Symphony No. 6 and Letter 120: Difference between pages

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Tchaikovsky's '''''Symphony No. 6''''' in B minor, [[Op.]] 74 ([[TH]] 30 ; [[ČW]] 27), subtitled '''''Symphonie pathétique''''' (Патетическая симфония) <ref name="note1"/> was composed in February and March 1893, and orchestrated in July and August the same year.
{{letterhead
|Date=24 September/6 October 1868
|To=[[Aleksandra Davydova]]  
|Place=[[Moscow]]  
|Language=Russian
|Autograph=[[Saint Petersburg]] (Russia): {{RUS-SPsc}} (ф. 834, ед. хр. 16, л. 53–54)
|Publication={{bib|1940/210|П. И. Чайковский. Письма к родным ; том 1}} (1940), p. 111–113 <br/>{{bib|1959/50|П. И. Чайковский. Полное собрание сочинений ; том V}} (1959), p. 141–143
}}
==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''Москва''<br/>''24 сентября 1868 г[ода]''}}
Милая моя Саня! Три дня тому назад получил твоё письмо! И так как из него явствовало, что В[ера] терзается сомнениями насчёт моей дружбы, то поспешил отвечать тебе, чтобы ты с своей стороны написала и успокоила её. Сегодня я перечёл написанное тогда; оно мне показалось темноватым и запутанным, и я сажусь вновь.


==Instrumentation==
Что я всегда буду немножко страдать своим бессилием сделать её счастливою, дать исход чувству, которое, как она выражается, поглотило все её существование, — это несомненно н неизбежно. Тут дело идёт о счастье целой жизни, и странно было бы, если б я совершенно равнодушно относился к её любви ко мне. Именно потому, что я всей душой её люблю и благодарен ей, — я должен немного мучиться. А уж в том, что я давно отвечаю ей в сердце самой тёплой дружбой и благодарностью, — в этом уверь её, пожалуйста, если (чему я удивляюсь) она может сомневаться.
The Symphony is scored for an orchestra comprising 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets (in A), 2 bassoons + 4 horns (in F), 2 trumpets (in A, B-flat), 3 trombones, tuba + 3 timpani, cymbals, bass drum, tam-tam (''ad lib.'') + violins I, violins II, violas, cellos, and double basses.


==Movements and Duration==
Что касается до моей холодности, которая её так огорчает, — то она происходит от множества причин, из которых главная есть та, что я её люблю как сестру, но отношения наши (вследствие гнёта разных общественных условий) не могут быть искренни, а это ставит между нами какую-то стенку, сквозь которую мы не можем относиться прямо друг к другу. Кроме того, тут есть целая бездна разных психологических Тонкостей, которые проанализировать мог бы разве какой-нибудь Толстой или Теккерей.
There are four movements:
<ol style="list-style-type: upper-roman;">
<li>Adagio—Allegro non troppo (B minor, 354 bars)</li>
<li>Allegro con grazia (D major, 179 bars)</li>
<li>Allegro molto vivace (G major, 547 bars)</li>
<li>Adagio lamentoso (B minor, 171 bars)</li>
</ol>
A complete performance generally lasts between 45 and 50 minutes.


==Composition==
Во-первых, мы оба постоянно лжём друг другу: она (боясь, по её выражению, надоесть постной миной) притворяется равнодушной; я делаю вид, что ничего не понимаю и не знаю; между тем мы оба понимаем и знаем друг друга, — и вот, в наших раз говорах звучит какой-то диссонанс; это меня раздражает, я начинаю делаться злым, чувствую, что не могу этого скрыть; она огорчается, я это чувствую; она чувствует, что я это чувствую, я чувствую, что она чувствует, что я это чувствую и т. д. до бесконечности.
On 11/23 February 1893, Tchaikovsky wrote to [[Vladimir Davydov]]: "You know I destroyed a symphony I had been composing and only partly orchestrated in the autumn <ref name="note2"/>... During my journey I had the idea for another symphony, this time with a programme, but such a programme that will remain an enigma to everyone—let them guess; the symphony shall be entitled: ''A Programme Symphony'' (No. 6); ''Symphonie à Programme'' (No. 6); ''Programm-Symphonie'' (No. 6). The programme itself will be suffused with subjectivity, and not infrequently during my travels, while composing it in my head, I wept a great deal. Upon my return I sat down to write the sketches, and the work went so furiously and quickly that in less than four days the first movement was completely ready, and the remaining movements already clearly outlined in my head. The third movement is already half-done. The form of this symphony will have much that is new, and amongst other things, the finale will not be a noisy allegro, but on the contrary, a long drawn-out ''adagio''. You can't imagine how blissful I feel in the conviction that my time is not yet passed, and to work is still possible. Of course I might be mistaken, but I don't think so" <ref name="note3"/>.


At the end of the sketches for the first movement is the author's note: "Begun on Thursday 4th Febr[uary]. Finished on Tuesday 9th Febr[uary 18]93" {{OS}}.
Есть ещё одна причина. Мне часто приходит в голову, что она оттого меня так любит, что воображает меня музыкальным гением, а я очень часто мучаюсь своим (может быть и мнимым) творческим бессилием и бешусь, что не соответствую идеалу, которому она поклоняется. Если в подобную минуту она начинает восхищаться моими сочинениями или просит меня сыграть, — меня обуревает ужасная злоба и на себя и на неё. Когда, на против, на меня находит уверенность в своих способностях (как было в Гапсале), её высокое обо мне мнение мне льстит и радует меня, и отношения наши, вследствие этой невидимой причины, делаются более задушевными. Вообще она должна была заметит во мне разкие переходы от худо скрытой злобы к самым искренним излияниям; все это — следствия разных болезненных ощущений, иногда даже и беспричинных, свойственных нервным натурам. Какой-то клапан в сердце вдруг запрётся, и тут, как ни насилуй себя, останешься холодным; потом, тоже без особенной причины, клапан отворится; тут тебя волнуют самые нежные, братские чувства, но появляется раскаяние, находит злоба, и клапан опять закрылся.


"All my thoughts are now taken up with a new composition (a symphony), and it's very difficult for me to break away from this work. It seems to me that this is the best work I have ever produced. This symphony must be finished as quickly as possible, for I have a great deal of other work...", the composer wrote to [[Anatoly Tchaikovsky]] on 10/22 February <ref name="note4"/>.
Наконец, скажу тебе, что есть какой-то неизъяснимый закон судеб, по которому человек сильно любимый, как бы он ни был добр и мягок сердцем, — не может не тиранить и не терзать немножко того, кто любит. Я чувствую, как часто поддаюсь этой силе, и если причиняю зло такой доброй и любящей и мною любимой особе, то это совершается помимо моей воли.


Among the sketches for the third movement, at the start of the E major section of the exposition, the composer wrote: "Leaving today 11 Febr[uary]. On returning, the first thing to compose is the ending, i.e. the march in G major on the theme: [[File:TH030a.jpg|400px|center]] ... in a solemnly triumphant manner. Then there's still the first statement of the march in C major, starting from this page, and also the reprise of the scherzo with changes and a pedal on D" <ref name="note5"/>.
Итак, напиши ей, чтоб она и не допускала той мысли, что я её не понимаю и ей не сочувствую. Время оно может уврачевать наши раны, устранить недоразумения и сделать наши отношения такими простыми и искренними, какими мы оба желаем, чтоб они были.


It appears that Tchaikovsky worked on the third movement between 17 February/1 March and 24 February/8 March, after which he left again. It is difficult to establish how much work Tchaikovsky did after his return from [[Moscow]], between 28 February/12 March and 3/15 March. It is known that during these days he was writing the quartet ''[[Night]]'' at the end of the manuscript of the quartet is the date: "[[Klin]], 3 March 1893" {{OS}}. Afterwards, work was interrupted for some time, because of a concert tour by the composer in [[Kharkov]]. On 19/31 March, back at [[Klin]], Tchaikovsky wrote to his brother [[Modest]]: "I arrived home from [[Kharkov]] last night... Over the coming days I'll be busy finishing off the sketches of the finale and scherzo of the new symphony" <ref name="note6"/>.
Друг мой Саня, напишу тебе другой раз подробности о себе. Теперь спешу в класс. Жизнь моя в сравнении с прошлым годом нив чем не изменилась. Опера уже разучивается и будет поставлена по отъезде итальянцев, т. е. в декабре. Летом непременно увижусь с Вами. Целую тебя крепко, дорогая моя Саня, и прошу расцеловать всех членов твоего семейства, начиная с мужа.
{{right|П. Чайковский}}


It seems reasonable to suppose that when the author referred to the "scherzo" he meant the second movement, since Tchaikovsky had worked on the third movement for around 10 days in February and March. This is also borne out by notes in the copy-book containing the sketches. The following note was made after the sketches for the second movement: "''Today 24 March'' {{OS}} ''finished the rough sketches completely!!!''". The following day he wrote to [[Mikhail Ippolitov-Ivanov]]: "I cannot believe how much I have done since the winter... albeit in fits and starts while I was at home. I don't know whether I wrote to you that I had prepared a symphony <ref name="note7"/> and suddenly became disappointed and tore it up. Recently, in fits and starts, I managed to compose a new one, and ''this will certainly not be torn up''" <ref name="note8"/>.
|Translated text={{right|''[[Moscow]]''<br/>''24 September 1868''}}
My dear [[Aleksandra Davydova|Sanya]]!. I received your letter three days ago! And since it was clear from it that [[Vera]] was tormented with doubts concerning my friendship, I hastened to answer you, so that you, on your part, would write and reassure her. Today I re-read what I wrote then; it seemed rather opaque and confusing, so I'm sitting down to write again.


The notes in the sketches can be used to establish the sequence of composition of the Sixth Symphony: starting with the first movement, then the third movement, after them the finale and, finally, the second movement. The whole of the rough draft was written within three weeks.
It is undoubtable and inevitable that I will always be somewhat impaired by my inability to make her happy, and to give an outlet to the feelings that, as she puts it, have consumed her whole existence. This is all about the happiness of a lifetime, and it would be strange if I were wholly indifferent to her love for me. It is precisely because I love her and am grateful to her with all my heart, that I have to suffer a little. And the fact is that for a long time I've responded to her in my heart with the warmest friendship and gratitude — please, assure of this if she is in any doubt (which surprises me).  


Tchaikovsky did not begin the instrumentation of the symphony until July. On 6/18 July, he told [[Anatoly Tchaikovsky]]: "I will stay here [at Ukolovo] for five days... and then travel to [[Klin]]. I must confess to wanting to be ''by myself'', although it is not possible to go ''home'', which I need to do in order to start the instrumentation of two new large works, i.e. the symphony (with which I am very pleased) and the piano concerto... now I must hurry so that all this will be ready for 1 September" <ref name="note9"/>.
As regards my coldness, which upsets her so much — this comes about for many reasons, the main one being that I love her like a sister, but our relationship cannot be sincere (due to a variety of social pressures and circumstances), and this puts some sort of wall between us, through which we cannot relate directly to each other. Besides this, there's a plethora of various psychological nuances which could only be analysed by some [[Tolstoy]] or Thackeray.  


From [[Klin]] on 19/31 July, Tchaikovsky wrote to [[Anna Merkling]]: "I have been idle for far too long and now I am thirsty for work. Tomorrow I shall immerse myself in the new symphony" <ref name="note10"/>. He also reported to [[Aleksandr Ziloti]], [[Mikhail Ippolitov-Ivanov]], [[Anatoly Tchaikovsky]], [[Vladimir Davydov]], [[Sergey Taneyev]] <ref name="note11"/> and [[Praskovya Tchaikovskaya]] that the orchestration had been begun <ref name="note12"/>.
Firstly, we both continually deceive one another: she (afraid, as she put it, of the boring Lenten face) pretends to be indifferent; I pretend that I don't understand or know anything; meanwhile, we both understand and know each other, and so our conversations sound somewhat dissonant; this irritates me and I began to feel angry; I feel that I cannot hide it; she is upset, and I feel it; she feels that I feel it; I feel that she feels that I feel it, and so on, ad infinitum.  


On 22 July/3 August 1893, he wrote to [[Modest Tchaikovsky]]: "I'm now up to my neck in the symphony. The further I get with the scoring, the more difficult it becomes. Twenty years ago I used to go full steam ahead, without thinking, and it came out well. Now I have become timid and unsure of myself. Today I spent the whole day sitting over two pages—and nothing came out as I wanted it to. But all the same, the work is progressing..." <ref name="note13"/>.
There is another reason. It often crosses my mind that she loves me so much because she imagines me to be a musical genius, and I very often suffer from a (perhaps imaginary) creative impotence, and rage that I cannot live up to being the idol that she worships. If at a particular moment she starts to admire my compositions or asks me to play, I am overcome with terrible anger towards both myself and her. When, on the contrary, I find a confidence in my abilities (as in [[Hapsal]]), her lofty opinion of me flatters and pleases me, and our relationship becomes more intimate as a consequence of this invisible reason. In general, she will have observed me in various transitions from barely-concealed anger to the most sincere outpourings; this is all the consequence of various painful feelings, sometimes even without cause, that are characteristic of nervous natures. Some valve in your heart will suddenly close, and then, no matter how much you force yourself, you will remain cold; then, also for no particular reason, the valve will open; then you are excited by the most tender, brotherly feelings, before remorse appears, anger resurfaces, and the valve closes again.


In a letter to [[Aleksandr Ziloti]] of 23 July/4 August, he reported: "I'm scoring the symphony and, it's a funny thing, but I'm finding it terribly difficult, i.e. I'm unhappy with everything, I want to do everything better—but how? I don't know! But in any case, I think you will like the symphony" <ref name="note14"/>.
Finally, I'll tell you that there is some inexplicable law of fate, according to which a person who is greatly loved, no matter how kind and gentle of heart they are, cannot help but tyrannize and torment a little the one who loves them. I feel how often I succumb to this force, and if I should do harm to such a kind and loving person, whom I love, then this happens against my will.  


On 2/14 August 1893, Tchaikovsky informed [[Vladimir Davydov]] that the symphony was "...coming along.  I'm very pleased with its content, but dissatisfied, or rather not completely satisfied, with the instrumentation. For some reason it's not coming out as I intended. To me it would be typical and unsurprising if this symphony were torn to pieces or little appreciated, for it wouldn't be for the first time that had happened. But I absolutely consider it to be the best, and in particular, the ''most sincere'' of all my creations. I love it as I have never loved any of my other musical offspring" <ref name="note15"/>
And so, write to her so that she doesn't entertain the thought that I don't understand her and don't sympathise with her. Time can heal our wounds, eliminate misunderstandings, and make our relationship as simple and sincere as we both want it to be.


The orchestration of the symphony was now nearing its end: "Soon I will finish scoring the third movement of the symphony, then in two or three days more I shall set about the finale, which should not take me more than three days. Then I must make the piano duet arrangement", he told [[Sergey Taneyev]] on 1/13 August <ref name="note16"/>. A week later he told [[Aleksandr Ziloti]]: "I've decided to make the piano duet arrangement of the new symphony myself!!!" <ref name="note17"/>.
My friend [[Aleksandra Davydova|Sanya]], I'll write to you another time with details about myself. I'm rushing to class now. My life hasn't changed at all compared to last year. The opera is already being rehearsed and will be staged after the Italians have left, i.e. in December. I'll certainly see you in the summer. I kiss you hard, my dear [[Aleksandra Davydova|Sanya]], and ask you to kiss all the members of your family, starting with your husband.
 
{{right|P. Tchaikovsky}}
"My work is going very well, but I can't write as quickly as before; but not because I'm becoming feeble through old age, rather because I'm being much stricter with myself, and don't have my former self-confidence. I am ''very proud'' of my symphony, and think that it's my best composition", the composer told [[Anatoly Tchaikovsky]] <ref name="note18"/>.
}}
 
{{DEFAULTSORT:Letter 0120}}
The symphony was still not completely finished, when Tchaikovsky offered it for performance in [[Saint Petersburg]]. In August he wrote to [[Pavel Peterssen]]: "... And so: ''abgemacht!!!'' On 10/22 October I will play the ''symphony'', which, by the way, will be completely ready in a day or two" <ref name="note19"/>.
 
The symphony was completed on 12/24 August. Tchaikovsky wrote to [[Sergey Taneyev]]: "I have finished the symphony; only the markings and tempi remain to be inserted. With regard to the bowings, I intend to consult with ''[[Yuly Konyus|Konyus]]'', who is coming to see me about this in the next few days with his violin and younger brother ''[[Lev Konyus|Lev]]''. The latter will be essential for playing through the arrangement, which I have also made myself" <ref name="note20"/>. He reported the same thing to [[Pyotr Jurgenson]] <ref name="note21"/>.
 
According to the date on the manuscript, the full score was finished in its entirety on 19/31 August.
 
Tchaikovsky regarded his new symphony with great affection: "I think it will be successful; it is rare for me to write anything with such love and enthralment" <ref name="note22"/>. "I can honestly say that never in my life have I been so pleased with myself, so proud, or felt so fortunate to have created something as good as this"<ref name="note23"/>.
 
==Arrangements==
As noted above, Tchaikovsky also arranged the Sixth Symphony for piano duet (4 hands) between 1/13 and 12/24 August 1893, with assistance from [[Lev Konyus|Konyus]] <ref name="note24"/>.
 
==Performances==
According to the memoirs of Konstantin Saradzhev <ref name="note25"/>, the symphony was first played through on 8/20 or 9/21 October by an orchestra of students from the [[Moscow]] Conservatory, from the classes of professors [[Jan Hřímalý]], [[Alfred von Glenn]], [[Nikolay Sokolovsky]] and others, conducted by [[Vasily Safonov]]. However, there no other documents have been found to corroborate this account. There is a surviving note by [[Sergey Taneyev]] concerning meetings with Tchaikovsky on 8/20 and 9/21 October 1893 <ref name="note26"/>. It contains references to the [[Piano Concerto No. 3]] and the vocal quartet ''[[Night]]'', performed by [[Yelizaveta Lavrovskaya]]'s student class, but there is not a word about the Sixth Symphony.
 
Another personal account of Tchaikovsky's last visit to the [[Moscow]] Conservatory also make no mention of the private performance of the symphony <ref name="note27"/>.
 
The first public performance of the Sixth Symphony took place on 16/28 October 1893 in [[Saint Petersburg]], at the first symphony concert of the Russian Musical Society. Tchaikovsky conducted, and after the performance he told [[Pyotr Jurgenson]]: "Something strange is happening with this symphony! It's not that it displeased, but it has caused some bewilderment. So far as I myself am concerned, I'm more proud of it than any of my other works..." <ref name="note28"/>.
 
In [[Moscow]], the symphony was performed in public for the first time after the composer's death, on 4/16 December 1893, at a special symphony concert conducted by [[Vasily Safonov]].
 
Other notable early performances include:
* [[London]], Queen's Hall, 16/28 February 1894, conducted by Alexander Mackenzie
* [[New York]], Metropolitan Opera House, Symphony Society concert, 4/16 March 1894, conducted by [[Walter Damrosch]]
* Manchester, 10th Hallé Orchestra concert, 15/27 December 1894, conducted by Charles Hallé
* [[Frankfurt]], 13/25 January 1895, 7th Friday concert, conducted by Gustav Kogel
* [[Vienna]], 7th Philharmonic Society subscription concert, 19 February/3 March 1895, conducted by Hans Richter
* Brno, Vienna Philharmonic Society concert, 19/31 March 1896, conducted by Hans Richter
* Amsterdam, Concertgebouw, subscription concert, 12/24 September 1896, conducted by Willem Mengelberg
 
==Publication==
The symphony was published by [[Jurgenson]] soon after the first performance, in November the arrangement for piano duet was issued and in February 1894 the full score and orchestral parts were printed <ref name="note29"/>.
 
The full score and piano duet arrangements of the Symphony were published in volumes 17Б (1963) and volume 48 (1964) respectively of Tchaikovsky's ''[[Complete Collected Works]]''. Both volumes were edited by Irina Iordan.
 
The ''[[New Complete Edition]]'' of Tchaikovsky's works includes a facsimile of Tchaikovsky's sketches in volume 39a (1999), edited by Polina Vaidman; the full score in volume 39b (1993), and critical report in volume 39c (1993), both edited by Thomas Kohlhase with the assistance of Polina Vaidman.
 
==Autographs==
Tchaikovsky's manuscript full score is now preserved in the {{RUS-Mcm}} in [[Moscow]] {{TOW2|simfoniya-no-6-pateticheskaya-2017-08-17|(ф. 88, No. 60)}}. On the title page of the full score the author wrote: 'To [[Vladimir Davydov|Vladimir Lvovich Davydov]]. ''Pathétique'' Symphony No. 6. Composed by P. Tchaikovsky, Op.???" <ref name="note30"/>. On the same page are two notes by the composer. The first of them was made on the day the full score was finished: "I urge you to ensure when writing out the parts that all the markings in the parts correspond exactly to the full score. P. Tchaikovsky. 19 August 1893" {{OS}}. The second note was added, it seems, after the first performance of the symphony: "I made some corrections in the 2nd and 3rd movements, which need to go into the parts!!! Ask [[Albert Kleinecke|Mr Kleinecke]] to attend to this".
 
A further 16 folios containing passages discarded from the full score can also be found in the {{RUS-Mcm}} {{TOW2|simfoniya-no-6-pateticheskaya|(ф. 88, No. 60a)}}.
 
The composer's autograph arrangement for piano duet has been lost, but a manuscript copy containing his annotations is preserved in the Russian State Archive for Literature and Art in [[Moscow]] (ф. 952, No. 725a).
 
==Recordings==
{{reclink}}
 
==Dedication==
The Sixth Symphony is dedicated to the composer's nephew, [[Vladimir Davydov]] <ref name="note31"/>.
 
==Related Works==
The first movement (bars 202-205) includes a quotation from the Orthodox Requiem Mass: 'With thy saints, O Christ, give peace to the soul of thy servant'.
 
==External Links==
* {{imslpscore|Symphony_No.6,_Op.74_(Tchaikovsky,_Pyotr)|Symphony No. 6}}
 
==Notes and References==
<references>
<ref name="note1">After the composer's death, [[Modest Tchaikovsky]] claimed to have thought of the title ''Pathétique'' on the day after its premiere in October 1893 — see {{bib|1902/25|Жизнь Петра Ильича Чайковского ; том 3}} (1902), p. 645; however, this is thrown into doubt by two letters preserved in the [[Klin]] House-Museum from [[Pyotr Jurgenson]] to Tchaikovsky. On 20 September/2 October 1893 the publisher already enquired about the title page design: "What is to be done with ''pathétique'' and W. Davidoff or Dawidow?" On 19/31 October, [[Jurgenson]] wrote to Tchaikovsky again: "The title pages have been engraved and now we can easily add: "Symphony No. 6 (pathétique)". It should be styled not ''Sixth "Pathétique" symphony'', but ''Symphony No. 6, "Pathétique"''. Do you agree?" —  {{bib|2013/40|П. И. Чайковский – П. И. Юргенсон. Переписка ; том 2}} (2013), p. 491, 495-496.</ref>
<ref name="note2">In fact, this symphony was not destroyed—see the article on the unfinished [[Symphony in E-flat major]].</ref>
<ref name="note3">[[Letter 4865]] to [[Vladimir Davydov]], 11/23 February 1893.</ref>
<ref name="note4">[[Letter 4864]] to [[Anatoly Tchaikovsky]], 10/22 February 1893.</ref>
<ref name="note5">"...the first statement of the march in C major" was probably a slip of the pen; it was actually set in E major.</ref>
<ref name="note6">[[Letter 4897]] to [[Modest Tchaikovsky]], 19/31 March 1893.</ref>
<ref name="note7">i.e. the [[Symphony in E-flat major]].</ref>
<ref name="note8">[[Letter 4901]] to [[Mikhail Ippolitov-Ivanov]], 25 March/6 April 1893.</ref>
<ref name="note9">[[Letter 4968]] to [[Anatoly Tchaikovsky]], 6/18 July 1893.</ref>
<ref name="note10">[[Letter 4975]] to [[Anna Merkling]], 19/31 July 1893.</ref>
<ref name="note11">See [[Letter 4973]] to [[Aleksandr Ziloti]], [[Letter 4974]] to [[Mikhail Ippolitov-Ivanov]], [[Letter 4979]] to [[Anatoly Tchaikovsky]], [[Letter 4972]] to [[Vladimir Davydov]] (all 19/31 July 1893), and [[Letter 4969]] to [[Sergey Taneyev]] (now believed to date from 18/30 July 1893).</ref>
<ref name="note12">[[Letter 4980]] to [[Praskovya Tchaikovskaya]], 20–21 July/1–2 August 1893.</ref>
<ref name="note13">[[Letter 4984]] to [[Modest Tchaikovsky]], 22 July/3 August 1893.</ref>
<ref name="note14">[[Letter 4985]] to [[Aleksandr Ziloti]], 23 July/4 August 1893.</ref>
<ref name="note15">[[Letter 4998]] to [[Vladimir Davydov]], 2/14 August 1893.</ref>
<ref name="note16">[[Letter 4997]] to [[Sergey Taneyev]], 1/13 August 1893.</ref>
<ref name="note17">[[Letter 5004]] to [[Aleksandr Ziloti]], 8/20 August 1893.</ref>
<ref name="note18">[[Letter 5009]] to [[Anatoly Tchaikovsky]], 12/24 August 1893.</ref>
<ref name="note19">[[Letter 5005]] to [[Pavel Peterssen]], 11/23 August 1893. ''Abgemacht'' {{=}} "it is settled".</ref>
<ref name="note20">[[Letter 5008]] to [[Sergey Taneyev]], 12/24 August 1893.</ref>
<ref name="note21">[[Letter 5010]] to [[Pyotr Jurgenson]], 12/24 August 1893.</ref>
<ref name="note22">[[Letter 5040]] to [[Ilya Slatin]], 23 September/5 October 1893.</ref>
<ref name="note23">[[Letter 5010]] to [[Pyotr Jurgenson]], 12/24 August 1893.</ref>
<ref name="note24">[[Letter 5019]] to [[Pyotr Jurgenson]], 20 August/1 September 1893.</ref>
<ref name="note25">Saradzhev's account of this occasion was first published in Konstantin Saradzhev, {{bib|1962/85|Статьи, воспоминания}} (1962), p. 176–180.</ref>
<ref name="note26">State Central Archive for Literature and the Arts (ф. 880, No. 55).</ref>
<ref name="note27">Mikhail Bukinik, {{bib|1952/4|Мои воспоминания о П. И. Чайковском}}» (1952).</ref>
<ref name="note28">[[Letter 5062]] to [[Pyotr Jurgenson]], 18/30 October 1893.</ref>
<ref name="note29">Letter from [[Pyotr Jurgenson]] to [[Modest Tchaikovsky]], 8/20 February 1894.</ref>
<ref name="note30">See [[Letter 5062]] to [[Pyotr Jurgenson]], 18/30 October 1893.</ref>
<ref name="note31">See [[Letter 4998]] to [[Vladimir Davydov]], 2/14 August 1893.</ref>
</references>
[[Category:Symphonies]]

Revision as of 21:06, 1 January 2024

Date 24 September/6 October 1868
Addressed to Aleksandra Davydova
Where written Moscow
Language Russian
Autograph Location Saint Petersburg (Russia): National Library of Russia (ф. 834, ед. хр. 16, л. 53–54)
Publication П. И. Чайковский. Письма к родным (1940), p. 111–113
П. И. Чайковский. Полное собрание сочинений, том V (1959), p. 141–143

Text and Translation

Russian text
(original) 		English translation
By Brett Langston
Москва
24 сентября 1868 г[ода]

Милая моя Саня! Три дня тому назад получил твоё письмо! И так как из него явствовало, что В[ера] терзается сомнениями насчёт моей дружбы, то поспешил отвечать тебе, чтобы ты с своей стороны написала и успокоила её. Сегодня я перечёл написанное тогда; оно мне показалось темноватым и запутанным, и я сажусь вновь.

Что я всегда буду немножко страдать своим бессилием сделать её счастливою, дать исход чувству, которое, как она выражается, поглотило все её существование, — это несомненно н неизбежно. Тут дело идёт о счастье целой жизни, и странно было бы, если б я совершенно равнодушно относился к её любви ко мне. Именно потому, что я всей душой её люблю и благодарен ей, — я должен немного мучиться. А уж в том, что я давно отвечаю ей в сердце самой тёплой дружбой и благодарностью, — в этом уверь её, пожалуйста, если (чему я удивляюсь) она может сомневаться.

Что касается до моей холодности, которая её так огорчает, — то она происходит от множества причин, из которых главная есть та, что я её люблю как сестру, но отношения наши (вследствие гнёта разных общественных условий) не могут быть искренни, а это ставит между нами какую-то стенку, сквозь которую мы не можем относиться прямо друг к другу. Кроме того, тут есть целая бездна разных психологических Тонкостей, которые проанализировать мог бы разве какой-нибудь Толстой или Теккерей.

Во-первых, мы оба постоянно лжём друг другу: она (боясь, по её выражению, надоесть постной миной) притворяется равнодушной; я делаю вид, что ничего не понимаю и не знаю; между тем мы оба понимаем и знаем друг друга, — и вот, в наших раз говорах звучит какой-то диссонанс; это меня раздражает, я начинаю делаться злым, чувствую, что не могу этого скрыть; она огорчается, я это чувствую; она чувствует, что я это чувствую, я чувствую, что она чувствует, что я это чувствую и т. д. до бесконечности.

Есть ещё одна причина. Мне часто приходит в голову, что она оттого меня так любит, что воображает меня музыкальным гением, а я очень часто мучаюсь своим (может быть и мнимым) творческим бессилием и бешусь, что не соответствую идеалу, которому она поклоняется. Если в подобную минуту она начинает восхищаться моими сочинениями или просит меня сыграть, — меня обуревает ужасная злоба и на себя и на неё. Когда, на против, на меня находит уверенность в своих способностях (как было в Гапсале), её высокое обо мне мнение мне льстит и радует меня, и отношения наши, вследствие этой невидимой причины, делаются более задушевными. Вообще она должна была заметит во мне разкие переходы от худо скрытой злобы к самым искренним излияниям; все это — следствия разных болезненных ощущений, иногда даже и беспричинных, свойственных нервным натурам. Какой-то клапан в сердце вдруг запрётся, и тут, как ни насилуй себя, останешься холодным; потом, тоже без особенной причины, клапан отворится; тут тебя волнуют самые нежные, братские чувства, но появляется раскаяние, находит злоба, и клапан опять закрылся.

Наконец, скажу тебе, что есть какой-то неизъяснимый закон судеб, по которому человек сильно любимый, как бы он ни был добр и мягок сердцем, — не может не тиранить и не терзать немножко того, кто любит. Я чувствую, как часто поддаюсь этой силе, и если причиняю зло такой доброй и любящей и мною любимой особе, то это совершается помимо моей воли.

Итак, напиши ей, чтоб она и не допускала той мысли, что я её не понимаю и ей не сочувствую. Время оно может уврачевать наши раны, устранить недоразумения и сделать наши отношения такими простыми и искренними, какими мы оба желаем, чтоб они были.

Друг мой Саня, напишу тебе другой раз подробности о себе. Теперь спешу в класс. Жизнь моя в сравнении с прошлым годом нив чем не изменилась. Опера уже разучивается и будет поставлена по отъезде итальянцев, т. е. в декабре. Летом непременно увижусь с Вами. Целую тебя крепко, дорогая моя Саня, и прошу расцеловать всех членов твоего семейства, начиная с мужа.

П. Чайковский
Moscow
24 September 1868

My dear Sanya!. I received your letter three days ago! And since it was clear from it that Vera was tormented with doubts concerning my friendship, I hastened to answer you, so that you, on your part, would write and reassure her. Today I re-read what I wrote then; it seemed rather opaque and confusing, so I'm sitting down to write again.

It is undoubtable and inevitable that I will always be somewhat impaired by my inability to make her happy, and to give an outlet to the feelings that, as she puts it, have consumed her whole existence. This is all about the happiness of a lifetime, and it would be strange if I were wholly indifferent to her love for me. It is precisely because I love her and am grateful to her with all my heart, that I have to suffer a little. And the fact is that for a long time I've responded to her in my heart with the warmest friendship and gratitude — please, assure of this if she is in any doubt (which surprises me).

As regards my coldness, which upsets her so much — this comes about for many reasons, the main one being that I love her like a sister, but our relationship cannot be sincere (due to a variety of social pressures and circumstances), and this puts some sort of wall between us, through which we cannot relate directly to each other. Besides this, there's a plethora of various psychological nuances which could only be analysed by some Tolstoy or Thackeray.

Firstly, we both continually deceive one another: she (afraid, as she put it, of the boring Lenten face) pretends to be indifferent; I pretend that I don't understand or know anything; meanwhile, we both understand and know each other, and so our conversations sound somewhat dissonant; this irritates me and I began to feel angry; I feel that I cannot hide it; she is upset, and I feel it; she feels that I feel it; I feel that she feels that I feel it, and so on, ad infinitum.

There is another reason. It often crosses my mind that she loves me so much because she imagines me to be a musical genius, and I very often suffer from a (perhaps imaginary) creative impotence, and rage that I cannot live up to being the idol that she worships. If at a particular moment she starts to admire my compositions or asks me to play, I am overcome with terrible anger towards both myself and her. When, on the contrary, I find a confidence in my abilities (as in Hapsal), her lofty opinion of me flatters and pleases me, and our relationship becomes more intimate as a consequence of this invisible reason. In general, she will have observed me in various transitions from barely-concealed anger to the most sincere outpourings; this is all the consequence of various painful feelings, sometimes even without cause, that are characteristic of nervous natures. Some valve in your heart will suddenly close, and then, no matter how much you force yourself, you will remain cold; then, also for no particular reason, the valve will open; then you are excited by the most tender, brotherly feelings, before remorse appears, anger resurfaces, and the valve closes again.

Finally, I'll tell you that there is some inexplicable law of fate, according to which a person who is greatly loved, no matter how kind and gentle of heart they are, cannot help but tyrannize and torment a little the one who loves them. I feel how often I succumb to this force, and if I should do harm to such a kind and loving person, whom I love, then this happens against my will.

And so, write to her so that she doesn't entertain the thought that I don't understand her and don't sympathise with her. Time can heal our wounds, eliminate misunderstandings, and make our relationship as simple and sincere as we both want it to be.

My friend Sanya, I'll write to you another time with details about myself. I'm rushing to class now. My life hasn't changed at all compared to last year. The opera is already being rehearsed and will be staged after the Italians have left, i.e. in December. I'll certainly see you in the summer. I kiss you hard, my dear Sanya, and ask you to kiss all the members of your family, starting with your husband.

P. Tchaikovsky

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