Letter 748: Difference between revisions
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:1) Check whether I have mixed up any of the numbers; | :1) Check whether I have mixed up any of the numbers; | ||
:2) Arrange for the piano reduction to be copied; | :2) Arrange for the piano reduction to be copied; | ||
:3) Write the stage directions which are in the score into the piano | :3) Write the stage directions which are in the score into the piano reduction — both in these new sections of the opera and in the old ones; | ||
:4) Ask ''[[Samarin]]'' to read through the libretto carefully. Now that the score is ready, I cannot alter anything as far as the ''essence'' of the plot is concerned, but I would very much like my dear [[Ivan Samarin|Ivan Vasilyevich]] to correct in the stage directions anything that he considers to be silly, inconvenient, awkward etc. I also want him to pay particular attention to the final verse. For the sake of musical and theatrical demands I was forced to | :4) Ask ''[[Samarin]]'' to read through the libretto carefully. Now that the score is ready, I cannot alter anything as far as the ''essence'' of the plot is concerned, but I would very much like my dear [[Ivan Samarin|Ivan Vasilyevich]] to correct in the stage directions anything that he considers to be silly, inconvenient, awkward, etc. I also want him to pay particular attention to the final verse. For the sake of musical and theatrical demands I was forced to dramatise rather strongly the scene of Tatyana's discussion with Onegin. At the end, as I have it, Tatyana's husband appears and with a gesture orders Onegin away. While this happens I had to have ''Onegin'' say something, and so I put the following verse into his mouth: "O death, o death! I go to seek thee out!" I cannot help thinking all the time that this is silly and that he ought to be saying something else. But I just can't think up what. That's why I'm asking [[Ivan Samarin|Ivan Vasilyevich]] to do me an inestimable service and help me out of this difficulty <ref name="note2"/>; | ||
:5) Since [[Jurgenson]], at my request, is going to publish the opera, it is necessary to make a full copy of the piano reduction; | :5) Since [[Jurgenson]], at my request, is going to publish the opera, it is necessary to make a full copy of the piano reduction; | ||
:6) Ask ''[[Taneyev]]'' to alter anything in the piano reduction that strikes him as un-piano like, inconvenient or difficult to play; I give him full discretionary power to modify, expand | :6) Ask ''[[Taneyev]]'' to alter anything in the piano reduction that strikes him as un-piano like, inconvenient or difficult to play; I give him full discretionary power to modify, expand or abridge it (that is, the piano transcription, not the music as such) as he sees fit. This is all the easier for him, because, having accompanied the opera so many times <ref name="note3"/>, he will probably play the transcription not as I wrote it, but as it is most convenient. After all, since September I have not once touched a piano; | ||
:7) The seventh point bears a direct relation to ''[[Onegin]]''. I simply want to ask you to write to me when you have a minute to spare. You don't realize, [[Karlusha]], what joy I derive from your letters, with their utterly distinctive | :7) The seventh point bears a direct relation to ''[[Onegin]]''. I simply want to ask you to write to me when you have a minute to spare. You don't realize, [[Karlusha]], what joy I derive from your letters, with their utterly distinctive manner — I mean those turns of phrase you manage to invent, that charming combination of the most vernacular Russian figures of speech, idioms and wiles with long German periods: in short, all their inimitable ''Karlushian'' charm. I kiss you affectionately. I kiss Anna Leontyevna's hand and also the children, with particular tenderness for Zhenya. | ||
On Tuesday, 7/19 February, I am leaving for ''[[Florence]]'', where I shall be spending some time. Write to me there using the following address: ''Italy [[Florence|Firenze]] (or [[Florence]]), Hôtel Citta di Milano, Via Cerretani''. | On Tuesday, 7/19 February, I am leaving for ''[[Florence]]'', where I shall be spending some time. Write to me there using the following address: ''Italy [[Florence|Firenze]] (or [[Florence]]), Hôtel Citta di Milano, Via Cerretani''. | ||
Please would you | Please would you apologise to [[Kashkin]] on my behalf for not having written to him in such a long time. He's a fine one, though, to be making reproaches: he promised to keep me regularly informed about everything that is going on in [[Moscow]], but I'm still waiting for his first bulletin! | ||
How is [[Hubert]]? How is [[Aleksandra Hubert|Madame Hubert]]? I haven't heard anything about them. Give them my very warm regards. I kiss you. | How is [[Hubert]]? How is [[Aleksandra Hubert|Madame Hubert]]? I haven't heard anything about them. Give them my very warm regards. I kiss you. | ||
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<references> | <references> | ||
<ref name="note1">On 20 January/1 February 1878, while staying at [[San Remo]], Tchaikovsky completed the full score of ''[[Yevgeny Onegin]]'', and as we learn from this letter, on 2/14 February he sent the second half of the opera to [[Moscow]].</ref> | <ref name="note1">On 20 January/1 February 1878, while staying at [[San Remo]], Tchaikovsky completed the full score of ''[[Yevgeny Onegin]]'', and as we learn from this letter, on 2/14 February he sent the second half of the opera to [[Moscow]].</ref> | ||
<ref name="note2">The opera | <ref name="note2">The opera [[Yevgeny Onegin]] originally ended with the appearance onstage of Tatyana's husband, who, with a commanding gesture, ordered Onegin away. For the first professional production of the opera, which took place at the [[Moscow]] Bolshoi Theatre on 11/23 January 1881, Tchaikovsky modified the ending and had Onegin cry out instead: "Disgrace! Anguish! O how pitiable is my fate!".</ref> | ||
<ref name="note3">During the winter of 1877–78 a group of students at the [[Moscow]] Conservatory under the guidance of [[Nikolay Rubinstein]] had been rehearsing Act I of | <ref name="note3">During the winter of 1877–78, a group of students at the [[Moscow]] Conservatory under the guidance of [[Nikolay Rubinstein]] had been rehearsing Act I of [[Onegin]], and [[Taneyev]] had provided the accompaniment at these rehearsals.</ref> | ||
</references> | </references> | ||
{{DEFAULTSORT:Letter 0748}} | {{DEFAULTSORT:Letter 0748}} |
Latest revision as of 12:59, 4 May 2024
Date | 3/15 February 1878 |
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Addressed to | Karl Albrecht |
Where written | San Remo |
Language | Russian |
Autograph Location | Moscow (Russia): Russian National Museum of Music (ф. 37, No. 29) |
Publication | Чайковский на Московской сцене (1940), p. 275–276 П. И. Чайковский. Полное собрание сочинений, том VII (1962), p. 92–93 |
Text and Translation
Russian text (original) |
English translation By Luis Sundkvist |
Сан-Ремо, 3/15 ф[евраля] 1878 Милый мой Карлуша!
Вчера я выслал на имя Н[иколая] Гр[игорьевича] остальные части моей оперы, т. е.
Прошу у тебя следующее:
Во вторник 7/19 февраля я уезжаю отсюда во Флоренцию и несколько времени пробуду там. Пиши мне туда по следующему адресу: Italia Firenze (или Florence), Hôtel Citta di Milano, Via Cerretani Пожалуйста, извинись за меня перед Кашкиным, что давно не пишу ему. Но и он хорош, обещал меня постоянно уведомлять о всём, что творится у Вас, и хоть бы единый раз уведомил Что Губерт? Что M[ada]me Губерт? Я ничего про них не знаю. Кланяйся им очень от меня. Целую тебя |
San Remo, 3/15 February 1878 My dear Karlusha!
Yesterday I sent the remaining sections of my opera [1] to Nikolay Grigoryevich's address, that is:
I would like to ask you to do the following:
On Tuesday, 7/19 February, I am leaving for Florence, where I shall be spending some time. Write to me there using the following address: Italy Firenze (or Florence), Hôtel Citta di Milano, Via Cerretani. Please would you apologise to Kashkin on my behalf for not having written to him in such a long time. He's a fine one, though, to be making reproaches: he promised to keep me regularly informed about everything that is going on in Moscow, but I'm still waiting for his first bulletin! How is Hubert? How is Madame Hubert? I haven't heard anything about them. Give them my very warm regards. I kiss you. |
Notes and References
- ↑ On 20 January/1 February 1878, while staying at San Remo, Tchaikovsky completed the full score of Yevgeny Onegin, and as we learn from this letter, on 2/14 February he sent the second half of the opera to Moscow.
- ↑ The opera Yevgeny Onegin originally ended with the appearance onstage of Tatyana's husband, who, with a commanding gesture, ordered Onegin away. For the first professional production of the opera, which took place at the Moscow Bolshoi Theatre on 11/23 January 1881, Tchaikovsky modified the ending and had Onegin cry out instead: "Disgrace! Anguish! O how pitiable is my fate!".
- ↑ During the winter of 1877–78, a group of students at the Moscow Conservatory under the guidance of Nikolay Rubinstein had been rehearsing Act I of Onegin, and Taneyev had provided the accompaniment at these rehearsals.