his great Trio in A minor (op. 50)--also of extraordinary length--and
the String Quartet (op. 11).... These works are of far superior quality
and finer material; they have intellect, temperament, and imagination;
here the composer never descends to the commonplace. The
Trio--especially the _Pezzo elegiaco_--bears the imprint of a profound
seriousness, impregnated with sorrow and lamentation. The Quartet, which
was composed much earlier, shows chiefly a pleasing _naïveté_. The
Andante is our favourite movement; we might compare it to a slumbering
lily of the valley.
“BERNHARD VOGEL.”
“LEIPZIGER TAGEBLATT”
“LEIPZIG, _January_ 6_th_, 1888.
“We give decided preference to the first movement of the Suite (op. 43),
especially as regards the Fugue, the subject of which, being full of
energy and easily grasped, offers material for sustained and interesting
development, in which, one after another, all the instruments take part,
until the movement is steadily worked up to a brilliant and effective
close. The Introduction pleased us less, partly on account of its being
spun out, but also because its contents are only of mediocre quality.
The Divertimento treats a folk melody, which is interesting in itself,
and is also very effective, thanks to variety of instrumentation. The
same may be said of the Intermezzo, in which the ‘cellos have a
pleasing, but in no way remarkable, melody. This movement suffers
equally from its prolixity. The little March, given to the wood wind and
violins, is in the national style, and owes its effect chiefly to the
orchestration. Here the flageolet tones of the violins produce a most
original effect. The Gavotte, which forms the last movement, cannot lay
claim to great appreciation; its effect is rather superficial. The
hearty applause after each movement was intended rather for the composer
than for his work.”
“HAMBURG CORRESPONDENT”
“SIXTH PHILHARMONIC CONCERT
“HAMBURG, _January_ 20_th_, 1888.
“We cannot deny to Tchaikovsky originality, temperament, or a bold
flight of fancy, although when he is possessed by the spirit of his
race he overthrows every limitation. All logic is then thrown to the
winds, and there begins a Witches’ Sabbath of sound which offends our
sight and hearing, especially the latter. Flashes of genius mingle with
musical banalities; delicate and intellectual touches with effects which
are often ugly. There is something uncompromising, restless, and jerky
about his work. In spite of all his originality, and the unrestrained
passion of his emotions, Tchaikovsky is too eclectic in his tendencies
ever to attain to independence in the highest meaning of the word. An
artist’s originality does not lie in the fact that he brings us what is
strange and unusual. What deludes the senses is far from sufficient to
satisfy the intellect. Tchaikovsky is a gifted, highly cultured,
interesting artist. An artist who knows how to excite us by his ideas,
but whom we should not venture to describe as a creative force in the
highest sense. His music is too deeply rooted in a one-sided national
tendency; but when he passes these limits the eclectic becomes
prominent, who uses all the influences he has assimilated, although in
his own original way. It is not what Tchaikovsky says that is new, but
his manner of saying it. He likes to take wild and sudden leaps, allows
himself to be carried away by the mood of the moment, and spins these
moods out as much as possible, padding them largely with pathos and
concealing the lack of really great thoughts by means of dazzling
colour, unusual harmonic combinations, and lively, exotic rhythms.
“SITTARD.”
“FREMDENBLATT”
“SIXTH PHILHARMONIC CONCERT
“HAMBURG, _January_ 20_th_, 1888.
“The Serenade was given to the public about 1883. The first and third
movements are the most important, yet, even at its weightiest, it is not
worthy to be placed beside the works of our latest German composers.
This movement shows some similarity in form to the old French overture,
as appears from its division into three parts and the Introduction in
slow time. The second movement, a Valse Tempo in the dominant, is as out
of keeping with the leading emotion of the opening movement as is the
Finale--which is not always very lofty in conception. Undoubtedly the
highest recognition would be accorded to the Elégie (third movement) if
it, too, had more in common with the first movement. This sense of unity
is lacking, in spite of the admirable development of the parts, while
the key of D major, and the second sequence of dominants leading to C,
is not calculated to give coherence to the whole. From the point of
view of instrumentation the Serenade is admirably worked out, and the
means selected are so well handled that it is worthy to rank with
numerous other serenades for strings which have been turned out by
skilled artists in recent years. If in the Serenade many fundamental
principles of form have been violated, this method of procedure, which
might be attributed to an effort after novelty, stands in no approximate
relationship to the music of the Pianoforte Concerto (op. 23), a work
which will hardly please German musicians in its entirety. This music
bears so essentially the Russian stamp that we must be able to view it
entirely from a national standpoint in order to find it interesting. The
Concerto, in three extended movements, consists of an endless chain of
phrases, and offers only a superficial development of the themes. Each
phrase stands by itself, and has no connection with the next. It is not
lacking in noisy passages, which cost the pianist enormous efforts, but
none of these are the outcome of logical necessity. It is true that the
work is not lacking in cleverness, but how regrettable that such an
eminent talent should go so far astray!... The Theme and Variations from
the Third Suite for orchestra brought the Tchaikovsky performance to a
close. Here the composer gives us something clever and skilful, at least
as regards the first half of the work; but our pleasure in these
welcome, solid tone-structures only lasts until the violin solo in B
minor. After this number the work runs a superficial course, culminating
in a very commonplace _Tempo di Polacca_. If this is really Russian, and
justified as such, Tchaikovsky’s music may have its special qualities
for Russian artists. German composers, however, are not likely to derive
from it any satisfactory results which could forward the development of
their art....
“EMIL KRAUSE.”
“HAMBURGER NACHRICHTEN”
“_January_ 20_th_, 1888.
“Yesterday Tchaikovsky’s Serenade (op. 48), his Pianoforte Concerto op.
23, and Theme and Variations from op. 55 were given at the Philharmonic
Concert. In all these works we observed the same half-popular
(_volkstümlich_), half-trivial element as regards the melodic invention.
We need not, however, lay stress upon this in referring to the
individual movements, since the absence of what seems indispensable to a
German audience is not a fault in the composer. The Concerto is least
calculated to convince the hearer of Tchaikovsky’s power of logical
development and perfection of form. The first movement conceals its very
primitive formal structure under an overpowering rush of harmonic
effects, of dazzling kaleidoscopic passages, of intricate treatment of
the subjects and of orchestral colour.... The Serenade is more lucid in
design and far clearer in expression. Its sonority is full and
satisfying, and it displays much variety of colouring. By the divisions
of the violins, the skilful employment of violas and ‘cellos, and the
judicious combination and alternation of bowed and pizzicato passages,
the composer succeeds in producing many picturesque effects. Interrupted
cadences and frequent changes of rhythm break the flow of the work as a
whole, but it leaves a general impression of freshness, animation, and
attractiveness. The subjects of the fluently handled first Allegro have
a piquant quality. The second movement is a slow Valse. Far more
distinctive is the first subject of the third movement--with its
old-world colouring--which resembles the introduction to the Finale, and
is treated, moreover, in the genuine Russian folk-style, being heard
first in C major and E flat major. In the Variations from the Third
Suite the composer gives us a convincing proof of his musical science
and fruitful imagination. The theme itself is only of mediocre quality,
musically speaking, but, as the movement proceeds, it increases in
importance, in depth, and complexity of the parts, until in the Finale
it is worked up to a somewhat obtrusive apotheosis of elemental
strength, the outcome of the mere rhythm. This was regarded as a signal
for departure by a large section of the audience, who were too much
concerned in safeguarding their own tympanums to feel compunction for
the disturbance they caused to the more strong-minded, who sat it out to
the end.”
“VOSSICHE ZEITUNG,” NO. 68
“BERLIN, _February_ _9th_, 1888.
“Not only among the new school of his compatriots, but among all
contemporary composers Tchaikovsky is now reckoned as one of the most
gifted. He possesses intellect, originality, and invention, and is
master alike of the old and the more modern forms. Compared with his
fellow-countryman Rubinstein, through whose nature runs a vein of
greater amplitude and warmth--Tchaikovsky has more charm and judgment.
Both have in common--what we find in every Russian composer with whom we
are acquainted--a tendency to exaggeration of form and expression; but
here again, Tchaikovsky seems to possess the most artistic refinement.
The songs which Frl. Friede sang yesterday, and the String Quartet, are
remarkable for delicacy of invention and beauty of form. The overture to
_Romeo and Juliet_, and the Pianoforte Concerto, played by Herr Siloti,
are full of characteristic animation and originality of rhythm, harmony,
and instrumentation. But here also the defects to which we have alluded
are clearly perceptible. The overture becomes wearisome by the spinning
out of the same idea; while, according to our conception of the play
which inspired this work, the use of the big drum seems rather a coarse
effect.
“In the first movement of the Concerto we cannot reconcile ourselves to
the noisy, somewhat common-place, principal subject, nor to the frequent
and violent interruptions of the musical flow of the work. On the other
hand, the Andante, which is a delightful combination of poetry and
humour, and the ebullient Finale, in the national style, offer only
fresh and undisturbed enjoyment. A clever and animated Fugue from one of
the Suites bore witness, by its admirable technical treatment, to the
composer’s mastery of polyphonic forms.”
“BERLINER BÖRSEN-COURIER,” NO. 5
“_February_ 9_th_, 1888.
“The concert--long awaited with great excitement--at which Tchaikovsky,
the leading representative of the modern Russian school, was to conduct
a series of his own works, took place yesterday.... Among the orchestral
works the Solemn Overture, “_1812_,” was given for the first time. The
_Romeo and Juliet_ overture is already known here; it is a symphonic
poem which describes more or less the tragic fate of the two lovers. The
Introduction shows deep emotion, while the Fugue displays great
contrapuntal skill (of which the modern Russian composers give
astonishing evidence) and force of ideas. The Andante from op. 11, a
charming cabinet picture, most tenderly elaborated, appeals directly to
the heart, and is beautiful in its sonority.... The overture “_1812_” is
a characteristic tone-picture of strife and victory, more ideally than
realistically depicted, especially the former. But by far the most
weighty and lasting impression was made by the Pianoforte Concerto,
which Alexander Siloti played with taste and brilliant virtuosity upon a
fine full-toned Blüthner. It is one of Tchaikovsky’s best works, fresh
in invention, glowing with passion, beautiful as regards its themes and
admirable in its development....”
“O. E.”
“KÖLNISCHE ZEITUNG,” NO. 45
“THE EIGHTH GÜRZENICH CONCERT.
“_February_ 14_th_, 1889.
“Tchaikovsky’s Third Suite made a striking impression upon all who heard
it. Although the German public do not possess the key to many incidents
in this work--because we know so little of Russia and its people, and
what we know is not founded upon accurate observation--yet the music is
so inspired, masterly and original, that it cannot fail to make a
lasting impression upon any educated and progressive audience....
“It is a question whether Tchaikovsky would not have done well to
further elucidate the titles of the various movements--Elégie, Valse
mélancolique, Scherzo, etc.--by the addition of a programme. But however
desirable this may sometimes seem to listeners who are not Russians, it
is doubtful whether the pleasant and stirring character of this work,
which we may best define as a play of moods, would not have suffered in
being tied down by any precise definition....
“This music is of the kind which is pre-eminently calculated to stir our
feelings by its richness of colour, its peculiarities of tonality--in
one variation the Phrygian mode is successfully employed--and by its
clever workmanship, which betokens an unusual skill in the working out
of the parts. If an ingenious development of a theme, or an unusual
effect of orchestration, occasionally predominates over the rest, on the
whole it is the voice of the heart which is heard throughout the work,
lending even an undertone to the glitter and hum of the Scherzo. The
composer attains to this highest of all qualities by means of the wealth
and charm of his melodic inspiration, the simplicity of his musical
idiom, and the freshness of his invention.... Tchaikovsky not only
possesses the gift of melodic invention, he pays due honour to Melody
itself, and makes all the other elements of music hold their breath when
Melody is speaking.... Simplicity is still the sign of profound truth,
and of the promptings of inspiration. Tchaikovsky’s creative power
prevents this quality from degenerating into superficiality.”
“GENERAL-ANZEIGER”
“FRANKFORT, _February_ 16_th_, 1889.
“A novelty headed the programme: the Third Suite, op. 55, by Peter
Tchaikovsky, who is generally spoken of as the head of the young Russian
school of musicians.... As the last notes of the Suite died away, there
followed a burst of applause so hearty and so continuous, that nothing
equal to it has been accorded to any novelty during recent years, except
perhaps when Richard Strauss conducted his First Symphony.... The
impression made by Tchaikovsky’s work was dazzling rather than profound;
strictly speaking, it was not so much the Suite as a whole that won this
recognition, as the bright, fresh, brilliantly orchestrated Polonaise
with which it comes to an end. The second and third movements, Valse
mélancolique and Scherzo, only evoked moderate applause: both numbers
are in the minor, and seem to be stamped with a peculiar, national,
Sarmatian character, they are so strange and gloomy. After the Valse
mélancolique, which is quite in keeping with its title, a real Scherzo
would have followed better; a Scherzo in the sense of the classical
symphonists, rather than a number of this kind, which is rich in
rhythmic devices, but poor in that true gaiety which we expect to find
in a piece entitled Scherzo. In this number the combination of 6/8 and
2/4 has an unfortunate effect, for the wind instruments always seem to
come in a little too late. The variations are most of them very
interesting, and one or two appeal direct to the heart. The Fugue is
strong, effective, and most skilfully worked out.”
“DRESDNER NACHRICHTEN”
“_February_ 22_nd_, 1889.
“ ... The first number on the programme--Tchaikovsky’s Fourth Symphony
in F minor--acted like some magic spell upon the audience, somewhat
disappointed at the non-appearance of the singer Frl. Leisinger. The
Russian master--now undoubtedly the first composer of his nation--not
only impressed us as a personality, but proved himself to be such in his
Symphony, then given for the first time in Dresden. The work is planned
upon large and bold lines and carried out in the same spirit. The ideas
are clear-cut and concise; the melody and harmony distinctive and
strikingly characteristic. Occasionally, as in the first and last
movements, the composer indulges in an orgy of sound, for which he
evokes all the resources of the modern orchestra. At these moments he
produces with true orchestral virtuosity the most piquant and unusual
effects, while always remaining master of the situation; saying
precisely what he has to say, and avoiding all empty phrases and
rambling statements. What he expresses, however, is spirited, and full
of elemental strength and weight. With all this, Tchaikovsky knows how
to strike a note of tenderness. The third movement of his Symphony--the
Scherzo ‘pizzicato ostinato’--is a masterly invention, which stands
alone in musical literature. The vein of national feeling which runs
throughout the work accords admirably with its style and beauty. Here
and there it echoes the melancholy and sadness of some solemn, wailing
folksong, but so inspired and perfect is the treatment that both heart
and intellect are completely satisfied.
“An equally fine impression was made by his Pianoforte Concerto (op.
23). This impression would have been still more profound if the Symphony
had not come first; it was a case in which _le mieux est l’ennemi du
bien_. The Concerto is symphonic in structure, and the piano part is
indissolubly welded with the orchestration. Nor for a moment can we fail
to recognise great mastery of form, inspiration, and emotion; but these
qualities do not impress the hearer so strongly as in the Fourth
Symphony....
“DRESDNER-ANZEIGER”
“_February_ 22_nd_, 1889.
“Tchaikovsky may congratulate himself upon the complete success of his
Fourth Symphony (F minor), which opened the programme of the Fifth
Philharmonic Concert. This Symphony proved to be irreproachable as
regards form: a virtue not to be underrated in a modern production. This
original work is not lacking in vital and stirring material which
corresponds to its nobility of form, although it is so saturated with
national colour that it affects us strangely at first. These melodies,
harmonies, and rhythms, derived from the spirit of the Russian folksongs
and dances, unlike other attempts of the kind, possess sufficient weight
and character to be used as symphonic material.... Equally good and
artistic is his Pianoforte Concerto in B♭ minor, which is more of the
new German school. This Concerto is a gigantic work of its kind, which
demands for its execution the most perfect technique and extraordinary
physical strength....
“FERDINAND GLEICH.”
“VOSSICHE ZEITUNG”
“_February_ 27_th_, 1889.
“The interest of yesterday’s Popular Concert given by the Philharmonic
Orchestra was enhanced by the presence of Herr Tchaikovsky, who
conducted two of his own works: a Serenade for strings and the symphonic
poem, _Francesco da Rimini_. The Serenade is a cheerful composition,
fluent, pleasing, and not without a touch of humour. It is not
remarkable for originality, so much as for a skilful and artistic
treatment of the thematic material, particularly noticeable in the last
movement of the work. The valse section, which is especially full of
charm and graceful in the elaboration of the melodies, had to be
repeated. We had already heard the symphonic poem at Bilse’s concerts.
This time the work did not impress us more favourably. Sometimes it
repels by its violence; sometimes it wearies by the constant repetition
of an insignificant subject. A few clever episodes and occasional
moments in which it keeps within the limits of the beautiful make the
general effect of this work not too intolerable....”
“BERLINER TAGEBLATT”
“_February_ 27, 1889.
“ ... Tchaikovsky’s Serenade for strings consists of a series of
charming little pieces, in the subjects of which we seem to recognise
now and again a well-known face from some operetta. But these
reminiscences are so delightfully decked out that we are very pleased to
meet them again.... Musically speaking, the last movement is the most
important. Here the composer has evolved a number of clever variations
from a Russian theme. The symphonic poem, _Francesca da Rimini_,
displays much interesting, but glaring, tone-colour. What Dante has
described in ten lines is reproduced with effort in innumerable bars of
music; we are endlessly wallowing in the harshest discords, until the
attentive hearer undergoes a martyrdom scarcely less painful than the
poor souls who are blown hither and thither in Dante’s Whirlwind.
Tchaikovsky is a gifted tone-poet, whom we have often recognised as
such; but this symphonic poem exceeds all limits of what is
acceptable....”
ALPHABETICAL INDEX OF NAMES
Adamov, 25
Aertel, 25
Albert D’, 459
Albrecht, Karl (Constantine), 6, 258, 260, 564, 705, 713
Alferaki, Achilles, 666
Alexandrov, Elizabeth M., 58
Alexis. _See_ Safronov
Alexciev, E. A., 23
Alexeiev, Nich., 392, 433
Altani, 449, 470, 608
Ambrose, 397, 412
Apukhtin, Alex, 25, 26, 713
Arensky, Anton S., 496, 520, 521-3, 609, 610, 620, 622, 664
Artôt, Desirée, 95-101, 470, 548, 579
Asantchevsky, M., 128, 150
Assier, Alexandra. _See_ Tchaikovsky
Assier, Michael, 2
Auer, Leopold, 413, 415
Aus-der-Ohe, Adèle, 642-4, 649, 654, 655
Ave-Lallemant, 546, 580
Bach, J. S., 518
Bachmetiev, N., 347
Balakirev, Mily A., 81, 104-5, 107-11, 252, 407, 484
Barcewicz (Bartzevich), 318, 674
Bartsal, 395, 435
Beethoven, 311, 517, 567-9, 570
Begichev, 79, 93
Bellini, 421
Berezovsky, 298
Berger, Francesco, 558
Berlioz, Hector, 87, 88, 296, 330, 335
Bernadaky, 555
Bernhardt, Sarah, 432
Bernuth, 545
Bertenson (the brothers), 723
Bessel, V., 145-6, 360, 437
Bevignani, 134
Bilse, 319, 334, 373, 385
Bizet, 253, 329, 382
Boïto, Arrigo, 708
Borodin, 81, 252, 578
Bortniansky, 298, 406-7, 410
Botkin, P. S., 638, 646, 655
Brahms, Joh., 240-1, 319, 372, 499, 519, 541-2, 569, 570, 571, 580
Brandoukov, A., 513
Breitner, 368
Brema, Marie, 709
Brodsky, Adolf, 413-15, 470, 541, 547, 663
Bruch, Max, 287, 320, 708
Bülow, Hans von, 157, 167, 175, 291, 320, 334, 347, 368, 471-3, 544,
545
Busoni, 547
Carnegie, Andrew, 636, 639, 643, 645-9, 650
Carnegie, Mrs., 650
Chopin, 296
Colonne, 193, 335, 340, 347, 354, 367, 372, 470, 513, 545
Constantine, Constantinovich, Grand Duke, 374, 470, 519, 560, 562,
567-71, 589, 590, 607, 610, 670
Constantine, Nicholaevich, Grand Duke, 145, 159, 177, 352, 374, 435,
479
Cui, Cæsar, 81, 148, 151, 173, 251-2, 358, 443, 463, 479, 557
Damrosch, Leo, 368, 643
Damrosch, Mrs., 639
Damrosch, Walter, 635, 636, 637, 651
Dannreuther, 648
Dargomijsky, 81, 388, 565-6
Daudet, A., 434, 460
Davidov, Alexandra I. (_b._ Tchaikovsky), 29, 40, 71, 72, 74, 83, 113,
122, 172, 189, 201, 367, 410, 672
Davidov, A. I., 56
Davidov, Elizabeth, 56, 76
Davidov, Karl, 128
Davidov, Leo V., 29, 56
Davidov, Nich., 58, 59
Davidov, Tatiana, 526
Davidov, Vera (_m._ Boutakov), 76, 83
Davidov, Vera (_m._ Rimsky-Korsakov), 567, 574
Davidov, Vladimir (Bob), 471, 581, 582, 583, 625, 662-3, 665, 673,
674, 676, 685, 688, 697, 702-4, 713, 714-15, 721, 724
Délibes, 241, 253, 375, 434, 513
Dickens, Charles, 384, 422, 590
Diemer, Louis, 470, 513, 707
Door, Anton, 78, 692
Dostoievsky, 55
Dubuque, 78
Dürbach, Fanny, 5-9, 17, 677, 698
Dütsch, 45
Dvořák, Anton, 550, 573, 579
Eliot, George, 715
Erdmannsdörfer, Max, 430, 431, 450, 473
Fet, 567, 667, 670
Figner, Medea, 618
Figner, N., 600, 602, 618
Finck, H. T., 644
Fitzenhagen, 347, 588
Flaubert, 493
Friede, 548, 674
Friedenthal, 368
Galitsin, Alexis, Prince, 57
Gerhard, V., 25
Gerke, A., 48
Gevaert, 59
Glazounov, Alex., 443, 470, 576, 578, 599, 723
Glinka, 54, 308, 311, 377-8, 388, 530, 563-4, 576, 607
Glück, 518
Gogol, 72, 493
Goldmark, 287, 333
Gounod, 556
Green, Plunket, 709
Grieg, Edward, 470, 541-2, 547, 708
Grijimal, 148, 180
Halir, Carl, 470
Hanslick, 191, 414-15
Hausen, 656
Haydn, 518
Helena Pavlovna, Grand Duchess, 155, 156
Henschel, Mr. and Mrs., 709
Hubert, Nich. A., 55, 165-6, 323, 470, 483, 567, 569
Hugo, Victor, 383
Hyde, Mr. and Mrs., 636-8, 641, 643, 645, 646, 649, 653
Ippolitov-Ivanov, M. M., 470, 500, 508, 529, 571, 606, 608, 620
“Invincible Band, The,” 90-3, 104, 105, 134, 358, 622
Issakov, V., 375
Ivanov, 479
Jahn, Otto, 388
Joachim, 320
Joukovsky, 299, 331
Jurgenson, Peter I., 67, 68, 265, 286, 313, 325, 332, 334, 335, 344,
351, 357, 361, 370, 376, 384, 404-7, 410, 411, 417, 419, 420, 425,
428, 435, 437, 458, 483, 498, 501, 514, 534, 537, 542, 557, 564, 575,
577, 579, 582, 604, 610, 617, 622, 623, 663, 678, 685, 687, 705, 712,
715, 721
Kadmina, E., 145
Kamensky (Kamenskaya), E., 393, 398-9, 428
Kashkin, Nich., 68, 127, 201, 493, 601, 671, 717-8
Katkov, M., 127, 416
Klein, 649
Klimenko, I. A., 86, 116, 121, 132, 202
Klimenko, P., 420
Klindworth, Karl, 119, 120, 319, 579, 686
Knabe (_see_ Mayer), 654-5
Knorr, Ivan, 577
Kondratiev, G., 146, 159, 620
Kondratiev, Nich., 124, 168-9, 243-4, 531, 533
Konius, Julius, 626, 663
Konius, George, 703
Konius, Leo, 715
Konradi, G. K., 245
Konradi, Nich., 177, 164, 712-13
Korbay, 649
Korganov, 508
Kossman, 78, 576
Kotek, Joseph, 204, 205, 240-1, 356, 415, 464, 471
Kross, Gustave, 55, 174
Kündinger, Rudolf, 30, 31, 681
Lagroua, 28
Lalo, 280, 326-9, 434, 513
Lamara, Mme., 514, 685
Lamoureux, 513
Laroche, Hermann, 42, 43, 62, 63, 102, 127, 151, 163, 330, 448, 493,
514, 564, 588, 667
Laub, Ferd., 78, 148, 168, 288
Lavrovsky (Lavrovskaya) Eliz., 123, 202, 717
Lefèbre, G., 513
Legoshin, 333, 470, 585
Lermontov, 268
Leschetizky, T., 45, 48, 128
Limnander, 436
Liszt, 52, 181, 241, 356, 412, 685
Litolff, H., 52
Liadov, 470
Löwenson, 438
Lomakin, 30, 45
Litke, A., Count, 662, 723
Mackar, Félix, 494, 501, 512
MacMahan, Mrs., 647, 650
Mahler, Gustave, 675
Maitland, Professor, 708, 712
Maleziomov, Sophia, 160
Marcel, 300, 345, 380
Maslov, T., 25
Massenet, 326, 333, 385, 515, 556, 582
Mayer (Knabe and Mayer), 635, 637-8, 640, 651, 657
Meck, Nadejda Filaretovna von, 143, 165, 204-16, 217, 219, 221-3,
225-54, 260, 261, 263, 266-92, 295-9, 301-4, 305-13, 314-16, 322, 323,
325, 326-31, 333, 334, 335, 338, 340, 341, 342, 344, 345-8, 349, 350,
352, 353, 357, 363, 367-72, 374, 377-99, 401-4, 406, 407, 411-13,
415-18, 420-5, 427, 429-36, 439, 448, 452, 454, 459-63, 471-3, 476-9,
483, 486, 487, 497-500, 502-4, 505, 507, 513, 515, 519, 524, 527, 529,
530-2, 536, 548, 558, 561, 562, 564, 566, 571, 572, 574, 578, 579,
584, 586, 588, 596, 597, 605, 608, 609, 611-17, 724
Melnikov, 422
Menter, Sophie, 470, 626
Merkling, Anna (_b._ Tchaikovsky), 432, 456, 470, 495, 601, 603, 675,
687, 717
Merten, 114
Metzdorf, Richard, 55
Michael Angelo, 237, 368, 371, 568
Milioukov, A. I. (Tchaikovsky), 217, 219
Mozart, W. A., 287-9, 296, 378, 387, 432, 518, 552, 622, 717
Musset, A. de, 315-16, 432
Moussorgsky, 252, 358, 461
Napravnik, Edward, 134, 147, 148, 159, 188, 352, 375, 393, 405, 463,
486, 520, 586, 618
Napravnik, V., 470, 546, 677
Neitzel, Otto, 577
Nikisch, Arthur, 549
Nikonov, Sophia, 106
Nilsson, 133
Obolensky, Prince, 453
Odoevsky, Prince, 78, 87, 88
Osberg, 71
Ostrovsky, 79, 85
Oudin, Eugene, 712
Paderewski, 556
Padilla, 101, 548
Palchikov, Marie, 13
Panaev, 375
Pasdeloup, 191-2
Pavlovsky (Pavlovskaya), Emilie, 450, 470, 475, 478, 481, 486, 495, 525
Philipov, 15
Piccioli, 32, 33
Plestcheiev, A., 72
Pollini, 675
Polonsky, 155, 479
Poushkin, 424, 445, 596
Prianichnikov, 399, 617, 673
Rachinsky, S., 103, 112, 113
Razoumovsky, D., 405
Reinecke, Carl, 542-43
Reno, Alice, 644-45, 657
Reno, Morris, 634, 635, 636-37, 638-40, 645-50, 652, 657, 668
Richter, Hans, 191, 290, 414
Rieger, 550
Riemann, Hugo, 721
Rimsky-Korsakov, Nat. N. (_b._ Pourgold), 111, 134, 137
Rimsky-Korsakov, Nich. A., 81, 89, 172, 175, 177, 187, 251, 480, 520
Ristori, Adelaide, 28
Ritzel, 648
Rioumin, C., 115
Romeike, 643, 648
Ross, Ivy, 640, 641, 652
Rousseau, J. J., 340
Rubinstein, Anton G., 45, 47, 48, 49, 62, 81, 291, 342-3, 375, 385,
388, 437, 439, 503, 587, 591-5, 681-4
Rubinstein, Nicholas G., 61, 64, 67, 165-8, 225-6, 231, 254, 262, 342,
335, 397, 401, 403, 419
Rummel, 368, 644, 646
Sachs, William de, 368, 640, 641, 642, 643, 649
Sadovsky, 79
Safonov, V., 604, 608
Safronov, Alexis, 162, 324, 394, 410, 488, 490, 595, 602, 662, 680,
714, 728
Saint-Saëns, C., 176, 193, 434, 435, 707-10
Sand, George, 314
Sapellnikov, 470, 544, 546-8, 582-3, 626
Sarasate, 707
Sardou, 432
Sauer, Emil, 470, 577
Sauret, 415
Schobert, Eliz., 27
Schirmer, 640, 643
Schopenhauer, 266, 269, 270, 273
Schubert, Franz, 570
Schumann, Robert, 412
Seidl, Anton, 643, 652
Serov, 54, 55, 155, 282-4, 388
Sgambati, 412, 605
Shilovsky, C., 79, 180
Shilovsky, Count Vassiliev-, 79, 93, 117, 713
Shpajinsky, 474, 478, 482
Stanford, Charles Villiers, 709
Siloti, Alex., 470, 499, 541, 547, 550, 564, 670, 686
Sklifasskovsky, 470
Skobeliev, 425
Slaviansky, 55
Smetana, 586
Soloviev, V., 354
Spinoza, 589
Stassov, V. V., 81, 134-7, 161, 194, 465, 520
Strakaty, Dr., 550
Strauss, Richard, 473, 545
Taneiev, Serge, 149, 175-6, 191, 192, 193, 255-8, 292-5, 323, 363,
366, 408, 429, 458, 476, 483, 484, 501, 537, 621, 671, 687
Tarnovsky, Eliz., 73
Tchaikovsky, Alexandra A., 3-4, 19, 20, 22
Tchaikovsky, Alexandra I. (_see_ Davidov), 5
Tchaikovsky, Anatol, 17, 35, 69-75, 85, 86, 94, 96, 100, 107, 112,
114, 115, 121, 122, 147, 154, 162, 164, 168, 186, 216, 223, 224, 351,
352, 354, 356, 410, 419, 453, 507, 509, 554, 664, 677, 679, 696, 702
Tchaikovsky, Anna P. _See_ Merkling
Tchaikovsky, George, 679
Tchaikovsky, Hyppolite, 5, 506, 559
Tchaikovsky, Ilia Petrovich, 2-3, 4, 9, 27, 95-9, 122, 133, 138, 150,
217, 220, 367
Tchaikovsky, Modeste, 17, 35, 69-75, 86, 94, 97, 112, 114, 115, 118,
132, 133, 146, 154, 160, 163, 168, 177-181, 184, 186, 200, 203, 245,
299-301, 304, 317, 330, 337, 338-9, 348, 351, 373, 380, 383, 384, 400,
401, 403, 405, 422, 426, 427, 438, 441, 443, 444, 451, 459, 466, 482,
493, 498, 500, 506-8, 510, 512, 516, 521, 524, 529, 533, 541, 544,
547, 560, 576, 581, 582, 584, 589, 600-6, 609, 626-8, 629-35, 662,
674, 681, 685, 688, 694, 697, 701, 704, 706, 707, 708, 714, 716
Tchaikovsky, Nich., 4, 15, 33, 124, 698, 724
Tchaikovsky, Peter P., 27, 123
Tchaikovsky, P. V. (Anatol’s wife), 512
Tchaikovsky, Zinaïda, 3, 9, 15, 21
Tchekov, 589
Thackeray, W. M., 244
Thomas, Ambroise, 512
Thomé, 556
Thomson, César, 678
Tkachenko, 393-94, 395-97, 444
Tolstoi, A. Count, 284, 504
Tolstoi, Leo, Count, 194, 200, 336, 444, 454, 517, 589
Tourgeniev, I. S., 123, 375, 512
Tretiakov, Helen, 401
Tretiakov, P. M., 430, 688
Vakar, Plato, 19, 21
Viardot, Pauline, 512, 582
Vietinghov-Scheel, 516
Volkmann, R., 303
Vsievolojsky, I., 442, 482, 520, 544, 574, 624
Wagner, Richard, 181-5, 238-39, 344-5, 431-2, 436, 438, 452, 461-2,
581, 622
Weber, 464
White, Mrs., 648
Wieniawsky, Henry, 45, 374
Wieniawsky, Joseph, 78, 357
Würst, Richard, 319
Zabel, Eugen, 592, 681-4
Zaremba, 40, 41, 45-9
Zet, Julius, 564
Zola, 383, 498, 676
Zvantsiev, 180, 623
Zveriev, 713
ALPHABETICAL INDEX OF TCHAIKOVSKY’S WORKS
_Andante_ from _Quartet_ in D, Op. 11 (1872), arranged for String
Orchestra, 626, 700
_Articles_ on _Music_ (1871-6), 90, 127, 131, 138, 181
_Barcarole_ for pianoforte, Op. 37ª, No. 6 (1876), 289
_Cantata_, Schiller’s “Ode to Joy,” for chorus and orchestra (1866), 62
_Cantata_, written for the opening of the Polytechnic Exhibition
(1872), 128, 129, 390
_Cantata_, Coronation, “Moscow” (1883), 435, 436, 440, 442
_Caprices d’Oxane, Les_, Opera (1885). _See also_ “Vakoula the Smith”
and “Cherevichek,” 155-8, 162, 171, 177, 188-91, 193, 194, 247, 306,
323, 355, 359, 475, 478, 482, 499, 500, 502, 521, 525, 526, 610
_Casse-Noisette Suite_, Op. 71^a, taken from the Ballet, _The
Nut-cracker_, 677, 678, 699, 700
_Chant sans Paroles._ _See_ “Souvenir de Hapsal”
_Chant Elégiaque_, Op. 72, 471
_Cherevichek_ (The Little Shoes). _See_ “Les Caprices d’Oxane”
_Children’s Album_, twenty-four easy pieces for pianoforte, Op. 39
(1878), 298
_Children’s Songs_, sixteen, Op. 54 (1883), 447, 623
_Chorus of Insects_, from unfinished opera _Mandragora_ (1870), 112,
113
_Cinderella_, Ballet, 122
_Concerto for pianoforte_, No. 1, B flat minor, Op. 23 (1875), 162,
165-7, 171, 174-6, 313, 318, 347, 368, 545, 548, 551, 577, 583, 642-4,
649, 654, 699
_Concerto for pianoforte_, No. 2, Op. 44 (1880), 360, 424, 574, 626,
646
_Concerto for pianoforte_, No. 3, Op. 75, 717
_Concerto for violin_, Op. 35 (1878), 282, 286, 413, 415, 425, 426, 557
_Concert-Fantasia._ _See_ “Fantasia”
_Dance of Serving-Maids_, from the opera _Voyevode_, 54, 58, 61, 86,
87, 89
_Domino Noir._ _See_ “Recitatives”
_Duets_, six, Op. 46 (1881), 407
_Enchantress, The_, Opera (1887), 478, 481, 482, 495, 497, 500, 516,
527, 528, 530, 536-8, 601, 603
_Eugene Oniegin_, Opera, Op. 24 (1878), 202, 203, 217, 225, 231, 255,
257, 260, 293, 295, 304, 312, 334, 355, 381, 392, 395, 396, 417, 424,
439, 445, 452, 463, 464, 468, 490, 502, 572, 573, 587, 598, 603, 672,
675, 679
_Fantasia_, _Concert_--for pianoforte and orchestra, Op. 56 (1884),
459, 476, 537, 556
_Fatum_ (Destiny), Symphonic Poem, Op. 77 (1868), 79, 92, 97, 103-5,
329.
_Festival-Overture on the Danish National Hymn_, Op. 15 (1866), 79,
80, 329
_Festival-Overture “1812,”_ Op. 49 (1880), 390, 405, 426, 528, 551,
576, 699
_Folksongs, Russian_, twenty-five for pianoforte, four hands, 97
_Francesca da Rimini_, Fantasia on Dante’s poem, Op. 32 (1876), 180,
188, 193, 201, 212, 313, 319, 320, 366, 465, 528, 537, 709
_Gevaert_, Translation of his “Course of Instrumentation,” 59
_Hamlet_, Overture-Fantasia, Op. 67ª (1885), 572, 621, 644, 703, 719
_Hamlet_ (Incidental music to the Tragedy), Op. 67b (1891), 619,
620, 621, 623
_Iolanthe_ (King René’s Daughter), Opera, Op. 69 (1891), 623, 624,
662, 667, 673, 686, 687, 694-6
_Italian Capriccio_, Op. 45 (1880), 376, 385, 394, 396, 426
_Ivan the Terrible._ Arrangement of A. G. Rubinstein’s overture for
pianoforte, four hands (1869), 112
_Legend._ _See_ “Children’s Songs”
_Liturgy of St. John Chrysostom_, Op. 41 (1878), 299, 313, 347, 348,
392, 394, 412, 623
_Maid of Orleans, The_, Opera (1879), 325, 331, 332, 334, 346, 348,
355, 359, 370, 377, 381, 383, 389, 393, 396, 398, 399, 412, 417, 425,
428, 430, 722
_Mandragora._ _See_ “Chorus of Insects”
_Manfred_, Symphony, Op. 58 (1885), 484-7, 490, 495, 497, 498, 520
_March_, Coronation, 436, 658
_March_, Slav or Russo-Serbian, Op. 31 (1876), 201, 626
_March_, Funeral, from “Hamlet,” Op. 67b (1891), 621, 623
_Mazeppa_, Opera (1883), 423, 424-9, 441-3, 447-52, 454, 470, 499,
500-2, 505
_Mozartiana_, Suite No. 4, Op. 61 (1817), 533, 534, 537
_Night_, vocal quartet from Mozart’s Fantasia, No. 4, 717
_Nut-cracker, The_, Ballet, Op. 71 (1892), 623-5, 662-4, 686, 696
_Nut-cracker_, Suite. _See_ “Casse-Noisette”
_Oprichnik, The_, Opera (1872), 113, 115, 116, 128, 129, 132, 134,
138, 145-52, 154, 158, 162, 163, 171-4, 212, 359, 371, 505, 574, 722
_Overture_, C minor (1866), 70, 76
_Overture_, F major (1865), 61, 73, 76
_Overture, Romeo and Juliet._ _See_ “Romeo and Juliet”
_Overture, Hamlet._ _See_ “Hamlet”
_Pezzo Capriccioso_, for violoncello, Op. 62 (1887), 556, 595
_Pianoforte Pieces_, three, Op. 9 (1871), 121
_Pianoforte Pieces_, twelve, Op. 40 (1878), 298, 305
_Pianoforte Pieces_, eighteen, Op. 72 (1893), 704
_Pique Dame_ (The Queen of Spades), Opera, Op. 68 (1890), 598, 600,
601-4, 611, 613, 615, 617-19, 624, 625, 670-3, 677, 694, 700
_Quartet_, No. 1, D major, Op. 11 (1871), 123, 124, 196, 201, 289,
319, 543, 548, 605
_Quartet_, No. 2, F major, Op. 22 (1874), 147, 148, 160, 355
_Quartet_, No. 3, E flat major, Op. 30 (1876), 179, 180, 188, 289,
368, 465, 657
_Quartet_, No. 4, B flat major (1865), 61
_Recitatives and Choruses_ for Auber’s Opera, “Le Domino Noir,” 96, 101
_Romeo and Juliet_, Overture-Fantasia (1870), 92, 107, 114-16, 119-22,
135, 157, 174, 191-3, 241, 289, 316, 320, 375, 465, 548, 551, 678
_Russian Scherzo_ and _Impromptu_, Op. 61 (1867), 59
_Serenade_, for strings, Op. 48 (1880), 390, 508, 528, 545, 551,
555-8, 634
_Sérénade Mélancolique_, for violin and orchestra, B flat minor, Op.
26 (1875), 626
_Sextet_, “Souvenir de Florence,” 606, 609, 618, 662, 677
_Sleeping Beauty, The_, Ballet, Op. 66 (1889), 574, 585, 586, 596,
597, 624
_Sniegourotchka_ (The Snow-Maiden), Incidental music to Ostrovsky’s
“Legend of the Spring,” 138, 426
_Sonata_, G major, for pianoforte, Op. 37 (1879), 298, 313, 355
_Song_, “So schnell vergessen,” 121
_Songs_, seven, Op. 47 (1881), 407
_Songs_, six, Op. 73 (1893), 704
_Souvenir de Florence._ _See_ “Sextet”
_Souvenir de Hapsal_, three pianoforte pieces, Op. 2 (1867), 83, 318
_Storm, The_, Overture to Ostrovsky’s play of same name, Op. 76
(1865), 50, 57
_Suite_, No. 1, in D, for orchestra, Op. 43 (1879), 316, 324, 356,
361, 363-6, 368, 371, 375, 543, 546, 583, 635, 642, 645
_Suite_, No. 2 in C, for orchestra, Op. 53 (1883), 441, 444, 446, 450,
528
_Suite_, No. 3 in G, for orchestra, Op. 55 (1884), 455-9, 471-3, 545,
551, 556, 557, 558, 575, 576, 582, 626, 645, 646
_Suite_, No. 4 (“Mozartiana”). _See_ “Mozartiana.”
_Swan Lake, The_, Ballet, Op. 20 (1876), 172-3, 201, 241
_Symphony_, No. 1, G minor, “Winter Dreams,” Op. 13 (1868), 76, 80,
89, 114, 447
_Symphony_, No. 2, C minor, “Little-Russian,” Op. 17 (1873), 132, 134,
137, 146, 148, 360, 397
_Symphony_, No. 3, D major, Op. 29 (1875), 172, 174, 179, 289, 290
_Symphony_, No. 4, F minor, Op. 36 (1877), 202, 215, 222, 244, 255,
258, 265, 272, 275-7, 292-5, 326, 355, 367, 368
_Symphony_, No. 5, E minor, Op. 64 (1888), 561, 566, 574, 575, 580,
581, 719
_Symphony_, No. 6, in B minor (The Pathetic), Op. 74 (1893), 702, 703,
714-16, 718-22
_Trio_, in A minor, for piano, violin, and ‘cello, Op. 50 (1882)
_The Tempest_, Fantasia for orchestra from Shakespeare’s play, Op. 18
(1873), 92, 135-7, 140, 144-7, 159, 161-3, 211, 313, 318, 337-9, 340,
347, 465, 574, 626, 700
_Undine_, Opera (1869), 106, 113, 114, 116, 117, 132, 299, 316, 329,
359
_Undine_, Ballet (1886), 520
_Vakoula the Smith._ _See_ “Les Caprices d’Oxane” and “Cherevichek”
_Valse-Scherzo_, for violin and orchestra, Op. 34 (1877), 318
_Variations on a Rococo Theme_, for ‘cello and orchestra, Op. 33
(1876), 194, 347
_Vesper Service, The_, Op. 52, 405, 408, 421, 437
_Voyevode, The_, Opera, Op. 3 (1868), 58, 82, 83, 94, 100, 102, 105,
329, 358
_Voyevode, The_, Symphonic Ballade on Poushkin’s Poems, Op. 78, 662,
663, 667, 670-672, 719
_Winter Dreams._ _See_ “Symphony No. 1”
_Year, The, “1812.”_ _See_ “Festival-Overture”
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FOOTNOTES:
[1] _Tchaikovsky, his Life and Works_: with extracts from his writings
and the diary of his tour abroad in 1888. Grant Richards, London, 1900.
[2] _Zijn Piotra Ilicha Tchaikovskavo._ P. Jurgenson, Moscow. Three
volumes.
[3] _Das Leben Peter Iljitsch Tschaikowsky’s_, translated by Paul
Juon. P. Jurgenson, Leipzig. Two volumes.
[4] MY DEAR MISS FANNY,--I beg you to forgive me for not
having written all this time. But as you know I do not tell lies, it
is _my laziness_ that is the cause, not _forgetfulness_, because I
love you the same as before. Nicholas works very well, etc.
[5] DEAR, GOOD MISS FANNY,--It is with great joy I hear the
news of your having so good and industrious a pupil. I want also to
give you some news, my dear Fanny, which may please you a little; it
is of the birth of my twin brothers (on the night of May 1st). I have
already seen them several times, but each time I think they are angels
descended to earth.
[6] Diminutives of Anatol and Modeste.
[7] The greatest Russian dramatist. His most celebrated plays are:
_The Storm_, _The Forest_, _The Poor Bride_, _Snow White_, _The Wolf
and the Sheep_.
[8] Alexis Nicholaevich Verstovsky, the composer of a popular opera,
_Askold’s Grave_.
[9] Of this quartet only the first movement remains intact. The others
must have been destroyed by the composer at a later date.
[10] Tchaikovsky afterwards arranged this overture for full orchestra,
in which form it was given several times in Moscow and Petersburg.
[11] The manuscript of this cantata is in the archives of the St.
Petersburg Conservatoire.
[12] Professor of singing at the Conservatoire.
[13] All traces of this family appear to be lost, but it is evident
they were not relatives of the composer.
[14] Later on Tchaikovsky completely altered his opinion.
[15] Karakovich’s attempt upon Alexander II., April 4th (16th), 1866.
[16] Under this sobriquet were grouped the followers of the New
Russian School: Dargomijsky, Cui, Balakirev, Rimsky-Korsakov, and
others.
[17] The river at Kamenka.
[18] In my volume upon Tchaikovsky I have called this work
_Destiny_.--R. N.
[19] Madame Rimsky-Korsakov, _née_ Pourgold. In his final arrangement
Tchaikovsky omitted these chords himself.
[20] Conductor at the Opera House.
[21] Constantine Ivanovich Rioumin, the guardian of Vladimir Shilovsky.
[22] Short for Vladimir.
[23] Modeste.
[24] Op. 9. Three pieces for piano--“Reverie,” “Polka de Salon,”
“Mazurka.”
[25] “So schnell vergessen.”
[26] The uncle whose establishment the Tchaikovskys shared in 1855.
[27] At the instigation of Nicholas Rubinstein, the Musical Society
paid the composers about 200 to 300 roubles for new works performed at
their Symphony Concerts.
[28] Russian equivalent for “falling through.”
[29] A Little Russian folksong.
[30] Madame Rimsky-Korsakov, who was going to make the pianoforte
arrangement of the symphony for four hands.
[31] Only the opening chapters of this work appeared.
[32] Many of the entries in Tchaikovsky’s diaries are so devoid of
characteristic interest that I have thought fit to curtail the number
of quotations in this volume, selecting only those which had some
reference to his work or his views of life.--R. N.
[33] G. Kondratiev, baritone singer, and afterwards manager of the
Maryinsky Theatre.
[34] Diminutive of Serge.
[35] By Moussorgsky.
[36] _Boris Godounov_, Moussorgsky; _The Stone Guest_, Dargomijsky;
_Ratcliff_ and _Angelo_, Cæsar Cui.
[37] His sister, Madame Davidov.
[38] _Allgemeine Zeitung_, No. 148 (1874), “Musikalisches aus Italien.”
[39] A fellow-student of Tchaikovsky’s, _dame de compagnie_ of Anton
Rubinstein’s class and the intimate friend of the master. Afterwards
teacher of pianoforte at the St. Petersburg Conservatoire.
[40] Tchaikovsky had to visit Kiev for the first performance of _The
Oprichnik_ in that city.
[41] An opera by Cæsar Cui.
[42] Rimsky-Korsakov’s Second Symphony, or “Eastern Suite,” Op 9.
[43] No. 3, Op. 30.
[44] There is no real English equivalent for the term “_goloubouska_.”
[45] A characteristic Russian dance.
[46] E. A. Lavrovsky, a famous singer and a teacher at the
Conservatoire.
[47] Her parents’ name was Frolovsky.
[48] She carried her seclusion to such lengths that Tchaikovsky’s
sister and brother-in-law, Alexandra and Leo Davidov, never saw
Nadejda von Meck, although their daughter married one of her sons.
Their friendly intercourse was carried on entirely by correspondence.
Nicholas Rubinstein was almost the only visitor from the outside world
whom she cared to receive.
[49] J. Kotek.
[50] No. 4 in F minor.
[51] _Eugene Oniegin._
[52] Of _Eugene Oniegin_.
[53] The condition of Tchaikovsky’s health is probably accountable for
many errors in this letter. In 1877 the pictures of which he speaks
were not in the _Villa_, but in the _Palazzo_ Borghese. Domenicchino’s
picture was in the Vatican. The portraits of Cæsar Borgia and Sixtus
V. were not by Raphael. The latter was not made Pope until sixty-five
years after the death of the celebrated painter.
[54] The Basilica.
[55] Kotek, who was then studying with Joachim in Berlin, joined
Tchaikovsky for a few days in Vienna.
[56] The Shipka Pass.
[57] Unfortunately this letter has been lost.
[58] Nicholas Konradi, pupil of Modeste Tchaikovsky.
[59] _The World as Will and Idea._
[60] Serov’s first opera.
[61] _Prima ballerina_ of the Moscow Opera.
[62] The country property of Nadejda von Meck.
[63] The rouble is here and elsewhere roughly calculated at 2_s_.
[64] See the _Berliner Fremdenblatt_, September 17th, 1878.
[65] A famous restaurant in Moscow.
[66] The initials under which Tchaikovsky translated the German words
of Rubinstein’s songs.
[67] Tchaikovsky’s signature to his articles in the _Russky
Viedomosti_.
[68] In later years Tchaikovsky was less particular, and his scores
became less neat.
[69] A smaller country house belonging to Nadejda von Meck in the
vicinity of Brailov.
[70] Frau von Meck’s youngest daughter.
[71] This form of occupation, like sport, only amused Tchaikovsky for
a very short time.
[72] “Paraphrases,” twenty-four variations and fourteen pieces for
piano on a popular theme, by Borodin, Cui, Liadov, and Rimsky-Korsakov.
[73] No. 4, dedicated to N. F. von Meck.
[74] Removed to the Villa Borghese in 1891.
[75] _Eugene Oniegin._
[76] The violin Concerto, Op. 77.
[77] N. F. von Meck had given the gifted artist the wherewithal to
spend his last days in comfort. Ten days after this letter was written
Wieniawsky died.
[78] “Slavsia,” the great national chorus in _A Life for the Tsar_.
[79] “Lord, have mercy” (_Kyrie eleison_).
[80] P. I. Jurgenson informed me that Tchaikovsky did succeed
in acquiring sufficient English to read _Pickwick_ and _David
Copperfield_ in the original. When he took to conducting, he had no
time for the study of languages.
[81] Unfortunately the boy did not turn out an artist of the first
rank. But his education was not wasted, for he is now drawing-master
in a public school in South Russia.
[82] The overture entitled _The Year 1812_, op. 49, for the
consecration of the Cathedral of the Saviour, Moscow. It was one of
the three commissions suggested by N. Rubinstein, referred to in the
previous letter.
[83] Alexander II., who was assassinated on the bank of the Catharine
Canal.
[84] Wife of S. Tretiakov, the wealthy art patron, afterwards chief
burgomaster of Moscow.
[85] These details, in the form of a long letter, were communicated by
Tchaikovsky to the _Moscow Viedomosti_.
[86] P. Jurgenson took this young man into his business, where he
remained some time. Like Tkachenko, he was nervous and peculiar, and
gave Tchaikovsky much trouble and anxiety.
[87] Monasteries of the first rank.
[88] Some years later Auer changed his opinion and became one of the
most brilliant interpreters of this work.
[89] Nadejda von Meck had sold Brailov.
[90] This portrait was one of the least successful of Makovsky’s
efforts. A far better portrait of the composer was made some years
later by Kouznietsov. See frontispiece.
[91] It is interesting to know that this opinion was in direct
opposition to that of Tourgeniev, who made some harsh criticisms upon
the celebrated French actress.--R. N.
[92] A. I. Bartsal, chief manager of the Imperial Opera, in Moscow.
[93] Six pianoforte pieces, Op. 21.
[94] The letter appeared on May 23rd (June 4th), 1883.
[95] From Petersburg Tchaikovsky went on a visit to his brother
Anatol, who had taken summer quarters at Podoushkino, near Moscow.
[96] This agreeable change in the attitude of the authorities towards
Tchaikovsky was due to the influence of I. Vsievolojsky, who had
recently been appointed Director of the Opera House.
[97] This was the end of all relations between Tchaikovsky and
Tkatchenko.
[98] The singer who created the part of Maria in the Moscow
performance of _Mazeppa_.
[99] On account of Tchaikovsky’s nervous condition the account of the
success of _Mazeppa_ was slightly overdrawn.
[100] Nicholas and Anna von Meck, _née_ Davidov (Tchaikovsky’s niece),
who were on their wedding tour.
[101] His brother-in-law, Leo Davidov.
[102] At the Imperial Opera.
[103] Tchaikovsky addressed Emilie Pavlovskaya by this term in
gratitude for her splendid interpretation of the heroine in _Mazeppa_.
[104] This means _The Little Shoes_, but the opera has since been
republished as _Les Caprices d’Oxane_.
[105] A tale by Poushkin.
[106] A course of harmony.
[107] Rimsky-Korsakov courteously, but decidedly, declined the offer.
[108] Anna Petrovna kept her promise, and made the curtains which
ornament the dining-room at Klin till this day.
[109] A series of five bars of 3/4 is evidently meant.
[110] The present Professor of Composition at the Moscow Conservatoire
and Director of the Private Opera in Moscow.
[111] Caucasian villages.
[112] The celebrated Russian dramatist.
[113] Anatol’s wife.
[114] Anatol’s wife.
[115] The authoress of the well-known works, _Musikalische
Studienkopfe_ and _Musik Briefe aus fünf Jahrhunderten_. Tchaikovsky’s
letter appears in the second volume of the latter.
[116] Of _Cherevichek_, “The Little Shoes.”
[117] Tchaikovsky was staying in N. F. von Meck’s house at this time.
[118] In return for the dedication of the twelve songs.
[119] Opera by Serov.
[120] Orlik’s part is written for a bass, and Lody has a tenor voice.
[121] Their first meeting since 1869.
[122] In an account of his visit to Leipzig, which Tchaikovsky
afterwards published as the _Diary of My Tour in 1888_, he
characterises the German composer more fully: “Brahms is rather
a short man, suggests a sort of amplitude, and possesses a very
sympathetic appearance. His fine head--almost that of an old
man--recalls the type of a handsome, benign, elderly Russian priest.
His features are certainly not characteristic of German good looks,
and I cannot conceive why some learned ethnographer (Brahms himself
told me this after I had spoken of the impression his appearance made
upon me) chose to reproduce his head on the first page of his books as
being highly characteristic of German features. A certain softness of
outline, pleasing curves, rather long and slightly grizzled hair, kind
grey eyes, and a thick beard, freely sprinkled with white--all this
recalled at once the type of pure-bred Great Russian so frequently
met with among our clergy. Brahms’s manner is very simple, free from
vanity, his humour jovial, and the few hours spent in his society left
me with a very agreeable recollection.”
[123] In the same series of articles appeared the following sketch
of Grieg: “There entered the room a very short, middle-aged man,
exceedingly fragile in appearance, with shoulders of unequal height,
fair hair brushed back from his forehead, and a very slight, almost
boyish, beard and moustache. There was nothing very striking about the
features of this man, whose exterior at once attracted my sympathy,
for it would be impossible to call them handsome or regular; but he
had an uncommon charm, and blue eyes, not very large, but irresistibly
fascinating, recalling the glance of a charming and candid child. I
rejoiced in the depths of my heart when we were mutually introduced
to each other, and it turned out that this personality, which was so
inexplicably sympathetic to me, belonged to a musician whose warmly
emotional music had long ago won my heart. It was Edvard Grieg.”
[124] See Appendix C, p. 762.
[125] Pupil of Brassin and Madame Sophie Menter at the St. Petersburg
Conservatoire, and, later on, an intimate friend of Tchaikovsky.
[126] For Press notices see Appendix C, p. 764.
[127] Chairman of the Committee of the Philharmonic Society. In the
_Diary of My Tour_ Tchaikovsky says: “This venerable old man of
over eighty paid me great attention.... In spite of his age and his
infirmity, he attended two rehearsals, the concert, and the party at
Dr. Bernuth’s. Herr Lallemant candidly confessed that many of my works
which had been performed in Hamburg were not at all to his mind; that
he could not endure my noisy instrumentation and disliked my use of
the instruments of percussion. For all that he thought I had in me
the making of a really good German composer. Almost with tears in his
eyes he besought me to leave Russia and settle permanently in Germany,
where classical conventions and traditions of high culture could not
fail to correct my faults, which were easily explicable by the fact
of my having been born and educated in a country so unenlightened and
so far behind Germany.... I strove my best to overcome his prejudice
against our national sentiments, of which, moreover, he was quite
ignorant, or only knew them through the speeches of the Russophobist
section. We parted good friends.”
[128] For Press notices see Appendix C, p. 767.
[129] The Artists’ Club.
[130] In a later letter to Jurgenson he says: “One has to choose
between never travelling, or coming home with empty pockets. I
had hardly decided to throw up everything and fly home, when paid
engagements were offered me on all sides; at Angers, with a fee of
£40; the same at Geneva, in London (at the Crystal Palace) for a
sum not stated; but I gave them all up. You are mistaken in your
calculations as to the result of my journey. For London I received
£25 instead of £20 (thanks to my great success, the Directors of the
Philharmonic were moved to add an extra £5), and you omitted the £25
from Hamburg. My journey was certainly not a financial success; but I
did not undertake it for the sake of the money.”
[131] The Grand Duke Constantine had sent Tchaikovsky a volume of his
verses.
[132] Julius Zet had been secretary to Sophie Menter, and so became
acquainted with Tchaikovsky. Their friendship lasted until the
latter’s death, but their business relations were of brief duration.
Zet was not sufficiently calculating. Rather an enthusiast than a man
of business, he was unpractical and inaccurate.
[133] Unfortunately it will always remain unknown in what way this
sympathy was shown to Tchaikovsky.
[134] A favourite game of cards in Russia.
[135] A well-known Russian poet.
[136] Thus ended the plan for sending Tchaikovsky as musical
representative of Russia to the Paris Exhibition of 1889.
[137] Vassily Sapellnikov.
[138] The opera is entitled _Le Dernier Sorcier_.
[139] This work, the libretto of which was by Galée and Detroyat, was
never actually begun.
[140] In his diary Tchaikovsky only mentions V. d’Indy and Chaminade.
[141] The servant of his friend Kondratiev.
[142] Massenet and Brahms having declined their invitations, the
following conductors were engaged for 1889-90:--Rimsky-Korsakov,
Tchaikovsky, Siloti, Arensky, Klindworth, A. Rubinstein, Slatin,
Dvořák, Altani, Ippolitov-Ivanov, Napravnik, and Colonne.
[143] A celebrated Russian novelist and writer of short stories.
[144] The Grand Duke had dedicated his last volume of verse to
Tchaikovsky.
[145] For the story of _Pique Dame_ see Appendix B, p. 759.
[146] He had succeeded Taneiev as Director of the Moscow Conservatoire.
[147] Siloti had taken a smaller house, and made over part of his
furniture to Tchaikovsky, thinking it would be a kindness to him, for
the composer’s household lacked many comforts. Siloti did not reclaim
the furniture after Tchaikovsky’s death, and it stands at present in
the house at Klin.
[148] One of the most eminent of Russian poets.
[149] _A Dream on the Volga._
[150] “Do not forget, and think of me sometimes.”
[151] To compose an opera in one act and a ballet for the season
1891-2.
[152] Incidental music to the tragedy _Hamlet_, for Guitry’s benefit.
[153] An opera in one act, afterwards known as _Iolanthe_.
[154] _A Dream on the Volga_ (the Voyevode).
[155] The opening ceremony of the new Carnegie Hall in New York.
[156] President of the Music Hall Company of New York, upon whose
initiative Tchaikovsky had been engaged in America.
[157] The head of the Knabe Pianoforte Manufactory.
[158] This hall was built principally with the help of Mr. Carnegie.
Tchaikovsky was invited to the opening festivities.
[159] Walter Damrosch, son of the founder of the “Symphony Society” in
New York, one of the directors of the Music Hall Company of New York,
and conductor of the Symphony Concerts and of the opera.
[160] A. Carnegie, the greatest ironmaster in America, perhaps in the
world; orator, author, politician; a most generous benefactor and
founder of many schools, libraries and museums.
[161] Francis Hyde, Director of the Trust Company, and President of
the New York Philharmonic Society.
[162] A representative from the firm of Knabe.
[163] This would have been an impossible athletic feat, probably the
equivalent in notes is intended.--R. N.
[164] “Christ is risen”--a Russian Easter greeting.
[165] “Legend” and “Our Father.”
[166] _The New York Herald_, 6th May, 1891.
[167] Son of the celebrated scientist, S. Botkin, and Secretary to the
Russian Embassy in Washington.
[168] Schirmer’s married daughter.
[169] Broken Russian. “How are you? Please sit down.”
[170] Anatol was then Vice-Governor of Estland.
[171] In the _Revue des Deux Mondes_, 1891.
[172] In July of this year he had been made a corresponding member of
the “Maatschappij tot Bevorderung van Toonkunst.”
[173] Diminutive of Petersburg.
[174] A. Friede, General of Infantry.
[175] Daughter of General A. Friede and a prima donna at the Maryinsky
Theatre, St. Petersburg.
[176] The representative of the firm of Bechstein.
[177] The celebrated general.
[178] Gustav Mahler, afterwards conductor at the Vienna Opera, also
produced _Eugene Oniegin_ and _Iolanthe_ in the Austrian capital.
[179] Tchaikovsky presented several autograph scores to the Imperial
Public Library, Petersburg.
[180] Tchaikovsky was conducting for the benefit of Prianichnikov and
the Kiev Opera Company, then in Moscow.
[181] Anatol was one of the nine commissioners chosen by the Tsarevich
to inquire into the failure of the crops and the sufferings of the
starving peasants in Siberia.
[182] George, the son of Nicholas Tchaikovsky, to whom the composer
left his real estate and a life annuity of 1,200 roubles per annum.
[183] “Is changed to desire.”
[184] Katharine Oboukhov, a second cousin of Tchaikovsky.
[185] _Neue Freie Presse_, March 30th, 1901. The above is quoted from
the German edition of _The Life and Letters of Tchaikovsky_.
[186] _A Day in St. Petersburg._
[187] Jurgenson had commissioned Tchaikovsky to send him as many songs
and pianoforte pieces as he liked, and while awaiting at Klin the day
of his departure for London, the composer determined to write one
number every day.
[188] Karl Albrecht, who was on his death-bed.
[189] The Quartet _Night_.
[190] This was before Sir Charles Villiers Stanford was knighted.
[191] _Portraits et Souvenirs_, Saint-Saëns, p. 141.
[192] This was merely a playful threat because his nephew had
neglected to answer his letters.
[193] There was no other witness of this incident but myself. But it
is clear from the programme of the concert of October 16th (28th) that
this title had not then been given to the work. Moreover, anyone can
see by a glance at the title-page that this name was written later
than the rest.
[194] As several English versions exist of many of Tchaikovsky’s
songs, and some of these so-called translations have not even titles
in common with the original texts, it is less misleading to keep to
the German titles.--R. N.
[195] The Introduction is the Malo-Russian variant of “Down by
Mother Volga,” the Finale is based upon a popular tune called “The
Crane.”--R. N.
* * * * *
Typographical errors corrected by the etext transcriber:
contemptuous epiphet=> contemptuous epithet {pg 293}
Zemsky Sabor=> Zemsky Sobor {pg 416}
Rimksy-Korsakov’s=> Rimsky-Korsakov’s {pg 417}
Neverthess=> Nevertheless {pg 525}
Francesa da Rimini=> Francesca da Rimini {pg 5245}
fortuitious=> fortuitous {pg 596}
To Modeste Tchaikvosky=> To Modeste Tchaikovsky {pg 605}
Philadephia=> Philadelphia {pg 646}
assists my projects=> assist my projects {pg 683}
Tchaikovky=> Tchaikovsky {pg 709}
Nein, wen ich liebe=> Nein, wenn ich liebe {pg 734}
Beresovsky, 298=> Berezovsky, 298 {pg index}