Letter 3474 - Revision history

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

2024-07-18T19:19:34Z

Text replacement - " sympathetic " to " agreeable "

← Older revision		Revision as of 20:19, 18 July 2024
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	<references>		<references>
	<ref name="note1">The Philharmonic Society's director was [[Julius von Bernuth]].</ref>		<ref name="note1">The Philharmonic Society's director was [[Julius von Bernuth]].</ref>
	<ref name="note2">The conservative audience's reaction to Tchaikovsky's concert in [[Hamburg]] on 8/20 January 1888 — which featured the [[Serenade for String Orchestra]], the [[Piano Concerto No. 1]] (soloist [[Vasily Sapelnikov]]), and the ''Theme and Variations'' from the [[Suite No. 3]] — was in fact quite cool, and the reviews were not that positive, with the city's leading critic [[Josef Sittard]] pronouncing Tchaikovsky incapable of attaining the "lofty spiritual heights" of German music (though at the same time praising some aspects of his works). The composer was, however, shown great warmth and hospitality by the local musicians and dignitaries, as well as by [[Sittard]] himself, and this endeared [[Hamburg]] to him probably more than any other of the German cities he visited during his tour. See Chapters X and XI of the ''[[Autobiographical Account of a Tour Abroad in the Year 1888]]''. As Peter Feddersen has observed in his invaluable study of Tchaikovsky's contacts with the Hanseatic city, the composer was very pleased to see an authoritative critic like [[Sittard]] discuss his works in such detail and in an essentially ~~sympathetic~~ way, all these criticisms notwithstanding, and this explains why his stay in [[Hamburg]] left such a favourable impression on him — see {{bib\|2006/6\| Tschaikowsky in Hamburg. Eine Dokumentation}} (2006).</ref>		<ref name="note2">The conservative audience's reaction to Tchaikovsky's concert in [[Hamburg]] on 8/20 January 1888 — which featured the [[Serenade for String Orchestra]], the [[Piano Concerto No. 1]] (soloist [[Vasily Sapelnikov]]), and the ''Theme and Variations'' from the [[Suite No. 3]] — was in fact quite cool, and the reviews were not that positive, with the city's leading critic [[Josef Sittard]] pronouncing Tchaikovsky incapable of attaining the "lofty spiritual heights" of German music (though at the same time praising some aspects of his works). The composer was, however, shown great warmth and hospitality by the local musicians and dignitaries, as well as by [[Sittard]] himself, and this endeared [[Hamburg]] to him probably more than any other of the German cities he visited during his tour. See Chapters X and XI of the ''[[Autobiographical Account of a Tour Abroad in the Year 1888]]''. As Peter Feddersen has observed in his invaluable study of Tchaikovsky's contacts with the Hanseatic city, the composer was very pleased to see an authoritative critic like [[Sittard]] discuss his works in such detail and in an essentially agreeable way, all these criticisms notwithstanding, and this explains why his stay in [[Hamburg]] left such a favourable impression on him — see {{bib\|2006/6\| Tschaikowsky in Hamburg. Eine Dokumentation}} (2006).</ref>
	<ref name="note3">In a letter from [[Paris]] on 10/22 January 1888 [[Mackar]] informed Tchaikovsky that his [[Symphony No. 2]] had recently been performed at the Liège Conservatory under the direction of [[Jean-Théodore Radoux]], and he asked the composer whether he would like to give a concert himself in Liège or [[Brussels]]. This plan did not work out, however, because after [[Paris]] Tchaikovsky travelled directly to [[London]], the last stop of his tour. [[Mackar]]'s letter has been published (in an abridged Russian translation) in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 157–158.</ref>		<ref name="note3">In a letter from [[Paris]] on 10/22 January 1888 [[Mackar]] informed Tchaikovsky that his [[Symphony No. 2]] had recently been performed at the Liège Conservatory under the direction of [[Jean-Théodore Radoux]], and he asked the composer whether he would like to give a concert himself in Liège or [[Brussels]]. This plan did not work out, however, because after [[Paris]] Tchaikovsky travelled directly to [[London]], the last stop of his tour. [[Mackar]]'s letter has been published (in an abridged Russian translation) in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 157–158.</ref>
	<ref name="note4">In his letter of 10/22 January 1888 [[Mackar]] wrote that he had made the acquaintance of Aleksandr de Grippenberg, a Russian state councillor who had come to [[Paris]] in order to initiate the preparations for a festive concert of Russian music in May that would mark the inauguration of the Franco-Russian Artistic and Literary Association which he wanted to set up. The purpose of this association was to support both Russian artists and writers living in France, and their French colleagues living in Russia. Such leading French composers as [[Ambroise Thomas]], [[Gounod]], and [[Massenet]] had reportedly offered their support. Excerpts from works by [[Glinka]] and Tchaikovsky were to be performed at this concert, and Grippenberg wondered whether Tchaikovsky would be willing to conduct the orchestra. Grippenberg had also asked [[Mackar]] to enquire whether the composer could invite [[Vasily Safonov]] (a classmate of Grippenberg's at the [[Tsarskoye Selo]] Lyceum) to play Tchaikovsky's piano music at this concert. During his stay in [[Paris]] a few weeks later Tchaikovsky would record a meeting with Grippenberg on 15/27 February 1888: "Grippenberg and [[Pryanishnikov]]. Discussion about the Société Franco-Russe", but it seems that these plans came to nothing. Certainly, Tchaikovsky did not visit [[Paris]] again in May or later in 1888 to conduct any such concert. The conductor Nikolay Krotkov (b. 1849) did conduct a concert in [[Paris]] on 9/21 April 1888 whose programme consisted mainly of [[Glinka]]'s works, though it also featured Tchaikovsky's [[Andante cantabile]] and [[Nocturne]] (soloist [[Anatoly Brandukov]]), but it is not clear whether this had anything to do with Grippenberg's project.</ref>		<ref name="note4">In his letter of 10/22 January 1888 [[Mackar]] wrote that he had made the acquaintance of Aleksandr de Grippenberg, a Russian state councillor who had come to [[Paris]] in order to initiate the preparations for a festive concert of Russian music in May that would mark the inauguration of the Franco-Russian Artistic and Literary Association which he wanted to set up. The purpose of this association was to support both Russian artists and writers living in France, and their French colleagues living in Russia. Such leading French composers as [[Ambroise Thomas]], [[Gounod]], and [[Massenet]] had reportedly offered their support. Excerpts from works by [[Glinka]] and Tchaikovsky were to be performed at this concert, and Grippenberg wondered whether Tchaikovsky would be willing to conduct the orchestra. Grippenberg had also asked [[Mackar]] to enquire whether the composer could invite [[Vasily Safonov]] (a classmate of Grippenberg's at the [[Tsarskoye Selo]] Lyceum) to play Tchaikovsky's piano music at this concert. During his stay in [[Paris]] a few weeks later Tchaikovsky would record a meeting with Grippenberg on 15/27 February 1888: "Grippenberg and [[Pryanishnikov]]. Discussion about the Société Franco-Russe", but it seems that these plans came to nothing. Certainly, Tchaikovsky did not visit [[Paris]] again in May or later in 1888 to conduct any such concert. The conductor Nikolay Krotkov (b. 1849) did conduct a concert in [[Paris]] on 9/21 April 1888 whose programme consisted mainly of [[Glinka]]'s works, though it also featured Tchaikovsky's [[Andante cantabile]] and [[Nocturne]] (soloist [[Anatoly Brandukov]]), but it is not clear whether this had anything to do with Grippenberg's project.</ref>

Brett: 1 revision imported

2022-07-14T20:31:34Z

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(No difference)

Brett at 14:57, 14 January 2020

2020-01-14T14:57:29Z

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{{letterhead
|Date=14/26 January 1888
|To=[[Félix Mackar]]
|Place=[[Leipzig]]
|Language=French
|Autograph=[[Paris]] (France): {{F-Pn}}
|Publication={{bibx|1968/16|Revue de musicologie}}, tome 64 (1968), no. 1, p. 67 {{bibx|1970/8|Советская музыка}} (1970), No. 9, p. 67 (Russian translation) {{bib|1974/53|П. И. Чайковский. Полное собрание сочинений ; том XIV}} (1974), p. 339–340
}}

==Text and Translation==
{{Lettertext
|Language=French
|Translator=Luis Sundkvist
|Original text={{right|''Leipzig'' 26 Janvier}}
{{centre|Mon cher ami!}}
Je Vous envoie le programme de Hambourg {{sic|ou|où}} j'ai obtenu un vrai succès. Le public, les musiciens m'ont fait un accueil excessivement simpathique. Après le concert un grand raout avec souper a eu lieu chez le Directeur de la Société {{sic|Philarmonique|Philharmonique}} ; j'ai été vivement touché de la manière dont on s'est comporté vis à vis de moi. Le lendemain le ''Tonkünstlerverein'' (Association d'artistes) a donné une soirée de musique de chambre en mon honneur. La presse a été on ne peut mieux. Enfin je suis tout à fait content. De Hambourg je suis allé à Berlin pour régler définitivement l'affaire du Concert. Il aura lieu le 8 Février ; le programme ainsi conçu:
:1) "Roméo"' 2) Chant 3) ''Introduction et Fugue'' de la Suite № 1 4) ''Concerto pour piano'' 5) ''Chant'' 6) ''Andante de l'op. 11'' 7) ''Ouverture Triomphale''.

L'orchestre est de premier ordre ; cela aura lieu dans la plus grande salle de Berlin. Des invitations m'arrivent de toutes parts. J'ai dû refuser ''Weimar'' et ''Dresde'' (ce qui est bien dommage, mais ce sera pour l'année prochaine) car le temps me manque.

Vous me demandez si je veux aller conduire à Liège ou à Bruxelles? Mais avec grand plaisir, pourvu que ce soit pas plus tard que fin Mars ou commencement ''d'Avril'' et que ce soit des fragments de concert, pas des concerts entiers. Surtout je voudrais Bruxelles car je suppose que l'orchestre de ''Liège'' ne doit pas être de premier ordre. Pour le concert de l'Association Franco-Russe, je Vous autorise de conclure en mon nom tout ce que Vous voudrez. Quant à Mr Safonoff Mr Gripenberg pourra s'adresser à lui directement ; Je ne demande pas mieux, mais je Vous recommande beaucoup le pianiste russe ''Siloti'' de Leipzig pour lequel ce serait un bonheur. Dites cela à Gripenberg.

Je V[ou]s autorise, mon ami, de faire mettre dans les journaux tout ce que V[ou]s voudrez, mais cependant ne faisons pas trop de réclame ; je V[ou]s avoue que je n'aime pas cela. Pour le programme, pour la question ''Marsick'', je m'en remets {{sic|complètement|complétement}} à Vous et à Colonne.

Je V[ou]s embrasse, mon cher ami!
{{right|P. Tschaïkovsky}}

Il faut adresser Vos lettres d'après les dates suivantes:

1) Je reste ici jusqu'au 2 Février ; adresse — {{und2|Hotel Hauffe}}

2) De 2 à 9 Février je suis à ''Berlin'' ; adresse {{und2|Hôtel St. Petersbourg}}

3) Je passerai encore 2 jours à Leipzig, le 10, le 11 ; adresse {{und2|Hotel Hauffe}}

4) Du 12 au 20 Févr[ier] je serai à ''Prague''. Adresse Autriche, ''Prague'', Mr ''{{sic|Velebin Urbanek|Velebín Urbanék}}'' pour remettre à P. T.

|Translated text={{right|''[[Leipzig]]'' 26 January}}
{{centre|My dear friend!}}
I am sending you the programme for [[Hamburg]], where I achieved a genuine success. The public and the musicians gave me an extremely friendly welcome. After the concert there was a big rout and supper at the house of the Director of the Philharmonic Society <ref name="note1"/> I was vividly touched by the way in which I was treated there. The following day, the ''Tonkünstlerverein'' (Association of Artists) gave a chamber music soirée in my honour. The reviews could not have been better <ref name="note2"/>. In short, I am completely satisfied. From [[Hamburg]] I went to [[Berlin]] in order to settle the question of the concert for good. It will take place on 8 February. The programme has been designed as follows:
:1) ''"[[Romeo]]"'' 2) Songs 3) ''Introduction and Fugue'' from the [[Suite No. 1]] 4) ''[[Piano Concerto No. 1|Concerto]] for piano'' 5) ''Songs'' 6) ''[[Andante cantabile|Andante]] from [[String Quartet No. 1|Op. 11]]'' 7) ''[[The Year 1812|Triumphal Overture]]''.

The orchestra is first-class, and it will take place in the largest concert venue in [[Berlin]]. I am receiving invitations from all quarters. I had to turn down ''Weimar'' and ''[[Dresden]]'' (which is a great pity, though I will go there next year) because I don't have enough time.

You ask me if I would like to go to Liège or [[Brussels]] to conduct there. But of course, with great pleasure — as long as it is not later than the end of March or early ''April'', and that I just have to conduct parts of the concerts rather than entire ones. I would prefer [[Brussels]] especially, since I suppose that the orchestra in ''Liège'' can't be a first-rate one <ref name="note3"/>. Regarding the concert of the Franco-Russian Association, I empower you to make any arrangements you like on my behalf. As for Mr [[Safonov]], Mr Grippenberg can write to him directly. I could not ask for a better performer, though I do strongly recommend to you the Russian pianist ''[[Ziloti]]'', who is based in [[Leipzig]], and for whom this would be a felicitous opportunity. Please tell Grippenberg that <ref name="note4"/>.

I authorize you, my friend, to put anything you like into the papers, but let us not, though, generate too much publicity <ref name="note5"/>. For I confess to you that this is something I don't like. As for the programme and the question of ''[[Marsick]]'', I leave that entirely up to you and [[Colonne]] <ref name="note6"/>.

I embrace you, my dear friend!
{{right|P. Tchaikovsky}}

You'll have to address your letters in accordance with the following dates:

1) I am staying here until 2 February; the address — {{und2|Hotel Hauffe}}

2) From 2 to 9 February I am in [[Berlin]]; the address is: {{und2|Hotel St Petersburg}}

3) Then I shall spend two more days in [[Leipzig]], the 10th and 11th; the address is: {{und2|Hotel Hauffe}}

4) From 12 to 20 February I shall be in ''[[Prague]]''. The address is: Austria, ''[[Prague]]'', Mr ''[[Velebín Urbánek]]'', to be forwarded to P. T.
}}

==Notes and References==
<references>
<ref name="note1">The Philharmonic Society's director was [[Julius von Bernuth]].</ref>
<ref name="note2">The conservative audience's reaction to Tchaikovsky's concert in [[Hamburg]] on 8/20 January 1888 — which featured the [[Serenade for String Orchestra]], the [[Piano Concerto No. 1]] (soloist [[Vasily Sapelnikov]]), and the ''Theme and Variations'' from the [[Suite No. 3]] — was in fact quite cool, and the reviews were not that positive, with the city's leading critic [[Josef Sittard]] pronouncing Tchaikovsky incapable of attaining the "lofty spiritual heights" of German music (though at the same time praising some aspects of his works). The composer was, however, shown great warmth and hospitality by the local musicians and dignitaries, as well as by [[Sittard]] himself, and this endeared [[Hamburg]] to him probably more than any other of the German cities he visited during his tour. See Chapters X and XI of the ''[[Autobiographical Account of a Tour Abroad in the Year 1888]]''. As Peter Feddersen has observed in his invaluable study of Tchaikovsky's contacts with the Hanseatic city, the composer was very pleased to see an authoritative critic like [[Sittard]] discuss his works in such detail and in an essentially sympathetic way, all these criticisms notwithstanding, and this explains why his stay in [[Hamburg]] left such a favourable impression on him — see {{bib|2006/6| Tschaikowsky in Hamburg. Eine Dokumentation}} (2006).</ref>
<ref name="note3">In a letter from [[Paris]] on 10/22 January 1888 [[Mackar]] informed Tchaikovsky that his [[Symphony No. 2]] had recently been performed at the Liège Conservatory under the direction of [[Jean-Théodore Radoux]], and he asked the composer whether he would like to give a concert himself in Liège or [[Brussels]]. This plan did not work out, however, because after [[Paris]] Tchaikovsky travelled directly to [[London]], the last stop of his tour. [[Mackar]]'s letter has been published (in an abridged Russian translation) in {{bib|1970/6|Чайковский и зарубежные музыканты}} (1970), p. 157–158.</ref>
<ref name="note4">In his letter of 10/22 January 1888 [[Mackar]] wrote that he had made the acquaintance of Aleksandr de Grippenberg, a Russian state councillor who had come to [[Paris]] in order to initiate the preparations for a festive concert of Russian music in May that would mark the inauguration of the Franco-Russian Artistic and Literary Association which he wanted to set up. The purpose of this association was to support both Russian artists and writers living in France, and their French colleagues living in Russia. Such leading French composers as [[Ambroise Thomas]], [[Gounod]], and [[Massenet]] had reportedly offered their support. Excerpts from works by [[Glinka]] and Tchaikovsky were to be performed at this concert, and Grippenberg wondered whether Tchaikovsky would be willing to conduct the orchestra. Grippenberg had also asked [[Mackar]] to enquire whether the composer could invite [[Vasily Safonov]] (a classmate of Grippenberg's at the [[Tsarskoye Selo]] Lyceum) to play Tchaikovsky's piano music at this concert. During his stay in [[Paris]] a few weeks later Tchaikovsky would record a meeting with Grippenberg on 15/27 February 1888: "Grippenberg and [[Pryanishnikov]]. Discussion about the Société Franco-Russe", but it seems that these plans came to nothing. Certainly, Tchaikovsky did not visit [[Paris]] again in May or later in 1888 to conduct any such concert. The conductor Nikolay Krotkov (b. 1849) did conduct a concert in [[Paris]] on 9/21 April 1888 whose programme consisted mainly of [[Glinka]]'s works, though it also featured Tchaikovsky's [[Andante cantabile]] and [[Nocturne]] (soloist [[Anatoly Brandukov]]), but it is not clear whether this had anything to do with Grippenberg's project.</ref>
<ref name="note5">[[Mackar]] had asked Tchaikovsky whether he could pass on to the press and to influential friends extracts from his letters describing his successes in Germany, all with a view to ensuring that the composer's imminent visit to [[Paris]] to conduct at two Châtelet concerts would attract as much attention as possible.</ref>
<ref name="note6">[[Mackar]] had explained that [[Colonne]], who had reserved the right to modify Tchaikovsky's proposed programmes for the two Châtelet concerts, was against the inclusion of the [[Violin Concerto]], which Tchaikovsky was hoping would on that occasion be given its first performance in France by the Belgian violinist [[Martin Pierre Marsick]] (1848–1924). However, [[Mackar]] asked whether rather than cancelling [[Marsick]]'s engagement altogether it might be a good idea to keep him in reserve in case it did prove possible to organize a further concert. In the end [[Marsick]] did appear at the second of the Châtelet concerts conducted by Tchaikovsky, on 28 February/11 March 1888, and played the [[Violin Concerto]] (though apparently only the first movement).</ref>
</references>