Tchaikovsky: A Life - Revision history

Brett: Text replacement - "Riccardo Drigo" to "Riccardo Drigo"

2024-01-01T21:29:42Z

Text replacement - "Riccardo Drigo" to "Riccardo Drigo"

← Older revision		Revision as of 23:29, 1 January 2024
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	On 5/17 April 1892, Tchaikovsky moved into another new home in the same area around [[Klin]]. This time he found a bigger house on the outskirts of the town itself, right next to the [[Petersburg]] highway but surrounded by fields and the woods. At the end of April/start of May, he successfully conducted [[Gounod]]'s ''Faust'', [[Anton Rubinstein]]'s ''The Demon'', and his own [[Yevgeny Onegin]] in [[Moscow]] at [[Ippolit Pryanishnikov]]'s Private Opera. In May, Tchaikovsky began work on a [[Symphony in E-flat major]], but the sketches he produced to this end—which were in some state of completion by October—did not satisfy him. Almost a year later they were used as the basis for the one-movement [[Third Piano Concerto]], and the [[Andante and Finale]] for piano and orchestra, completed by [[Taneyev]] after the composer's death. In June 1892, Tchaikovsky went abroad with his nephew [[Bob Davydov]] to [[Vichy]] (France) for a short cure and to spend some time in [[Paris]]. On 7/19 July he was back in the Russian capital, and four days later in [[Klin]], where he dealt with the proofs of ''[[The Nutcracker]]'' and ''[[Iolanta]]''. In early/mid-September 1892, Tchaikovsky planned to conduct a concert in [[Vienna]]. However, upon arriving he learned that the performance was to be given in a restaurant by a scratch orchestra, and promptly took offence and left. His old friend from the [[Moscow]] Conservatory, the Austrian pianist [[Anton Door]], who had not seen him since the late 1860s, not surprisingly found him looking older than his years. From [[Vienna]] the composer travelled to be a guest of the German pianist [[Sophie Menter]] at [[Itter]] Castle, in the Tyrol, and thereupon to [[Prague]] in order to attend their first performance of ''[[The Queen of Spades]]''. In early/mid-November, Tchaikovsky had to return to [[Saint Petersburg]] to take part in the rehearsals of ''[[Iolanta]]'' and ''[[The Nutcracker]]'', whose premieres were to make up a double-bill.		On 5/17 April 1892, Tchaikovsky moved into another new home in the same area around [[Klin]]. This time he found a bigger house on the outskirts of the town itself, right next to the [[Petersburg]] highway but surrounded by fields and the woods. At the end of April/start of May, he successfully conducted [[Gounod]]'s ''Faust'', [[Anton Rubinstein]]'s ''The Demon'', and his own [[Yevgeny Onegin]] in [[Moscow]] at [[Ippolit Pryanishnikov]]'s Private Opera. In May, Tchaikovsky began work on a [[Symphony in E-flat major]], but the sketches he produced to this end—which were in some state of completion by October—did not satisfy him. Almost a year later they were used as the basis for the one-movement [[Third Piano Concerto]], and the [[Andante and Finale]] for piano and orchestra, completed by [[Taneyev]] after the composer's death. In June 1892, Tchaikovsky went abroad with his nephew [[Bob Davydov]] to [[Vichy]] (France) for a short cure and to spend some time in [[Paris]]. On 7/19 July he was back in the Russian capital, and four days later in [[Klin]], where he dealt with the proofs of ''[[The Nutcracker]]'' and ''[[Iolanta]]''. In early/mid-September 1892, Tchaikovsky planned to conduct a concert in [[Vienna]]. However, upon arriving he learned that the performance was to be given in a restaurant by a scratch orchestra, and promptly took offence and left. His old friend from the [[Moscow]] Conservatory, the Austrian pianist [[Anton Door]], who had not seen him since the late 1860s, not surprisingly found him looking older than his years. From [[Vienna]] the composer travelled to be a guest of the German pianist [[Sophie Menter]] at [[Itter]] Castle, in the Tyrol, and thereupon to [[Prague]] in order to attend their first performance of ''[[The Queen of Spades]]''. In early/mid-November, Tchaikovsky had to return to [[Saint Petersburg]] to take part in the rehearsals of ''[[Iolanta]]'' and ''[[The Nutcracker]]'', whose premieres were to make up a double-bill.

	On 6/18 December, both the opera and the ballet were given splendid productions at the Mariinsky Theatre, in the presence of [[Alexander III]] and the Imperial court. The opera was conducted by [[Eduard Nápravník]], and the ballet by Riccardo Drigo. The [[Alexander III\|Emperor]] was cordial with respect to both pieces, but it seems that the music of ''[[Iolanta]]'' did not appeal to the public. ''[[The Nutcracker]]'' proved more fortunate, with most critics approving of its music and choreography. Tchaikovsky left the capital on 12/24 December, disappointed by the lukewarm welcome received by his new creations.		On 6/18 December, both the opera and the ballet were given splendid productions at the Mariinsky Theatre, in the presence of [[Alexander III]] and the Imperial court. The opera was conducted by [[Eduard Nápravník]], and the ballet by [[Riccardo Drigo]]. The [[Alexander III\|Emperor]] was cordial with respect to both pieces, but it seems that the music of ''[[Iolanta]]'' did not appeal to the public. ''[[The Nutcracker]]'' proved more fortunate, with most critics approving of its music and choreography. Tchaikovsky left the capital on 12/24 December, disappointed by the lukewarm welcome received by his new creations.

	This time he travelled to Switzerland, visiting his old childhood governess, [[Fanny Dürbach]]. He wrote to his brother [[Nikolay]]: "The past rose up so vividly before me that I seemed to breathe the air of [[Votkinsk]] and hear our [[mother]]'s voice" <ref name="note57"/>.		This time he travelled to Switzerland, visiting his old childhood governess, [[Fanny Dürbach]]. He wrote to his brother [[Nikolay]]: "The past rose up so vividly before me that I seemed to breathe the air of [[Votkinsk]] and hear our [[mother]]'s voice" <ref name="note57"/>.

Brett at 14:08, 23 September 2023

2023-09-23T14:08:43Z

← Older revision		Revision as of 16:08, 23 September 2023
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	On 13/25 May, the composer set off for England to formally receive an honorary degree of Doctor of Music ''honoris causa'' from [[Cambridge]] University, which had been conferred upon him earlier. The [[London]] Philharmonic Society intended to give two concerts at which all the foreign composers receiving their honorary degrees at [[Cambridge]] would conduct their own compositions. At the first of these concerts on 20 May/1 June, Tchaikovsky was represented by his [[Fourth Symphony]], which appears to have been an enormous success. The festivities at [[Cambridge]], to mark the Jubilee of the University Musical Society, began on 31 May/12 June with a concert whose program included one work by each of the five doctors of music: Boito, [[Saint-Saëns]], Bruch, Tchaikovsky and [[Grieg]] (who was not present at the ceremony for reasons of ill health). Tchaikovsky directed the first English performance of ''[[Francesca da Rimini]]'' and then attended a "gala dinner and still more gala receptions". The next day saw the ceremony awarding him the honorary doctorate. The composer left [[London]] on 2/14 June for [[Paris]], where he could finally relax from three weeks of tension and exhaustion. A few days later he travelled to the Tyrol to spend a week with [[Sophie Menter]] and the prominent Russian pianist [[Vasily Sapelnikov]]. By 18/30 June 1893, the composer was back in Russia.		On 13/25 May, the composer set off for England to formally receive an honorary degree of Doctor of Music ''honoris causa'' from [[Cambridge]] University, which had been conferred upon him earlier. The [[London]] Philharmonic Society intended to give two concerts at which all the foreign composers receiving their honorary degrees at [[Cambridge]] would conduct their own compositions. At the first of these concerts on 20 May/1 June, Tchaikovsky was represented by his [[Fourth Symphony]], which appears to have been an enormous success. The festivities at [[Cambridge]], to mark the Jubilee of the University Musical Society, began on 31 May/12 June with a concert whose program included one work by each of the five doctors of music: Boito, [[Saint-Saëns]], Bruch, Tchaikovsky and [[Grieg]] (who was not present at the ceremony for reasons of ill health). Tchaikovsky directed the first English performance of ''[[Francesca da Rimini]]'' and then attended a "gala dinner and still more gala receptions". The next day saw the ceremony awarding him the honorary doctorate. The composer left [[London]] on 2/14 June for [[Paris]], where he could finally relax from three weeks of tension and exhaustion. A few days later he travelled to the Tyrol to spend a week with [[Sophie Menter]] and the prominent Russian pianist [[Vasily Sapelnikov]]. By 18/30 June 1893, the composer was back in Russia.

	While Tchaikovsky was abroad he had received a continuing flood of bad news from [[Moscow]] and [[Saint Petersburg]]: his old Conservatory and society friends [[Karl Albrecht ]] and [[Konstantin Shilovsky ]]had both passed away, in late June [[Vladimir Shilovsky]] also died, and he was led to expect similar news concerning [[Aleksey Apukhtin]] and professor Nikolay Zverev.		While Tchaikovsky was abroad he had received a continuing flood of bad news from [[Moscow]] and [[Saint Petersburg]]: his old Conservatory and society friends [[Karl Albrecht ]] and [[Konstantin Shilovsky]] had both passed away, in late June [[Vladimir Shilovsky]] also died, and he was led to expect similar news concerning [[Aleksey Apukhtin]] and professor [[Nikolay Zverev]].

	In late August/early September, Tchaikovsky briefly visited [[Hamburg]] to attend a production of ''[[Iolanta]]'' conducted by [[Gustav Mahler]]. Upon his return he visited his brother [[Anatoly]] and family in [[Nizhny Novgorod]].		In late August/early September, Tchaikovsky briefly visited [[Hamburg]] to attend a production of ''[[Iolanta]]'' conducted by [[Gustav Mahler]]. Upon his return he visited his brother [[Anatoly]] and family in [[Nizhny Novgorod]].

Brett at 14:01, 26 June 2023

2023-06-26T14:01:14Z

Brett at 21:00, 25 June 2023

2023-06-25T21:00:58Z

Tony: /* 1866–1877 */ Text replacement - "repertory" to "repertoire" for consistency

2023-04-12T12:22:19Z

1866–1877: Text replacement - "repertory" to "repertoire" for consistency

Tony: /* 1840–1865 */

2023-04-10T12:13:21Z

1840–1865

← Older revision		Revision as of 14:13, 10 April 2023
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	Tchaikovsky never worked so hard as in those years: he faithfully fulfilled his technical assignments, instrumental studies, and tried to master the art of conducting. Always in the company of his new friend [[Herman Laroche]], a fellow student who would become the first critic to champion Tchaikovsky's music, the two friends attended concerts and operas. Together they made many important connections in [[Saint Petersburg]]'s music circles, including [[Aleksandr Serov]], an ideological opponent of [[Anton Rubinstein\|Rubinstein]], but the composer of the opera ''Judith'', which Tchaikovsky admired.		Tchaikovsky never worked so hard as in those years: he faithfully fulfilled his technical assignments, instrumental studies, and tried to master the art of conducting. Always in the company of his new friend [[Herman Laroche]], a fellow student who would become the first critic to champion Tchaikovsky's music, the two friends attended concerts and operas. Together they made many important connections in [[Saint Petersburg]]'s music circles, including [[Aleksandr Serov]], an ideological opponent of [[Anton Rubinstein\|Rubinstein]], but the composer of the opera ''Judith'', which Tchaikovsky admired.

	Tchaikovsky spent the summer of 1863 at [[Aleksey Apukhtin]]'s estate in [[Pavlodar]]. The next summer he stayed at the home of his society friend Prince Aleksey Golitsyn at [[Trostinets]], near [[Kharkov]]. Here he composed an overture to [[Aleksandr Ostrovsky]]'s play [[The Storm]] (which was later the source of Leoš Janáček's opera ''Katya Kabanova''). Tchaikovsky also sketched out a program for a descriptive concert overture. Upon completing the score, Tchaikovsky first sent it to [[Herman Laroche]] with instructions to pass it on to [[Anton Rubinstein]]. For Tchaikovsky the idea of taking the overture to [[Anton Rubinstein\|Rubinstein]] was still uncomfortable: his adoration for his eminent teacher was fraught with fear. This served him well, for it was the hapless [[Laroche]] who received the full force of [[Anton Rubinstein\|Rubinstein]]'s anger. Here he found not the expected classical exercise, but a remarkably powerful work: a mature attempt at dramatic program music (after the programmatic overtures of Henri Litolff), which not only incorporated a Russian ~~folk song~~, but was scored for an orchestra that included some instruments "forbidden" to mere students, such as the harp, English Horn and tuba <ref name="note10"/>.		Tchaikovsky spent the summer of 1863 at [[Aleksey Apukhtin]]'s estate in [[Pavlodar]]. The next summer he stayed at the home of his society friend Prince Aleksey Golitsyn at [[Trostinets]], near [[Kharkov]]. Here he composed an overture to [[Aleksandr Ostrovsky]]'s play [[The Storm]] (which was later the source of Leoš Janáček's opera ''Katya Kabanova''). Tchaikovsky also sketched out a program for a descriptive concert overture. Upon completing the score, Tchaikovsky first sent it to [[Herman Laroche]] with instructions to pass it on to [[Anton Rubinstein]]. For Tchaikovsky the idea of taking the overture to [[Anton Rubinstein\|Rubinstein]] was still uncomfortable: his adoration for his eminent teacher was fraught with fear. This served him well, for it was the hapless [[Laroche]] who received the full force of [[Anton Rubinstein\|Rubinstein]]'s anger. Here he found not the expected classical exercise, but a remarkably powerful work: a mature attempt at dramatic program music (after the programmatic overtures of Henri Litolff), which not only incorporated a Russian folksong, but was scored for an orchestra that included some instruments "forbidden" to mere students, such as the harp, English Horn and tuba <ref name="note10"/>.

	{{picture\|file=Photo011.jpg\|caption=Tchaikovsky near the end of his studies at the [[Saint Petersburg]] Conservatory in the autumn of 1865}}		{{picture\|file=Photo011.jpg\|caption=Tchaikovsky near the end of his studies at the [[Saint Petersburg]] Conservatory in the autumn of 1865}}
	Tchaikovsky was not discouraged by this, which was to be the first of many such incidents with [[Anton Rubinstein\|Rubinstein]]. Theirs was always an uneasy relationship. Nevertheless, in the summer of 1865, Tchaikovsky found himself fulfilling a promise to [[Anton Rubinstein\|Rubinstein]] to make a translation for conservatory students of the much-needed textbook ''Traité général d'instrumentation'', written in 1863 by the eminent Belgian theorist François Auguste Gevaert. This task did not spoil Tchaikovsky's happy vacation spent with his younger brothers [[Anatoly]] and [[Modest]] on the Davydov family estate at [[Kamenka]], and [[Anton Rubinstein\|Rubinstein]] proved to be quite pleased with the completed translation, which was published by [[Jurgenson]] in 1866 as ''[[Handbook for Instrumentation (Gevaert)\|Handbook for Instrumentation]]''.		Tchaikovsky was not discouraged by this, which was to be the first of many such incidents with [[Anton Rubinstein\|Rubinstein]]. Theirs was always an uneasy relationship. Nevertheless, in the summer of 1865, Tchaikovsky found himself fulfilling a promise to [[Anton Rubinstein\|Rubinstein]] to make a translation for conservatory students of the much-needed textbook ''Traité général d'instrumentation'', written in 1863 by the eminent Belgian theorist François Auguste Gevaert. This task did not spoil Tchaikovsky's happy vacation spent with his younger brothers [[Anatoly]] and [[Modest]] on the Davydov family estate at [[Kamenka]], and [[Anton Rubinstein\|Rubinstein]] proved to be quite pleased with the completed translation, which was published by [[Jurgenson]] in 1866 as ''[[Handbook for Instrumentation (Gevaert)\|Handbook for Instrumentation]]''.

	While at [[Kamenka]], Tchaikovsky paid close attention to Ukrainian ~~folk songs~~, gathering material for use in his future compositions. Soon after his return to [[Saint Petersburg]] he was extremely pleased to learn that his [[Characteristic Dances]] for orchestra, written earlier that year, had been conducted in August by Johann Strauss the younger at a concert in [[Pavlovsk]] Park. This was the first public performance of any of Tchaikovsky's works <ref name="note11"/>.		While at [[Kamenka]], Tchaikovsky paid close attention to Ukrainian folksongs, gathering material for use in his future compositions. Soon after his return to [[Saint Petersburg]] he was extremely pleased to learn that his [[Characteristic Dances]] for orchestra, written earlier that year, had been conducted in August by Johann Strauss the younger at a concert in [[Pavlovsk]] Park. This was the first public performance of any of Tchaikovsky's works <ref name="note11"/>.

	On 27 November/9 December 1865, Tchaikovsky made his debut as a conductor, directing the Conservatory orchestra in a performance of his [[Overture in F major]]. Two weeks earlier his [[String Quartet in B-flat major]] was played by a quartet of his fellow students, including the violist [[Vasily Bessel]].		On 27 November/9 December 1865, Tchaikovsky made his debut as a conductor, directing the Conservatory orchestra in a performance of his [[Overture in F major]]. Two weeks earlier his [[String Quartet in B-flat major]] was played by a quartet of his fellow students, including the violist [[Vasily Bessel]].

Brett at 19:19, 14 March 2023

2023-03-14T19:19:26Z

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	<ref name="note61">The first explanation, or more precisely "account" of the composer's illness was published in ''Новое время'' and ''Новости и биржевая газета'' on 20 October/1 November 1893; the second appeared in ''Новое время'' on 26 October/7 November 1893.</ref>		<ref name="note61">The first explanation, or more precisely "account" of the composer's illness was published in ''Новое время'' and ''Новости и биржевая газета'' on 20 October/1 November 1893; the second appeared in ''Новое время'' on 26 October/7 November 1893.</ref>
	<ref name="note62">Aleksandra Orlova, '{{bib\|1981/57\|Tchaikovsky. The Last Chapter}}', ''Music and Letters'', vol. 62 (1981), p. 125–145.</ref>		<ref name="note62">Aleksandra Orlova, '{{bib\|1981/57\|Tchaikovsky. The Last Chapter}}', ''Music and Letters'', vol. 62 (1981), p. 125–145.</ref>
	<ref name="note63">Alexander Poznansky, '{{bib\|~~1990~~/~~167~~\|Tchaikovsky's Suicide. Myth and Reality}}', ''19th-Century Music'', Vol. 11 (1988), p. 199–220; Alexander Poznansky, ''{{bib\|1993/189\|Самоубийство Чайковского: Миф и реальность}}'' (1993); David Brown, '' {{bib\|1991/17\|Tchaikovsky. A Biographical and Critical Study}}''; 4 vols. (1978–91); David Brown, {{bib\|1993/33\|Tchaikovsky Remembered}} (1993), p. 207–226; V. Sokolov, «{{bib\|1993/213\|До и после трагедии. Смерть П. И. Чайковского в документах}}», ''Знамя'', Vol. 11 (1993), p. 144–169; Richard Taruskin, '{{bib\|1995/131\|Pathetic Symphonist}}', ''New Republic'', Vol. 212 (6 February 1995), No. 6, p. 26–40; Nikolay Blinov (author)/Valery Sokolov (ed.), ''{{bib\|1994/20\|Последняя болезнь и смерть П. И. Чайковского}}'' (1994); Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996).</ref>		<ref name="note63">Alexander Poznansky, '{{bib\|1988/36\|Tchaikovsky's Suicide. Myth and Reality}}', ''19th-Century Music'', Vol. 11 (1988), p. 199–220; Alexander Poznansky, ''{{bib\|1993/189\|Самоубийство Чайковского: Миф и реальность}}'' (1993); David Brown, '' {{bib\|1991/17\|Tchaikovsky. A Biographical and Critical Study}}''; 4 vols. (1978–91); David Brown, {{bib\|1993/33\|Tchaikovsky Remembered}} (1993), p. 207–226; V. Sokolov, «{{bib\|1993/213\|До и после трагедии. Смерть П. И. Чайковского в документах}}», ''Знамя'', Vol. 11 (1993), p. 144–169; Richard Taruskin, '{{bib\|1995/131\|Pathetic Symphonist}}', ''New Republic'', Vol. 212 (6 February 1995), No. 6, p. 26–40; Nikolay Blinov (author)/Valery Sokolov (ed.), ''{{bib\|1994/20\|Последняя болезнь и смерть П. И. Чайковского}}'' (1994); Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996).</ref>
	<ref name="note64">For example, Nikolay Blinov (author)/Valery Sokolov (ed.), ''{{bib\|1994/20\|Последняя болезнь и смерть П. И. Чайковского}}'' (1994); Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996).</ref>		<ref name="note64">For example, Nikolay Blinov (author)/Valery Sokolov (ed.), ''{{bib\|1994/20\|Последняя болезнь и смерть П. И. Чайковского}}'' (1994); Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996).</ref>
	<ref name="note65">Alexander Poznansky, '{{bib\|1990/167\|Tchaikovsky's Suicide. Myth and Reality}}', ''19th-Century Music'', Vol. 11 (1988), p. 199–220.</ref>		<ref name="note65">Alexander Poznansky, '{{bib\|1990/167\|Tchaikovsky's Suicide. Myth and Reality}}', ''19th-Century Music'', Vol. 11 (1988), p. 199–220.</ref>

Brett: Text replacement - "Hänflein" to "Haenflein"

2023-03-08T18:03:56Z

Text replacement - "Hänflein" to "Haenflein"

← Older revision		Revision as of 20:03, 8 March 2023
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	<ref name="note76">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 108.</ref>		<ref name="note76">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 108.</ref>
	<ref name="note77">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 132.</ref>		<ref name="note77">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 132.</ref>
	<ref name="note78">Although Tchaikovsky believed this to have been the work's premiere, it had actually received its first public performance in [[Hannover]] on 1/13 March 1880, by the concertmaster of the city's Hofkapelle, Georg ~~Hänflein~~, with Ernst Frank conducting. See {{bibx\|2022/2\|Tchaikovsky Research Bulletin No. 4}} (2022), and ''Signale für die Musikalische Welt'' (1880), No. 26, p. 409.</ref>		<ref name="note78">Although Tchaikovsky believed this to have been the work's premiere, it had actually received its first public performance in [[Hannover]] on 1/13 March 1880, by the concertmaster of the city's Hofkapelle, Georg Haenflein, with Ernst Frank conducting. See {{bibx\|2022/2\|Tchaikovsky Research Bulletin No. 4}} (2022), and ''Signale für die Musikalische Welt'' (1880), No. 26, p. 409.</ref>
	</references>		</references>

Tony: Capital I for Imperial

2022-11-11T09:57:38Z

Capital I for Imperial

← Older revision		Revision as of 11:57, 11 November 2022
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	On 5/17 April 1892, Tchaikovsky moved into another new home in the same area around [[Klin]]. This time he found a bigger house on the outskirts of the town itself, right next to the [[Petersburg]] highway but surrounded by fields and the woods. At the end of April/start of May, he successfully conducted [[Gounod]]'s ''Faust'', [[Anton Rubinstein]]'s ''The Demon'', and his own [[Yevgeny Onegin]] in [[Moscow]] at [[Ippolit Pryanishnikov]]'s Private Opera. In May, Tchaikovsky began work on a [[Symphony in E-flat major]], but the sketches he produced to this end—which were in some state of completion by October—did not satisfy him. Almost a year later they were used as the basis for the one-movement [[Third Piano Concerto]], and the [[Andante and Finale]] for piano and orchestra, completed by [[Taneyev]] after the composer's death. In June 1892, Tchaikovsky went abroad with his nephew [[Bob Davydov]] to [[Vichy]] (France) for a short cure and to spend some time in [[Paris]]. On 7/19 July he was back in the Russian capital, and four days later in [[Klin]], where he dealt with the proofs of ''[[The Nutcracker]]'' and ''[[Iolanta]]''. In early/mid-September 1892, Tchaikovsky planned to conduct a concert in [[Vienna]]. However, upon arriving he learned that the performance was to be given in a restaurant by a scratch orchestra, and promptly took offence and left. His old friend from the [[Moscow]] Conservatory, the Austrian pianist [[Anton Door]], who had not seen him since the late 1860s, not surprisingly found him looking older than his years. From [[Vienna]] the composer travelled to be a guest of the German pianist [[Sophie Menter]] at [[Itter]] Castle, in the Tyrol, and thereupon to [[Prague]] in order to attend their first performance of ''[[The Queen of Spades]]''. In early/mid-November, Tchaikovsky had to return to [[Saint Petersburg]] to take part in the rehearsals of ''[[Iolanta]]'' and ''[[The Nutcracker]]'', whose premieres were to make up a double-bill.		On 5/17 April 1892, Tchaikovsky moved into another new home in the same area around [[Klin]]. This time he found a bigger house on the outskirts of the town itself, right next to the [[Petersburg]] highway but surrounded by fields and the woods. At the end of April/start of May, he successfully conducted [[Gounod]]'s ''Faust'', [[Anton Rubinstein]]'s ''The Demon'', and his own [[Yevgeny Onegin]] in [[Moscow]] at [[Ippolit Pryanishnikov]]'s Private Opera. In May, Tchaikovsky began work on a [[Symphony in E-flat major]], but the sketches he produced to this end—which were in some state of completion by October—did not satisfy him. Almost a year later they were used as the basis for the one-movement [[Third Piano Concerto]], and the [[Andante and Finale]] for piano and orchestra, completed by [[Taneyev]] after the composer's death. In June 1892, Tchaikovsky went abroad with his nephew [[Bob Davydov]] to [[Vichy]] (France) for a short cure and to spend some time in [[Paris]]. On 7/19 July he was back in the Russian capital, and four days later in [[Klin]], where he dealt with the proofs of ''[[The Nutcracker]]'' and ''[[Iolanta]]''. In early/mid-September 1892, Tchaikovsky planned to conduct a concert in [[Vienna]]. However, upon arriving he learned that the performance was to be given in a restaurant by a scratch orchestra, and promptly took offence and left. His old friend from the [[Moscow]] Conservatory, the Austrian pianist [[Anton Door]], who had not seen him since the late 1860s, not surprisingly found him looking older than his years. From [[Vienna]] the composer travelled to be a guest of the German pianist [[Sophie Menter]] at [[Itter]] Castle, in the Tyrol, and thereupon to [[Prague]] in order to attend their first performance of ''[[The Queen of Spades]]''. In early/mid-November, Tchaikovsky had to return to [[Saint Petersburg]] to take part in the rehearsals of ''[[Iolanta]]'' and ''[[The Nutcracker]]'', whose premieres were to make up a double-bill.

	On 6/18 December, both the opera and the ballet were given splendid productions at the Mariinsky Theatre, in the presence of [[Alexander III]] and the ~~imperial~~ court. The opera was conducted by [[Eduard Nápravník]], and the ballet by Riccardo Drigo. The [[Alexander III\|Emperor]] was cordial with respect to both pieces, but it seems that the music of ''[[Iolanta]]'' did not appeal to the public. ''[[The Nutcracker]]'' proved more fortunate, with most critics approving of its music and choreography. Tchaikovsky left the capital on 12/24 December, disappointed by the lukewarm welcome received by his new creations.		On 6/18 December, both the opera and the ballet were given splendid productions at the Mariinsky Theatre, in the presence of [[Alexander III]] and the Imperial court. The opera was conducted by [[Eduard Nápravník]], and the ballet by Riccardo Drigo. The [[Alexander III\|Emperor]] was cordial with respect to both pieces, but it seems that the music of ''[[Iolanta]]'' did not appeal to the public. ''[[The Nutcracker]]'' proved more fortunate, with most critics approving of its music and choreography. Tchaikovsky left the capital on 12/24 December, disappointed by the lukewarm welcome received by his new creations.

	This time he travelled to Switzerland, visiting his old childhood governess, [[Fanny Dürbach]]. He wrote to his brother [[Nikolay]]: "The past rose up so vividly before me that I seemed to breathe the air of [[Votkinsk]] and hear our [[mother]]'s voice" <ref name="note57"/>.		This time he travelled to Switzerland, visiting his old childhood governess, [[Fanny Dürbach]]. He wrote to his brother [[Nikolay]]: "The past rose up so vividly before me that I seemed to breathe the air of [[Votkinsk]] and hear our [[mother]]'s voice" <ref name="note57"/>.

Tony: /* Notes and References */ "Hopfkapelle" to "Hofkapelle"

2022-11-11T09:50:15Z

Notes and References: "Hopfkapelle" to "Hofkapelle"

← Older revision		Revision as of 11:50, 11 November 2022
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	<ref name="note76">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 108.</ref>		<ref name="note76">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 108.</ref>
	<ref name="note77">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 132.</ref>		<ref name="note77">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 132.</ref>
	<ref name="note78">Although Tchaikovsky believed this to have been the work's premiere, it had actually received its first public performance in [[Hannover]] on 1/13 March 1880, by the concertmaster of the city's ~~Hopfkapelle~~, Georg Hänflein, with Ernst Frank conducting. See {{bibx\|2022/2\|Tchaikovsky Research Bulletin No. 4}} (2022), and ''Signale für die Musikalische Welt'' (1880), No. 26, p. 409.</ref>		<ref name="note78">Although Tchaikovsky believed this to have been the work's premiere, it had actually received its first public performance in [[Hannover]] on 1/13 March 1880, by the concertmaster of the city's Hofkapelle, Georg Hänflein, with Ernst Frank conducting. See {{bibx\|2022/2\|Tchaikovsky Research Bulletin No. 4}} (2022), and ''Signale für die Musikalische Welt'' (1880), No. 26, p. 409.</ref>
	</references>		</references>

← Older revision		Revision as of 21:19, 14 March 2023
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	<ref name="note61">The first explanation, or more precisely "account" of the composer's illness was published in ''Новое время'' and ''Новости и биржевая газета'' on 20 October/1 November 1893; the second appeared in ''Новое время'' on 26 October/7 November 1893.</ref>		<ref name="note61">The first explanation, or more precisely "account" of the composer's illness was published in ''Новое время'' and ''Новости и биржевая газета'' on 20 October/1 November 1893; the second appeared in ''Новое время'' on 26 October/7 November 1893.</ref>
	<ref name="note62">Aleksandra Orlova, '{{bib\|1981/57\|Tchaikovsky. The Last Chapter}}', ''Music and Letters'', vol. 62 (1981), p. 125–145.</ref>		<ref name="note62">Aleksandra Orlova, '{{bib\|1981/57\|Tchaikovsky. The Last Chapter}}', ''Music and Letters'', vol. 62 (1981), p. 125–145.</ref>
	<ref name="note63">Alexander Poznansky, '{{bib\|~~1990~~/~~167~~\|Tchaikovsky's Suicide. Myth and Reality}}', ''19th-Century Music'', Vol. 11 (1988), p. 199–220; Alexander Poznansky, ''{{bib\|1993/189\|Самоубийство Чайковского: Миф и реальность}}'' (1993); David Brown, '' {{bib\|1991/17\|Tchaikovsky. A Biographical and Critical Study}}''; 4 vols. (1978–91); David Brown, {{bib\|1993/33\|Tchaikovsky Remembered}} (1993), p. 207–226; V. Sokolov, «{{bib\|1993/213\|До и после трагедии. Смерть П. И. Чайковского в документах}}», ''Знамя'', Vol. 11 (1993), p. 144–169; Richard Taruskin, '{{bib\|1995/131\|Pathetic Symphonist}}', ''New Republic'', Vol. 212 (6 February 1995), No. 6, p. 26–40; Nikolay Blinov (author)/Valery Sokolov (ed.), ''{{bib\|1994/20\|Последняя болезнь и смерть П. И. Чайковского}}'' (1994); Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996).</ref>		<ref name="note63">Alexander Poznansky, '{{bib\|1988/36\|Tchaikovsky's Suicide. Myth and Reality}}', ''19th-Century Music'', Vol. 11 (1988), p. 199–220; Alexander Poznansky, ''{{bib\|1993/189\|Самоубийство Чайковского: Миф и реальность}}'' (1993); David Brown, '' {{bib\|1991/17\|Tchaikovsky. A Biographical and Critical Study}}''; 4 vols. (1978–91); David Brown, {{bib\|1993/33\|Tchaikovsky Remembered}} (1993), p. 207–226; V. Sokolov, «{{bib\|1993/213\|До и после трагедии. Смерть П. И. Чайковского в документах}}», ''Знамя'', Vol. 11 (1993), p. 144–169; Richard Taruskin, '{{bib\|1995/131\|Pathetic Symphonist}}', ''New Republic'', Vol. 212 (6 February 1995), No. 6, p. 26–40; Nikolay Blinov (author)/Valery Sokolov (ed.), ''{{bib\|1994/20\|Последняя болезнь и смерть П. И. Чайковского}}'' (1994); Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996).</ref>
	<ref name="note64">For example, Nikolay Blinov (author)/Valery Sokolov (ed.), ''{{bib\|1994/20\|Последняя болезнь и смерть П. И. Чайковского}}'' (1994); Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996).</ref>		<ref name="note64">For example, Nikolay Blinov (author)/Valery Sokolov (ed.), ''{{bib\|1994/20\|Последняя болезнь и смерть П. И. Чайковского}}'' (1994); Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996).</ref>
	<ref name="note65">Alexander Poznansky, '{{bib\|1990/167\|Tchaikovsky's Suicide. Myth and Reality}}', ''19th-Century Music'', Vol. 11 (1988), p. 199–220.</ref>		<ref name="note65">Alexander Poznansky, '{{bib\|1990/167\|Tchaikovsky's Suicide. Myth and Reality}}', ''19th-Century Music'', Vol. 11 (1988), p. 199–220.</ref>

← Older revision		Revision as of 16:01, 26 June 2023
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	At the end of November, his [[Symphony No. 1]], entitled "Winter Daydreams", Op. 13, was complete. [[Nikolay Rubinstein]] had offered to give the work its first performance, but Tchaikovsky refused because he wanted first to hear the opinions of [[Zaremba]] and [[Anton Rubinstein]] from [[Saint Petersburg]]. Apparently they did not like the symphony, and it was only after revisions had been made and two movements were tried out in separate performances, that the complete symphony was heard for the first time in February 1868 with [[Nikolay Rubinstein]] conducting.		At the end of November, his [[Symphony No. 1]], entitled "Winter Daydreams", Op. 13, was complete. [[Nikolay Rubinstein]] had offered to give the work its first performance, but Tchaikovsky refused because he wanted first to hear the opinions of [[Zaremba]] and [[Anton Rubinstein]] from [[Saint Petersburg]]. Apparently they did not like the symphony, and it was only after revisions had been made and two movements were tried out in separate performances, that the complete symphony was heard for the first time in February 1868 with [[Nikolay Rubinstein]] conducting.

	Although Tchaikovsky had technically remained on extended leave from his civil service post, ~~on 30~~ January~~/11 February~~ 1867 he was appointed to a role in the ministry's [[Moscow]] archives, ~~for which~~ he ~~did not show up. It~~ was only on ~~23 May~~/~~4 June~~ 1867 that Tchaikovsky finally ~~submitted~~ his resignation from the Ministry of Justice <ref name="note12A"/>.		Although Tchaikovsky had technically remained on extended leave from his civil service post, in January 1867 he was appointed to a role in the ministry's [[Moscow]] archives. After failing to show up, in May he was advised to resign, although it was only on 22 August/3 September 1867 that Tchaikovsky finally tendered his resignation from the Ministry of Justice <ref name="note12A"/>.

	In March 1867, he started work on an opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' to a libretto by the well-known Russian playwright [[Aleksandr Ostrovsky]]. Tchaikovsky lost the libretto and, despite [[Ostrovsky]]'s efforts to reconstruct it, their collaboration ended in failure, and Tchaikovsky himself completed the libretto on [[Ostrovsky]]'s plot <ref name="note13"/>.		In March 1867, he started work on an opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' to a libretto by the well-known Russian playwright [[Aleksandr Ostrovsky]]. Tchaikovsky lost the libretto and, despite [[Ostrovsky]]'s efforts to reconstruct it, their collaboration ended in failure, and Tchaikovsky himself completed the libretto on [[Ostrovsky]]'s plot <ref name="note13"/>.
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	<ref name="note8">Alexander Poznansky, ''{{bib\|1991/72\|Tchaikovsky. The Quest for the Inner Man}}'' (1991), p. 48.</ref>		<ref name="note8">Alexander Poznansky, ''{{bib\|1991/72\|Tchaikovsky. The Quest for the Inner Man}}'' (1991), p. 48.</ref>
	<ref name="note9">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 10.</ref>		<ref name="note9">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 10.</ref>
	<ref name="note9A">Russian State Historical Archive, [[Saint Petersburg]] (Ф. 1405, оп. 63, д. 3356, л. 27). We are most grateful to to Simon A. Morrison for bringing this source to our attention.</ref>		<ref name="note9A">This request was granted on 1/13 May. See: Russian State Historical Archive, [[Saint Petersburg]] (Ф. 1405, оп. 63, д. 3356, л. 25, 27). We are most grateful to to Simon A. Morrison for bringing this source to our attention.</ref>
	<ref name="note10">The work was published posthumously by [[Mitrofan Belyayev]] as Op. 76 (1896).</ref>		<ref name="note10">The work was published posthumously by [[Mitrofan Belyayev]] as Op. 76 (1896).</ref>
	<ref name="note11">Strauss probably obtained the music of the ''Dances'' through his friend August Leibrock, the owner of a music shop in [[Saint Petersburg]], since Leibrock's daughter was in the same class as Tchaikovsky at the conservatory.</ref>		<ref name="note11">Strauss probably obtained the music of the ''Dances'' through his friend August Leibrock, the owner of a music shop in [[Saint Petersburg]], since Leibrock's daughter was in the same class as Tchaikovsky at the conservatory.</ref>
	<ref name="note12">State Central Historical Archive, [[Saint Petersburg]] (ф. 361, оп. 11, ед. хр. 370).</ref>		<ref name="note12">State Central Historical Archive, [[Saint Petersburg]] (ф. 361, оп. 11, ед. хр. 370).</ref>
	<ref name="note12A">Russian State Historical Archive, [[Saint Petersburg]] (Ф. 1405, оп. 63, д. 3356, л. 42-43).</ref>		<ref name="note12A">His resignation was formally accepted on 19 September/1 October 1867. See Russian State Historical Archive, [[Saint Petersburg]] (Ф. 1405, оп. 63, д. 3356, л. 42-47).</ref>
	<ref name="note13">The opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' was based on [[Ostrovsky]]'s play ''A Dream on the Volga'' (Сон на Волге).</ref>		<ref name="note13">The opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' was based on [[Ostrovsky]]'s play ''A Dream on the Volga'' (Сон на Волге).</ref>
	<ref name="note14">{{bib\|1900/35\|Жизнь Петра Ильича Чайковского ; том 1}} (1900), p. 259.</ref>		<ref name="note14">{{bib\|1900/35\|Жизнь Петра Ильича Чайковского ; том 1}} (1900), p. 259.</ref>

← Older revision		Revision as of 23:00, 25 June 2023
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	In the autumn, Tchaikovsky's life took an unexpected turn: he started to attend [[Nikolay Zaremba]]'s class in harmony offered by the Russian Musical Society, which had recently been founded by the [[Grand Duchess Yelena Pavlovna]] and [[Anton Rubinstein]], with the purpose of promoting professional music education in Russia. When the [[Saint Petersburg]] Conservatory was opened on 8/20 September 1862, Tchaikovsky was among its first students. [[Herman Laroche]], the future music critic and composer, also enrolled in the conservatory that same year, and the two soon became friends. There Tchaikovsky studied harmony and form with [[Nikolay Zaremba]], and orchestration and composition with [[Anton Rubinstein]].		In the autumn, Tchaikovsky's life took an unexpected turn: he started to attend [[Nikolay Zaremba]]'s class in harmony offered by the Russian Musical Society, which had recently been founded by the [[Grand Duchess Yelena Pavlovna]] and [[Anton Rubinstein]], with the purpose of promoting professional music education in Russia. When the [[Saint Petersburg]] Conservatory was opened on 8/20 September 1862, Tchaikovsky was among its first students. [[Herman Laroche]], the future music critic and composer, also enrolled in the conservatory that same year, and the two soon became friends. There Tchaikovsky studied harmony and form with [[Nikolay Zaremba]], and orchestration and composition with [[Anton Rubinstein]].

	Having decided to devote his life to music, Tchaikovsky ~~resigned~~ from the Ministry of Justice ~~on 11~~/~~23 April 1863~~. This decision coincided with the onset of financial hardships for his father [[Ilya]], who by this time had retired from the directorship of the Technological Institute. In order to support himself, Tchaikovsky began giving private lessons in piano and music theory to students recommended to him by [[Anton Rubinstein]]. Tchaikovsky spent almost three years of his life at the [[Saint Petersburg]] Conservatory. In addition to his studies of harmony, strict counterpoint, composition and instrumentation (and despite having been excused from the compulsory piano class), he also decided to study the flute and organ.		Having decided to devote his life to music, on 11/23 April 1863 Tchaikovsky requested a leave of absence from the Ministry of Justice , due to "domestic circumstances" <ref name="note9A"/>. This decision coincided with the onset of financial hardships for his father [[Ilya]], who by this time had retired from the directorship of the Technological Institute. In order to support himself, Tchaikovsky began giving private lessons in piano and music theory to students recommended to him by [[Anton Rubinstein]]. Tchaikovsky spent almost three years of his life at the [[Saint Petersburg]] Conservatory. In addition to his studies of harmony, strict counterpoint, composition and instrumentation (and despite having been excused from the compulsory piano class), he also decided to study the flute and organ.

	The leading spirits of the conservatory from its beginnings were [[Nikolay Zaremba]] and [[Anton Rubinstein]]. Despite Tchaikovsky's enthusiasm for learning, he considered [[Zaremba]] just an average instructor, whose dislike of [[Mozart]] and [[Glinka]] greatly disappointed him, and whose admiration for [[Beethoven]] and [[Mendelssohn]] the future composer found unbearable.		The leading spirits of the conservatory from its beginnings were [[Nikolay Zaremba]] and [[Anton Rubinstein]]. Despite Tchaikovsky's enthusiasm for learning, he considered [[Zaremba]] just an average instructor, whose dislike of [[Mozart]] and [[Glinka]] greatly disappointed him, and whose admiration for [[Beethoven]] and [[Mendelssohn]] the future composer found unbearable.
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	At the end of November, his [[Symphony No. 1]], entitled "Winter Daydreams", Op. 13, was complete. [[Nikolay Rubinstein]] had offered to give the work its first performance, but Tchaikovsky refused because he wanted first to hear the opinions of [[Zaremba]] and [[Anton Rubinstein]] from [[Saint Petersburg]]. Apparently they did not like the symphony, and it was only after revisions had been made and two movements were tried out in separate performances, that the complete symphony was heard for the first time in February 1868 with [[Nikolay Rubinstein]] conducting.		At the end of November, his [[Symphony No. 1]], entitled "Winter Daydreams", Op. 13, was complete. [[Nikolay Rubinstein]] had offered to give the work its first performance, but Tchaikovsky refused because he wanted first to hear the opinions of [[Zaremba]] and [[Anton Rubinstein]] from [[Saint Petersburg]]. Apparently they did not like the symphony, and it was only after revisions had been made and two movements were tried out in separate performances, that the complete symphony was heard for the first time in February 1868 with [[Nikolay Rubinstein]] conducting.

	In March 1867, ~~Tchaikovsky~~ started to work on an opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' to a libretto by the well-known Russian playwright [[Aleksandr Ostrovsky]]. Tchaikovsky lost the libretto and, despite [[Ostrovsky]]'s efforts to reconstruct it, their collaboration ended in failure, and Tchaikovsky himself completed the libretto on [[Ostrovsky]]'s plot <ref name="note13"/>.		Although Tchaikovsky had technically remained on extended leave from his civil service post, on 30 January/11 February 1867 he was appointed to a role in the ministry's [[Moscow]] archives, for which he did not show up. It was only on 23 May/4 June 1867 that Tchaikovsky finally submitted his resignation from the Ministry of Justice <ref name="note12A"/>.

			In March 1867, he started work on an opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' to a libretto by the well-known Russian playwright [[Aleksandr Ostrovsky]]. Tchaikovsky lost the libretto and, despite [[Ostrovsky]]'s efforts to reconstruct it, their collaboration ended in failure, and Tchaikovsky himself completed the libretto on [[Ostrovsky]]'s plot <ref name="note13"/>.

	Tchaikovsky spent the summer of 1867 in Finland and Estonia, where he composed a set of piano pieces ''[[Souvenir de Hapsal]]'', Op. 2. After returning to [[Moscow]], he continued to work on ''[[The Voyevoda (opera)\|The Voyevoda]]'', and in February 1868 he was invited to conduct some extracts from it at a charity concert. Music from ''[[The Voyevoda (opera)\|The Voyevoda]]'' was well received, even by the "Mighty Handful", who were making their presence known in Russian composition at that time. Later that spring Tchaikovsky went to [[Saint Petersburg]], where he met members of the "Mighty Handful" personally and also visited the composer [[Aleksandr Dargomyzhsky]]. In January 1868, he became friendly with the self-appointed leader of the group, [[Mily Balakirev]], whom he sent a score of his new tone-poem ''[[Fatum]]'', which did not meet with [[Balakirev]]'s approval.		Tchaikovsky spent the summer of 1867 in Finland and Estonia, where he composed a set of piano pieces ''[[Souvenir de Hapsal]]'', Op. 2. After returning to [[Moscow]], he continued to work on ''[[The Voyevoda (opera)\|The Voyevoda]]'', and in February 1868 he was invited to conduct some extracts from it at a charity concert. Music from ''[[The Voyevoda (opera)\|The Voyevoda]]'' was well received, even by the "Mighty Handful", who were making their presence known in Russian composition at that time. Later that spring Tchaikovsky went to [[Saint Petersburg]], where he met members of the "Mighty Handful" personally and also visited the composer [[Aleksandr Dargomyzhsky]]. In January 1868, he became friendly with the self-appointed leader of the group, [[Mily Balakirev]], whom he sent a score of his new tone-poem ''[[Fatum]]'', which did not meet with [[Balakirev]]'s approval.
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	In April 1878, Tchaikovsky returned to Russia, depressed by the prospect of resuming his teaching duties, and short of inspiration. Nevertheless, he finished some smaller piano pieces, including the popular ''[[Children's Album]]''. Returning to [[Moscow]] after his usual summer visit to [[Kamenka]], and also after a visit to Mrs [[Nadezhda von Meck\|von Meck]]'s estate at [[Brailov]], he took a decisive step. He resigned his teaching job at the Conservatory, and shortly thereafter set off on his travels once again. He was to spend the next few years constantly on the move, avoiding [[Moscow]] and [[Saint Petersburg]] as much as possible.		In April 1878, Tchaikovsky returned to Russia, depressed by the prospect of resuming his teaching duties, and short of inspiration. Nevertheless, he finished some smaller piano pieces, including the popular ''[[Children's Album]]''. Returning to [[Moscow]] after his usual summer visit to [[Kamenka]], and also after a visit to Mrs [[Nadezhda von Meck\|von Meck]]'s estate at [[Brailov]], he took a decisive step. He resigned his teaching job at the Conservatory, and shortly thereafter set off on his travels once again. He was to spend the next few years constantly on the move, avoiding [[Moscow]] and [[Saint Petersburg]] as much as possible.

	First he travelled to [[Florence]], then to [[Paris]], and then to [[Clarens]] in Switzerland, where he started to work on another ~~opera—~~''[[The Maid of Orleans]]'', which did not prove to be one of his greatest successes. Back in Russia by the autumn, he began a [[Second Piano Concerto]]. Later he travelled to [[Rome]], where he composed the ''[[Italian Capriccio]]''. Tchaikovsky then returned to his homeland, where he spent much of 1880 in the country. There he completed the [[Serenade for String Orchestra]], and the piece most often associated with his name—the overture ''[[The Year 1812]]'', a commemoration of the historic Russian defeat of Napoleon's army. Early in 1881, still in [[Rome]], Tchaikovsky learned that the seriously ill [[Nikolay Rubinstein]] had gone to [[Paris]] for treatment, and had died there soon afterwards. He rushed to [[Paris]] to pay his last respects to [[Nikolay Rubinstein\|Rubinstein]], and in December he began working on a musical memorial, the [[Piano Trio]] dedicated "to the memory of a great artist" (Op. 50). This trio was first played on 18/30 October 1882 in [[Moscow]] with [[Sergey Taneyev]], [[Jan Hřímalý]] and [[Wilhelm Fitzenhagen]] <ref name="note50"/>. By now Tchaikovsky's music was being performed more often, thanks in a large degree to the efforts of the late [[Nikolay Rubinstein]], who played and conducted a Tchaikovsky programme at the [[Paris]] Exhibition of 1878, and premiered many of his new compositions in [[Moscow]], though rarely with total success.		First he travelled to [[Florence]], then to [[Paris]], and then to [[Clarens]] in Switzerland, where he started to work on another opera — ''[[The Maid of Orleans]]'', which did not prove to be one of his greatest successes. Back in Russia by the autumn, he began a [[Second Piano Concerto]]. Later he travelled to [[Rome]], where he composed the ''[[Italian Capriccio]]''. Tchaikovsky then returned to his homeland, where he spent much of 1880 in the country. There he completed the [[Serenade for String Orchestra]], and the piece most often associated with his name—the overture ''[[The Year 1812]]'', a commemoration of the historic Russian defeat of Napoleon's army. Early in 1881, still in [[Rome]], Tchaikovsky learned that the seriously ill [[Nikolay Rubinstein]] had gone to [[Paris]] for treatment, and had died there soon afterwards. He rushed to [[Paris]] to pay his last respects to [[Nikolay Rubinstein\|Rubinstein]], and in December he began working on a musical memorial, the [[Piano Trio]] dedicated "to the memory of a great artist" (Op. 50). This trio was first played on 18/30 October 1882 in [[Moscow]] with [[Sergey Taneyev]], [[Jan Hřímalý]] and [[Wilhelm Fitzenhagen]] <ref name="note50"/>. By now Tchaikovsky's music was being performed more often, thanks in a large degree to the efforts of the late [[Nikolay Rubinstein]], who played and conducted a Tchaikovsky programme at the [[Paris]] Exhibition of 1878, and premiered many of his new compositions in [[Moscow]], though rarely with total success.

	The main work of 1882–83 was the opera ''[[Mazepa]]'', based upon [[Pushkin]]'s epic poem ''Poltava''. During the course of its composition his enthusiasm flagged considerably. Writing to Mrs [[Nadezhda von Meck\|von Meck]] on 14/26 September 1882, he admitted: "Never has any important work given me so much trouble as this opera. Perhaps it is a decline in my powers, or have I become more severe in my self-judgment?" <ref name="note51"/>. ''Mazepa'' was performed in both [[Moscow]] and [[Saint Petersburg]] in February 1884, but Tchaikovsky left for Europe without attending the [[Saint Petersburg]] premiere, since the opera was not very cordially received in [[Moscow]]. He had hardly spent three weeks in the French capital before he was summoned back to Russia to appear before [[Alexander III]] and receive an official decoration—the Order of Saint Vladimir (4th class).		The main work of 1882–83 was the opera ''[[Mazepa]]'', based upon [[Pushkin]]'s epic poem ''Poltava''. During the course of its composition his enthusiasm flagged considerably. Writing to Mrs [[Nadezhda von Meck\|von Meck]] on 14/26 September 1882, he admitted: "Never has any important work given me so much trouble as this opera. Perhaps it is a decline in my powers, or have I become more severe in my self-judgment?" <ref name="note51"/>. ''Mazepa'' was performed in both [[Moscow]] and [[Saint Petersburg]] in February 1884, but Tchaikovsky left for Europe without attending the [[Saint Petersburg]] premiere, since the opera was not very cordially received in [[Moscow]]. He had hardly spent three weeks in the French capital before he was summoned back to Russia to appear before [[Alexander III]] and receive an official decoration—the Order of Saint Vladimir (4th class).
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	<ref name="note8">Alexander Poznansky, ''{{bib\|1991/72\|Tchaikovsky. The Quest for the Inner Man}}'' (1991), p. 48.</ref>		<ref name="note8">Alexander Poznansky, ''{{bib\|1991/72\|Tchaikovsky. The Quest for the Inner Man}}'' (1991), p. 48.</ref>
	<ref name="note9">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 10.</ref>		<ref name="note9">Alexander Poznansky, {{bib\|1996/59\|Tchaikovsky's Last Days. A Documentary Study}} (1996), p. 10.</ref>
			<ref name="note9A">Russian State Historical Archive, [[Saint Petersburg]] (Ф. 1405, оп. 63, д. 3356, л. 27). We are most grateful to to Simon A. Morrison for bringing this source to our attention.</ref>
	<ref name="note10">The work was published posthumously by [[Mitrofan Belyayev]] as Op. 76 (1896).</ref>		<ref name="note10">The work was published posthumously by [[Mitrofan Belyayev]] as Op. 76 (1896).</ref>
	<ref name="note11">Strauss probably obtained the music of the ''Dances'' through his friend August Leibrock, the owner of a music shop in [[Saint Petersburg]], since Leibrock's daughter was in the same class as Tchaikovsky at the conservatory.</ref>		<ref name="note11">Strauss probably obtained the music of the ''Dances'' through his friend August Leibrock, the owner of a music shop in [[Saint Petersburg]], since Leibrock's daughter was in the same class as Tchaikovsky at the conservatory.</ref>
	<ref name="note12">State Central Historical Archive, [[Saint Petersburg]] (ф. 361, оп. 11, ед. хр. 370).</ref>		<ref name="note12">State Central Historical Archive, [[Saint Petersburg]] (ф. 361, оп. 11, ед. хр. 370).</ref>
			<ref name="note12A">Russian State Historical Archive, [[Saint Petersburg]] (Ф. 1405, оп. 63, д. 3356, л. 42-43).</ref>
	<ref name="note13">The opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' was based on [[Ostrovsky]]'s play ''A Dream on the Volga'' (Сон на Волге).</ref>		<ref name="note13">The opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' was based on [[Ostrovsky]]'s play ''A Dream on the Volga'' (Сон на Волге).</ref>
	<ref name="note14">{{bib\|1900/35\|Жизнь Петра Ильича Чайковского ; том 1}} (1900), p. 259.</ref>		<ref name="note14">{{bib\|1900/35\|Жизнь Петра Ильича Чайковского ; том 1}} (1900), p. 259.</ref>

← Older revision		Revision as of 14:22, 12 April 2023
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	Tchaikovsky spent the summer of 1867 in Finland and Estonia, where he composed a set of piano pieces ''[[Souvenir de Hapsal]]'', Op. 2. After returning to [[Moscow]], he continued to work on ''[[The Voyevoda (opera)\|The Voyevoda]]'', and in February 1868 he was invited to conduct some extracts from it at a charity concert. Music from ''[[The Voyevoda (opera)\|The Voyevoda]]'' was well received, even by the "Mighty Handful", who were making their presence known in Russian composition at that time. Later that spring Tchaikovsky went to [[Saint Petersburg]], where he met members of the "Mighty Handful" personally and also visited the composer [[Aleksandr Dargomyzhsky]]. In January 1868, he became friendly with the self-appointed leader of the group, [[Mily Balakirev]], whom he sent a score of his new tone-poem ''[[Fatum]]'', which did not meet with [[Balakirev]]'s approval.		Tchaikovsky spent the summer of 1867 in Finland and Estonia, where he composed a set of piano pieces ''[[Souvenir de Hapsal]]'', Op. 2. After returning to [[Moscow]], he continued to work on ''[[The Voyevoda (opera)\|The Voyevoda]]'', and in February 1868 he was invited to conduct some extracts from it at a charity concert. Music from ''[[The Voyevoda (opera)\|The Voyevoda]]'' was well received, even by the "Mighty Handful", who were making their presence known in Russian composition at that time. Later that spring Tchaikovsky went to [[Saint Petersburg]], where he met members of the "Mighty Handful" personally and also visited the composer [[Aleksandr Dargomyzhsky]]. In January 1868, he became friendly with the self-appointed leader of the group, [[Mily Balakirev]], whom he sent a score of his new tone-poem ''[[Fatum]]'', which did not meet with [[Balakirev]]'s approval.

	In the spring of 1866, Tchaikovsky made the acquaintance of the actor and baritone Konstantin de Lazari. A companionable socialite, Lazari knew everyone in [[Moscow]] theatrical circles, and introduced his new friend to the actors and their ''milieu''. It was Lazari who brought Tchaikovsky to the club "the Artistic Circle", where Tchaikovsky enjoyed spending time, and it was he who brought Tchaikovsky to the home of [[Vladimir Begichev]], the director of ~~repertory~~ for the [[Moscow]] theatres. Here the young composer was introduced to [[Begichev]]'s wife Mariya, and her two sons from her first marriage—[[Konstantin Shilovsky\|Konstantin]] and [[Vladimir Shilovsky]].		In the spring of 1866, Tchaikovsky made the acquaintance of the actor and baritone Konstantin de Lazari. A companionable socialite, Lazari knew everyone in [[Moscow]] theatrical circles, and introduced his new friend to the actors and their ''milieu''. It was Lazari who brought Tchaikovsky to the club "the Artistic Circle", where Tchaikovsky enjoyed spending time, and it was he who brought Tchaikovsky to the home of [[Vladimir Begichev]], the director of repertoire for the [[Moscow]] theatres. Here the young composer was introduced to [[Begichev]]'s wife Mariya, and her two sons from her first marriage—[[Konstantin Shilovsky\|Konstantin]] and [[Vladimir Shilovsky]].

	{{picture\|file=Vladimir Shilovsky.jpg\|caption=Vladimir Shilovsky}}		{{picture\|file=Vladimir Shilovsky.jpg\|caption=Vladimir Shilovsky}}
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	At the very end of 1875, the composer left Russia together with his brother [[Modest]] and the latter's deaf-mute 7-year-old pupil [[Nikolay Konradi]]. The two brothers decided to go to [[Paris]] via Germany and Switzerland. Modest was planning to study the latest methods of teaching deaf-mutes in [[Lyons]] at a private school. While in [[Paris]], Tchaikovsky experienced one of the strongest musical impressions of his entire life when he attended a performance of [[Bizet]]'s Carmen at the Opéra-Comique. In late January/early February he returned to Russia, but he met up with [[Modest]] in France the next June. After about a month there Tchaikovsky travelled to Germany, where he attended the first festival devoted entirely to [[Wagner]]'s ''Der Ring des Nibelungen''. During his stay he made the acquaintance of [[Liszt]], but he failed to meet [[Wagner]] himself. Tired by his stay at [[Bayreuth]], Tchaikovsky returned to [[Kamenka]] on 11/23 August.		At the very end of 1875, the composer left Russia together with his brother [[Modest]] and the latter's deaf-mute 7-year-old pupil [[Nikolay Konradi]]. The two brothers decided to go to [[Paris]] via Germany and Switzerland. Modest was planning to study the latest methods of teaching deaf-mutes in [[Lyons]] at a private school. While in [[Paris]], Tchaikovsky experienced one of the strongest musical impressions of his entire life when he attended a performance of [[Bizet]]'s Carmen at the Opéra-Comique. In late January/early February he returned to Russia, but he met up with [[Modest]] in France the next June. After about a month there Tchaikovsky travelled to Germany, where he attended the first festival devoted entirely to [[Wagner]]'s ''Der Ring des Nibelungen''. During his stay he made the acquaintance of [[Liszt]], but he failed to meet [[Wagner]] himself. Tired by his stay at [[Bayreuth]], Tchaikovsky returned to [[Kamenka]] on 11/23 August.

	On 14/26 October, he completed the symphonic fantasia ''[[Francesca da Rimini]]'', which he claimed to have worked on "with love, and that love, it seems, has come out quite well" <ref name="note24"/>. At the end of 1876, he was honoured by a visit from [[Lev Tolstoy]], whom he greatly admired. The premiere of ''[[Swan Lake]]'' took place on 20 February/4 March 1877. Owing to terrible choreography and a poor orchestra, the ballet was not the success the composer had hoped for, but it remained in the ~~repertory~~ for another four seasons.		On 14/26 October, he completed the symphonic fantasia ''[[Francesca da Rimini]]'', which he claimed to have worked on "with love, and that love, it seems, has come out quite well" <ref name="note24"/>. At the end of 1876, he was honoured by a visit from [[Lev Tolstoy]], whom he greatly admired. The premiere of ''[[Swan Lake]]'' took place on 20 February/4 March 1877. Owing to terrible choreography and a poor orchestra, the ballet was not the success the composer had hoped for, but it remained in the repertoire for another four seasons.

	==1877==		==1877==
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	Tchaikovsky's relationship with [[Nadezhda von Meck]], despite their obvious eccentricities, occasional frustrations and their gradual (although on the surface almost imperceptible) deterioration, can be argued to have been among the most gratifying experiences of the composer's life. Their silent understanding never to meet endowed their "epistolary friendship" with a particular "platonic" colouring, which was deeply emotional, and at times almost ecstatic. In the case of Mrs [[Nadezhda von Meck\|von Meck]] the erotic component was very significant (even at the conscious level), although always neutralised through her emphatic sentimentalism. This proved satisfactory to both parties, providing a safe outlet for their feelings by ruling out any obvious manifestation of sexual love. In her correspondence with the composer, Mrs [[Nadezhda von Meck\|von Meck]] displayed an exceptional degree of tact, sympathy and understanding in the light of Tchaikovsky's psychological idiosyncrasies and the specific characteristics of their epoch. There are reasons to believe that she may have been aware of Tchaikovsky's homosexuality from the very start of their friendship, even if in a somewhat vague and inexplicit fashion, in keeping with the general Victorian attitudes towards the subject.		Tchaikovsky's relationship with [[Nadezhda von Meck]], despite their obvious eccentricities, occasional frustrations and their gradual (although on the surface almost imperceptible) deterioration, can be argued to have been among the most gratifying experiences of the composer's life. Their silent understanding never to meet endowed their "epistolary friendship" with a particular "platonic" colouring, which was deeply emotional, and at times almost ecstatic. In the case of Mrs [[Nadezhda von Meck\|von Meck]] the erotic component was very significant (even at the conscious level), although always neutralised through her emphatic sentimentalism. This proved satisfactory to both parties, providing a safe outlet for their feelings by ruling out any obvious manifestation of sexual love. In her correspondence with the composer, Mrs [[Nadezhda von Meck\|von Meck]] displayed an exceptional degree of tact, sympathy and understanding in the light of Tchaikovsky's psychological idiosyncrasies and the specific characteristics of their epoch. There are reasons to believe that she may have been aware of Tchaikovsky's homosexuality from the very start of their friendship, even if in a somewhat vague and inexplicit fashion, in keeping with the general Victorian attitudes towards the subject.

	At the end of 1877 and the beginning of 1878, Tchaikovsky and his brother [[Anatoly]] (later replaced by [[Modest]]) proceeded with their European tour through Switzerland, France, Italy and Austria, hoping to put the whole disastrous business of Tchaikovsky's marriage firmly behind them. [[Iosif Kotek]] arrived in [[Vienna]] at the end of November and spent some time with the brothers travelling. By January 1878, Tchaikovsky had finished his [[Fourth Symphony]], the first of his mature symphonic works, which he dedicated (secretly) to [[Nadezhda von Meck]]. The other major work which occupied him during the period of his ill-fated marriage was the opera ''[[Yevgeny Onegin]]''. At first the opera made a modest impression on the audience, and it took several years to achieve the public acclaim it deserved. One other masterpiece also emerged from this period of self-exile: the [[Violin Concerto]], written in Switzerland. This was inspired by [[Iosif Kotek]], but for opportunistic reasons Tchaikovsky initially offered the dedication to the virtuoso [[Leopold Auer]]. However, it seemed that Tchaikovsky's new concerto would suffer the same fate as his [[First Piano Concerto]] four years earlier, when [[Auer]] claimed it was far too difficult and refused to play it. In 1881, an up-and-coming violinist, [[Adolph Brodsky]], played it at a Philharmonic Society concert in [[Vienna]] <ref name="note78"/>, at which the legendary critic Eduard Hanslick, in his newspaper review of the concert, declared that the music "gave off a bad smell". Just like the [[Piano Concerto No. 1]], the [[Violin Concerto]] is now well established as one of the best-loved pieces in the ~~repertory~~, among musicians and audiences alike.		At the end of 1877 and the beginning of 1878, Tchaikovsky and his brother [[Anatoly]] (later replaced by [[Modest]]) proceeded with their European tour through Switzerland, France, Italy and Austria, hoping to put the whole disastrous business of Tchaikovsky's marriage firmly behind them. [[Iosif Kotek]] arrived in [[Vienna]] at the end of November and spent some time with the brothers travelling. By January 1878, Tchaikovsky had finished his [[Fourth Symphony]], the first of his mature symphonic works, which he dedicated (secretly) to [[Nadezhda von Meck]]. The other major work which occupied him during the period of his ill-fated marriage was the opera ''[[Yevgeny Onegin]]''. At first the opera made a modest impression on the audience, and it took several years to achieve the public acclaim it deserved. One other masterpiece also emerged from this period of self-exile: the [[Violin Concerto]], written in Switzerland. This was inspired by [[Iosif Kotek]], but for opportunistic reasons Tchaikovsky initially offered the dedication to the virtuoso [[Leopold Auer]]. However, it seemed that Tchaikovsky's new concerto would suffer the same fate as his [[First Piano Concerto]] four years earlier, when [[Auer]] claimed it was far too difficult and refused to play it. In 1881, an up-and-coming violinist, [[Adolph Brodsky]], played it at a Philharmonic Society concert in [[Vienna]] <ref name="note78"/>, at which the legendary critic Eduard Hanslick, in his newspaper review of the concert, declared that the music "gave off a bad smell". Just like the [[Piano Concerto No. 1]], the [[Violin Concerto]] is now well established as one of the best-loved pieces in the repertoire, among musicians and audiences alike.

	In April 1878, Tchaikovsky returned to Russia, depressed by the prospect of resuming his teaching duties, and short of inspiration. Nevertheless, he finished some smaller piano pieces, including the popular ''[[Children's Album]]''. Returning to [[Moscow]] after his usual summer visit to [[Kamenka]], and also after a visit to Mrs [[Nadezhda von Meck\|von Meck]]'s estate at [[Brailov]], he took a decisive step. He resigned his teaching job at the Conservatory, and shortly thereafter set off on his travels once again. He was to spend the next few years constantly on the move, avoiding [[Moscow]] and [[Saint Petersburg]] as much as possible.		In April 1878, Tchaikovsky returned to Russia, depressed by the prospect of resuming his teaching duties, and short of inspiration. Nevertheless, he finished some smaller piano pieces, including the popular ''[[Children's Album]]''. Returning to [[Moscow]] after his usual summer visit to [[Kamenka]], and also after a visit to Mrs [[Nadezhda von Meck\|von Meck]]'s estate at [[Brailov]], he took a decisive step. He resigned his teaching job at the Conservatory, and shortly thereafter set off on his travels once again. He was to spend the next few years constantly on the move, avoiding [[Moscow]] and [[Saint Petersburg]] as much as possible.
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	==1887–1892==		==1887–1892==
	{{picture\|file=Photo055.jpg\|caption=Tchaikovsky in 1887, aged 46}}		{{picture\|file=Photo055.jpg\|caption=Tchaikovsky in 1887, aged 46}}
	The first performance of ''[[Cherevichki]]'' (the new version of ''[[Vakula the Smith]]'') took place at the Bolshoi Theatre in [[Moscow]] on 19/31 January 1887. It had a far-reaching influence on Tchaikovsky's future, for it was then that he made his first successful attempt at conducting. The work had a great success, perhaps due to the composer's presence, but it remained in the ~~repertory~~ for only two seasons. He appeared in the capacity of conductor again on 5/17 March at a concert of the [[Saint Petersburg]] Philharmonic Society which was totally devoted to his works. Now Tchaikovsky began to think of venturing on a concert tour abroad. He spent most of the spring at [[Maydanovo]] working on the orchestration of ''[[The Enchantress]]''. At the end of May/start of June, Tchaikovsky set off on another Caucasian journey to visit his brother [[Anatoly]], taking a pleasant steamer trip down the Volga from [[Nizhny Novgorod]] to [[Astrakhan]], through the Caspian Sea to [[Baku]], and then on to [[Tiflis]] and [[Borzhom]]. In [[Borzhom]] he received a telegram from his old friend [[Nikolay Kondratyev]], who was dying in [[Aachen]] <ref name="note54"/>. Tchaikovsky decided to visit him there and by 15/27 July he was already in [[Aachen]], where he spent over a month contemplating God, life and death, while watching [[Kondratyev]]'s agonizing end.		The first performance of ''[[Cherevichki]]'' (the new version of ''[[Vakula the Smith]]'') took place at the Bolshoi Theatre in [[Moscow]] on 19/31 January 1887. It had a far-reaching influence on Tchaikovsky's future, for it was then that he made his first successful attempt at conducting. The work had a great success, perhaps due to the composer's presence, but it remained in the repertoire for only two seasons. He appeared in the capacity of conductor again on 5/17 March at a concert of the [[Saint Petersburg]] Philharmonic Society which was totally devoted to his works. Now Tchaikovsky began to think of venturing on a concert tour abroad. He spent most of the spring at [[Maydanovo]] working on the orchestration of ''[[The Enchantress]]''. At the end of May/start of June, Tchaikovsky set off on another Caucasian journey to visit his brother [[Anatoly]], taking a pleasant steamer trip down the Volga from [[Nizhny Novgorod]] to [[Astrakhan]], through the Caspian Sea to [[Baku]], and then on to [[Tiflis]] and [[Borzhom]]. In [[Borzhom]] he received a telegram from his old friend [[Nikolay Kondratyev]], who was dying in [[Aachen]] <ref name="note54"/>. Tchaikovsky decided to visit him there and by 15/27 July he was already in [[Aachen]], where he spent over a month contemplating God, life and death, while watching [[Kondratyev]]'s agonizing end.

	On 20 October/1 November, his new opera ''[[The Enchantress]]'' was produced at the Mariinsky Theatre in [[Saint Petersburg]]. Tchaikovsky conducted again but, in spite of a personal ovation, the opera left audiences cold. On the seventh night, the work was sung to a half-empty house, and was quickly withdrawn. On 14/26 November, Tchaikovsky conducted another very successful concert in [[Moscow]] consisting of his own works, including the premiere of his suite [[Mozartiana]]. At the end of December, he set out on his first European concert tour as a conductor, which included [[Leipzig]], [[Berlin]], [[Prague]], [[Hamburg]], [[Paris]] and [[London]]. It was a very successful tour, especially in [[Prague]], [[Paris]] and [[London]], where he met several well-known composers (among them [[Brahms]], [[Grieg]] and [[Dvořák]]) and established many good relations with famous musicians.		On 20 October/1 November, his new opera ''[[The Enchantress]]'' was produced at the Mariinsky Theatre in [[Saint Petersburg]]. Tchaikovsky conducted again but, in spite of a personal ovation, the opera left audiences cold. On the seventh night, the work was sung to a half-empty house, and was quickly withdrawn. On 14/26 November, Tchaikovsky conducted another very successful concert in [[Moscow]] consisting of his own works, including the premiere of his suite [[Mozartiana]]. At the end of December, he set out on his first European concert tour as a conductor, which included [[Leipzig]], [[Berlin]], [[Prague]], [[Hamburg]], [[Paris]] and [[London]]. It was a very successful tour, especially in [[Prague]], [[Paris]] and [[London]], where he met several well-known composers (among them [[Brahms]], [[Grieg]] and [[Dvořák]]) and established many good relations with famous musicians.