Vasily Bessel and Letter 3155: Difference between pages

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{{picture|file=Vasily Bessel.jpg|caption='''Vasily Bessel''' (1843–1907)}}
{{letterhead
Russian music publisher, violist and music critic (b. 13/25 April 1843 in [[Saint Petersburg]]; d. 1 March 1907 at [[Zurich]]), born '''''Vasily Vasilyevich Bessel''''' (Василий Васильевич Бессель).
|Date=22 January/3 February 1887
|To=[[Praskovya Tchaikovskaya]]
|Place=[[Moscow]]
|Language=Russian
|Autograph=[[Klin]] (Russia): {{RUS-KLč}} (a{{sup|3}}, No. 3267)
|Publication={{bib|1955/37|П. И. Чайковский. Письма к близким}} (1955), p. 372–373 (abridged)<br/>{{bib|1974/53|П. И. Чайковский. Полное собрание сочинений ; том XIV}} (1974), p. 25–26<br/>{{bib|1981/81|Piotr Ilyich Tchaikovsky. Letters to his family. An autobiography}} (1981), p. 370–371 (English translation; abridged)
}}
==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''22 янв[аря] 1887 г[ода]''}}
Паничка дорогая! Я телеграфировал Вам о смерти ''Тани'', чтобы Вы узнали об этом печальном событии ранее, чем из газет. Из «Нового времени» ты уже узнаешь раньше моего письма, как это случилось. Я получил это известие как раз на другое утро после первого представления «''Черевичек''». Теперь опишу тебе вкратце, как произошло 1-е представление. За два дня до представления была генеральная репетиция. Во время репетиций я настолько привык дирижировать, что перед генеральной почти не боялся и думал, что и в день 1-го представления будет то же. Но уже накануне я стал чувствовать себя почти нездоровым от волнения, а 19-го утром проснулся совсем больной и даже думал, не послать ли отказ. Не знаю как я провел этот ужасный день; страдал невыразимо. В назначенный час явился в каком-то полусознании. Когда настал роковой час, я как автомат вошел в оркестр. Грянули ог лушительные рукоплескания, и со сцены начали подавать венки, а оркестр туш играл. Сейчас же стало легче. Увертюру я начал очень смело и чем дальше, тем более спокоен становился. К 2-му действию я вышел так же спокойно, как какой-нибудь Альтани, весь свой век дирижировавший. Подношений, венков, вызов[ов] и т. п., оваций было более чем достаточно. Представь себе, Паничка! Всё в один голос говорят, что я талантливый дирижёр. Если это правда, то странно, что целую жизнь я ошибался и воображал себя, наоборот, вполне неспособным в этом отношении. Как бы то ни было, но сошло все очень хорошо. Исполнением я очень доволен. К несчастию, накануне генеральной репетиции заболела ''Крутикова'' (превосходная Солоха) и вместо неё взялась петь ''Святловская'', хорошая певица, но совершенно неподходящая к роли. Из других лучше всех были ''Климентова, Корсов и Усатов''. Из родных присутствовали кроме Модеста брат Коля и Никс Литке.


==Tchaikovsky and Bessel==
Бедная Таня! Теперь, когда все кончено, невольно забываешь все её темные стороны и помнишь только, что это былаза чудо-девушка 12 лет тому назад. Ещё не знаю, как Саша перенесла трагическое известие. Лева едет и проездом будетзавтра здесь, как раз когда я буду собираться начать 2-е представление. Буду дирижировать ещё 2 раза. Целую, обнимаю.
Bessel was a contemporary of Tchaikovsky's at the [[Saint Petersburg]] Conservatory, where he studied the violin with Wienawski and music theory with [[Nikolay Zaremba]], graduating from Ieronim Veikman's viola class in 1865. In November that same year, Bessel had performed the viola part at the premiere of Tchaikovsky's [[String Quartet in B-flat major]]. From 1866 to 1874 he played the viola in the ballet orchestra of the Imperial Theatres.
{{right|Твой, П. Чайковский}}


In 1869, together with his brother Ivan, he founded the firm V. Bessel & Co. (В. Бессель и Ко.), opening a music shop on the Nevsky Prospekt, which by 1871 had become a thriving publishing house. At this time Bessel commissioned Tchaikovsky to make piano duet arrangements of two orchestral works by [[Anton Rubinstein]] — ''[[Ivan the Terrible (Rubinstein)|Ivan the Terrible]]'' and ''[[Don Quixote (Rubinstein)|Don Quixote]]'' — and he also offered to publish Tchaikovsky's new opera ''[[The Oprichnik]]'' (1870–72), which had still not yet been performed; given the failures of his two previous operas, Tchaikovsky was only too happy to accept this proposal, and hastily signed an agreement transferring to Bessel all rights to the work (a move he would later regret).
|Translated text={{right|''22 January 1887''}}
Dear [[Panichka]]! I telegraphed you about ''[[Tanya]]''{{'}}s death so that you would find out about this sad event before the newspapers came out. You'll have already found what happened from "New Time" before my letter. I received this news just the morning after the first production of "''[[Cherevichki]]''". I'll just briefly describe to you how the 1st performance went. Two days beforehand there was a dress rehearsal. During rehearsals I had become so accustomed to conducting that I wasn't afraid during the dress rehearsal, and I thought it would be the same on the day of the 1st performance. But already the day before I almost began feeling unwell from the anxiety, and on the morning of the 19th I awoke thoroughly unwell and I even thought of withdrawing. I don't know how I made it through this terrible day; I suffered unspeakably. At the appointed hour I appeared in some sort of semi-consciousness. When the fateful how arrived, I approached the orchestra like an automaton. There was deafening applause, and wreaths began to be given to me from the stage, while the orchestra played a flourish. Then it became easier. I started the overture very boldly and the more it went on, the calmer I became. By the 2nd act I walked out calmly, like some sort of [[Altani]] who had been conducting his whole life. There were gifts, wreaths, calls, etc., and more than adequate applause. Just imagine it, [[Panichka]]! Everyone unanimously says that I am a talented conductor. If this is true, then it's strange that I've been mistaken my whole life, and on the contrary, imagined myself to be completely incapable in this respect. Be that as it may, it all went very well. I'm very satisfied with the performance. Unfortunately, the day before the dress rehearsal, ''[[Krutikova]]'' (an excellent Solokha) fell ill, and ''[[Svyatlovskaya]]'', a fine singer, but utterly unsuited to the role, sang in her place. Amongst the others, the best were ''[[Klimentova]], [[Korsov]] and [[Usatov]]''. Amongst our relatives, in addition to [[Modest]], brother [[Nikolay Tchaikovsky|Kolya]] and [[Nikolay Litke|Niks Litke]] were present.


In 1872, Bessel was granted permission to publish piano transcriptions of Tchaikovsky's overture-fantasia ''[[Romeo and Juliet]]'' (the full score having been printed by [[Bote & Bock]] in [[Berlin]]), and the [[Symphony No. 2]], Op. 17 (1872). The delay in issuing the full score of the latter work (which eventually appeared in 1881, after Tchaikovsky had revised the symphony), was one of the two main reasons for the breakdown in relations with Bessel, the other being the rights to ''[[The Oprichnik]]''. The only other of the composer's works to be issued by Bessel were the [[Six Romances, Op. 16]] (1872–73), [[Six Pieces on a Single Theme, Op. 21]] (1873), and [[Six Romances, Op. 25]] (1875). Thereafter Tchaikovsky's works in Russia were published almost exclusively by [[Pyotr Jurgenson]] in [[Moscow]].
Poor [[Tanya]]! Now that it's all over, you automatically forget all her faults, and only remember the wonderful girl that she was 12 years ago. I still don't know how [[Sasha]] bore the tragic news. [[Lev]] is travelling and will be here tomorrow, just when I'll be preparing to start the 2nd performance. I'll be conducting it twice more. Hugs, kisses.  
 
{{right|Yours, P. Tchaikovsky}}
Bessel also published and edited the journals ''Musical Leaflet'' (Музыкальный листок) from 1872 to 1877, and published the ''Music Review'' (Музыкальное обозрение) from 1885 to 1889. He contributed his own articles to both titles, and also to the German journals ''Neue allgemeine Musik-Zeitung'' and ''Neue Musik-Zeitung'' (1878–1887). In 1901, he brought out his own book on music publishing — ''Music matters'' (Нотное дело).
}}
 
After Bessel's death in 1907, the firm was managed by his sons Vasily and Aleksandr, who moved the business to [[Paris]] in 1920 after the Russian revolution.
 
==Correspondence with Tchaikovsky==
56 letters from Tchaikovsky to Vasily Bessel have survived, dating from 1869 to 1891, all of which have been translated into English on this website:
* '''[[Letter 171]]''' – 21 December 1869/2 January 1870, from [[Moscow]]
* '''[[Letter 216]]''' – 25 November/7 December 1870, from [[Moscow]]
* '''[[Letter 225]]''' – 9/21 January 1871, from [[Moscow]]
* '''[[Letter 284]]''' – 2/14 January 1873, from [[Moscow]]
* '''[[Letter 290]]''' – 21 February/5 March 1873, from [[Moscow]]
* '''[[Letter 292]]''' – 4/16 March 1873, from [[Moscow]]
* '''[[Letter 293]]''' – 7/19 March 1873, from [[Moscow]]
* '''[[Letter 295]]''' – around 20 March/1 April 1873, from [[Moscow]]
* '''[[Letter 296]]''' – 25 March/6 April 1873, from [[Moscow]]
* '''[[Letter 299]]''' – 21 April/3 May 1873, from [[Moscow]]
* '''[[Letter 303]]''' – 1/13 May 1873, from [[Moscow]]
* '''[[Letter 304]]''' – 1/13 May 1873, from [[Moscow]]
* '''[[Letter 305]]''' – by 11/23 May 1873, from [[Saint Petersburg]]
* '''[[Letter 308]]''' – 16/28 May 1873, from [[Moscow]]
* '''[[Letter 311]]''' – 24 May/5 June 1873, from [[Moscow]]
* '''[[Letter 317]]''' – 3/15 September 1873, from [[Moscow]]
* '''[[Letter 321]]''' – 10/22 October 1873, from [[Moscow]]
* '''[[Letter 322]]''' – 18/30 October 1873, from [[Moscow]]
* '''[[Letter 323]]''' – 30 October/11 November 1873, from [[Moscow]]
* '''[[Letter 324]]''' – 5/17 November 1873, from [[Moscow]]
* '''[[Letter 326]]''' – 28 November/10 December 1873, from [[Moscow]]
* '''[[Letter 332]]''' – 6/18 December 1873, from [[Moscow]]
* '''[[Letter 335]]''' – early/mid-January 1874, from [[Moscow]]
* '''[[Letter 337]]''' – late January/early February or early/mid-February 1874, from [[Moscow]]
* '''[[Letter 338]]''' – between 4/16 and 10/22 February 1874, from [[Moscow]]
* '''[[Letter 339]]''' – 18 February/2 March 1874, from [[Moscow]]
* '''[[Letter 341]]''' – mid/late March 1874, from [[Moscow]]
* '''[[Letter 352]]''' – 18/30 May 1874, from [[Moscow]]
* '''[[Letter 353]]''' – 30 May/11 June 1874, from [[Moscow]]
* '''[[Letter 358]]''' – 4/16 September 1874, from [[Moscow]]
* '''[[Letter 360]]''' – 13/25 September 1874, from [[Moscow]]
* '''[[Letter 366]]''' – 19/31 October 1874, from [[Moscow]]
* '''[[Letter 369]]''' – 9/21 November 1874, from [[Moscow]]
* '''[[Letter 376]]''' – 17/29 December 1874, from [[Moscow]]
* '''[[Letter 396]]''' – 22 March/3 April 1875, from [[Moscow]]
* '''[[Letter 407]]''' – 8/20 July 1875, from [[Nizy]]
* '''[[Letter 511]]''' – between 2/14 and 10/22 November 1876, from [[Moscow]]
* '''[[Letter 1386]]''' – 21 December 1879/2 January 1880, from [[Rome]]
* '''[[Letter 1413]]''' – 25 January/6 February 1880, from [[Rome]]
* '''[[Letter 1446]]''' – 13/25 March 1880, from [[Saint Petersburg]]
* '''[[Letter 1463]]''' – 1/13 April 1880, from [[Saint Petersburg]]
* '''[[Letter 1470]]''' – 7/19 April 1880, from [[Moscow]]
* '''[[Letter 1595]]''' – 18/30 September 1880, from [[Kamenka]]
* '''[[Letter 1620]]''' – 29 October/10 November 1880, from [[Kamenka]]
* '''[[Letter 1635]]''' – between 1/13 December and 7/19 December 1880, from [[Saint Petersburg]]
* '''[[Letter 2573]]''' – 22 October/3 November 1884, from [[Saint Petersburg]]
* '''[[Letter 2763]]''' – between 10/22 and 13/25 September 1885 (?), from [[Maydanovo]]
* '''[[Letter 2786]]''' – 7/19 October 1885, from [[Maydanovo]]
* '''[[Letter 3052]]''' – 19 September/1 October 1886, from [[Maydanovo]]
* '''[[Letter 3084]]''' – 4/16 November 1886, from [[Saint Petersburg]]
* '''[[Letter 3123]]''' – 18/30 December 1886, from [[Moscow]]
* '''[[Letter 3123a]]''' – 18/30 December 1886, from [[Moscow]] (addressed to Bessel in his capacity as editor of the ''Musical Review'')
* '''[[Letter 3124]]''' – 18/30 December 1886, from [[Moscow]]
* '''[[Letter 3127]]''' – 21 December 1886/2 January 1887, from [[Moscow]]
* '''[[Letter 3138]]''' – 29 December 1886/10 January 1887, from [[Maydanovo]]
* '''[[Letter 4389]]''' – 2/14 June 1891, from [[Maydanovo]]
7 letters from Bessel to the composer, dating from 1880 to 1891, are preserved in the [[Klin]] House-Museum Archive.
 
==Bibliography==
* {{bib|1896/3}} (1896)
* {{bib|1898/4}} (1898)
* {{bib|1898/5}} (1898)
* {{bib|1923/16}} (1923)
* {{bib|1923/17}} (1923)
* {{bib|1938/25}} (1938)
* {{bib|1962/6}} (1962)
* {{bib|1994/16}} (1994)
* {{bib|1999/9}} (1999)
 
==External Links==
* [[wikipedia:V._Bessel_and_Co.|Wikipedia]]
 
[[Category:People|Bessel, Vasily]]
[[Category:Correspondents|Bessel, Vasily]]
[[Category:Publishers|Bessel, Vasily]]

Revision as of 18:24, 4 February 2024

Date 22 January/3 February 1887
Addressed to Praskovya Tchaikovskaya
Where written Moscow
Language Russian
Autograph Location Klin (Russia): Tchaikovsky State Memorial Musical Museum-Reserve (a3, No. 3267)
Publication П. И. Чайковский. Письма к близким. Избранное (1955), p. 372–373 (abridged)
П. И. Чайковский. Полное собрание сочинений, том XIV (1974), p. 25–26
Piotr Ilyich Tchaikovsky. Letters to his family. An autobiography (1981), p. 370–371 (English translation; abridged)

Text and Translation

Russian text
(original) 		English translation
By Brett Langston
22 янв[аря] 1887 г[ода]

Паничка дорогая! Я телеграфировал Вам о смерти Тани, чтобы Вы узнали об этом печальном событии ранее, чем из газет. Из «Нового времени» ты уже узнаешь раньше моего письма, как это случилось. Я получил это известие как раз на другое утро после первого представления «Черевичек». Теперь опишу тебе вкратце, как произошло 1-е представление. За два дня до представления была генеральная репетиция. Во время репетиций я настолько привык дирижировать, что перед генеральной почти не боялся и думал, что и в день 1-го представления будет то же. Но уже накануне я стал чувствовать себя почти нездоровым от волнения, а 19-го утром проснулся совсем больной и даже думал, не послать ли отказ. Не знаю как я провел этот ужасный день; страдал невыразимо. В назначенный час явился в каком-то полусознании. Когда настал роковой час, я как автомат вошел в оркестр. Грянули ог лушительные рукоплескания, и со сцены начали подавать венки, а оркестр туш играл. Сейчас же стало легче. Увертюру я начал очень смело и чем дальше, тем более спокоен становился. К 2-му действию я вышел так же спокойно, как какой-нибудь Альтани, весь свой век дирижировавший. Подношений, венков, вызов[ов] и т. п., оваций было более чем достаточно. Представь себе, Паничка! Всё в один голос говорят, что я талантливый дирижёр. Если это правда, то странно, что целую жизнь я ошибался и воображал себя, наоборот, вполне неспособным в этом отношении. Как бы то ни было, но сошло все очень хорошо. Исполнением я очень доволен. К несчастию, накануне генеральной репетиции заболела Крутикова (превосходная Солоха) и вместо неё взялась петь Святловская, хорошая певица, но совершенно неподходящая к роли. Из других лучше всех были Климентова, Корсов и Усатов. Из родных присутствовали кроме Модеста брат Коля и Никс Литке.

Бедная Таня! Теперь, когда все кончено, невольно забываешь все её темные стороны и помнишь только, что это былаза чудо-девушка 12 лет тому назад. Ещё не знаю, как Саша перенесла трагическое известие. Лева едет и проездом будетзавтра здесь, как раз когда я буду собираться начать 2-е представление. Буду дирижировать ещё 2 раза. Целую, обнимаю.

Твой, П. Чайковский
22 January 1887

Dear Panichka! I telegraphed you about Tanya's death so that you would find out about this sad event before the newspapers came out. You'll have already found what happened from "New Time" before my letter. I received this news just the morning after the first production of "Cherevichki". I'll just briefly describe to you how the 1st performance went. Two days beforehand there was a dress rehearsal. During rehearsals I had become so accustomed to conducting that I wasn't afraid during the dress rehearsal, and I thought it would be the same on the day of the 1st performance. But already the day before I almost began feeling unwell from the anxiety, and on the morning of the 19th I awoke thoroughly unwell and I even thought of withdrawing. I don't know how I made it through this terrible day; I suffered unspeakably. At the appointed hour I appeared in some sort of semi-consciousness. When the fateful how arrived, I approached the orchestra like an automaton. There was deafening applause, and wreaths began to be given to me from the stage, while the orchestra played a flourish. Then it became easier. I started the overture very boldly and the more it went on, the calmer I became. By the 2nd act I walked out calmly, like some sort of Altani who had been conducting his whole life. There were gifts, wreaths, calls, etc., and more than adequate applause. Just imagine it, Panichka! Everyone unanimously says that I am a talented conductor. If this is true, then it's strange that I've been mistaken my whole life, and on the contrary, imagined myself to be completely incapable in this respect. Be that as it may, it all went very well. I'm very satisfied with the performance. Unfortunately, the day before the dress rehearsal, Krutikova (an excellent Solokha) fell ill, and Svyatlovskaya, a fine singer, but utterly unsuited to the role, sang in her place. Amongst the others, the best were Klimentova, Korsov and Usatov. Amongst our relatives, in addition to Modest, brother Kolya and Niks Litke were present.

Poor Tanya! Now that it's all over, you automatically forget all her faults, and only remember the wonderful girl that she was 12 years ago. I still don't know how Sasha bore the tragic news. Lev is travelling and will be here tomorrow, just when I'll be preparing to start the 2nd performance. I'll be conducting it twice more. Hugs, kisses.

Yours, P. Tchaikovsky

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