:05:21Z

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{{letterhead
|Date=13/25 March 1886
|To=[[Mily Balakirev]]
|Place=[[Maydanovo]]
|Language=Russian
|Autograph=[[Saint Petersburg]] (Russia): {{RUS-SPsc}} (ф. 834, ед. хр. 12, л. 34–36)
|Publication={{bib|1912/19|Переписка М. А. Балакирева и П. И. Чайковского}} [1912], p. 95–96<br/>{{bibx|1962/71|Милий Алексеевич Балакирев. Воспоминания и письма}} (1962), p. 181–182<br/>{{bib|1971/89|П. И. Чайковский. Полное собрание сочинений ; том XIII}} (1971), p. 298–299. }}

==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Luis Sundkvist
|Original text={{right|13 марта 1886 г. с. Майданово}}
{{centre|Дорогой друг Милий Алексеевич!}}
Во-первых, от всей души благодарю Вас за четырёхручное переложение и за превосходные поправки Ваши. Спасибо Вам за них ото всего сердца. Во-вторых, сообщаю Вам впечатления, испытанные при слушании «Манфреда» на репетициях (на концерте я не слышал, т. е. слышал издали). В общем, исполнение было превосходное. Было всего ''пять'' репетиций, причём первая продолжалась с перерывом 6 часов, т. е. струнные читали отдельно, а после них духовые. Темпы были взяты правильно, и я должен отдать полнейшую справедливость и дирижёру, и оркестру в том, что старания и усердия было оказано много. Первая часть в исполнении оказалась безусловно лучшей. ''Скерцо'' игралось в очень быстром темпо, и, слушая его, я не испытывал разочарования (что нередко со мной бывает), но, если не ошибаюсь, оно до того непрактично и трудно написано, что, за исключением Москвы, где музыканты ко мне вообще очень благосклонны, его, пожалуй, никакой оркестр играть или не захочет, или не сможет. ''Andante'' звучит недурно. ''Финал'' ''очень'' выигрывает в исполнении и, с точки зрения ''публики'', оказался самой эффектной частью. Вообще мне показалось, что даже московской публике, особенно хорошо ко мне относящейся, ''«Манфред» не понравился''. Зато музыканты с каждой репетицией всё более и более проникались сочувствием и на генеральной пробе после каждой части сильно и долго стучали смычками и инструментами.

Между моими ближайшими друзьями одни стоят за ''«Манфреда»'' горой, другие остались недовольны и говорят, что я тут не ''сам собой'', а прикрытый личиной какой-то. Сам же я думаю, что это моё лучшее симфоническое сочинение, — но по трудности, непрактичности и сложности обречённое на ''неуспех'' и ''на игнорированье''.

Брат мой, едущий завтра в Петербург, доставит Вам 4 экземпляра «Манфреда». Один для Вас, другие же попрошу Вас передать Николаю Андреевичу Римскому-Корсакову, Лядову и Глазунову. Кроме того, посылаю 3-ю сюиту.

До свидания, добрейший друг, ещё раз от души благодарю Вас.
{{right|П. Чайковский}}

|Translated text={{right|13 March 1886, village of [[Maydanovo]]}}
{{centre|Dear friend [[Mily Alekseyevich]]!}}
First of all, I thank you wholeheartedly for [looking through] the four-handed arrangement and for your excellent corrections <ref name="note1"/>,. With all my heart I thank you for them. Secondly, I would like to share with you the impressions I had while hearing [[Manfred]] at rehearsals (at the concert I didn't hear it—that is, I was listening from a distance). On the whole, the performance was excellent <ref name="note2"/>,. There were just ''five'' rehearsals, with the first one lasting six hours (including a break), i.e. the strings went through their parts separately, and after them the wind section. The tempi were observed correctly, and I must do full justice both to the conductor and the orchestra in that they put in a lot of effort and hard work. In performance the first movement proved without doubt to be the best. The ''Scherzo'' was played at a very quick tempo. While listening to it I didn't experience any disappointment (which happens to me quite often), but, if I am not mistaken, it is written in such an impractical and difficult way that, with the exception of [[Moscow]], where the musicians are in general very well-disposed towards me, no orchestra will probably want, or be able, to play it. The ''Andante'' sounds not bad. The ''finale'' gains ''a lot'' in performance, and from the audience's point of view it turned out to be the most effective movement. In general I had the impression that the [[Moscow]] public, whose good graces I enjoy in particular, ''didn't like [[Manfred]]''. On the other hand, with each rehearsal the orchestra players were filled with ever greater enthusiasm, and during the general rehearsal they tapped their bows and instruments loudly and for a long time at the end of each movement.

Among my closest friends some are staunchly for ''[[Manfred]]'', while others are unhappy with it and say that I am ''not myself'' in this work, that it is as if I had covered myself with a mask. I for my part believe that this is my best symphonic composition, but that, because of its complicated and impractical nature, it is doomed to ''failure'' and to suffer the fate of ''being ignored''.

My brother <ref name="note3"/>, who is going to [[Petersburg]] tomorrow, will bring you four copies of [[Manfred]]. One is for you; the others I kindly ask you to pass on to [[Nikolay Andreyevich Rimsky-Korsakov]], [[Lyadov]], and [[Glazunov]]. In addition, I am also sending you the [[Third Suite]].

Goodbye, most kind friend; once again I thank you from the bottom of my heart.
{{right|P. Tchaikovsky}}
}}

==Notes and References==
<references>
<ref name="note1">In November 1885 [[Balakirev]] had agreed to look over Tchaikovsky's own arrangement for piano duet of the ''[[Manfred]]'' symphony.</ref>
<ref name="note2">The ''[[Manfred]]'' symphony was performed for the first time on 11/23 March 1886 in [[Moscow]], at a Russian Musical Society concert (dedicated to the memory of [[Nikolay Rubinstein]]), conducted by [[Max Erdmannsdörfer]].</ref>
<ref name="note3">[[Modest Tchaikovsky]] had come over specially to [[Moscow]] to attend the first performance of ''[[Manfred]]''.</ref>
</references>