https://en.tchaikovsky-research.net/index.php?title=The_Musical_Society._Response_to_an_Anonymous_Correspondent._Two_Examples_of_Muscovite_Music_Criticism&feed=atom&action=historyThe Musical Society. Response to an Anonymous Correspondent. Two Examples of Muscovite Music Criticism - Revision history2024-03-28T22:53:56ZRevision history for this page on the wikiMediaWiki 1.38.2https://en.tchaikovsky-research.net/index.php?title=The_Musical_Society._Response_to_an_Anonymous_Correspondent._Two_Examples_of_Muscovite_Music_Criticism&diff=63387&oldid=prevBrett at 17:48, 9 September 20232023-09-09T17:48:07Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The symphony was not performed particularly well, though. The reason is that the Theatres' Directorate, almost as if on purpose, had scheduled for that day a performance by the Italian Opera Company for the first subscription series (which normally takes place on Mondays), as a result of which our best orchestra musicians were not available for the Musical Society's concert. We therefore had to make do with the ballet orchestra, which, though it does have some worthy musicians in its ranks, is not used to playing the classical repertoire, and so it kept getting into a muddle and losing its way in places. I should, however, point out that this was mainly the case in the ''Andante'', in the central section of which the first clarinet started to play out of time and threw the rest of the orchestra into confusion. The other movements went much more smoothly.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The symphony was not performed particularly well, though. The reason is that the Theatres' Directorate, almost as if on purpose, had scheduled for that day a performance by the Italian Opera Company for the first subscription series (which normally takes place on Mondays), as a result of which our best orchestra musicians were not available for the Musical Society's concert. We therefore had to make do with the ballet orchestra, which, though it does have some worthy musicians in its ranks, is not used to playing the classical repertoire, and so it kept getting into a muddle and losing its way in places. I should, however, point out that this was mainly the case in the ''Andante'', in the central section of which the first clarinet started to play out of time and threw the rest of the orchestra into confusion. The other movements went much more smoothly.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>At this concert we also heard some excerpts from [[Mendelssohn]]'s unfinished opera ''Die Loreley''. The ''prima donna'' Madame Raab <ref name="note10"/> had come over specially from [[Saint Petersburg]] for this performance, and she caused a very favourable impression indeed on the audience. Madame Raab has a wonderful soprano voice which is soft but sonorous, and even and strong across her whole range. Her singing is masterly and confident and rests on a most subtle musical understanding. The chorus also sang very well. While listening to these fragments, I almost burst into tears when I recalled how cruelly and prematurely [[Mendelssohn]] was swept away by death, at a time when his development as a composer had reached its apogee. What an opera he would have left us with if only Fate had given him five or six more years of life! But poor [[Mendelssohn]] died almost as soon as he reached maturity, like [[Schubert]], like [[Mozart]]!…</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>At this concert we also heard some excerpts from [[Mendelssohn]]'s unfinished opera ''Die Loreley''. The ''prima donna'' Madame <ins style="font-weight: bold; text-decoration: none;">[[</ins>Raab<ins style="font-weight: bold; text-decoration: none;">]] </ins><ref name="note10"/> had come over specially from [[Saint Petersburg]] for this performance, and she caused a very favourable impression indeed on the audience. Madame <ins style="font-weight: bold; text-decoration: none;">[[</ins>Raab<ins style="font-weight: bold; text-decoration: none;">]] </ins>has a wonderful soprano voice which is soft but sonorous, and even and strong across her whole range. Her singing is masterly and confident and rests on a most subtle musical understanding. The chorus also sang very well. While listening to these fragments, I almost burst into tears when I recalled how cruelly and prematurely [[Mendelssohn]] was swept away by death, at a time when his development as a composer had reached its apogee. What an opera he would have left us with if only Fate had given him five or six more years of life! But poor [[Mendelssohn]] died almost as soon as he reached maturity, like [[Schubert]], like [[Mozart]]!…</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The soloist that evening was Mr [[Fitzenhagen]], who gave a very successful performance of Raff's concerto <ref name="note11"/>. I am very glad that our public is beginning to appreciate this wonderful virtuoso as he so rightly deserves. Mr [[Fitzenhagen]]'s technique is tremendous, he has a mellow, soft sound and a fine sense of measure in his phrasing—what more could one ask of a virtuoso? As for the actual work he performed, like all of Raff's compositions it is intelligent and elegant, it shows an impeccable ''facture'' and is noble and beautiful from beginning to end. True, the themes are not particularly original, but in view of the shortage of works specifically for the cello this is not a flaw which we need lament too much. The fact alone that it gives the soloist a chance to unfold and exhibit the many-sided qualities of his virtuosity is in itself a sufficient recommendation for the work. The orchestration has been done very thoroughly and delicately, so that the solo instrument is not drowned out anywhere.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The soloist that evening was Mr [[Fitzenhagen]], who gave a very successful performance of Raff's concerto <ref name="note11"/>. I am very glad that our public is beginning to appreciate this wonderful virtuoso as he so rightly deserves. Mr [[Fitzenhagen]]'s technique is tremendous, he has a mellow, soft sound and a fine sense of measure in his phrasing—what more could one ask of a virtuoso? As for the actual work he performed, like all of Raff's compositions it is intelligent and elegant, it shows an impeccable ''facture'' and is noble and beautiful from beginning to end. True, the themes are not particularly original, but in view of the shortage of works specifically for the cello this is not a flaw which we need lament too much. The fact alone that it gives the soloist a chance to unfold and exhibit the many-sided qualities of his virtuosity is in itself a sufficient recommendation for the work. The orchestration has been done very thoroughly and delicately, so that the solo instrument is not drowned out anywhere.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another little newspaper, which is published in a foreign language <ref name="note30"/>, informs its readers that [[Beethoven]]'s symphony and Gade's overture were performed so badly that its sensitive little ears were mightily offended. From the very first chord to the last, so it claims, the orchestra did not manage to play a single note in tune.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another little newspaper, which is published in a foreign language <ref name="note30"/>, informs its readers that [[Beethoven]]'s symphony and Gade's overture were performed so badly that its sensitive little ears were mightily offended. From the very first chord to the last, so it claims, the orchestra did not manage to play a single note in tune.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Well, I must say that this may be a tiny little newspaper, but it is certainly a big liar. Its claim that the overture was played out of tune is a lie. Similarly, its claim that the symphony was massacred at this concert is also a lie, because a couple of bars messed up by the first clarinet, which confused the rest of the orchestra for a few moments, by no means imply that the whole performance of the work was a downright failure. Moreover, its assertion that Madame Raab suffered a complete fiasco (as our little newspaper so nicely put it!) is a lie, too! Equally false was its observation that at the next concert (which was already this Friday) the public would get to hear the weaker ballet orchestra again.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Well, I must say that this may be a tiny little newspaper, but it is certainly a big liar. Its claim that the overture was played out of tune is a lie. Similarly, its claim that the symphony was massacred at this concert is also a lie, because a couple of bars messed up by the first clarinet, which confused the rest of the orchestra for a few moments, by no means imply that the whole performance of the work was a downright failure. Moreover, its assertion that Madame <ins style="font-weight: bold; text-decoration: none;">[[</ins>Raab<ins style="font-weight: bold; text-decoration: none;">]] </ins>suffered a complete fiasco (as our little newspaper so nicely put it!) is a lie, too! Equally false was its observation that at the next concert (which was already this Friday) the public would get to hear the weaker ballet orchestra again.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>However, by not saying a single word about Mr [[Fitzenhagen]], who treated us to such a successful performance of Raff's interesting concerto, this newspaper did something worse than merely lying!… O you little foreign newspaper, I say it again, what a big and unscrupulous liar you are!</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>However, by not saying a single word about Mr [[Fitzenhagen]], who treated us to such a successful performance of Raff's interesting concerto, this newspaper did something worse than merely lying!… O you little foreign newspaper, I say it again, what a big and unscrupulous liar you are!</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note8">It is not clear which author Tchaikovsky is referring to here. [[Berlioz]] wrote a notable essay on the Fourth Symphony (available online [http://www.hberlioz.com/Predecessors/beethsym.htm#sym4] in an excellent translation by Michel Austin), but he does not describe the Adagio in quite these terms, and Tchaikovsky would probably not have referred to [[Berlioz]] as an "author" [писатель—i.e. "writer"] anyway. A relevant passage appears in an essay by the German composer and music critic Emil Naumann (1827–1888): ''Ludwig van Beethoven'' (Berlin, 1871), originally delivered as a speech to mark the 100th anniversary of [[Beethoven]]'s birth. Tchaikovsky had a very good reading knowledge of German and he may well have read Naumann's essay when working on his unfinished article ''[[Beethoven and His Time]]'' (TH 275) in 1872–73. Alternatively, it is possible that the essay was translated into French and then it would be more likely that Tchaikovsky had read it. What is certain is that Naumann's essay was translated into English in 1872 and published in the ''Quarterly German Magazine''. This translation is available online [http://www.archive.org/details/ludwigvanbeethov00naumrich] in various formats, and the passage in question occurs on p.23 (in the original pagination): "…The Adagio is like the calm mountain-lake on the crystal surface of which a wonderfully fantastic landscape, filling the mind with magical peace, is reflected". The fact that Naumann's essays was translated into English so soon, suggests that it was well-known amongst professional musicians — ''translator's note''.</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note8">It is not clear which author Tchaikovsky is referring to here. [[Berlioz]] wrote a notable essay on the Fourth Symphony (available online [http://www.hberlioz.com/Predecessors/beethsym.htm#sym4] in an excellent translation by Michel Austin), but he does not describe the Adagio in quite these terms, and Tchaikovsky would probably not have referred to [[Berlioz]] as an "author" [писатель—i.e. "writer"] anyway. A relevant passage appears in an essay by the German composer and music critic Emil Naumann (1827–1888): ''Ludwig van Beethoven'' (Berlin, 1871), originally delivered as a speech to mark the 100th anniversary of [[Beethoven]]'s birth. Tchaikovsky had a very good reading knowledge of German and he may well have read Naumann's essay when working on his unfinished article ''[[Beethoven and His Time]]'' (TH 275) in 1872–73. Alternatively, it is possible that the essay was translated into French and then it would be more likely that Tchaikovsky had read it. What is certain is that Naumann's essay was translated into English in 1872 and published in the ''Quarterly German Magazine''. This translation is available online [http://www.archive.org/details/ludwigvanbeethov00naumrich] in various formats, and the passage in question occurs on p.23 (in the original pagination): "…The Adagio is like the calm mountain-lake on the crystal surface of which a wonderfully fantastic landscape, filling the mind with magical peace, is reflected". The fact that Naumann's essays was translated into English so soon, suggests that it was well-known amongst professional musicians — ''translator's note''.</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note9">As in other articles, Tchaikovsky refers to the symphony's four movements using the generic terms. [[Beethoven]]'s specific tempo markings for the Fourth are: I. Adagio—Allegro vivace; II. Adagio; III. Menuetto (& Trio); IV. Allegro ma non troppo — ''translator's note''.</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note9">As in other articles, Tchaikovsky refers to the symphony's four movements using the generic terms. [[Beethoven]]'s specific tempo markings for the Fourth are: I. Adagio—Allegro vivace; II. Adagio; III. Menuetto (& Trio); IV. Allegro ma non troppo — ''translator's note''.</ref> </div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><ref name="note10">Vilgelmina Ivanovna Raab (née <del style="font-weight: bold; text-decoration: none;">Balik</del>, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885 — ''note by Ernst Kuhn''.</ref> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ref name="note10"><ins style="font-weight: bold; text-decoration: none;">[[Wilhelmina Raab|Wilhelmina (</ins>Vilgelmina<ins style="font-weight: bold; text-decoration: none;">) </ins>Ivanovna Raab<ins style="font-weight: bold; text-decoration: none;">]] </ins>(née <ins style="font-weight: bold; text-decoration: none;">Bilik</ins>, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885 — ''note by Ernst Kuhn''.</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note11">Joachim Raff (1822–1882), Swiss composer, teacher and pianist..</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note11">Joachim Raff (1822–1882), Swiss composer, teacher and pianist..</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note12">Camilla de Maësen (1842–1906), Belgian soprano (her actual name was: Camilla van der Maësen d'Avionpuits); from 1862 she sang in [[Brussels]], [[Milan]], and [[Paris]] — ''note by Ernst Kuhn''.</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><ref name="note12">Camilla de Maësen (1842–1906), Belgian soprano (her actual name was: Camilla van der Maësen d'Avionpuits); from 1862 she sang in [[Brussels]], [[Milan]], and [[Paris]] — ''note by Ernst Kuhn''.</ref> </div></td></tr>
</table>Bretthttps://en.tchaikovsky-research.net/index.php?title=The_Musical_Society._Response_to_an_Anonymous_Correspondent._Two_Examples_of_Muscovite_Music_Criticism&diff=48482&oldid=prevBrett: 1 revision imported2022-07-12T12:34:52Z<p>1 revision imported</p>
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</td></tr></table>Bretthttps://en.tchaikovsky-research.net/index.php?title=The_Musical_Society._Response_to_an_Anonymous_Correspondent._Two_Examples_of_Muscovite_Music_Criticism&diff=48481&oldid=prevBrett: Text replacement - "''П. И. Чайковский. Полное собрание сочинений''" to "П. И. Чайковский. Полное собрание сочинений"2019-02-12T18:37:07Z<p>Text replacement - "''П. И. Чайковский. Полное собрание сочинений''" to "П. И. Чайковский. Полное собрание сочинений"</p>
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