Letter 2013 - Revision history

Tony: -ize forms to -ise for consistency / spacing before notes

2024-12-12T11:38:24Z

-ize forms to -ise for consistency / spacing before notes

Brett at 10:48, 2 August 2022

2022-08-02T10:48:42Z

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	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">In his letter to Tchaikovsky from [[London]] on 28 April/10 May 1882 [[Adolph Brodsky]] reported on his performance of the [[ Violin Concerto]] at a concert in the St. James's Hall conducted by Hans Richter two days earlier, on 26 April/8 May 1882. ~~(This was only the second time that the concerto was performed in public after its world premiere in [[Vienna]] on 22 November/8 December 1881).~~ "The day before yesterday," [[Brodsky]] wrote, "I had a huge success at the ''Richter concerts''. Applause broke out already at the first ''tutti''. After the first movement the audience applauded a very long time. At the very end I was called out twice. He who is familiar with the [[London]] public will understand that two curtain calls in [[London]] are equivalent to five calls in [[Moscow]]. The English don't give more than two curtain calls even to their darlings: [Joseph] Joachim and Clara Schumann. In Richter's opinion, and as it seemed to me too, I played better on this occasion than in [[Vienna]]. Everyone whom I have spoken to about your concerto liked it very much. The audience listened with the keenest attention. The original motifs of the final movement were evidently to people's liking~~. {{~~...}} As soon as the reviews appear, I shall forward them to you—I hope they will be better than the Viennese ones". [[Brodsky]]'s letter has been published in {{bib\|2006/51}} (2006), p. 113–114.</ref>		<ref name="note1">In his letter to Tchaikovsky from [[London]] on 28 April/10 May 1882 [[Adolph Brodsky]] reported on his performance of the [[ Violin Concerto]] at a concert in the St. James's Hall conducted by Hans Richter two days earlier, on 26 April/8 May 1882. "The day before yesterday," [[Brodsky]] wrote, "I had a huge success at the ''Richter concerts''. Applause broke out already at the first ''tutti''. After the first movement the audience applauded a very long time. At the very end I was called out twice. He who is familiar with the [[London]] public will understand that two curtain calls in [[London]] are equivalent to five calls in [[Moscow]]. The English don't give more than two curtain calls even to their darlings: [Joseph] Joachim and Clara Schumann. In Richter's opinion, and as it seemed to me too, I played better on this occasion than in [[Vienna]]. Everyone whom I have spoken to about your concerto liked it very much. The audience listened with the keenest attention. The original motifs of the final movement were evidently to people's liking... As soon as the reviews appear, I shall forward them to you—I hope they will be better than the Viennese ones". [[Brodsky]]'s letter has been published in {{bib\|2006/51}} (2006), p. 113–114.</ref>
	<ref name="note2">In an earlier letter from [[London]] on 24 April/6 May 1882 [[Brodsky]] had written: "I feel terribly embarrassed by your thanking me so much [in [[ letter 2008]]]. I do not deserve this in the least. Rather than you thanking me, I should thank God for allowing me to understand and love your music. As far as your concerto is concerned, it is a case of a service in return for a service. For if I am making it popular, it too is making me popular in turn, and here, in [[London]], I have simply had a lot of luck thanks to this concerto. Your name is very well-known here thanks to the [[Piano Concerto No. 1\|Piano Concerto]] and songs which have been performed here by [[Bülow]] and [[Henschel]], and the new [[Violin Concerto]] has proved to be a tasty morsel for the local directors (concert entrepreneurs), who are constantly seeking to treat their audiences to something new. {{..~~.}}~~ Besides, your concerto gives me the opportunity to demonstrate in the best possible light the 'maximum' of my technical expertise, and apart from a host of musical merits, there is also precisely the fact that it seems far more difficult than it is in reality—that is, it is very rewarding and effective. Therefore, dear Pyotr Ilyich, I hope that your ['thank you'] 'again', 'again', and 'again' in your last letters have exhausted the stock of expressions of gratitude, and that you will not thank me again" This letter of [[Brodsky]]'s has also been published in {{bib\|2006/51}} (2006), p. 112–113.</ref>		<ref name="note2">In an earlier letter from [[London]] on 24 April/6 May 1882 [[Brodsky]] had written: "I feel terribly embarrassed by your thanking me so much [in [[ letter 2008]]]. I do not deserve this in the least. Rather than you thanking me, I should thank God for allowing me to understand and love your music. As far as your concerto is concerned, it is a case of a service in return for a service. For if I am making it popular, it too is making me popular in turn, and here, in [[London]], I have simply had a lot of luck thanks to this concerto. Your name is very well-known here thanks to the [[Piano Concerto No. 1\|Piano Concerto]] and songs which have been performed here by [[Bülow]] and [[Henschel]], and the new [[Violin Concerto]] has proved to be a tasty morsel for the local directors (concert entrepreneurs), who are constantly seeking to treat their audiences to something new ... Besides, your concerto gives me the opportunity to demonstrate in the best possible light the 'maximum' of my technical expertise, and apart from a host of musical merits, there is also precisely the fact that it seems far more difficult than it is in reality—that is, it is very rewarding and effective. Therefore, dear Pyotr Ilyich, I hope that your ['thank you'] 'again', 'again', and 'again' in your last letters have exhausted the stock of expressions of gratitude, and that you will not thank me again" This letter of [[Brodsky]]'s has also been published in {{bib\|2006/51}} (2006), p. 112–113.</ref>
	<ref name="note3">[[Brodsky]] had received an invitation from the Musical Committee of the All-Russian Arts and Industrial Exhibition in [[Moscow]] to perform at one of the concerts which were to be held under its auspices that summer. He accepted the invitation, and on 8/20 August 1882, as part of the Exhibition's sixth concert conducted by [[Ippolit Altani]], he would give the first performance in Russia of the [[Violin Concerto]]. Tchaikovsky was present, and after the performance of his concerto he was called out onto the podium several times.</ref>		<ref name="note3">[[Brodsky]] had received an invitation from the Musical Committee of the All-Russian Arts and Industrial Exhibition in [[Moscow]] to perform at one of the concerts which were to be held under its auspices that summer. He accepted the invitation, and on 8/20 August 1882, as part of the Exhibition's sixth concert conducted by [[Ippolit Altani]], he would give the first performance in Russia of the [[Violin Concerto]]. Tchaikovsky was present, and after the performance of his concerto he was called out onto the podium several times.</ref>
	</references>		</references>

Brett: 1 revision imported

2022-07-12T11:25:06Z

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← Older revision	Revision as of 13:25, 12 July 2022
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Brett: Text replacement - "[...]" to "{{...}}"

2019-11-21T14:53:33Z

Text replacement - "[...]" to "{{...}}"

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{{letterhead
|Date=4/16 May 1882
|To=[[Adolph Brodsky]]
|Place=[[Kamenka]]
|Language=Russian
|Autograph=Manchester (England): {{GB-Mcm}}
|Publication={{bib|1901/24|Жизнь Петра Ильича Чайковского ; том 2}} (1901), p. 531–532 (abridged)<br/>{{bib|1966/43|П. И. Чайковский. Полное собрание сочинений ; том XI}} (1966), p. 112–113<br/>{{bib|2006/51}} (2006), p. 114–115
}}

==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Luis Sundkvist
|Original text={{right|''Каменка'', 4 мая 1882}}
{{centre|Дорогой друг<br/>Адольф Давидович!}}
Весьма и весьма обрадовало меня письмо Ваше, полученное сегодня. Радуюсь несказанно Вашему и моему успеху и разразился бы опять в благодарностях, если б Вы в предыдущем письме Вашем не просили меня от них воздерживаться. Потрудитесь, пожалуйста, передать от меня мою благодарность Рихтеру за двукратное и столь успешное дирижирование концертом. Как мне нравится, что Вы в Лондоне завоевали себе достойное Вашего таланта положение. Желательно, чтобы успехи Ваши шли всё ''crescendo'', и чтобы когда-нибудь Вы возвратились в Россию с громким авторитетным именем и украсили бы им и собою нашу бедную и всё-таки милую Московскую консерваторию. Быть может, и я когда-нибудь, утомлённый кочевой жизнью, возвращусь на старое пепелище и вместе с Вами будем работать для поддержки дела, основанного Ник[олаем] Григ[орьевичем].

Про себя скажу Вам, что не могу достаточно выразить Вам всё удовольствие, испытываемое мною здесь, в деревне, после месяца, проведённого в Москве, где я испытал много ненавистной для меня суеты и много мучительно-тоскливых чувств, причиняемых сознанием ''невозвратности прошлого''. Вы гораздо моложе меня и ещё, вероятно, мало знакомы с этим болезненным чувством. Чем старше становишься, тем живее, сильнее и чаще врывается оно в жизнь и отравляет её. Здесь, да ещё в моём римском уединении, моё нравственное благосостояние сильнее, чем где-либо. Собираюсь писать оперу; надеюсь, что дело пойдёт хорошо; по крайней мере, расположение к писанию есть и, если ничто не помешает, должно быть, хорошо буду работать.

До свидания, голубчик! Дай Вам Бог всякого рода удачи в делах Ваших. Как решён вопрос о Вашей поездке в Москву летом? Будете ли Вы там играть?

Искренно Вас любящий и уважающий,
{{right|П. Чайковский }}

|Translated text={{right|''[[Kamenka]]'', 4 May 1882}}
{{centre|Dear friend<br/>[[Adolph Davidovich]]!}}
Your letter, which I received today, has made me very, very happy <ref name="note1"/>. I am ineffably glad at your success, and mine, and I would again burst into expressions of gratitude, had you not asked me in your preceding letter to refrain from them <ref name="note2"/>. Please be so kind as to convey my gratitude to Richter for his reiterated and so successful conducting of the concerto. How I am pleased that you have earned yourself a status in [[London]] which is commensurate with your talent. I wish that your successes keep rising in ''crescendo'', and that some day you return to Russia with an acclaimed and authoritative reputation, with which, as well as with yourself, you can adorn our poor and yet dear [[Moscow]] Conservatory. Perhaps I too, worn out by my nomadic life, will some day return to my old home, and you and I can then work together to support the cause launched by [[Nikolay Grigoryevich]].

About myself I must say that I cannot describe to you sufficiently all the pleasure I am experiencing here in the countryside, after a month spent in [[Moscow]], where I went through a great deal of commotion, so loathsome to me, and also had many agonizing and melancholy feelings which were caused by my realizing the ''irrevocability of the past''. You are much younger than I am and you are probably not very familiar yet with that painful feeling. The older one becomes, the more keenly, intensely, and frequently this feeling irrupts into one's life and poisons it. Here, and also in my seclusion in [[Rome]], my moral well-being is sturdier than anywhere else. I am intending to write [[Mazepa|an opera]]. I hope that this project will go well—at any rate, I am in a mood for writing, and provided nothing intervenes I should be able to work well.

Until we meet, golubchik! May God grant you every possible success in your work. What has been decided regarding your trip to [[Moscow]] this summer? Will you be playing there?<ref name="note3"/>

Yours with sincere affection and respect,
{{right|P. Tchaikovsky }}
}}

==Notes and References==
<references>
<ref name="note1">In his letter to Tchaikovsky from [[London]] on 28 April/10 May 1882 [[Adolph Brodsky]] reported on his performance of the [[ Violin Concerto]] at a concert in the St. James's Hall conducted by Hans Richter two days earlier, on 26 April/8 May 1882. (This was only the second time that the concerto was performed in public after its world premiere in [[Vienna]] on 22 November/8 December 1881). "The day before yesterday," [[Brodsky]] wrote, "I had a huge success at the ''Richter concerts''. Applause broke out already at the first ''tutti''. After the first movement the audience applauded a very long time. At the very end I was called out twice. He who is familiar with the [[London]] public will understand that two curtain calls in [[London]] are equivalent to five calls in [[Moscow]]. The English don't give more than two curtain calls even to their darlings: [Joseph] Joachim and Clara Schumann. In Richter's opinion, and as it seemed to me too, I played better on this occasion than in [[Vienna]]. Everyone whom I have spoken to about your concerto liked it very much. The audience listened with the keenest attention. The original motifs of the final movement were evidently to people's liking. {{...}} As soon as the reviews appear, I shall forward them to you—I hope they will be better than the Viennese ones". [[Brodsky]]'s letter has been published in {{bib|2006/51}} (2006), p. 113–114.</ref>
<ref name="note2">In an earlier letter from [[London]] on 24 April/6 May 1882 [[Brodsky]] had written: "I feel terribly embarrassed by your thanking me so much [in [[ letter 2008]]]. I do not deserve this in the least. Rather than you thanking me, I should thank God for allowing me to understand and love your music. As far as your concerto is concerned, it is a case of a service in return for a service. For if I am making it popular, it too is making me popular in turn, and here, in [[London]], I have simply had a lot of luck thanks to this concerto. Your name is very well-known here thanks to the [[Piano Concerto No. 1|Piano Concerto]] and songs which have been performed here by [[Bülow]] and [[Henschel]], and the new [[Violin Concerto]] has proved to be a tasty morsel for the local directors (concert entrepreneurs), who are constantly seeking to treat their audiences to something new. {{...}} Besides, your concerto gives me the opportunity to demonstrate in the best possible light the 'maximum' of my technical expertise, and apart from a host of musical merits, there is also precisely the fact that it seems far more difficult than it is in reality—that is, it is very rewarding and effective. Therefore, dear Pyotr Ilyich, I hope that your ['thank you'] 'again', 'again', and 'again' in your last letters have exhausted the stock of expressions of gratitude, and that you will not thank me again" This letter of [[Brodsky]]'s has also been published in {{bib|2006/51}} (2006), p. 112–113.</ref>
<ref name="note3">[[Brodsky]] had received an invitation from the Musical Committee of the All-Russian Arts and Industrial Exhibition in [[Moscow]] to perform at one of the concerts which were to be held under its auspices that summer. He accepted the invitation, and on 8/20 August 1882, as part of the Exhibition's sixth concert conducted by [[Ippolit Altani]], he would give the first performance in Russia of the [[Violin Concerto]]. Tchaikovsky was present, and after the performance of his concerto he was called out onto the podium several times.</ref>
</references>

← Older revision		Revision as of 13:38, 12 December 2024
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	\|Translated text={{right\|''[[Kamenka]]'', 4 May 1882}}		\|Translated text={{right\|''[[Kamenka]]'', 4 May 1882}}
	{{centre\|Dear friend<br/>[[Adolph Davidovich]]!}}		{{centre\|Dear friend<br/>[[Adolph Davidovich]]!}}
	Your letter, which I received today, has made me very, very happy <ref name="note1"/>. I am ineffably glad at your success, and mine, and I would again burst into expressions of gratitude, had you not asked me in your preceding letter to refrain from them <ref name="note2"/>. Please be so kind as to convey my gratitude to Richter for his reiterated and so successful conducting of the concerto. How I am pleased that you have earned yourself a status in [[London]] which is commensurate with your talent. I wish that your successes keep rising in ''crescendo'', and that some day you return to Russia with an acclaimed and authoritative reputation, with which, as well as with yourself, you can adorn our poor and yet dear [[Moscow]] Conservatory. Perhaps I too, worn out by my nomadic life, will ~~some day~~ return to my old home, and you and I can then work together to support the cause launched by [[Nikolay Grigoryevich]].		Your letter, which I received today, has made me very, very happy <ref name="note1"/>. I am ineffably glad at your success, and mine, and I would again burst into expressions of gratitude, had you not asked me in your preceding letter to refrain from them <ref name="note2"/>. Please be so kind as to convey my gratitude to Richter for his reiterated and so successful conducting of the concerto. How I am pleased that you have earned yourself a status in [[London]] which is commensurate with your talent. I wish that your successes keep rising in ''crescendo'', and that some day you return to Russia with an acclaimed and authoritative reputation, with which, as well as with yourself, you can adorn our poor and yet dear [[Moscow]] Conservatory. Perhaps I too, worn out by my nomadic life, will someday return to my old home, and you and I can then work together to support the cause launched by [[Nikolay Grigoryevich]].

	About myself I must say that I cannot describe to you sufficiently all the pleasure I am experiencing here in the countryside, after a month spent in [[Moscow]], where I went through a great deal of commotion, so loathsome to me, and also had many ~~agonizing~~ and melancholy feelings which were caused by my ~~realizing~~ the ''irrevocability of the past''. You are much younger than I am and you are probably not very familiar yet with that painful feeling. The older one becomes, the more keenly, intensely, and frequently this feeling irrupts into one's life and poisons it. Here, and also in my seclusion in [[Rome]], my moral well-being is sturdier than anywhere else. I am intending to write [[Mazepa\|an opera]]. I hope that this project will go ~~well—at~~ any rate, I am in a mood for writing, and provided nothing intervenes I should be able to work well.		About myself, I must say that I cannot describe to you sufficiently all the pleasure I am experiencing here in the countryside, after a month spent in [[Moscow]], where I went through a great deal of commotion, so loathsome to me, and also had many agonising and melancholy feelings which were caused by my realising the ''irrevocability of the past''. You are much younger than I am, and you are probably not very familiar yet with that painful feeling. The older one becomes, the more keenly, intensely, and frequently this feeling irrupts into one's life and poisons it. Here, and also in my seclusion in [[Rome]], my moral well-being is sturdier than anywhere else. I am intending to write [[Mazepa\|an opera]]. I hope that this project will go well — at any rate, I am in a mood for writing, and provided nothing intervenes I should be able to work well.

	Until we meet, golubchik! May God grant you every possible success in your work. What has been decided regarding your trip to [[Moscow]] this summer? Will you be playing there?<ref name="note3"/>		Until we meet, golubchik! May God grant you every possible success in your work. What has been decided regarding your trip to [[Moscow]] this summer? Will you be playing there? <ref name="note3"/>

	Yours with sincere affection and respect,		Yours with sincere affection and respect,
Line 37:		Line 37:
	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">In his letter to Tchaikovsky from [[London]] on 28 April/10 May 1882 [[Adolph Brodsky]] reported on his performance of the [[ Violin Concerto]] at a concert in the St. James's Hall conducted by Hans Richter two days earlier, on 26 April/8 May 1882. "The day before yesterday," [[Brodsky]] wrote, "I had a huge success at the ''Richter concerts''. Applause broke out already at the first ''tutti''. After the first movement the audience applauded a very long time. At the very end I was called out twice. He who is familiar with the [[London]] public will understand that two curtain calls in [[London]] are equivalent to five calls in [[Moscow]]. The English don't give more than two curtain calls even to their darlings: [Joseph] Joachim and Clara Schumann. In Richter's opinion, and as it seemed to me too, I played better on this occasion than in [[Vienna]]. Everyone whom I have spoken to about your concerto liked it very much. The audience listened with the keenest attention. The original motifs of the final movement were evidently to people's liking... As soon as the reviews appear, I shall forward them to you—I hope they will be better than the Viennese ones". [[Brodsky]]'s letter has been published in {{bib\|2006/51}} (2006), p. 113–114.</ref>		<ref name="note1">In his letter to Tchaikovsky from [[London]] on 28 April/10 May 1882, [[Adolph Brodsky]] reported on his performance of the [[ Violin Concerto]] at a concert in the St. James's Hall conducted by Hans Richter two days earlier, on 26 April/8 May 1882. "The day before yesterday," [[Brodsky]] wrote, "I had a huge success at the ''Richter concerts''. Applause broke out already at the first ''tutti''. After the first movement, the audience applauded a very long time. At the very end I was called out twice. He who is familiar with the [[London]] public will understand that two curtain calls in [[London]] are equivalent to five calls in [[Moscow]]. The English don't give more than two curtain calls even to their darlings: [Joseph] Joachim and Clara Schumann. In Richter's opinion, and as it seemed to me too, I played better on this occasion than in [[Vienna]]. Everyone whom I have spoken to about your concerto liked it very much. The audience listened with the keenest attention. The original motifs of the final movement were evidently to people's liking... As soon as the reviews appear, I shall forward them to you—I hope they will be better than the Viennese ones". [[Brodsky]]'s letter has been published in {{bib\|2006/51}} (2006), p. 113–114.</ref>
	<ref name="note2">In an earlier letter from [[London]] on 24 April/6 May 1882 [[Brodsky]] had written: "I feel terribly embarrassed by your thanking me so much [in [[ letter 2008]]]. I do not deserve this in the least. Rather than you thanking me, I should thank God for allowing me to understand and love your music. As far as your concerto is concerned, it is a case of a service in return for a service. For if I am making it popular, it too is making me popular in turn, and here, in [[London]], I have simply had a lot of luck thanks to this concerto. Your name is very well-known here thanks to the [[Piano Concerto No. 1\|Piano Concerto]] and songs which have been performed here by [[Bülow]] and [[Henschel]], and the new [[Violin Concerto]] has proved to be a tasty morsel for the local directors (concert entrepreneurs), who are constantly seeking to treat their audiences to something new ... Besides, your concerto gives me the opportunity to demonstrate in the best possible light the 'maximum' of my technical expertise, and apart from a host of musical merits, there is also precisely the fact that it seems far more difficult than it is in ~~reality—that~~ is, it is very rewarding and effective. Therefore, dear Pyotr Ilyich, I hope that your ['thank you'] 'again', 'again', and 'again' in your last letters have exhausted the stock of expressions of gratitude, and that you will not thank me again" This letter of [[Brodsky]]'s has also been published in {{bib\|2006/51}} (2006), p. 112–113.</ref>		<ref name="note2">In an earlier letter from [[London]] on 24 April/6 May 1882, [[Brodsky]] had written: "I feel terribly embarrassed by your thanking me so much [in [[ letter 2008]]]. I do not deserve this in the least. Rather than you thanking me, I should thank God for allowing me to understand and love your music. As far as your concerto is concerned, it is a case of a service in return for a service. For if I am making it popular, it too is making me popular in turn, and here, in [[London]], I have simply had a lot of luck thanks to this concerto. Your name is very well known here thanks to the [[Piano Concerto No. 1\|Piano Concerto]] and songs which have been performed here by [[Bülow]] and [[Henschel]], and the new [[Violin Concerto]] has proved to be a tasty morsel for the local directors (concert entrepreneurs), who are constantly seeking to treat their audiences to something new ... Besides, your concerto gives me the opportunity to demonstrate in the best possible light the 'maximum' of my technical expertise, and apart from a host of musical merits, there is also precisely the fact that it seems far more difficult than it is in reality — that is, it is very rewarding and effective. Therefore, dear Pyotr Ilyich, I hope that your ['thank you'] 'again', 'again' and 'again' in your last letters have exhausted the stock of expressions of gratitude, and that you will not thank me again". This letter of [[Brodsky]]'s has also been published in {{bib\|2006/51}} (2006), p. 112–113.</ref>
	<ref name="note3">[[Brodsky]] had received an invitation from the Musical Committee of the All-Russian Arts and Industrial Exhibition in [[Moscow]] to perform at one of the concerts which were to be held under its auspices that summer. He accepted the invitation, and on 8/20 August 1882, as part of the Exhibition's sixth concert conducted by [[Ippolit Altani]], he would give the first performance in Russia of the [[Violin Concerto]]. Tchaikovsky was present, and after the performance of his concerto he was called out onto the podium several times.</ref>		<ref name="note3">[[Brodsky]] had received an invitation from the Musical Committee of the All-Russian Arts and Industrial Exhibition in [[Moscow]] to perform at one of the concerts which were to be held under its auspices that summer. He accepted the invitation, and on 8/20 August 1882, as part of the Exhibition's sixth concert conducted by [[Ippolit Altani]], he would give the first performance in Russia of the [[Violin Concerto]]. Tchaikovsky was present, and after the performance of his concerto he was called out onto the podium several times.</ref>
	</references>		</references>