Letter 3820a - Revision history

Brett: Text replacement - "Hanover" to "Hannover"

2022-08-25T13:39:55Z

Text replacement - "Hanover" to "Hannover"

← Older revision		Revision as of 15:39, 25 August 2022
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	<references>		<references>
	<ref name="note1">In his review of the concert in [[Hamburg]] on 3/15 March 1889 at which Tchaikovsky conducted the first performance in Germany of his [[Symphony No. 5]], [[Sittard]] had spoken very positively of that work: "Even if the invention is not always original, even if the composer sometimes (as, for example, in the development section of the ''Andante cantabile'') comes close to the style of lyrical opera, all four movements nonetheless contain so much that is beautiful, interesting, and distinctive, that we may certainly call the E minor symphony one of the most significant symphonic works of modern times. This applies also to the thematic development, as well as to the brilliant, albeit often too dense, instrumentation. Some of the motifs as such may perhaps not be able to lay claim to outstanding musical interest, yet Tchaikovsky knows how to shape them meaningfully and to lead them to a culmination which is as powerful as it is effective. No less deserving of praise is his sense for formal beauty, for the harmonic symmetry in which the individual sections of the movements are related to one another". [[Sittard]]'s review, which appeared in the 16 March 1889 {{NS}} issue of the ''Hamburgischer Correspondent'', is quoted in full in {{bib\|2006/6\| Tschaikowsky in Hamburg. Eine Dokumentation}} (2006), p. 91–94.</ref>		<ref name="note1">In his review of the concert in [[Hamburg]] on 3/15 March 1889 at which Tchaikovsky conducted the first performance in Germany of his [[Symphony No. 5]], [[Sittard]] had spoken very positively of that work: "Even if the invention is not always original, even if the composer sometimes (as, for example, in the development section of the ''Andante cantabile'') comes close to the style of lyrical opera, all four movements nonetheless contain so much that is beautiful, interesting, and distinctive, that we may certainly call the E minor symphony one of the most significant symphonic works of modern times. This applies also to the thematic development, as well as to the brilliant, albeit often too dense, instrumentation. Some of the motifs as such may perhaps not be able to lay claim to outstanding musical interest, yet Tchaikovsky knows how to shape them meaningfully and to lead them to a culmination which is as powerful as it is effective. No less deserving of praise is his sense for formal beauty, for the harmonic symmetry in which the individual sections of the movements are related to one another". [[Sittard]]'s review, which appeared in the 16 March 1889 {{NS}} issue of the ''Hamburgischer Correspondent'', is quoted in full in {{bib\|2006/6\| Tschaikowsky in Hamburg. Eine Dokumentation}} (2006), p. 91–94.</ref>
	<ref name="note2">Tchaikovsky had left [[Hamburg]] on the day after his concert, travelling first to [[~~Hanover~~]], where he stayed for a few days before heading for [[Paris]]. He arrived in the French capital on 8/20 March 1889, and it seems that [[Sittard]] had sent him a copy of his review to [[Paris]].</ref>		<ref name="note2">Tchaikovsky had left [[Hamburg]] on the day after his concert, travelling first to [[Hannover]], where he stayed for a few days before heading for [[Paris]]. He arrived in the French capital on 8/20 March 1889, and it seems that [[Sittard]] had sent him a copy of his review to [[Paris]].</ref>
	<ref name="note3">Tchaikovsky was suffering from a dental abscess. See the diary entries for 7/19 and 8/20 March 1889 translated by Wladimir Lakond in {{bib\|1973/106\|The Diaries of Tchaikovsky}} (1973), p. 265–266.</ref>		<ref name="note3">Tchaikovsky was suffering from a dental abscess. See the diary entries for 7/19 and 8/20 March 1889 translated by Wladimir Lakond in {{bib\|1973/106\|The Diaries of Tchaikovsky}} (1973), p. 265–266.</ref>
	</references>		</references>

Brett: 1 revision imported

2022-07-12T12:43:58Z

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Brett at 11:22, 5 March 2020

2020-03-05T11:22:13Z

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{{letterhead
|Date=9/21 March 1889
|To=[[Josef Sittard]]
|Place=[[Paris]]
|Language=German
|Autograph=Tübingen (Germany): {{priv}}
|Publication={{bib|1979/101|Musiker der Spätromantik}} (1979), p. 77<br/>{{bib|1981/80|П. И. Чайковский. Полное собрание сочинений ; том XVII}} (1981), p. 250–251<br/>{{bib|2006/6|Tschaikowsky in Hamburg. Eine Dokumentation}} (2006), p. 98-99, p. 264-265 (facsimile)
}}

==Text and Translation==
{{Lettertext
|Language=German
|Translator=Luis Sundkvist
|Original text={{right|Paris<br/>21 März '89}}
{{centre|Verehrter Freund!}}
Ihre Kritik über meine Simphonie, die beiden Artikel über Berlioz und Ihre {{sic|freundliche|freundlichen}} Zeilen habe ich erhalten. Danke Ihnen herzlich für die ''Kritik'' und nicht nur für das, was gedruckt ist, aber auch für das, was ich zwischen [den] Zeilen lese und fühle, d. h. {{sic|Freundligkeit|Freundlichkeit}} und Sympathie für meine musicalische Thätigkeit. Ich möchte noch vieles darüber sagen, aber wirklich kann [ich] es deutsch nicht. Kann ich Ihnen in solch einer {{sic|Gelegenheit|Angelegenheit}} französisch schreiben? In dieser Sprache bin ich nicht so dumm wie in Ihriger.

Ich bin diese ganze Zeit unwohl und verbleibe schon einige Tage in meinem Zimmer.

Noch einmal danke Ihnen herzlich!

Auf Wiedersehen!

Ergebenster,
{{right|P. Tschaikovsky}}

|Translated text={{right|[[Paris]]<br/>21 March 1889}}
{{centre|Dear friend!}}
I have received your review of my symphony <ref name="note1"/>, the two articles on [[Berlioz]] and your friendly lines <ref name="note2"/>. I thank you cordially for the ''review'', and not just for what is printed in it, but also for what I can read and feel between the lines, that is, friendliness and sympathy for my musical activity. I would like to say a lot more about this, but, truly, I cannot do so in German. May I write to you in French regarding this matter? In that language I am not as stupid as in yours.

I have been feeling unwell all this time, and for several days now I have been keeping to my room <ref name="note3"/>.

Once again I thank you sincerely!

Until we meet!

Most devoted,
{{right|P. Tchaikovsky}}
}}

==Notes and References==
<references>
<ref name="note1">In his review of the concert in [[Hamburg]] on 3/15 March 1889 at which Tchaikovsky conducted the first performance in Germany of his [[Symphony No. 5]], [[Sittard]] had spoken very positively of that work: "Even if the invention is not always original, even if the composer sometimes (as, for example, in the development section of the ''Andante cantabile'') comes close to the style of lyrical opera, all four movements nonetheless contain so much that is beautiful, interesting, and distinctive, that we may certainly call the E minor symphony one of the most significant symphonic works of modern times. This applies also to the thematic development, as well as to the brilliant, albeit often too dense, instrumentation. Some of the motifs as such may perhaps not be able to lay claim to outstanding musical interest, yet Tchaikovsky knows how to shape them meaningfully and to lead them to a culmination which is as powerful as it is effective. No less deserving of praise is his sense for formal beauty, for the harmonic symmetry in which the individual sections of the movements are related to one another". [[Sittard]]'s review, which appeared in the 16 March 1889 {{NS}} issue of the ''Hamburgischer Correspondent'', is quoted in full in {{bib|2006/6| Tschaikowsky in Hamburg. Eine Dokumentation}} (2006), p. 91–94.</ref>
<ref name="note2">Tchaikovsky had left [[Hamburg]] on the day after his concert, travelling first to [[Hanover]], where he stayed for a few days before heading for [[Paris]]. He arrived in the French capital on 8/20 March 1889, and it seems that [[Sittard]] had sent him a copy of his review to [[Paris]].</ref>
<ref name="note3">Tchaikovsky was suffering from a dental abscess. See the diary entries for 7/19 and 8/20 March 1889 translated by Wladimir Lakond in {{bib|1973/106|The Diaries of Tchaikovsky}} (1973), p. 265–266.</ref>
</references>