Undina - Revision history

Brett: /* Composition */

2023-12-28T10:35:31Z

Composition

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	==Composition==		==Composition==
	The first reference to Tchaikovsky's composition of the opera ''Undina'' dates from January 1869 (to [[Anatoly Tchaikovsky]]): "I have already begun to write another [opera], but I won't tell you what the subject is, because for the moment I want to keep the fact that I'm writing it a secret; everyone will be amazed to find out that during the summer... I've already written half the opera" <ref name="note5"/>. On 15/27 February, Tchaikovsky told him: "I've set about ''Undina'' with great enthusiasm. Even now the greater part of the first act is ready" <ref name="note6"/>.' At the beginning of April he wrote to [[Modest Tchaikovsky]]: "~~The reason~~ I'm writing to you so infrequently ~~at the moment is~~ because all my free time is ~~spent on the~~ opera. I find the subject terribly fascinating, and really want to finish it ~~quickly~~ so that in the ~~quiet~~ summer ~~air I can set about the orchestration~~" <ref name="note7"/>. By mid/late April the rough draft of the opera was finished: "I'm now taking great pains over the instrumentation of the first act; the other two are already composed, and I will score them during the summer... This time I'm very pleased with my opera, and working enthusiastically" <ref name="note8"/>.		The first reference to Tchaikovsky's composition of the opera ''Undina'' dates from January 1869 (to [[Anatoly Tchaikovsky]]): "I have already begun to write another [opera], but I won't tell you what the subject is, because for the moment I want to keep the fact that I'm writing it a secret; everyone will be amazed to find out that during the summer... I've already written half the opera" <ref name="note5"/>. On 15/27 February, Tchaikovsky told him: "I've set about ''Undina'' with great enthusiasm. Even now the greater part of the first act is ready" <ref name="note6"/>.' At the beginning of April he wrote to [[Modest Tchaikovsky]]: "I'm writing to you so infrequently now because all my free time is dedicated to an opera. I find the subject terribly fascinating, and I really want to finish it soon, so that I can start orchestrating it in a good mood in the summer" <ref name="note7"/>. By mid/late April the rough draft of the opera was finished: "I'm now taking great pains over the instrumentation of the first act; the other two are already composed, and I will score them during the summer... This time I'm very pleased with my opera, and working enthusiastically" <ref name="note8"/>.

	Even while he was working on the opera, Tchaikovsky began to petition for it to be produced On 19 April/1 May he wrote to [[Anatoly Tchaikovsky]]: "The other day I wrote to [[Gedeonov]], asking whether my opera ("''Undina''") might be put on next season in [[Petersburg]]. Through his secretary he replied that my opera will be produced in November, if I send them the full score by September" <ref name="note9"/>.		Even while he was working on the opera, Tchaikovsky began to petition for it to be produced On 19 April/1 May he wrote to [[Anatoly Tchaikovsky]]: "The other day I wrote to [[Gedeonov]], asking whether my opera ("''Undina''") might be put on next season in [[Petersburg]]. Through his secretary he replied that my opera will be produced in November, if I send them the full score by September" <ref name="note9"/>.

Tony: /* Recordings */

2023-01-13T19:53:38Z

Recordings

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	* Act I finale (17:30)		* Act I finale (17:30)
	* March (25:45)		* March (25:45)
	* Duet for Undina and ~~Huldbrand~~ (34:15)		* Duet for Undina and Huldbrandt (34:15)

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

Tony: /* Publication */ Text replacement- "Huldbrand" to "Huldbrandt"

2023-01-13T19:51:59Z

Publication: Text replacement- "Huldbrand" to "Huldbrandt"

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	==Publication==		==Publication==
	Undina's Aria and the Finale from Act I, were published for the first time (full and vocal-piano reductions) in volume 2 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Rostislav Berberov (1950).		Undina's Aria and the Finale from Act I were published for the first time (full and vocal-piano reductions) in volume 2 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Rostislav Berberov (1950).

	Series 1, Volume 3 of the ''[[Academic Edition of the Complete Works]]'', edited by Aleksandra Maksimova (2016) includes the full and vocal-piano reductions of all the surviving excerpts (i.e. the Introduction, Undina's Aria, the Act I finale, Wedding March, and the reconstructed duet for Undina and ~~Huldbrand~~).		Series 1, Volume 3 of the ''[[Academic Edition of the Complete Works]]'', edited by Aleksandra Maksimova (2016) includes the full and vocal-piano reductions of all the surviving excerpts (i.e. the Introduction, Undina's Aria, the Act I finale, Wedding March, and the reconstructed duet for Undina and Huldbrandt).

	==Related Works==		==Related Works==
	The Introduction to ''Undina'' was re-used in the same capacity in Tchaikovsky's music for ''[[The Snow Maiden]]'' (1873), while Undina's Song from Act I was re-used, with different words and orchestration, as Lel's First Song (Act I, No. 6) in ''[[The Snow Maiden]]''.		The Introduction to ''Undina'' was re-used in the same capacity in Tchaikovsky's music for ''[[The Snow Maiden]]'' (1873), while Undina's Song from Act I was re-used, with different words and orchestration, as Lel's First Song (Act I, No. 6) in ''[[The Snow Maiden]]''.

	According to [[Modest Tchaikovsky]] and [[Nikolay Kashkin]] the music for ~~Huldbrand~~ and Berthalda's wedding procession in Act III was reworked in the second movement of the [[Symphony No. 2]] <ref name="note22"/>. The duet from ~~Huldbrand~~'s death scene in the same act was reworked in the fifth variation from the ''Dances of the Swans'' in Act II (No. 13) of the ballet ''[[Swan Lake]]'' <ref name="note23"/>.		According to [[Modest Tchaikovsky]] and [[Nikolay Kashkin]], the music for Huldbrandt and Berthalda's wedding procession in Act III was reworked in the second movement of the [[Symphony No. 2]] <ref name="note22"/>. The duet from Huldbrandt's death scene in the same act was reworked in the fifth variation from the ''Dances of the Swans'' in Act II (No. 13) of the ballet ''[[Swan Lake]]'' <ref name="note23"/>.

	Tchaikovsky subsequently considered the subject of ''Undina'' for a new [[Undina (projected opera)\|opera]] (1878) and [[Undina (projected ballet)\|ballet]] (1886), neither of which were ultimately composed.		Tchaikovsky subsequently considered the subject of ''Undina'' for a new [[Undina (projected opera)\|opera]] (1878) and [[Undina (projected ballet)\|ballet]] (1886), neither of which were ultimately composed.

Tony: /* Critical Reception */ Added "In" for clarity of meaning

2023-01-13T19:44:05Z

Critical Reception: Added "In" for clarity of meaning

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	==Critical Reception==		==Critical Reception==
	~~The~~ "Musical Notes" column of the newspaper ''Moscow Register'', a writer signing himself "P" reported on the forthcoming concert by Eduard Merten, and noted in particular that the performance would include "four extracts from P. I. Tchaikovsky's new opera ''Undina'', which has become highly regarded in the musical world, even before it has been produced on the stage" <ref name="note15"/>.		In the "Musical Notes" column of the newspaper ''Moscow Register'', a writer signing himself "P" reported on the forthcoming concert by Eduard Merten, and noted in particular that the performance would include "four extracts from P. I. Tchaikovsky's new opera ''Undina'', which has become highly regarded in the musical world, even before it has been produced on the stage" <ref name="note15"/>.

	[[César Cui]] wrote of this in the ''Saint Petersburg Gazette'': "''Undina'', Mr. Tchaikovsky's second opera, has been rejected, and will not be performed; ''As I heard'', it was turned down because, of it supposedly tended towards ultra-modern music, carelessly scored, and melodically deficient. I admit that all this has come as no little surprise to me. Mr Tchaikovsky's first opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' was given an adequate production in [[Moscow]], yet the author's second opera remains unknown, once again submitted for discussion by the committee but not approved for production!... I don't know ''Undina'' at all, but I am familiar with Mr Tchaikovsky's talent as a composer; he is an outstanding orchestrator and melodist, and he is completely devoid of modern operatic and vocal tendencies..." <ref name="note16"/>.		[[César Cui]] wrote of this in the ''Saint Petersburg Gazette'': "''Undina'', Mr. Tchaikovsky's second opera, has been rejected, and will not be performed; ''As I heard'', it was turned down because, of it supposedly tended towards ultra-modern music, carelessly scored, and melodically deficient. I admit that all this has come as no little surprise to me. Mr Tchaikovsky's first opera ''[[The Voyevoda (opera)\|The Voyevoda]]'' was given an adequate production in [[Moscow]], yet the author's second opera remains unknown, once again submitted for discussion by the committee but not approved for production!... I don't know ''Undina'' at all, but I am familiar with Mr Tchaikovsky's talent as a composer; he is an outstanding orchestrator and melodist, and he is completely devoid of modern operatic and vocal tendencies..." <ref name="note16"/>.

	On 23 April/5 May 1870 Tchaikovsky told his brother [[Anatoly]]: "In spite of its roughly-hewn libretto, the story of ''Undina'' was well-suited to my temperament, it came very quickly and easily" <ref name="note17"/>.		On 23 April/5 May 1870 Tchaikovsky told his brother [[Anatoly]]: "In spite of its roughly hewn libretto, the story of ''Undina'' was well-suited to my temperament, it came very quickly and easily" <ref name="note17"/>.

	Looking back at ''Undina'' some years later, Tchaikovsky saw many deficiencies in his opera. In a letter to [[Nadezhda von Meck]] of 27 November/9 December 1879, he wrote: "I stubbornly refused to admit my misunderstanding of the essential requirements for opera, and ''Undina'' (the opera I burned), ''[[The Oprichnik]]'' and ''[[Vakula]]'' were all deficient in this respect. Little wonder that I have learned my lesson" <ref name="note18"/>.		Looking back at ''Undina'' some years later, Tchaikovsky saw many deficiencies in his opera. In a letter to [[Nadezhda von Meck]] of 27 November/9 December 1879, he wrote: "I stubbornly refused to admit my misunderstanding of the essential requirements for opera, and ''Undina'' (the opera I burned), ''[[The Oprichnik]]'' and ''[[Vakula]]'' were all deficient in this respect. Little wonder that I have learned my lesson" <ref name="note18"/>.

Tony: /* Performances */ Text corrections - "on1y" to "only" / "bad" to "had"

2023-01-13T19:39:24Z

Performances: Text corrections - "on1y" to "only" / "bad" to "had"

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	On 11/23 August 1869, Tchaikovsky told [[Anatoly Tchaikovsky]]: "The opera was sent to [[Saint Petersburg]] through [[Begichev]], and now—silence; whether or not it's being put on, I've finished with it and have moved on to new work" <ref name="note11"/>.		On 11/23 August 1869, Tchaikovsky told [[Anatoly Tchaikovsky]]: "The opera was sent to [[Saint Petersburg]] through [[Begichev]], and now—silence; whether or not it's being put on, I've finished with it and have moved on to new work" <ref name="note11"/>.

	The promise by the theatre's director, [[Stepan Gedeonov]], to stage the opera in November was not fulfilled. In letters to [[Anatoly Tchaikovsky]] and [[Aleksandra Davydova]], Tchaikovsky complained that he had heard nothing about his opera. On 18/30 November, he told [[Anatoly Tchaikovsky]]: "Yesterday I received dreadful news from [[Saint Petersburg]]—my opera is not going to be put on this season, because they are having trouble finding the time even to put on two others which were in the repertoire before mine... This news has come as a great blow to me, since I was very much counting on receiving my fee. It has also had a devastating effect on my morale, since at the moment I'm feeling a strong aversion to any form of composition, and I know that if it this continues it could be months before I'm able to write anything. It seems that the [[Petersburg]] directorate ~~on1y~~ found out last week that my opera ~~bad~~ been lying there for three and a half months" <ref name="note12"/>.		The promise by the theatre's director, [[Stepan Gedeonov]], to stage the opera in November was not fulfilled. In letters to [[Anatoly Tchaikovsky]] and [[Aleksandra Davydova]], Tchaikovsky complained that he had heard nothing about his opera. On 18/30 November, he told [[Anatoly Tchaikovsky]]: "Yesterday I received dreadful news from [[Saint Petersburg]]—my opera is not going to be put on this season, because they are having trouble finding the time even to put on two others which were in the repertoire before mine... This news has come as a great blow to me, since I was very much counting on receiving my fee. It has also had a devastating effect on my morale, since at the moment I'm feeling a strong aversion to any form of composition, and I know that if this continues it could be months before I'm able to write anything. It seems that the [[Petersburg]] directorate only found out last week that my opera had been lying there for three and a half months" <ref name="note12"/>.

	Tchaikovsky's hopes that the opera would be put on in the next season were not fulfilled, and ''Undina'' was never produced <ref name="note13"/>.		Tchaikovsky's hopes that the opera would be put on in the next season were not fulfilled, and ''Undina'' was never produced <ref name="note13"/>.

Tony: /* Composition */ Added "to Anatoly Tchaikovsky" for clarity of context

2023-01-13T19:35:12Z

Composition: Added "to Anatoly Tchaikovsky" for clarity of context

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	==Composition==		==Composition==
	The first reference to Tchaikovsky's composition of the opera ''Undina'' dates from January 1869: "I have already begun to write another [opera], but I won't tell you what the subject is, because for the moment I want to keep the fact that I'm writing it a secret; everyone will be amazed to find out that during the summer... I've already written half the opera" <ref name="note5"/>. On 15/27 February, Tchaikovsky told him: "I've set about ''Undina'' with great enthusiasm. Even now the greater part of the first act is ready" <ref name="note6"/>.' At the beginning of April he wrote to [[Modest Tchaikovsky]]: "The reason I'm writing to you so infrequently at the moment is because all my free time is spent on the opera. I find the subject terribly fascinating, and really want to finish it quickly so that in the quiet summer air I can set about the orchestration" <ref name="note7"/>. By mid/late April the rough draft of the opera was finished: "I'm now taking great pains over the instrumentation of the first act; the other two are already composed, and I will score them during the summer... This time I'm very pleased with my opera, and working enthusiastically" <ref name="note8"/>.		The first reference to Tchaikovsky's composition of the opera ''Undina'' dates from January 1869 (to [[Anatoly Tchaikovsky]]): "I have already begun to write another [opera], but I won't tell you what the subject is, because for the moment I want to keep the fact that I'm writing it a secret; everyone will be amazed to find out that during the summer... I've already written half the opera" <ref name="note5"/>. On 15/27 February, Tchaikovsky told him: "I've set about ''Undina'' with great enthusiasm. Even now the greater part of the first act is ready" <ref name="note6"/>.' At the beginning of April he wrote to [[Modest Tchaikovsky]]: "The reason I'm writing to you so infrequently at the moment is because all my free time is spent on the opera. I find the subject terribly fascinating, and really want to finish it quickly so that in the quiet summer air I can set about the orchestration" <ref name="note7"/>. By mid/late April the rough draft of the opera was finished: "I'm now taking great pains over the instrumentation of the first act; the other two are already composed, and I will score them during the summer... This time I'm very pleased with my opera, and working enthusiastically" <ref name="note8"/>.

	Even while he was working on the opera, Tchaikovsky began to petition for it to be produced On 19 April/1 May he wrote to [[Anatoly Tchaikovsky]]: "The other day I wrote to [[Gedeonov]], asking whether my opera ("''Undina''") might be put on next season in [[Petersburg]]. Through his secretary he replied that my opera will be produced in November, if I send them the full score by September" <ref name="note9"/>.		Even while he was working on the opera, Tchaikovsky began to petition for it to be produced On 19 April/1 May he wrote to [[Anatoly Tchaikovsky]]: "The other day I wrote to [[Gedeonov]], asking whether my opera ("''Undina''") might be put on next season in [[Petersburg]]. Through his secretary he replied that my opera will be produced in November, if I send them the full score by September" <ref name="note9"/>.

	In accordance with [[Stepan Gedeonov]]'s instructions, Tchaikovsky finished the full score in July, and on 6/18 August sent it to the [[Saint Petersburg]] office of the Imperial Theatres" <ref name="note10"/>		In accordance with [[Stepan Gedeonov]]'s instructions, Tchaikovsky finished the full score in July, and on 6/18 August sent it to the [[Saint Petersburg]] office of the Imperial Theatres" <ref name="note10"/>.

	==Performances==		==Performances==

Tony: /* Movements and Duration */

2023-01-13T19:12:56Z

Movements and Duration

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	\| '''Duet of Undina and Huldbrandt''' (Дуэт Ундины и Гульбранда)<br/>[Andante non troppo]		\| '''Duet of Undina and Huldbrandt''' (Дуэт Ундины и Гульбранда)<br/>[Andante non troppo]
	\| Ундина, забудь мои преступленья<br/>''Undina, zabud moi prestuplenya''		\| Ундина, забудь мои преступленья<br/>''Undina, zabud moi prestuplenya''
	\| Re-used in Var. V of the ''Dances of the Swans'' (Act II, No. 13) in the ballet ''[[Swan Lake]]''.		\| Re-used in Var. V of the ''Dances of the Swans'' (Act II, No. 13) in the ballet ''[[Swan Lake]]''
	\|}		\|}
	A concert performance of Nos. 1 to 3 lasts approximately 10 to 15 minutes.		A concert performance of Nos. 1 to 3 lasts approximately 10 to 15 minutes.

Tony at 19:08, 13 January 2023

2023-01-13T19:08:34Z

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	'''''Undina''''' (Ундина), is an opera in 3 acts ([[TH]] 2 ; [[ČW]] 2) <ref name="note1"/>, composed and orchestrated between January and July 1869, and adapted from a story by [[Friedrich de la Motte Fouqué]] (1777–1843). It was Tchaikovsky's second completed opera, and the only one not to have been given a complete performance. After re-using the music in other works he subsequently destroyed the score, but a few extracts were reconstructed after his death.		'''''Undina''''' (Ундина) is an opera in 3 acts ([[TH]] 2 ; [[ČW]] 2) <ref name="note1"/>, composed and orchestrated between January and July 1869, and adapted from a story by [[Friedrich de la Motte Fouqué]] (1777–1843). It was Tchaikovsky's second completed opera, and the only one not to have been given a complete performance. After re-using the music in other works he subsequently destroyed the score, but a few extracts were reconstructed after his death.

	==Instrumentation==		==Instrumentation==
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	''Undina'''s libretto was compiled by [[Vladimir Sollogub]] (1813–1882), based on a translation by [[Vasily Zhukovsky]] (1783–1852) of the novel ''Undine'' (1811) by [[Friedrich de la Motte Fouqué]] (1777–1843).		''Undina'''s libretto was compiled by [[Vladimir Sollogub]] (1813–1882), based on a translation by [[Vasily Zhukovsky]] (1783–1852) of the novel ''Undine'' (1811) by [[Friedrich de la Motte Fouqué]] (1777–1843).

	The idea of composing a new opera occurred to Tchaikovsky while he was working on his first opera, ''[[The Voyevoda (opera)\|The Voyevoda]]''. In February 1868 he wrote to [[Anatoly Tchaikovsky]] about his wish to finish ''[[The Voyevoda (opera)\|The Voyevoda]]'' by the summer, adding: "I have already another libretto in mind" <ref name="note3"/>. The libretto for ''Undina'' had been written by [[Vladimir Sollogub]] for the composer Aleksey Lvov, whose opera of the same name premiered in 1848 in [[Saint Petersburg]].		The idea of composing a new opera occurred to Tchaikovsky while he was working on his first opera, ''[[The Voyevoda (opera)\|The Voyevoda]]''. In February 1868, he wrote to [[Anatoly Tchaikovsky]] about his wish to finish ''[[The Voyevoda (opera)\|The Voyevoda]]'' by the summer, adding: "I have already another libretto in mind" <ref name="note3"/>. The libretto for ''Undina'' had been written by [[Vladimir Sollogub]] for the composer Aleksey Lvov, whose opera of the same name premiered in 1848 in [[Saint Petersburg]].

	===Synopsis===		===Synopsis===

Brett: 1 revision imported

2022-07-12T11:19:50Z

1 revision imported

← Older revision	Revision as of 13:19, 12 July 2022
(No difference)

Brett at 17:40, 28 March 2020

2020-03-28T17:40:44Z

New page

'''''Undina''''' (Ундина), is an opera in 3 acts ([[TH]] 2 ; [[ČW]] 2) <ref name="note1"/>, composed and orchestrated between January and July 1869, and adapted from a story by [[Friedrich de la Motte Fouqué]] (1777–1843). It was Tchaikovsky's second completed opera, and the only one not to have been given a complete performance. After re-using the music in other works he subsequently destroyed the score, but a few extracts were reconstructed after his death.

==Instrumentation==
The opera was scored for solo voices, mixed chorus, and an orchestra comprising piccolo, 2 flutes, 2 oboes, 2 clarinets (in B-flat), 2 bassoons + 4 horns (in F), 2 trumpets (in F), 3 trombones, tuba + 3 timpani, triangle, cymbals, bass drum + piano + harp, violins I, violins II, violas, cellos, and double basses <ref name="note2"/>.

The singing roles included:
* ''Undina'' (Ундина )— soprano
* ''Huldbrandt'' (Гульбранд) — tenor
* ''Goldmann'' (Гольдман) — bass
* ''Berthe'' (Берта) — mezzo-soprano
* ''Berthalda'' (Бертальда) — mezzo-soprano
* ''Duke'' (Герцог) — bass

==Movements and Duration==
Only three numbers have survived in full score (Nos. 1 to 3 below), while two other numbers from Act III are also known in some form (see the notes below).

{| class="wikitable"
| width="8%"|
| width="8%"|[No. 1]
| width="30%"|'''Introduction''' (Интродукция) Moderato assai
| width="25%"|
| width="30%"|Re-used as the Introduction (No. 1) in '' [[The Snow Maiden]]''
|-
| rowspan="4"|'''''Act I'''''
| [No. 2]
| '''Undina's Song''' (Песнь Ундины) Moderato
| Водопад мой дядя, ручеек мой брат ''Vodopad moy dyadya, rucheyek moy brat''
| Re-used as Lel's First Song (Act I, No. 6) in '' [[The Snow Maiden]]''
|-
| rowspan="3"|[No. 3]
| '''Chorus''' (Хор) Allegro
| Спасайтесь, спасайтесь ''Spasaytes, spasaytes''
| rowspan="3"|
|-
| '''Duet''' (Дуэт) Allegro
| О, счастье, миг блаженный ''O, schaste, mig blazhenny''
|-
| '''Finale''' (Финал) Allegro
| О, смерти час, последний час ''O, smerti chas, posledniy chas''
|-
| rowspan="2"|'''''Act III'''''
| [No. 4]
| '''Wedding Procession''' (Свабедное шествие) [Andante marziale quasi Moderato]
|
| Re-used in the second movement of [[Symphony No. 2]]
|-
| [No. 5]
| '''Duet of Undina and Huldbrandt''' (Дуэт Ундины и Гульбранда) [Andante non troppo]
| Ундина, забудь мои преступленья ''Undina, zabud moi prestuplenya''
| Re-used in Var. V of the ''Dances of the Swans'' (Act II, No. 13) in the ballet ''[[Swan Lake]]''.
|}
A concert performance of Nos. 1 to 3 lasts approximately 10 to 15 minutes.

==Libretto==
''Undina'''s libretto was compiled by [[Vladimir Sollogub]] (1813–1882), based on a translation by [[Vasily Zhukovsky]] (1783–1852) of the novel ''Undine'' (1811) by [[Friedrich de la Motte Fouqué]] (1777–1843).

The idea of composing a new opera occurred to Tchaikovsky while he was working on his first opera, ''[[The Voyevoda (opera)|The Voyevoda]]''. In February 1868 he wrote to [[Anatoly Tchaikovsky]] about his wish to finish ''[[The Voyevoda (opera)|The Voyevoda]]'' by the summer, adding: "I have already another libretto in mind" <ref name="note3"/>. The libretto for ''Undina'' had been written by [[Vladimir Sollogub]] for the composer Aleksey Lvov, whose opera of the same name premiered in 1848 in [[Saint Petersburg]].

===Synopsis===
{{quote|'''Act I'''. The fisherman Goldmann and his wife Berthe are sitting in their hut, worrying about the absence from home of their adopted daughter Undina, a mermaid. Suddenly Huldbrandt, a knight, arrives seeking shelter for the night. He tells them that he found himself lost in a dark forest, but was saved by a very beautiful young woman. Their conversation is interrupted by the appearance of Undina, whom Huldbrandt recognises from the forest. The knight, now forgetful of his fiancée Berthalda, confesses his love for Undina; the latter flirts with him, but then she flees. Huldbrandt falls asleep, and is awakened by Undina's reappearance. The two of them decide to marry; they leave the fisherman and his wife and make their way from the hut as a storm begins. The knight struggles over a waterfall, carrying Undina on his shoulder.}}

{{quote|'''Act II'''. Huldbrandt's marriage to Undina has enraged the Duke, who is the adoptive father of the Knight's former fiancée, Berthalda. Undina comes with her father to attend Berthalda's birthday party. The latter is still in love with Huldbrandt, and very jealous of Undina. However, Huldbrandt also feels stirrings of love for Berthalda. Undina surprises them together, and she reveals that Berthalda is really the daughter of Goldmann and Berthe, Undina's own adoptive parents. The knight angrily drives Undina away, and she throws herself into the Danube. He wants to save her from certain death, but is restrained by the guests.}}

{{quote|'''Act III'''. Huldbrandt is again in love with Undina and laments her death. But he is promised in marriage to Berthalda. The knight follows her reluctantly to the church, but the wedding procession is interrupted by the Duke, who says that Undina has visited him during the night, demanding that the wedding should be cancelled. The Duke is followed by the fisherman Goldmann who, on the same grounds, refuses consent for his daughter Berthalda to marry the knight. While Berthalda protests, Undina emerges from a well, and the wedding procession disperses in alarm. In the midst of the turmoil, Huldbrandt rushes in, greatly agitated, followed by Undina. After they sing a love duet, he collapses dead at her feet. Undina sings a lament over his body, and she is transformed into a fountain <ref name="note4"/>.}}

==Composition==
The first reference to Tchaikovsky's composition of the opera ''Undina'' dates from January 1869: "I have already begun to write another [opera], but I won't tell you what the subject is, because for the moment I want to keep the fact that I'm writing it a secret; everyone will be amazed to find out that during the summer... I've already written half the opera" <ref name="note5"/>. On 15/27 February, Tchaikovsky told him: "I've set about ''Undina'' with great enthusiasm. Even now the greater part of the first act is ready" <ref name="note6"/>.' At the beginning of April he wrote to [[Modest Tchaikovsky]]: "The reason I'm writing to you so infrequently at the moment is because all my free time is spent on the opera. I find the subject terribly fascinating, and really want to finish it quickly so that in the quiet summer air I can set about the orchestration" <ref name="note7"/>. By mid/late April the rough draft of the opera was finished: "I'm now taking great pains over the instrumentation of the first act; the other two are already composed, and I will score them during the summer... This time I'm very pleased with my opera, and working enthusiastically" <ref name="note8"/>.

Even while he was working on the opera, Tchaikovsky began to petition for it to be produced On 19 April/1 May he wrote to [[Anatoly Tchaikovsky]]: "The other day I wrote to [[Gedeonov]], asking whether my opera ("''Undina''") might be put on next season in [[Petersburg]]. Through his secretary he replied that my opera will be produced in November, if I send them the full score by September" <ref name="note9"/>.

In accordance with [[Stepan Gedeonov]]'s instructions, Tchaikovsky finished the full score in July, and on 6/18 August sent it to the [[Saint Petersburg]] office of the Imperial Theatres" <ref name="note10"/>

==Performances==
On 11/23 August 1869, Tchaikovsky told [[Anatoly Tchaikovsky]]: "The opera was sent to [[Saint Petersburg]] through [[Begichev]], and now—silence; whether or not it's being put on, I've finished with it and have moved on to new work" <ref name="note11"/>.

The promise by the theatre's director, [[Stepan Gedeonov]], to stage the opera in November was not fulfilled. In letters to [[Anatoly Tchaikovsky]] and [[Aleksandra Davydova]], Tchaikovsky complained that he had heard nothing about his opera. On 18/30 November, he told [[Anatoly Tchaikovsky]]: "Yesterday I received dreadful news from [[Saint Petersburg]]—my opera is not going to be put on this season, because they are having trouble finding the time even to put on two others which were in the repertoire before mine... This news has come as a great blow to me, since I was very much counting on receiving my fee. It has also had a devastating effect on my morale, since at the moment I'm feeling a strong aversion to any form of composition, and I know that if it this continues it could be months before I'm able to write anything. It seems that the [[Petersburg]] directorate on1y found out last week that my opera bad been lying there for three and a half months" <ref name="note12"/>.

Tchaikovsky's hopes that the opera would be put on in the next season were not fulfilled, and ''Undina'' was never produced <ref name="note13"/>.

However, on 16/28 March 1870, at [[Moscow]]'s Bolshoi Theatre, Eduard Merten conducted extracts from the opera ''Undina'' — the Introduction, Undina's aria and the Finale from Act I (chorus of villagers and duet for Undina and Huldbrandt), with [[Aleksandra Aleksandrova-Kochetova]] as Undina, and [[Aleksandr Dodonov]] as Huldbrandt <ref name="note14"/>.

==Critical Reception==
The "Musical Notes" column of the newspaper ''Moscow Register'', a writer signing himself "P" reported on the forthcoming concert by Eduard Merten, and noted in particular that the performance would include "four extracts from P. I. Tchaikovsky's new opera ''Undina'', which has become highly regarded in the musical world, even before it has been produced on the stage" <ref name="note15"/>.

[[César Cui]] wrote of this in the ''Saint Petersburg Gazette'': "''Undina'', Mr. Tchaikovsky's second opera, has been rejected, and will not be performed; ''As I heard'', it was turned down because, of it supposedly tended towards ultra-modern music, carelessly scored, and melodically deficient. I admit that all this has come as no little surprise to me. Mr Tchaikovsky's first opera ''[[The Voyevoda (opera)|The Voyevoda]]'' was given an adequate production in [[Moscow]], yet the author's second opera remains unknown, once again submitted for discussion by the committee but not approved for production!... I don't know ''Undina'' at all, but I am familiar with Mr Tchaikovsky's talent as a composer; he is an outstanding orchestrator and melodist, and he is completely devoid of modern operatic and vocal tendencies..." <ref name="note16"/>.

On 23 April/5 May 1870 Tchaikovsky told his brother [[Anatoly]]: "In spite of its roughly-hewn libretto, the story of ''Undina'' was well-suited to my temperament, it came very quickly and easily" <ref name="note17"/>.

Looking back at ''Undina'' some years later, Tchaikovsky saw many deficiencies in his opera. In a letter to [[Nadezhda von Meck]] of 27 November/9 December 1879, he wrote: "I stubbornly refused to admit my misunderstanding of the essential requirements for opera, and ''Undina'' (the opera I burned), ''[[The Oprichnik]]'' and ''[[Vakula]]'' were all deficient in this respect. Little wonder that I have learned my lesson" <ref name="note18"/>.

==Autographs==
The manuscript of the opera was misplaced by the directorate of the Imperial Theatres, but was later found by the publisher [[Vasily Bessel]]. In 1873, while working on the music for [[Aleksandr Ostrovsky]]'s story ''[[The Snow Maiden]]'', Tchaikovsky wanted to use music from ''Undina'', and so he asked [[Bessel]] to send him the full score of the opera: "Send by post or bring my ''Undina'' to me (which I am ''eternally'' grateful to you for rescuing); I have ''great'' need of it" <ref name="note19"/>.

As noted above, individual movements from the music to ''Undina'' were used by him in other works: partly in the music for ''[[The Snow Maiden]]'', the [[Symphony No. 2]], and in the ballet ''[[Swan Lake]]''. Shortly after this, in 1875 or 1876, he destroyed the full score of ''Undina''.

In 1878 Tchaikovsky told [[Nadezhda von Meck]]: "While rummaging through my sister's library, I came upon [[Zhukovsky]]'s ''Undina'', and re-read this tale, which I loved terribly in my youth. I should tell you that in 1869 I even wrote an opera on this subject and submitted it to the theatre directorate. The directors rejected it. At the time I considered this decision to be very offensive and unjust, but subsequently I became disenchanted with this opera, and was very relieved that it did not find its way on to the public stage. Three years ago I destroyed the full score" <ref name="note20"/>.

However, the extracts from ''Undina'' performed in 1870 survived in manuscript copies, which are now preserved in the [[Klin]] House-Museum Archive (a{{sup|1}}, Nos. 230–261). The same archive also holds Tchaikovsky's sketches for Huldbrandt's death scene in Act III (a{{sup|1}}, No. 3) <ref name="note21"/>.

==Publication==
Undina's Aria and the Finale from Act I, were published for the first time (full and vocal-piano reductions) in volume 2 of Tchaikovsky's ''[[Complete Collected Works]]'', edited by Rostislav Berberov (1950).

Series 1, Volume 3 of the ''[[Academic Edition of the Complete Works]]'', edited by Aleksandra Maksimova (2016) includes the full and vocal-piano reductions of all the surviving excerpts (i.e. the Introduction, Undina's Aria, the Act I finale, Wedding March, and the reconstructed duet for Undina and Huldbrand).

==Related Works==
The Introduction to ''Undina'' was re-used in the same capacity in Tchaikovsky's music for ''[[The Snow Maiden]]'' (1873), while Undina's Song from Act I was re-used, with different words and orchestration, as Lel's First Song (Act I, No. 6) in ''[[The Snow Maiden]]''.

According to [[Modest Tchaikovsky]] and [[Nikolay Kashkin]] the music for Huldbrand and Berthalda's wedding procession in Act III was reworked in the second movement of the [[Symphony No. 2]] <ref name="note22"/>. The duet from Huldbrand's death scene in the same act was reworked in the fifth variation from the ''Dances of the Swans'' in Act II (No. 13) of the ballet ''[[Swan Lake]]'' <ref name="note23"/>.

Tchaikovsky subsequently considered the subject of ''Undina'' for a new [[Undina (projected opera)|opera]] (1878) and [[Undina (projected ballet)|ballet]] (1886), neither of which were ultimately composed.

==Recordings==
{{reclink}}
A rare concert performance of the surviving numbers can be viewed on [https://www.youtube.com/watch?v=CWxeHUtNBUs YouTube] (published 23 November 2015). This was recorded on 13 November 2015 at the Tchaikovsky Concert Hall in Moscow, with the Tchaikovsky Symphony Orchestra and the Chorus of the Popov Academy of Choral Arts, conducted by Vladimir Fedoseyev. Soloists: Anna Aglatova (Undina), Aleksey Tataritsev (tenor), with Mikhail Fillipov reciting extracts from [[Zhukovsky]]'s story (in Russian). The musical items are:
* Introduction (5:08)
* Undina's Aria (10:40)
* Act I finale (17:30)
* March (25:45)
* Duet for Undina and Huldbrand (34:15)

==External Links==
* {{imslpscore|Undina_(Tchaikovsky,_Pyotr)|''Undina''}}

==Notes and References==
<references>
<ref name="note1">Entitled 'Undine' in [[ČW]].</ref>
<ref name="note2">The disposition of the orchestra can only be inferred from the surviving excerpts.</ref>
<ref name="note3">[[Letter 113]] to [[Anatoly Tchaikovsky]], written between 12/24 and 17/29 February 1868.</ref>
<ref name="note4">From {{bib|2002/22|The Tchaikovsky Handbook, vol. 1}} (2002), p. 16.</ref>
<ref name="note5">[[Letter 129]] to [[Anatoly Tchaikovsky]], mid/late January 1869.</ref>
<ref name="note6">[[Letter 131]] to [[Anatoly Tchaikovsky]], 15/27 February-16/28 February 1869.</ref>
<ref name="note7">[[Letter 135]] to [[Modest Tchaikovsky]], 3/15 April 1869.</ref>
<ref name="note8">[[Letter 136]] to [[Anatoly Tchaikovsky]], 19 April/1 May 1869.</ref>
<ref name="note9">See [[Letter 136]] to [[Anatoly Tchaikovsky]], 19 April/1 May 1869.</ref>
<ref name="note10">See [[Letter 144]] to [[Pavel Fyodorov]], 6/18 August 1869.</ref>
<ref name="note11">[[Letter 145]] to [[Anatoly Tchaikovsky]], 11/23 August 1869.</ref>
<ref name="note12">[[Letter 160]] to [[Anatoly Tchaikovsky]], 18/30 November 1869. See also [[Letter 161]] to [[Modest Tchaikovsky]], 18/30 November 1869, and [[Letter 169]], 19/31 December 1869, and [[Letter 179]], 5/17 February 1870, to [[Aleksandra Davydova]].</ref>
<ref name="note13">See [[Letter 183]] to [[Modest Tchaikovsky]], 2/14–3/15 March 1870.</ref>
<ref name="note14">See [[Letter 183]] to [[Modest Tchaikovsky]], 2/14–3/15 March 1870, and [[Letter 184]] to [[Anatoly Tchaikovsky]], 7/19 March 1870.</ref>
<ref name="note15">{{bib|1870/9|Музыкальная хроника}} (1870).</ref>
<ref name="note16">{{bib|1870/1|Музыкальные заметки}} (1870).</ref>
<ref name="note17">[[Letter 189]] to [[Anatoly Tchaikovsky]], 23 April/5 May 1870.</ref>
<ref name="note18">[[Letter 1358]] to [[Nadezhda von Meck]], 27 November/9 December–28 November/10 December 1879.</ref>
<ref name="note19">[[Letter 293]] to [[Vasily Bessel]], 7/19 March 1873.</ref>
<ref name="note20">[[Letter 820]] to [[Nadezhda von Meck]], 30 April/12 May 1878.</ref>
<ref name="note21">Sketches for this duet were published in {{bib|1957/18|Оперное творчество Чайковского}} (1957) in a facsimile (pp. 48–49) and transcription by Boleslav Rabinovich (pp. 53–56). In 1958, Vissarion Shebalin reconstructed the duet from these sketches.</ref>
<ref name="note22">See {{bib|1900/35|Жизнь Петра Ильича Чайковского, том 1}} (1900), p. 416, and [[Nikolay Kashkin]], {{bib|1896/17|Воспоминания о П. И. Чайковском}} (1896), p. 87.</ref>
<ref name="note23">See [[Nikolay Kashkin]], {{bib|1896/17|Воспоминания о П. И. Чайковском}} (1896), p. 87.</ref>
</references>
[[Category:Operas]]