Letter 1591 - Revision history

Tony: "Finela" to "Finale" for clarity of meaning

2024-08-16T12:26:29Z

"Finela" to "Finale" for clarity of meaning

← Older revision		Revision as of 14:26, 16 August 2024
Line 164:		Line 164:
	Your are mistaken in saying that [[Purgold]]'s arrangement belongs to [[Bessel]]. Not at all. She did it ''for me'', at [[Mily Balakirev\|Mily]]'s request, and sent it to ''me'', then I sent it off to [[Bock]], from whom [[Bessel]] fraudulently stole it, along with ''[[Klindworth]]'s''. I should very much like, without the least scruples towards [[Bessel]], for you to immediately send all my work to ''[[Bock]]'', which in any case has nothing to do with [[Bessel]]'s rights any more, now that I've re-done the arrangement myself. [[Bock]] might not even print her name, and assign the arrangement to me.		Your are mistaken in saying that [[Purgold]]'s arrangement belongs to [[Bessel]]. Not at all. She did it ''for me'', at [[Mily Balakirev\|Mily]]'s request, and sent it to ''me'', then I sent it off to [[Bock]], from whom [[Bessel]] fraudulently stole it, along with ''[[Klindworth]]'s''. I should very much like, without the least scruples towards [[Bessel]], for you to immediately send all my work to ''[[Bock]]'', which in any case has nothing to do with [[Bessel]]'s rights any more, now that I've re-done the arrangement myself. [[Bock]] might not even print her name, and assign the arrangement to me.

	You are also mistaken that ''I do not recall'' everything that's been written about the exhibition music. On the contrary, ''it is you who do not recall'' and never answered a single one of my questions: 1) ''when is it to be written for''; 2) ''how is it to be paid for''? The fact that no-one wants to reply to these questions, or to even give me some notion of ''what is needed from me'', may very well be why I couldn't set about any work at all. When ''commissioning'', you have to say exactly what it is that you want. There's no point in thinking that I can be ''carried away'' by this work. Writing for an ''exhibition'' was, is, and shall always be something to which I have an extreme aversion, and to which I can be tempted only by I) a good fee, or II) a request from a friend to do this as a friendly service. I repeat what I've already written about this. Let me be either, a) ''commissioned'' (and, as with any commission, they must say ''when and for how much''), or b) asked to do it by someone in need, i.e. ''[[Nikolay Grigoryevich]]'', who then again must also give some account of what he wants. Not so long ago you wrote to me that [[Nikolay Grigoryevich]] has no time to think about this, and he'll give me instructions ''in a week''. Now you've not written anything about all this, and you're demanding that I become ''carried away'', just as if it were in my power to do so! I'm expressing what I'm thinking and feeling frankly about this, and if it happens that I'm still ''interested'', then what's to be done? This is how it is, and I won't pretend otherwise. I won't write a single note unless they tell me something precise and clear.		You are also mistaken that ''I do not recall'' everything that's been written about the exhibition music. On the contrary, ''it is you who do not recall'' and never answered a single one of my questions: 1) ''when is it to be written for''; 2) ''how is it to be paid for''? The fact that no-one wants to reply to these questions, or to even give me some notion of ''what is needed from me'', may very well be why I couldn't set about any work at all. When ''commissioning'', you have to say exactly what it is that you want. There's no point in thinking that I can be ''carried away'' by this work. Writing for an ''exhibition'' was, is, and shall always be something to which I have an extreme aversion, and to which I can be tempted only by I) a good fee, or II) a request from a friend to do this as a friendly service. I repeat what I've already written about this. Let me be either, a) ''commissioned'' (and, as with any commission, they must say ''when and for how much''), or b) asked to do it by someone in need, i.e. ''[[Nikolay Grigoryevich]]'', who then again must also give some account of what he wants. Not so long ago, you wrote to me that [[Nikolay Grigoryevich]] has no time to think about this, and he'll give me instructions ''in a week''. Now you've not written anything about all this, and you're demanding that I become ''carried away'', just as if it were in my power to do so! I'm expressing what I'm thinking and feeling frankly about this, and if it happens that I'm still ''interested'', then what's to be done? This is how it is, and I won't pretend otherwise. I won't write a single note unless they tell me something precise and clear.

	I'm sending a list of characters and contents with the numbers:		I'm sending a list of characters and contents with the numbers:
Line 235:		Line 235:
	{{!}} 92		{{!}} 92
	{{!}}-		{{!}}-
	{{!}} No. 8. ~~Finela~~		{{!}} No. 8. Finale
	{{!}} 102		{{!}} 102
	{{!}}-		{{!}}-

Brett: 1 revision imported

2022-07-12T12:25:39Z

1 revision imported

← Older revision	Revision as of 14:25, 12 July 2022
(No difference)

Brett at 12:10, 12 January 2021

2021-01-12T12:10:57Z

New page

{{letterhead
|Date=13/25 September 1880
|To=[[Pyotr Jurgenson]]
|Place=[[Kamenka]]
|Language=Russian
|Autograph=[[Klin]] (Russia): {{RUS-KLč}} (a{{sup|3}}, No. 2319)
|Publication={{bib|1938/40|П. И. Чайковский. Переписка с П. И. Юргенсоном ; том 1}} (1938), p. 173–175 {{bib|1965/80|П. И. Чайковский. Полное собрание сочинений ; том IX}} (1965), p. 269–272
}}
==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Brett Langston
|Original text={{right|''Каменка'' 13 сент[ября]}}
Ты ошибаешься, говоря, что переложение Пургольдши принадлежит Бесселю. Нимало. Она его сделала ''для меня'', по просьбе Милия, и прислала ''мне'', а я отослал Боку, у которого Бессель и утащил её мошенническим образом вместе с ''Клиндвортовским''. Я бы очень хотел, чтобы, нимало не стесняясь Бесселем, ты тотчас же отослал всю мою работу ''Боку'', которому во всяком случае нет никакого дело до Бесселевcких прав тем более, что переложение я переделал по-своему. Бок может даже не печатать её имени и приписать переложение мне.

Ты также ошибаешься, что ''я не помню'' всего, что было писано о выставочной музыке. Напротив, ''ты не помнишь'' и ни единого раза не отвечал на мои вопросы: 1) ''к какому времени написать''; 2) ''каков гонорар''? Очень может быть, что я оттого и не могу никак приняться за работу, что никто не хочет мне ответить на эти вопросы, а также хоть приблизительно изъяснить мне, ''чего от меня нужно''. Когда ''заказывают'', то нужно определительно сказать, чего хотят. Напрасно ты думаешь, что я могу ''увлечься'' этою работой. Писать по поводу ''выставки'' для меня было, есть и всегда будет делом крайне антипатичным и на которое меня может соблазнить: или I) хороший гонорар; или II) просьба приятеля сделать это в качестве дружеской услуги. Повторяю то, что уже писал по поводу этого. Пусть мне или а) ''закажут'' (и, как при всяком заказе, скажут, ''когда и за сколько''), или б) попросит тот, кто в этом нуждается, т.е. ''Ник[олай] Григ[орьевич]'', и опять-таки при этом хоть сколько-нибудь изъяснит, чего ему хочется. Недавно ты писал мне, что Н[икаолай] Г[ригорьевич] не имеет времени думать об этом и ''через неделю'' даст мне указание. Теперь ты об этом ничего не пишешь и все требуешь, чтоб я ''увлёкся'', точно будто это в моей власти! Высказываю откровенно то что думаю и чувствую по этому поводу и если оказываюсь при этом ''интересантом'' то что же делать? Таков я есть и притворяться не могу. Не напишу ни единой ноты, пока мне не скажут чего-нибудь точного и ясного.

Посылаю список действующих лиц и содержание по нумерам:

{{centre|''Действующие лица''}}

{{{!}} style="width: 98%"
{{!}} Кораль Карл VII (седьмой)
{{!}} Тенор.
{{!}}-
{{!}} Архиепископ
{{!}} Бас.
{{!}}-
{{!}} Дюнуа, французский рыцарь
{{!}} Баритон.
{{!}}-
{{!}} Лионель, бургундcкий рыцарь
{{!}} Баритон.
{{!}}-
{{!}} Тибо д'арк, отец Иоанны
{{!}} Бас.
{{!}}-
{{!}} Раймонд, её жених
{{!}} Тенор.
{{!}}-
{{!}} Бертран, крестьянин
{{!}} Бас.
{{!}}-
{{!}} Воин
{{!}} 2-й бас.
{{!}}-
{{!}} Иоанна д'Арк
{{!}} Сопрано.
{{!}}-
{{!}} Агнеса Сорель
{{!}} Сопрано.
{{!}}-
{{!}} Голос соло в хоре ангелов
{{!}} Сопрано.
{{!}}}

Кавалеры и дамы двора, воины французские и английские рыцари, монахи, цыгане, и цыганки, пажи, шуты, карлики, менестрели, палачи, народ.

{{centre|''Содержание''}}
{{{!}} style="width: 98%"
{{!}} Интродукция
{{!}} стр. 2
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''Действие I''}}
{{!}}-
{{!}} № 1. Хор девушек
{{!}} 14
{{!}}-
{{!}} № 2. Сцена и терцет
{{!}} 19
{{!}}-
{{!}} № 3. Сцена
{{!}} 30
{{!}}-
{{!}} № 4. Хор народа и сцена
{{!}} 34
{{!}}-
{{!}} № 5. Сцена
{{!}} 59
{{!}}-
{{!}} № 6. Гимн
{{!}} 69
{{!}}-
{{!}} № 7. Ария Иоанны
{{!}} 92
{{!}}-
{{!}} № 8. Финал
{{!}} 102
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''Действие II''}}
{{!}}-
{{!}} № 9. Антракт
{{!}} 124
{{!}}-
{{!}} № 10. Хор менестрелей
{{!}} 128
{{!}}-
{{!}} № 11. Танцы:         а) Пляска цыган
{{!}} 134
{{!}}-
{{!}}         б) Пляска пажей и карликов
{{!}} 144
{{!}}-
{{!}}        в) Пляска шутов и скоморохов
{{!}} 146
{{!}}-
{{!}} № 12. Сцена и дуэт
{{!}} 155
{{!}}-
{{!}} № 13. Ариозо Агнесы и дуэттино
{{!}} 179
{{!}}-
{{!}} № 14. Сцена и рассказ архиепископа
{{!}} 192
{{!}}-
{{!}} № 15. Рассказ Иоанны
{{!}} 202
{{!}}-
{{!}} № 16. Финал
{{!}}
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''Действие III (Картина 1-я)''}}
{{!}}-
{{!}} № 17. Сцена и дуэт
{{!}} 260
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''(Картина 2-я)''}}
{{!}}-
{{!}} № 18. Марш
{{!}} 288
{{!}}-
{{!}} № 19. Сцена и дуэттино
{{!}} 314
{{!}}-
{{!}} № 20. Финал
{{!}} 322
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''Действие IV (Картина 1-я)''}}
{{!}}-
{{!}} № 21. Интродукция и сцена
{{!}} 409
{{!}}-
{{!}} № 22. Дуэт и сцена
{{!}} 420
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''(Картина 2-я)''}}
{{!}}-
{{!}} № 23. Финальная сцена
{{!}} 443
{{!}}}

Так или нет?

Пожалуй, отдай 2-ручное переложение Лангеру, но с тем, чтобы до отдачи в гравировку я бы мог просмотреть его.

Если будешь отвечать Клименке, передай ему лобызания и приветствия.

Относительно истории с Ратером скажу, что мне совестно, что невольно подвёл тебя. На прошу тебя в объяснениях с Ратером взваливать всю вину на меня, а не на Ратера.

Пожалуйста, голубчик, насчёт выставочной музыки дай точные сведения. Иначе не могу.
{{right|П. Чайковский}}

|Translated text={{right|''[[Kamenka]]'' 13 September}}
Your are mistaken in saying that [[Purgold]]'s arrangement belongs to [[Bessel]]. Not at all. She did it ''for me'', at [[Mily Balakirev|Mily]]'s request, and sent it to ''me'', then I sent it off to [[Bock]], from whom [[Bessel]] fraudulently stole it, along with ''[[Klindworth]]'s''. I should very much like, without the least scruples towards [[Bessel]], for you to immediately send all my work to ''[[Bock]]'', which in any case has nothing to do with [[Bessel]]'s rights any more, now that I've re-done the arrangement myself. [[Bock]] might not even print her name, and assign the arrangement to me.

You are also mistaken that ''I do not recall'' everything that's been written about the exhibition music. On the contrary, ''it is you who do not recall'' and never answered a single one of my questions: 1) ''when is it to be written for''; 2) ''how is it to be paid for''? The fact that no-one wants to reply to these questions, or to even give me some notion of ''what is needed from me'', may very well be why I couldn't set about any work at all. When ''commissioning'', you have to say exactly what it is that you want. There's no point in thinking that I can be ''carried away'' by this work. Writing for an ''exhibition'' was, is, and shall always be something to which I have an extreme aversion, and to which I can be tempted only by I) a good fee, or II) a request from a friend to do this as a friendly service. I repeat what I've already written about this. Let me be either, a) ''commissioned'' (and, as with any commission, they must say ''when and for how much''), or b) asked to do it by someone in need, i.e. ''[[Nikolay Grigoryevich]]'', who then again must also give some account of what he wants. Not so long ago you wrote to me that [[Nikolay Grigoryevich]] has no time to think about this, and he'll give me instructions ''in a week''. Now you've not written anything about all this, and you're demanding that I become ''carried away'', just as if it were in my power to do so! I'm expressing what I'm thinking and feeling frankly about this, and if it happens that I'm still ''interested'', then what's to be done? This is how it is, and I won't pretend otherwise. I won't write a single note unless they tell me something precise and clear.

I'm sending a list of characters and contents with the numbers:

{{centre|''Cast''}}

{{{!}} style="width: 98%"
{{!}} King Karl VII (the seventh)
{{!}} Tenor.
{{!}}-
{{!}} Archibishop
{{!}} Bass.
{{!}}-
{{!}} Dunois, a French knight
{{!}} Baritone.
{{!}}-
{{!}} Lionel, a Burgundian knight
{{!}} Baritone.
{{!}}-
{{!}} Thibaut d'Arc, Joan's father
{{!}} Bass.
{{!}}-
{{!}} Raimond, her fiancé
{{!}} Tenor.
{{!}}-
{{!}} Bertrand, a peasant
{{!}} Bass.
{{!}}-
{{!}} Soldier
{{!}} 2nd bass.
{{!}}-
{{!}} Joan of Arc
{{!}} Soprano.
{{!}}-
{{!}} Agnes Sorel
{{!}} Soprano.
{{!}}-
{{!}} Solo voice in the chorus of angels
{{!}} Soprano.
{{!}}}

Cavaliers and ladies of the court, French warriors and English knights, monks, gypsy men and women, pages, clowns, dwarves, minstrels, executioners, people.

{{centre|''Contents''}}
{{{!}} style="width: 98%"
{{!}} Introduction
{{!}} p. 2
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''Act I''}}
{{!}}-
{{!}} No. 1. Chorus of Maidens
{{!}} 14
{{!}}-
{{!}} No. 2. Scene and Terzetto
{{!}} 19
{{!}}-
{{!}} No. 3. Scene
{{!}} 30
{{!}}-
{{!}} No. 4. Chorus of People and Scene
{{!}} 34
{{!}}-
{{!}} No. 5. Scene
{{!}} 59
{{!}}-
{{!}} No. 6. Hymn
{{!}} 69
{{!}}-
{{!}} No. 7. Joan's Aria
{{!}} 92
{{!}}-
{{!}} No. 8. Finela
{{!}} 102
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''Act II''}}
{{!}}-
{{!}} No. 9. Entr'acte
{{!}} 124
{{!}}-
{{!}} No. 10. Chorus of Minstrels
{{!}} 128
{{!}}-
{{!}} No. 11. Dances:         а) Dance of the Gypsies
{{!}} 134
{{!}}-
{{!}}         б) Dance of the Pages and Dwarves
{{!}} 144
{{!}}-
{{!}}        в) Dance of the Clowns and Tumblers
{{!}} 146
{{!}}-
{{!}} No. 12. Scene and Duet
{{!}} 155
{{!}}-
{{!}} No. 13. Agnes's Arioso and Duettino
{{!}} 179
{{!}}-
{{!}} No. 14. Scene and Archibishop's Narrative
{{!}} 192
{{!}}-
{{!}} No. 15. Joan's Narrative
{{!}} 202
{{!}}-
{{!}} No. 16. Finale
{{!}}
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''Act III (1st scene)''}}
{{!}}-
{{!}} No. 17. Scene and Duet
{{!}} 260
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''(2nd scene)''}}
{{!}}-
{{!}} No. 18. March
{{!}} 288
{{!}}-
{{!}} No. 19. Scene and Duettino
{{!}} 314
{{!}}-
{{!}} No. 20. Finale
{{!}} 322
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''Act IV (1st scene)''}}
{{!}}-
{{!}} No. 21. Introduction and Scene
{{!}} 409
{{!}}-
{{!}} No. 22. Duet and Scene
{{!}} 420
{{!}}-
{{!}} colspan="2" {{!}}{{centre|''(2nd scene)''}}
{{!}}-
{{!}} No. 23. Final Scene
{{!}} 443
{{!}}}

Is that correct or not?

Perhaps you could give the 2-handed arrangement to [[Langer]], but so that I can review it before giving it to the engraver.

If you're going to answer [[Klimenko]], give him my compliments and greetings.

So far as the story with [[Rahter]] is concerned, I'm embarrassed that I unwittingly did you a bad turn. When you explain it to [[Rahter]], I urge you to place the blame entirely on me, and not on [[Rahter]].

Please, golubchik, give me precise information regarding the exhibition music. It can't be done otherwise.
{{right|P. Tchaikovsky}}
}}