Pauline Viardot - Revision history

Brett at 13:27, 24 August 2023

2023-08-24T13:27:28Z

← Older revision		Revision as of 15:27, 24 August 2023
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	{{picture\|file=Pauline Viardot.jpg\|caption='''Pauline Viardot''' (1821-1910)}}		{{picture\|file=Pauline Viardot.jpg\|caption='''Pauline Viardot''' (1821-1910)}}
	French mezzo-soprano and composer of Spanish descent (b. 18 July 1821 in [[Paris]]; d. 18 May 1910 in [[Paris]]), born '''''Pauline García'''''; also known after her marriage as '''''Pauline Viardot-García'''''.		French mezzo-soprano and composer of Spanish descent (b. 18 July 1821 {{NS}} in [[Paris]]; d. 18 May 1910 {{NS}} in [[Paris]]), born '''''Pauline García'''''; also known after her marriage as '''''Pauline Viardot-García'''''.

	==Biography==		==Biography==
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	* '''[[Letter 3824a]]''' – 18/30 March 1889, from [[Paris]]		* '''[[Letter 3824a]]''' – 18/30 March 1889, from [[Paris]]

	3 letters from Pauline Viardot to the composer, dating from 1886 and 1889, are preserved in the {{RUS-Mcl}} in [[Moscow]], and a further 2 letters from Pauline Viardot to the composer, dating from 1886, are preserved in the {{RUS-KLč}} at [[Klin]].		3 letters from Pauline Viardot to the composer, dating from 1886 and 1889, are preserved in the {{RUS-Mcl}} in [[Moscow]], and a further 2 letters from Pauline Viardot to the composer, dating from 1886, are preserved in the {{RUS-KLč}} at [[Klin]] (a{{sup\|4}}, Nos. 411–412).

	~~==External Links==~~
	* [[wikipedia:Pauline_Viardot\|Wikipedia]]
	* {{IMSLP\|Viardot,_Pauline Works by Pauline Viardot at the}}

	==Bibliography==		==Bibliography==
	* {{bib\|1960/66}} (1960)		* {{bib\|1960/66}} (1960)
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	* Žekulin, N. G. {{und\|The Story of an Operetta: 'Le Dernier Sorcier' by Pauline Viardot and [[Ivan Turgenev]]}} (Munich, 1989)		* Žekulin, N. G. {{und\|The Story of an Operetta: 'Le Dernier Sorcier' by Pauline Viardot and [[Ivan Turgenev]]}} (Munich, 1989)
	* {{bib\|2006/19}} (2006)		* {{bib\|2006/19}} (2006)

			==External Links==
			* [[wikipedia:Pauline_Viardot\|Wikipedia]]
			* {{IMSLP\|Viardot,_Pauline}}
			* {{viaf\|73929645}}

	==Notes and References==		==Notes and References==
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	[[Category:Correspondents\|Viardot, Pauline]]		[[Category:Correspondents\|Viardot, Pauline]]
	[[Category:Singers\|Viardot, Pauline]]		[[Category:Singers\|Viardot, Pauline]]
			__NOTOC__

Brett: Text replacement - "Russian State Archive of Literature and Art" to "{{RUS-Mcl}}"

2023-08-08T18:51:04Z

Text replacement - "Russian State Archive of Literature and Art" to "{{RUS-Mcl}}"

← Older revision		Revision as of 20:51, 8 August 2023
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	* '''[[Letter 3824a]]''' – 18/30 March 1889, from [[Paris]]		* '''[[Letter 3824a]]''' – 18/30 March 1889, from [[Paris]]

	3 letters from Pauline Viardot to the composer, dating from 1886 and 1889, are preserved in the ~~Russian State Archive of Literature and Art~~ in [[Moscow]], and a further 2 letters from Pauline Viardot to the composer, dating from 1886, are preserved in the {{RUS-KLč}} at [[Klin]].		3 letters from Pauline Viardot to the composer, dating from 1886 and 1889, are preserved in the {{RUS-Mcl}} in [[Moscow]], and a further 2 letters from Pauline Viardot to the composer, dating from 1886, are preserved in the {{RUS-KLč}} at [[Klin]].

	==External Links==		==External Links==

Brett: Text replacement - "Klin House-Museum Archive" to "{{RUS-KLč}} at Klin"

2023-08-08T07:49:21Z

Text replacement - "Klin House-Museum Archive" to "{{RUS-KLč}} at Klin"

← Older revision		Revision as of 09:49, 8 August 2023
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	* '''[[Letter 3824a]]''' – 18/30 March 1889, from [[Paris]]		* '''[[Letter 3824a]]''' – 18/30 March 1889, from [[Paris]]

	3 letters from Pauline Viardot to the composer, dating from 1886 and 1889, are preserved in the Russian State Archive of Literature and Art in [[Moscow]], and a further 2 letters from Pauline Viardot to the composer, dating from 1886, are preserved in the [[Klin]] ~~House-Museum Archive~~.		3 letters from Pauline Viardot to the composer, dating from 1886 and 1889, are preserved in the Russian State Archive of Literature and Art in [[Moscow]], and a further 2 letters from Pauline Viardot to the composer, dating from 1886, are preserved in the {{RUS-KLč}} at [[Klin]].

	==External Links==		==External Links==

Tony: /* Notes and References */ Removed extra "in"

2022-11-23T11:20:03Z

Notes and References: Removed extra "in"

← Older revision		Revision as of 13:20, 23 November 2022
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	<ref name="note2">See also [[Turgenev]]'s letter to Mariya Milyutina, 15/27 April 1871, sent from [[London]] in {{und\|И. С. Тургенев. Полное собрание сочинений и писем ; том 9}} (Leningrad, 1965), p. 77. Mariya Ageyevna Milyutina (née Abaza; 1834–1903) was the sister of the civil servant Aleksandr Ageyevich Abaza (1821–1895) and thus the sister-in-law of the amateur singer [[Yuliya Abaza\|Yuliya Fyodorovna Abaza]] (née Stubbe; 1830–1915), with whom Tchaikovsky had taken some lessons in piano accompaniment in the 1860s and at whose house in [[Saint Petersburg]] a private performance of ''[[Yevgeny Onegin]]'' (sung from the vocal-piano reduction) took place on 6/18 March 1879 (with [[Aleksandra Panayeva]] singing Tatyana). It seems that the copy of Pauline Viardot's song album(s) was forwarded to Tchaikovsky by Pavel Annenkov, one of [[Turgenev]]'s friends who was then living in [[Saint Petersburg]].</ref>		<ref name="note2">See also [[Turgenev]]'s letter to Mariya Milyutina, 15/27 April 1871, sent from [[London]] in {{und\|И. С. Тургенев. Полное собрание сочинений и писем ; том 9}} (Leningrad, 1965), p. 77. Mariya Ageyevna Milyutina (née Abaza; 1834–1903) was the sister of the civil servant Aleksandr Ageyevich Abaza (1821–1895) and thus the sister-in-law of the amateur singer [[Yuliya Abaza\|Yuliya Fyodorovna Abaza]] (née Stubbe; 1830–1915), with whom Tchaikovsky had taken some lessons in piano accompaniment in the 1860s and at whose house in [[Saint Petersburg]] a private performance of ''[[Yevgeny Onegin]]'' (sung from the vocal-piano reduction) took place on 6/18 March 1879 (with [[Aleksandra Panayeva]] singing Tatyana). It seems that the copy of Pauline Viardot's song album(s) was forwarded to Tchaikovsky by Pavel Annenkov, one of [[Turgenev]]'s friends who was then living in [[Saint Petersburg]].</ref>
	<ref name="note3">[[Letter 535]] to [[Sergey Taneyev]], 12/24 January 1877. In an earlier letter to [[Taneyev]] of 25 December 1876/6 January 1877 ([[letter 528]]), Tchaikovsky had asked: "I kindly ask you to find out in a tactful fashion whether Viardot might like to perform two or three of my songs". Unfortunately, the message enclosed for [[Turgenev]] in the later letter to [[Taneyev]] seems to have been lost.</ref>		<ref name="note3">[[Letter 535]] to [[Sergey Taneyev]], 12/24 January 1877. In an earlier letter to [[Taneyev]] of 25 December 1876/6 January 1877 ([[letter 528]]), Tchaikovsky had asked: "I kindly ask you to find out in a tactful fashion whether Viardot might like to perform two or three of my songs". Unfortunately, the message enclosed for [[Turgenev]] in the later letter to [[Taneyev]] seems to have been lost.</ref>
	<ref name="note4">From the reminiscences of [[Turgenev]] by Yelena Blaramberg (1846–1923), in in Fridliand, V. G. and Petrov, S. M. Petrov (eds.). {{und\|И. С. Тургенев в воспоминаниях современников, том 2}} (Moscow, 1983), p. 192. The Russian revolutionary German Lopatin (1845–1919), who was in [[Paris]] in the 1870s also recalled one of these matinées at which Pauline Viardot performed ''None But the Lonely Heart'': "She was an old woman. But when she uttered: 'I am suffering' (Я стражду) it made my flesh creep. How much expressiveness she put into it. Her eyes, those pale hollow cheeks. You should have seen the audience!" Quoted in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 103.</ref>		<ref name="note4">From the reminiscences of [[Turgenev]] by Yelena Blaramberg (1846–1923), in Fridliand, V. G. and Petrov, S. M. Petrov (eds.). {{und\|И. С. Тургенев в воспоминаниях современников, том 2}} (Moscow, 1983), p. 192. The Russian revolutionary German Lopatin (1845–1919), who was in [[Paris]] in the 1870s, also recalled one of these matinées at which Pauline Viardot performed ''None But the Lonely Heart'': "She was an old woman. But when she uttered: 'I am suffering' (Я стражду) it made my flesh creep. How much expressiveness she put into it. Her eyes, those pale hollow cheeks. You should have seen the audience!" Quoted in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 103.</ref>
	<ref name="note5">Letter from Ivan [[Turgenev]] to [[Lev Tolstoy]], 15 November/7 December 1878, in {{und\|И. С. Тургенев: Полное собрание сочинений и писем, том 12, кн. 1}} (Leningrad, 1966), p. 383–384.</ref>		<ref name="note5">Letter from Ivan [[Turgenev]] to [[Lev Tolstoy]], 15 November/7 December 1878, in {{und\|И. С. Тургенев: Полное собрание сочинений и писем, том 12, кн. 1}} (Leningrad, 1966), p. 383–384.</ref>
	<ref name="note6">Diary entry for 31 May/12 June 1886, in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 64.</ref>		<ref name="note6">Diary entry for 31 May/12 June 1886, in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 64.</ref>
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	<ref name="note13">Letter from Pauline Viardot to Tchaikovsky, 21 June 1886 {{NS}}. See {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 209, p. 103. See also Tchaikovsky's diary entry for 9/21 June 1886, in which he records the receipt of this letter, as well as the fact that he had sent a reply. See {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 69.</ref>		<ref name="note13">Letter from Pauline Viardot to Tchaikovsky, 21 June 1886 {{NS}}. See {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 209, p. 103. See also Tchaikovsky's diary entry for 9/21 June 1886, in which he records the receipt of this letter, as well as the fact that he had sent a reply. See {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 69.</ref>
	<ref name="note14">Letter from [[Nadezhda von Meck]] to Tchaikovsky, 22 June/4 July 1886.</ref>		<ref name="note14">Letter from [[Nadezhda von Meck]] to Tchaikovsky, 22 June/4 July 1886.</ref>
	<ref name="note15">[[Letter 2988]] to [[Nadezhda von Meck]], 28 June/10 July 1886. [[Turgenev]] started writing ''The Song of Triumphant Love'' in November 1879, while in Bougival, but he did not complete it until his last stay in Russia, on his family estate at Spasskoye, in the summer of 1881~~, so~~ it is possible that he sought Pauline Viardot's advice during the initial stages of his work on this short story, which was eventually published in the November 1881 issue of the journal ''Herald of Europe'' (Вестник Европы). According to {{bib\|1940/107\|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p. 374, Tchaikovsky wrote a letter to [[Yuliya Shpazhinskaya]] on the same date, 28 June/10 July 1886, also describing what this opportunity to see the original score of ''Don Giovanni'' had meant to him, but unfortunately this letter has not been traced.</ref>		<ref name="note15">[[Letter 2988]] to [[Nadezhda von Meck]], 28 June/10 July 1886. [[Turgenev]] started writing ''The Song of Triumphant Love'' in November 1879, while in Bougival, but he did not complete it until his last stay in Russia, on his family estate at Spasskoye, in the summer of 1881. So it is possible that he sought Pauline Viardot's advice during the initial stages of his work on this short story, which was eventually published in the November 1881 issue of the journal ''Herald of Europe'' (Вестник Европы). According to {{bib\|1940/107\|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p. 374, Tchaikovsky wrote a letter to [[Yuliya Shpazhinskaya]] on the same date, 28 June/10 July 1886, also describing what this opportunity to see the original score of ''Don Giovanni'' had meant to him, but unfortunately this letter has not been traced.</ref>
	<ref name="note16">Diary entry for 1/13 February 1887 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 125.</ref>		<ref name="note16">Diary entry for 1/13 February 1887 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 125.</ref>
	<ref name="note17">See also diary entry for 19 February/2 March 1888 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 201.</ref>		<ref name="note17">See also diary entry for 19 February/2 March 1888 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 201.</ref>

Tony at 10:01, 23 November 2022

2022-11-23T10:01:35Z

← Older revision		Revision as of 12:01, 23 November 2022
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	Clearly, this meeting with Pauline Viardot on 12 June 1886 {{NS}} was one of the most memorable and agreeable events during his short stay in [[Paris]] that summer, and it is very likely that her account of how [[Turgenev]] had written ''The Song of Triumphant Love'' induced Tchaikovsky, in February 1887, to read this mysterious story. A diary entry for 1/13 February 1887 records the "strong impression" it had made on him, and also that he had had a "strange dream" about Madame Viardot <ref name="note16"/>. Even more significant is the fact that at around the same time Tchaikovsky made some sketches for a vocal work based on [[Turgenev]]'s story — unfortunately Tchaikovsky's own ''[[Song of Triumphant Love]]'' ([[TH 227]]) was not realised. On the other hand, the unforgettable experience of seeing [[Mozart]]'s autograph score of ''Don Giovanni'' at Madame Viardot's house may have directly encouraged him to complete his work on [[Suite No. 4]] ("''Mozartiana''"), which Tchaikovsky had intended as his contribution to the festivities that were to be held all over Europe later that year to mark the hundredth anniversary of the premiere of [[Mozart]]'s masterpiece in [[Prague]] on 29 October 1787 {{NS}}.		Clearly, this meeting with Pauline Viardot on 12 June 1886 {{NS}} was one of the most memorable and agreeable events during his short stay in [[Paris]] that summer, and it is very likely that her account of how [[Turgenev]] had written ''The Song of Triumphant Love'' induced Tchaikovsky, in February 1887, to read this mysterious story. A diary entry for 1/13 February 1887 records the "strong impression" it had made on him, and also that he had had a "strange dream" about Madame Viardot <ref name="note16"/>. Even more significant is the fact that at around the same time Tchaikovsky made some sketches for a vocal work based on [[Turgenev]]'s story — unfortunately Tchaikovsky's own ''[[Song of Triumphant Love]]'' ([[TH 227]]) was not realised. On the other hand, the unforgettable experience of seeing [[Mozart]]'s autograph score of ''Don Giovanni'' at Madame Viardot's house may have directly encouraged him to complete his work on [[Suite No. 4]] ("''Mozartiana''"), which Tchaikovsky had intended as his contribution to the festivities that were to be held all over Europe later that year to mark the hundredth anniversary of the premiere of [[Mozart]]'s masterpiece in [[Prague]] on 29 October 1787 {{NS}}.

	During Tchaikovsky's first tour to Western Europe (January–March 1888) as the conductor of his own works one of the stops on his itinerary was [[Paris]], where he gave three concerts. On 2 March 1888 {{NS}}, two days before the second of these concerts, he paid a visit to Pauline Viardot <ref name="note17"/>. Despite the fact that Tchaikovsky's schedule was very busy, with receptions in his honour almost every evening, rehearsals, and meetings with such eminent French colleagues as [[Charles Gounod]], [[Jules Massenet]], and [[Léo Delibes]], he still accepted another invitation to Madame Viardot's house on 9 March. This is what he recorded in his diary: "Dinner and soirée at Viardot's. Her son-in-law. Singing. A wonderful song by Viardot" <ref name="note18"/>.		During Tchaikovsky's first tour to Western Europe (January–March 1888) as the conductor of his own works, one of the stops on his itinerary was [[Paris]], where he gave three concerts. On 2 March 1888 {{NS}}, two days before the second of these concerts, he paid a visit to Pauline Viardot <ref name="note17"/>. Despite the fact that Tchaikovsky's schedule was very busy, with receptions in his honour almost every evening, rehearsals, and meetings with such eminent French colleagues as [[Charles Gounod]], [[Jules Massenet]], and [[Léo Delibes]], he still accepted another invitation to Madame Viardot's house on 9 March. This is what he recorded in his diary: "Dinner and soirée at Viardot's. Her son-in-law. Singing. A wonderful song by Viardot" <ref name="note18"/>.

	The last time that Tchaikovsky saw Pauline Viardot, as far as we can tell, was during his second concert tour to Europe (January–March 1889), when he stayed for almost three weeks in [[Paris]]. Although Tchaikovsky did not actually conduct any concert there on this occasion, Madame Viardot must have found out from mutual acquaintances that he was in town, for she sent him a letter on 29 March {{NS}}, inviting him to come to her salon on 8 April to attend a private performance of her operetta ''Trop de femmes'' (1867) <ref name="note19"/>. The revival of this comic work, with a libretto in French by [[Turgenev]], was reportedly a success, and among the audience were [[Ambroise Thomas]], director of the [[Paris]] Conservatoire, [[Brandukov]], and Tchaikovsky, who had postponed his departure to [[London]] (the last stop of his concert tour) by one day in order to be able to attend the performance <ref name="note20"/>. In a letter which he sent to his nephew [[Vladimir Davydov]] from [[London]] two days later Tchaikovsky shared his impressions of ''Trop de femmes'': "The day before my departure [from [[Paris]]] I was at a soirée in Viardot's house. There was a performance of an operetta of hers, which she composed twenty years ago to a libretto by [[Turgenev]]. The cast featured her two daughters, as well as her students, amongst whom one Russian girl performed a Russian dance, to the great delight of the audience" <ref name="note21"/>.		The last time that Tchaikovsky saw Pauline Viardot, as far as we can tell, was during his second concert tour to Europe (January–March 1889), when he stayed for almost three weeks in [[Paris]]. Although Tchaikovsky did not actually conduct any concert there on this occasion, Madame Viardot must have found out from mutual acquaintances that he was in town, for she sent him a letter on 29 March {{NS}} inviting him to come to her salon on 8 April to attend a private performance of her operetta ''Trop de femmes'' (1867) <ref name="note19"/>. The revival of this comic work, with a libretto in French by [[Turgenev]], was reportedly a success, and among the audience were [[Ambroise Thomas]], director of the [[Paris]] Conservatoire, [[Brandukov]], and Tchaikovsky, who had postponed his departure to [[London]] (the last stop of his concert tour) by one day in order to be able to attend the performance <ref name="note20"/>. In a letter which he sent to his nephew [[Vladimir Davydov]] from [[London]] two days later, Tchaikovsky shared his impressions of ''Trop de femmes'': "The day before my departure [from [[Paris]]] I was at a soirée in Viardot's house. There was a performance of an operetta of hers, which she composed twenty years ago to a libretto by [[Turgenev]]. The cast featured her two daughters, as well as her students, amongst whom one Russian girl performed a Russian dance, to the great delight of the audience" <ref name="note21"/>.

	==Correspondence with Tchaikovsky==		==Correspondence with Tchaikovsky==

Tony: Text correction - "onSuite" to "on Suite"

2022-11-23T09:50:40Z

Text correction - "onSuite" to "on Suite"

← Older revision		Revision as of 11:50, 23 November 2022
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	Once he was back in [[Maydanovo]], where he would spend the rest of the summer and early autumn, Tchaikovsky received a letter from [[Nadezhda von Meck]], who was keen to find out about his impressions of [[Paris]]. She asked him, amongst other things, whether Pauline Viardot still remembered [[Turgenev]] <ref name="note14"/>. This is what Tchaikovsky replied to his benefactress on 28 June/10 July 1886: "With regard to your question as to whether Viardot still remembers [[Turgenev]], I can assure you that not only does she remember him, but we spent almost all the time talking about him, and she told me in detail how together they wrote ''The Song of Triumphant Love''. Did I mention to you, dear friend, that I spent two hours at Viardot's house looking through an ''original score'' by [[Mozart]] (''Don Giovanni''), which some thirty years ago Viardot's husband acquired by chance and quite cheaply, too? I cannot describe the feeling which came over me when I looked through this musical ''holy of holies'' [святыня]! It was as if I had shaken hands with [[Mozart]] himself and talked with him" <ref name="note15"/>.		Once he was back in [[Maydanovo]], where he would spend the rest of the summer and early autumn, Tchaikovsky received a letter from [[Nadezhda von Meck]], who was keen to find out about his impressions of [[Paris]]. She asked him, amongst other things, whether Pauline Viardot still remembered [[Turgenev]] <ref name="note14"/>. This is what Tchaikovsky replied to his benefactress on 28 June/10 July 1886: "With regard to your question as to whether Viardot still remembers [[Turgenev]], I can assure you that not only does she remember him, but we spent almost all the time talking about him, and she told me in detail how together they wrote ''The Song of Triumphant Love''. Did I mention to you, dear friend, that I spent two hours at Viardot's house looking through an ''original score'' by [[Mozart]] (''Don Giovanni''), which some thirty years ago Viardot's husband acquired by chance and quite cheaply, too? I cannot describe the feeling which came over me when I looked through this musical ''holy of holies'' [святыня]! It was as if I had shaken hands with [[Mozart]] himself and talked with him" <ref name="note15"/>.

	Clearly, this meeting with Pauline Viardot on 12 June 1886 {{NS}} was one of the most memorable and agreeable events during his short stay in [[Paris]] that summer, and it is very likely that her account of how [[Turgenev]] had written ''The Song of Triumphant Love'' induced Tchaikovsky, in February 1887, to read this mysterious story. A diary entry for 1/13 February 1887 records the "strong impression" it had made on him, and also that he had had a "strange dream" about Madame Viardot <ref name="note16"/>. Even more significant is the fact that at around the same time Tchaikovsky made some sketches for a vocal work based on [[Turgenev]]'s story — unfortunately Tchaikovsky's own ''[[Song of Triumphant Love]]'' ([[TH 227]]) was not realised. On the other hand, the unforgettable experience of seeing [[Mozart]]'s autograph score of ''Don Giovanni'' at Madame Viardot's house may have directly encouraged him to complete his work on[[Suite No. 4]] ("''Mozartiana''"), which Tchaikovsky had intended as his contribution to the festivities that were to be held all over Europe later that year to mark the hundredth anniversary of the premiere of [[Mozart]]'s masterpiece in [[Prague]] on 29 October 1787 {{NS}}.		Clearly, this meeting with Pauline Viardot on 12 June 1886 {{NS}} was one of the most memorable and agreeable events during his short stay in [[Paris]] that summer, and it is very likely that her account of how [[Turgenev]] had written ''The Song of Triumphant Love'' induced Tchaikovsky, in February 1887, to read this mysterious story. A diary entry for 1/13 February 1887 records the "strong impression" it had made on him, and also that he had had a "strange dream" about Madame Viardot <ref name="note16"/>. Even more significant is the fact that at around the same time Tchaikovsky made some sketches for a vocal work based on [[Turgenev]]'s story — unfortunately Tchaikovsky's own ''[[Song of Triumphant Love]]'' ([[TH 227]]) was not realised. On the other hand, the unforgettable experience of seeing [[Mozart]]'s autograph score of ''Don Giovanni'' at Madame Viardot's house may have directly encouraged him to complete his work on [[Suite No. 4]] ("''Mozartiana''"), which Tchaikovsky had intended as his contribution to the festivities that were to be held all over Europe later that year to mark the hundredth anniversary of the premiere of [[Mozart]]'s masterpiece in [[Prague]] on 29 October 1787 {{NS}}.

	During Tchaikovsky's first tour to Western Europe (January–March 1888) as the conductor of his own works one of the stops on his itinerary was [[Paris]], where he gave three concerts. On 2 March 1888 {{NS}}, two days before the second of these concerts, he paid a visit to Pauline Viardot <ref name="note17"/>. Despite the fact that Tchaikovsky's schedule was very busy, with receptions in his honour almost every evening, rehearsals, and meetings with such eminent French colleagues as [[Charles Gounod]], [[Jules Massenet]], and [[Léo Delibes]], he still accepted another invitation to Madame Viardot's house on 9 March. This is what he recorded in his diary: "Dinner and soirée at Viardot's. Her son-in-law. Singing. A wonderful song by Viardot" <ref name="note18"/>.		During Tchaikovsky's first tour to Western Europe (January–March 1888) as the conductor of his own works one of the stops on his itinerary was [[Paris]], where he gave three concerts. On 2 March 1888 {{NS}}, two days before the second of these concerts, he paid a visit to Pauline Viardot <ref name="note17"/>. Despite the fact that Tchaikovsky's schedule was very busy, with receptions in his honour almost every evening, rehearsals, and meetings with such eminent French colleagues as [[Charles Gounod]], [[Jules Massenet]], and [[Léo Delibes]], he still accepted another invitation to Madame Viardot's house on 9 March. This is what he recorded in his diary: "Dinner and soirée at Viardot's. Her son-in-law. Singing. A wonderful song by Viardot" <ref name="note18"/>.

Tony at 09:24, 23 November 2022

2022-11-23T09:24:16Z

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	During his brief stay in [[Paris]] in January 1876, Tchaikovsky had deliberately avoided visiting Pauline Viardot's musical salon. On 2 March 1879, when he was in [[Paris]] again, he attended a performance of [[Berlioz]]'s ''Symphonie Fantastique'' which featured two of her children: Paul, and Marianne (1854–1919), who two years earlier had been briefly engaged to the composer Gabriel Fauré. Tchaikovsky praised their performance in letter 1116 of 20 February/4 March 1879 to his brother [[Anatoly]], but he added that, despite [[Nadezhda von Meck]]'s repeated urging, he had no wish to make the acquaintance of Pauline Viardot or [[Turgenev]] personally.		During his brief stay in [[Paris]] in January 1876, Tchaikovsky had deliberately avoided visiting Pauline Viardot's musical salon. On 2 March 1879, when he was in [[Paris]] again, he attended a performance of [[Berlioz]]'s ''Symphonie Fantastique'' which featured two of her children: Paul, and Marianne (1854–1919), who two years earlier had been briefly engaged to the composer Gabriel Fauré. Tchaikovsky praised their performance in letter 1116 of 20 February/4 March 1879 to his brother [[Anatoly]], but he added that, despite [[Nadezhda von Meck]]'s repeated urging, he had no wish to make the acquaintance of Pauline Viardot or [[Turgenev]] personally.

	In April 1880, [[Turgenev]] sent Pauline Viardot a copy of the [[Six Romances, Op. 38]] from [[Saint Petersburg]], where he had just heard [[Anna Frideburg]] sing ''Amid the Din of the Ball'' (Средь шумного бала) at a private concert. Madame Viardot would often select her favourite songs by Tchaikovsky for the famous musical gatherings on Thursdays at her house on the Rue de Douai. Her performance of ''None But the Lonely Heart'' always moved [[Turgenev]] to tears, and it is reflected in his last published story of 1883, ''Klara Milich'' (Клара Милич), also known as ''After Death'' (После смерти), which was inspired by news of the tragic suicide of [[Yevlaliya Kadmina]]. In his letter-article ''[[The Last Days of N. G. Rubinstein's Life]]'' ([[TH 315]]) Tchaikovsky noted how Madame Viardot had been amongst the prominent figures from the French musical world who gathered at the Russian Orthodox church in [[Paris]] on 26 March 1881 {{NS}} to pay their last respects to the great Russian pianist and conductor. Even after [[Turgenev]]'s death in 1883, Pauline Viardot continued to take an interest in Russian music, organizing, for example, a special concert in [[Paris]] in 1887 at which [[Balakirev]]'s fantasy for piano ''Islamey'' was played.		In April 1880, [[Turgenev]] sent Pauline Viardot a copy of the [[Six Romances, Op. 38]] from [[Saint Petersburg]], where he had just heard [[Anna Frideburg]] sing ''Amid the Din of the Ball'' (Средь шумного бала) at a private concert. Madame Viardot would often select her favourite songs by Tchaikovsky for the famous musical gatherings on Thursdays at her house on the Rue de Douai. Her performance of ''None But the Lonely Heart'' always moved [[Turgenev]] to tears, and it is reflected in his last published story of 1883, ''Klara Milich'' (Клара Милич), also known as ''After Death'' (После смерти), which was inspired by news of the tragic suicide of [[Yevlaliya Kadmina]]. In his letter-article ''[[The Last Days of N. G. Rubinstein's Life]]'' ([[TH 315]]), Tchaikovsky noted how Madame Viardot had been amongst the prominent figures from the French musical world who gathered at the Russian Orthodox church in [[Paris]] on 26 March 1881 {{NS}} to pay their last respects to the great Russian pianist and conductor. Even after [[Turgenev]]'s death in 1883, Pauline Viardot continued to take an interest in Russian music, organizing, for example, a special concert in [[Paris]] in 1887 at which [[Balakirev]]'s fantasy for piano ''Islamey'' was played.

	It was finally during his stay in [[Paris]] in the summer of 1886 that Tchaikovsky decided to call on Pauline Viardot (now living at 297 Boulevard St. Germain) for the first time. He did so on 12 June {{NS}}, accompanied by the cellist [[Anatoly Brandukov]], and from an entry which Tchaikovsky wrote in his diary that very evening after returning to his hotel, we find out that Madame Viardot had showed him [[Mozart]]'s original manuscript score of '' Don Giovanni'', which she had bought at an auction in [[London]] back in 1855. Although Madame Viardot frequently showed this manuscript to the various distinguished musicians who visited her house, she had particular reason to do so in the case of Tchaikovsky, as at the start of their interview he would probably have told her of his life-long love for [[Mozart]], knowing that her father, the legendary tenor Manuel García, had been a notable Don Ottavio in his time. This is Tchaikovsky's diary entry for that day (the underlining indicates additional emphasis by the composer):		It was finally during his stay in [[Paris]] in the summer of 1886 that Tchaikovsky decided to call on Pauline Viardot (now living at 297 Boulevard St. Germain) for the first time. He did so on 12 June {{NS}}, accompanied by the cellist [[Anatoly Brandukov]], and from an entry which Tchaikovsky wrote in his diary that very evening after returning to his hotel, we find out that Madame Viardot had showed him [[Mozart]]'s original manuscript score of '' Don Giovanni'', which she had bought at an auction in [[London]] back in 1855. Although Madame Viardot frequently showed this manuscript to the various distinguished musicians who visited her house, she had particular reason to do so in the case of Tchaikovsky, as at the start of their interview he would probably have told her of his life-long love for [[Mozart]], knowing that her father, the legendary tenor Manuel García, had been a notable Don Ottavio in his time. This is Tchaikovsky's diary entry for that day (the underlining indicates additional emphasis by the composer):

Tony at 09:18, 23 November 2022

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	She first became acquainted with Tchaikovsky's music in April 1871, because [[Turgenev]] was so impressed by two songs from the [[Six Romances, Op. 6]] which he had heard [[Yelizaveta Lavrovskaya]] sing at an all-Tchaikovsky concert in [[Moscow]] on 16/28 March 1871, that on his return to [[London]], where the Viardots were temporarily staying, he ordered a copy of Tchaikovsky's song album from Russia. On 27 April 1871, [[Turgenev]] wrote to Mariya Miliutina to thank her for having sent the album and told her that Madame Viardot had immediately played them through, and that she especially liked ''None But the Lonely Heart'' (Нет, только тот, кто знал)—No. 6 of the [[Six Romances, Op. 6]]. [[Turgenev]] also noted that Madame Viardot intended to perform this song at one of the regular musical matinées held in her house. A copy of Pauline Viardot's recent album of Russian songs was also sent to Tchaikovsky <ref name="note2"/>.		She first became acquainted with Tchaikovsky's music in April 1871, because [[Turgenev]] was so impressed by two songs from the [[Six Romances, Op. 6]] which he had heard [[Yelizaveta Lavrovskaya]] sing at an all-Tchaikovsky concert in [[Moscow]] on 16/28 March 1871, that on his return to [[London]], where the Viardots were temporarily staying, he ordered a copy of Tchaikovsky's song album from Russia. On 27 April 1871, [[Turgenev]] wrote to Mariya Miliutina to thank her for having sent the album and told her that Madame Viardot had immediately played them through, and that she especially liked ''None But the Lonely Heart'' (Нет, только тот, кто знал)—No. 6 of the [[Six Romances, Op. 6]]. [[Turgenev]] also noted that Madame Viardot intended to perform this song at one of the regular musical matinées held in her house. A copy of Pauline Viardot's recent album of Russian songs was also sent to Tchaikovsky <ref name="note2"/>.

	In the summer of 1874, Pauline Viardot also became acquainted with the overture-fantasia ''[[Romeo and Juliet]]'', as [[Turgenev]] had ordered a copy of its arrangement for piano. At the end of 1876 Tchaikovsky had the idea of attempting to organize a concert featuring his works to take place in [[Paris]] in March 1877, and he wrote two letters to [[Sergey Taneyev]] (who was then staying in the French capital) asking him if he could tactfully find out whether Madame Viardot would be willing to perform some of his songs at such a concert: "Would it be seen as madness on my part if I were to ask Viardot, through [[Turgenev]], to take part in my concert? After all, she has performed my songs, hasn't she? If it's a crazy idea, then just throw away the enclosed letter. But if you think it's all right, then please go to [[Turgenev]] and hand him this letter" <ref name="note3"/>. This shows that Tchaikovsky was aware of the fact that Pauline Viardot ever since 1871 had been championing his songs, especially ''None But the Lonely Heart'' (the last of the [[Six Romances, Op. 6]], at the famous musical matinées which were held in her house in [[Paris]]. Although the concert envisaged by Tchaikovsky did not take place because he was ultimately unable to raise the necessary funds, we do know that [[Taneyev]] took part in one of Madame Viardot's matinées at some point between January and May 1877 and accompanied her at the piano while she sang ''None But the Lonely Heart'' "with her characteristic passion, expressiveness, and impeccable diction", according to a contemporary account <ref name="note4"/>.		In the summer of 1874, Pauline Viardot also became acquainted with the overture-fantasia ''[[Romeo and Juliet]]'', as [[Turgenev]] had ordered a copy of its arrangement for piano. At the end of 1876, Tchaikovsky had the idea of attempting to organize a concert featuring his works to take place in [[Paris]] in March 1877, and he wrote two letters to [[Sergey Taneyev]] (who was then staying in the French capital) asking him if he could tactfully find out whether Madame Viardot would be willing to perform some of his songs at such a concert: "Would it be seen as madness on my part if I were to ask Viardot, through [[Turgenev]], to take part in my concert? After all, she has performed my songs, hasn't she? If it's a crazy idea, then just throw away the enclosed letter. But if you think it's all right, then please go to [[Turgenev]] and hand him this letter" <ref name="note3"/>. This shows that Tchaikovsky was aware of the fact that Pauline Viardot ever since 1871 had been championing his songs, especially ''None But the Lonely Heart'' (the last of the [[Six Romances, Op. 6]]), at the famous musical matinées which were held in her house in [[Paris]]. Although the concert envisaged by Tchaikovsky did not take place because he was ultimately unable to raise the necessary funds, we do know that [[Taneyev]] took part in one of Madame Viardot's matinées at some point between January and May 1877 and accompanied her at the piano while she sang ''None But the Lonely Heart'' "with her characteristic passion, expressiveness, and impeccable diction", according to a contemporary account <ref name="note4"/>.

	During the [[Paris]] Exposition of 1878, at which [[Nikolay Rubinstein]] conducted four "Russian Concerts" between May and November, featuring several works by Tchaikovsky (''[[Sérénade mélancolique]]'' and ''[[Valse-Scherzo, Op. 34\|Valse-Scherzo]]'', with [[Stanisław Barcewicz]] as soloist), [[Turgenev]] also found out that the vocal-piano reduction of ''[[Yevgeny Onegin]]'' had just been published in Russia. He immediately ordered a copy, and on 27 November 1878 he wrote to [[Tolstoy]] from [[Paris]] that Madame Viardot had been studying the opera in the evenings and that they both liked it very much <ref name="note5"/>. She also received a copy of the score of [[Aleksandr Borodin]]'s Second Symphony ("''Bogatyrskaya''") shortly after its first performance in Russia in 1877.		During the [[Paris]] Exposition of 1878, at which [[Nikolay Rubinstein]] conducted four "Russian Concerts" between May and November, featuring several works by Tchaikovsky (''[[Sérénade mélancolique]]'' and ''[[Valse-Scherzo, Op. 34\|Valse-Scherzo]]'', with [[Stanisław Barcewicz]] as soloist), [[Turgenev]] also found out that the vocal-piano reduction of ''[[Yevgeny Onegin]]'' had just been published in Russia. He immediately ordered a copy, and on 27 November 1878 he wrote to [[Tolstoy]] from [[Paris]] that Madame Viardot had been studying the opera in the evenings and that they both liked it very much <ref name="note5"/>. She also received a copy of the score of [[Aleksandr Borodin]]'s Second Symphony ("''Bogatyrskaya''") shortly after its first performance in Russia in 1877.

	During his brief stay in [[Paris]] in January 1876 Tchaikovsky had deliberately avoided visiting Pauline Viardot's musical salon. On 2 March 1879, when he was in [[Paris]] again, he attended a performance of [[Berlioz]]'s ''Symphonie Fantastique'' which featured two of her children: Paul, and Marianne (1854–1919), who two years earlier had been briefly engaged to the composer Gabriel Fauré. Tchaikovsky praised their performance in letter 1116 of 20 February/4 March 1879 to his brother [[Anatoly]], but he added that, despite [[Nadezhda von Meck]]'s repeated urging, he had no wish to make the acquaintance of Pauline Viardot or [[Turgenev]] personally.		During his brief stay in [[Paris]] in January 1876, Tchaikovsky had deliberately avoided visiting Pauline Viardot's musical salon. On 2 March 1879, when he was in [[Paris]] again, he attended a performance of [[Berlioz]]'s ''Symphonie Fantastique'' which featured two of her children: Paul, and Marianne (1854–1919), who two years earlier had been briefly engaged to the composer Gabriel Fauré. Tchaikovsky praised their performance in letter 1116 of 20 February/4 March 1879 to his brother [[Anatoly]], but he added that, despite [[Nadezhda von Meck]]'s repeated urging, he had no wish to make the acquaintance of Pauline Viardot or [[Turgenev]] personally.

	In April 1880, [[Turgenev]] sent Pauline Viardot a copy of the [[Six Romances, Op. 38]] from [[Saint Petersburg]], where he had just heard [[Anna Frideburg]] sing ''Amid the Din of the Ball'' (Средь шумного бала) at a private concert. Madame Viardot would often select her favourite songs by Tchaikovsky for the famous musical gatherings on Thursdays at her house on the Rue de Douai. Her performance of ''None But the Lonely Heart'' always moved [[Turgenev]] to tears, and it is reflected in his last published story of 1883, ''Klara Milich'' (Клара Милич), also known as ''After Death'' (После смерти), which was inspired by news of the tragic suicide of [[Yevlaliya Kadmina]]. In his letter-article ''[[The Last Days of N. G. Rubinstein's Life]]'' ([[TH 315]]) Tchaikovsky noted how Madame Viardot had been amongst the prominent figures from the French musical world who gathered at the Russian Orthodox church in [[Paris]] on 26 March 1881 {{NS}} to pay their last respects to the great Russian pianist and conductor. Even after [[Turgenev]]'s death in 1883, Pauline Viardot continued to take an interest in Russian music, organizing, for example, a special concert in [[Paris]] in 1887 at which [[Balakirev]]'s fantasy for piano ''Islamey'' was played.		In April 1880, [[Turgenev]] sent Pauline Viardot a copy of the [[Six Romances, Op. 38]] from [[Saint Petersburg]], where he had just heard [[Anna Frideburg]] sing ''Amid the Din of the Ball'' (Средь шумного бала) at a private concert. Madame Viardot would often select her favourite songs by Tchaikovsky for the famous musical gatherings on Thursdays at her house on the Rue de Douai. Her performance of ''None But the Lonely Heart'' always moved [[Turgenev]] to tears, and it is reflected in his last published story of 1883, ''Klara Milich'' (Клара Милич), also known as ''After Death'' (После смерти), which was inspired by news of the tragic suicide of [[Yevlaliya Kadmina]]. In his letter-article ''[[The Last Days of N. G. Rubinstein's Life]]'' ([[TH 315]]) Tchaikovsky noted how Madame Viardot had been amongst the prominent figures from the French musical world who gathered at the Russian Orthodox church in [[Paris]] on 26 March 1881 {{NS}} to pay their last respects to the great Russian pianist and conductor. Even after [[Turgenev]]'s death in 1883, Pauline Viardot continued to take an interest in Russian music, organizing, for example, a special concert in [[Paris]] in 1887 at which [[Balakirev]]'s fantasy for piano ''Islamey'' was played.

Tony at 20:39, 22 November 2022

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	As a singer of great dramatic power, and later as a fine teacher and adviser in musical matters, Pauline Viardot was held in great esteem by the leading composers of the time, including [[Glinka]], [[Meyerbeer]] (for whom she created the role of Fidès in ''Le Prophète'' in 1849), [[Berlioz]] (who conducted a memorable production of [[Gluck]]'s ''Orfeo ed Euridice ''with her in 1859), [[Wagner]], [[Gounod]], [[Saint-Saëns]] (who dedicated ''Samson et Dalila'' to her), and [[Brahms]] (who wrote his ''Alt-Rhapsodie'' for her in 1869). She retired from the stage in 1863, settling in Baden-Baden in Germany, and then in 1870 returning to [[Paris]], where (except for a brief spell in [[London]] in 1871) she would remain for the rest of her life. She devoted herself to composing songs and operettas, as well as teaching, her students including [[Désirée Artôt]] and a number of Russian singers, amongst them [[Yelizaveta Lavrovskaya]] and [[Aleksandra Panayeva]].		As a singer of great dramatic power, and later as a fine teacher and adviser in musical matters, Pauline Viardot was held in great esteem by the leading composers of the time, including [[Glinka]], [[Meyerbeer]] (for whom she created the role of Fidès in ''Le Prophète'' in 1849), [[Berlioz]] (who conducted a memorable production of [[Gluck]]'s ''Orfeo ed Euridice ''with her in 1859), [[Wagner]], [[Gounod]], [[Saint-Saëns]] (who dedicated ''Samson et Dalila'' to her), and [[Brahms]] (who wrote his ''Alt-Rhapsodie'' for her in 1869). She retired from the stage in 1863, settling in Baden-Baden in Germany, and then in 1870 returning to [[Paris]], where (except for a brief spell in [[London]] in 1871) she would remain for the rest of her life. She devoted herself to composing songs and operettas, as well as teaching, her students including [[Désirée Artôt]] and a number of Russian singers, amongst them [[Yelizaveta Lavrovskaya]] and [[Aleksandra Panayeva]].

	Partly thanks to the influence of [[Turgenev]], Pauline Viardot showed a great interest in Russian music and eventually acquired a reading knowledge of the language. She set to music poems by [[Pushkin]], [[Lermontov]], [[Fet]], and [[Turgenev]] himself (translated into French and German with the help of the latter). Three albums of her songs were published in Russia in 1864, 1869, 1871 (mainly at the expense of the quixotic [[Turgenev]]), but harshly criticized by [[César Cui]]. More importantly, [[Turgenev]], during his regular visits to Russia, would write to her with reports on musical developments in his native country (recording, for example, a memorable meeting with [[Musorgsky]] in 1874).		Partly thanks to the influence of [[Turgenev]], Pauline Viardot showed a great interest in Russian music and eventually acquired a reading knowledge of the language. She set to music poems by [[Pushkin]], [[Lermontov]], [[Fet]], and [[Turgenev]] himself (translated into French and German with the help of the latter). Three albums of her songs were published in Russia in 1864, 1869, and 1871 (mainly at the expense of the quixotic [[Turgenev]]), but harshly criticized by [[César Cui]]. More importantly, [[Turgenev]], during his regular visits to Russia, would write to her with reports on musical developments in his native country (recording, for example, a memorable meeting with [[Musorgsky]] in 1874).

	==Tchaikovsky and Viardot==		==Tchaikovsky and Viardot==

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	<ref name="note2">See also [[Turgenev]]'s letter to Mariya Milyutina, 15/27 April 1871, sent from [[London]] in {{und\|И. С. Тургенев. Полное собрание сочинений и писем ; том 9}} (Leningrad, 1965), p. 77. Mariya Ageyevna Milyutina (née Abaza; 1834–1903) was the sister of the civil servant Aleksandr Ageyevich Abaza (1821–1895) and thus the sister-in-law of the amateur singer [[Yuliya Abaza\|Yuliya Fyodorovna Abaza]] (née Stubbe; 1830–1915), with whom Tchaikovsky had taken some lessons in piano accompaniment in the 1860s and at whose house in [[Saint Petersburg]] a private performance of ''[[Yevgeny Onegin]]'' (sung from the vocal-piano reduction) took place on 6/18 March 1879 (with [[Aleksandra Panayeva]] singing Tatyana). It seems that the copy of Pauline Viardot's song album(s) was forwarded to Tchaikovsky by Pavel Annenkov, one of [[Turgenev]]'s friends who was then living in [[Saint Petersburg]].</ref>		<ref name="note2">See also [[Turgenev]]'s letter to Mariya Milyutina, 15/27 April 1871, sent from [[London]] in {{und\|И. С. Тургенев. Полное собрание сочинений и писем ; том 9}} (Leningrad, 1965), p. 77. Mariya Ageyevna Milyutina (née Abaza; 1834–1903) was the sister of the civil servant Aleksandr Ageyevich Abaza (1821–1895) and thus the sister-in-law of the amateur singer [[Yuliya Abaza\|Yuliya Fyodorovna Abaza]] (née Stubbe; 1830–1915), with whom Tchaikovsky had taken some lessons in piano accompaniment in the 1860s and at whose house in [[Saint Petersburg]] a private performance of ''[[Yevgeny Onegin]]'' (sung from the vocal-piano reduction) took place on 6/18 March 1879 (with [[Aleksandra Panayeva]] singing Tatyana). It seems that the copy of Pauline Viardot's song album(s) was forwarded to Tchaikovsky by Pavel Annenkov, one of [[Turgenev]]'s friends who was then living in [[Saint Petersburg]].</ref>
	<ref name="note3">[[Letter 535]] to [[Sergey Taneyev]], 12/24 January 1877. In an earlier letter to [[Taneyev]] of 25 December 1876/6 January 1877 ([[letter 528]]), Tchaikovsky had asked: "I kindly ask you to find out in a tactful fashion whether Viardot might like to perform two or three of my songs". Unfortunately, the message enclosed for [[Turgenev]] in the later letter to [[Taneyev]] seems to have been lost.</ref>		<ref name="note3">[[Letter 535]] to [[Sergey Taneyev]], 12/24 January 1877. In an earlier letter to [[Taneyev]] of 25 December 1876/6 January 1877 ([[letter 528]]), Tchaikovsky had asked: "I kindly ask you to find out in a tactful fashion whether Viardot might like to perform two or three of my songs". Unfortunately, the message enclosed for [[Turgenev]] in the later letter to [[Taneyev]] seems to have been lost.</ref>
	<ref name="note4">From the reminiscences of [[Turgenev]] by Yelena Blaramberg (1846–1923), in in Fridliand, V. G. and Petrov, S. M. Petrov (eds.). {{und\|И. С. Тургенев в воспоминаниях современников, том 2}} (Moscow, 1983), p. 192. The Russian revolutionary German Lopatin (1845–1919), who was in [[Paris]] in the 1870s also recalled one of these matinées at which Pauline Viardot performed ''None But the Lonely Heart'': "She was an old woman. But when she uttered: 'I am suffering' (Я стражду) it made my flesh creep. How much expressiveness she put into it. Her eyes, those pale hollow cheeks. You should have seen the audience!" Quoted in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 103.</ref>		<ref name="note4">From the reminiscences of [[Turgenev]] by Yelena Blaramberg (1846–1923), in Fridliand, V. G. and Petrov, S. M. Petrov (eds.). {{und\|И. С. Тургенев в воспоминаниях современников, том 2}} (Moscow, 1983), p. 192. The Russian revolutionary German Lopatin (1845–1919), who was in [[Paris]] in the 1870s, also recalled one of these matinées at which Pauline Viardot performed ''None But the Lonely Heart'': "She was an old woman. But when she uttered: 'I am suffering' (Я стражду) it made my flesh creep. How much expressiveness she put into it. Her eyes, those pale hollow cheeks. You should have seen the audience!" Quoted in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 103.</ref>
	<ref name="note5">Letter from Ivan [[Turgenev]] to [[Lev Tolstoy]], 15 November/7 December 1878, in {{und\|И. С. Тургенев: Полное собрание сочинений и писем, том 12, кн. 1}} (Leningrad, 1966), p. 383–384.</ref>		<ref name="note5">Letter from Ivan [[Turgenev]] to [[Lev Tolstoy]], 15 November/7 December 1878, in {{und\|И. С. Тургенев: Полное собрание сочинений и писем, том 12, кн. 1}} (Leningrad, 1966), p. 383–384.</ref>
	<ref name="note6">Diary entry for 31 May/12 June 1886, in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 64.</ref>		<ref name="note6">Diary entry for 31 May/12 June 1886, in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 64.</ref>
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	<ref name="note13">Letter from Pauline Viardot to Tchaikovsky, 21 June 1886 {{NS}}. See {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 209, p. 103. See also Tchaikovsky's diary entry for 9/21 June 1886, in which he records the receipt of this letter, as well as the fact that he had sent a reply. See {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 69.</ref>		<ref name="note13">Letter from Pauline Viardot to Tchaikovsky, 21 June 1886 {{NS}}. See {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 209, p. 103. See also Tchaikovsky's diary entry for 9/21 June 1886, in which he records the receipt of this letter, as well as the fact that he had sent a reply. See {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 69.</ref>
	<ref name="note14">Letter from [[Nadezhda von Meck]] to Tchaikovsky, 22 June/4 July 1886.</ref>		<ref name="note14">Letter from [[Nadezhda von Meck]] to Tchaikovsky, 22 June/4 July 1886.</ref>
	<ref name="note15">[[Letter 2988]] to [[Nadezhda von Meck]], 28 June/10 July 1886. [[Turgenev]] started writing ''The Song of Triumphant Love'' in November 1879, while in Bougival, but he did not complete it until his last stay in Russia, on his family estate at Spasskoye, in the summer of 1881~~, so~~ it is possible that he sought Pauline Viardot's advice during the initial stages of his work on this short story, which was eventually published in the November 1881 issue of the journal ''Herald of Europe'' (Вестник Европы). According to {{bib\|1940/107\|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p. 374, Tchaikovsky wrote a letter to [[Yuliya Shpazhinskaya]] on the same date, 28 June/10 July 1886, also describing what this opportunity to see the original score of ''Don Giovanni'' had meant to him, but unfortunately this letter has not been traced.</ref>		<ref name="note15">[[Letter 2988]] to [[Nadezhda von Meck]], 28 June/10 July 1886. [[Turgenev]] started writing ''The Song of Triumphant Love'' in November 1879, while in Bougival, but he did not complete it until his last stay in Russia, on his family estate at Spasskoye, in the summer of 1881. So it is possible that he sought Pauline Viardot's advice during the initial stages of his work on this short story, which was eventually published in the November 1881 issue of the journal ''Herald of Europe'' (Вестник Европы). According to {{bib\|1940/107\|Дни и годы П. И. Чайковского. Летопись жизни и творчества}} (1940), p. 374, Tchaikovsky wrote a letter to [[Yuliya Shpazhinskaya]] on the same date, 28 June/10 July 1886, also describing what this opportunity to see the original score of ''Don Giovanni'' had meant to him, but unfortunately this letter has not been traced.</ref>
	<ref name="note16">Diary entry for 1/13 February 1887 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 125.</ref>		<ref name="note16">Diary entry for 1/13 February 1887 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 125.</ref>
	<ref name="note17">See also diary entry for 19 February/2 March 1888 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 201.</ref>		<ref name="note17">See also diary entry for 19 February/2 March 1888 in {{bib\|1993/231\|Дневники П. И. Чайковского, 1873–1891}} (1993), p. 201.</ref>