Letter 3170 - Revision history

Tony at 11:25, 15 February 2025

2025-02-15T11:25:13Z

← Older revision		Revision as of 13:25, 15 February 2025
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	{{letterhead		{{letterhead
	\|Date=early/mid February 1887		\|Date=early/mid-February 1887
	\|To=[[Félix Mackar]]		\|To=[[Félix Mackar]]
	\|Place=[[Maydanovo]]		\|Place=[[Maydanovo]]

Tony: Added commas for ease of reading / "Imperial" for consistency

2025-02-15T11:24:12Z

Added commas for ease of reading / "Imperial" for consistency

← Older revision		Revision as of 13:24, 15 February 2025
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	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">The letter from [[Mackar]] to which Tchaikovsky is replying here has not been published in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970) and may well not have survived. However, in an earlier letter from [[Paris]] on 11/23 November 1886 [[Mackar]] had mentioned to Tchaikovsky that he wanted to ~~organize~~ a further concert of his works that winter. It was to take place in the Salle Érard and was to feature the pianist [[Louis Diémer]], the violinist [[Martin Pierre Marsick]] (1848–1924), the cellist Jules Delsart (1844–1900), and the singer Juliette Conneau — see {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 153–154. In the letter to which Tchaikovsky is replying above, [[Mackar]] had evidently given the specific date of the recital. It was to take place on 11/23 February 1887, and all the musicians mentioned earlier took part, except for Delsart, who was replaced by [[Anatoly Brandukov]]. They were, moreover, joined by the violist Joseph-Louis-Marie Mas and the violinist Alfred Brun (b. 1864) — see the information provided by Vladimir Fédorov in {{bib\|1968/16\|Revue de musicologie}} (1968), p. 59, note 1.</ref>		<ref name="note1">The letter from [[Mackar]] to which Tchaikovsky is replying here has not been published in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970) and may well not have survived. However, in an earlier letter from [[Paris]] on 11/23 November 1886, [[Mackar]] had mentioned to Tchaikovsky that he wanted to organise a further concert of his works that winter. It was to take place in the Salle Érard and was to feature the pianist [[Louis Diémer]], the violinist [[Martin Pierre Marsick]] (1848–1924), the cellist Jules Delsart (1844–1900) and the singer Juliette Conneau — see {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 153–154. In the letter to which Tchaikovsky is replying above, [[Mackar]] had evidently given the specific date of the recital. It was to take place on 11/23 February 1887, and all the musicians mentioned earlier took part, except for Delsart, who was replaced by [[Anatoly Brandukov]]. They were, moreover, joined by the violist Joseph-Louis-Marie Mas and the violinist Alfred Brun (b. 1864) — see the information provided by Vladimir Fédorov in {{bib\|1968/16\|Revue de musicologie}} (1968), p. 59, note 1.</ref>
	<ref name="note2">This concert of the [[Saint Petersburg]] Philharmonic Society conducted by Tchaikovsky would take place in the Hall of the Assembly of the Nobility on 5/17 March 1887. It featured the first performance in the ~~imperial~~ capital of the [[Suite No. 1]], Kuma's arioso from Act I of ''[[The Enchantress]]'' (sung by [[Aleksandra Panayeva-Kartsova]]), the Dance of the Tumblers from that opera, the Andante and ''Valse'' from the [[Serenade for String Orchestra]], the fantasia ''[[Francesca da Rimini]]'', various solo piano pieces (played by Dmitry Klimov), three romances (sung by [[Panayeva-Kartsova]]), and the festival overture ''[[The Year 1812]]''. The concert was received very well both by the public and the critics (though [[César Cui]], as usual, expressed some reservations).</ref>		<ref name="note2">This concert of the [[Saint Petersburg]] Philharmonic Society conducted by Tchaikovsky would take place in the Hall of the Assembly of the Nobility on 5/17 March 1887. It featured the first performance in the Imperial capital of the [[Suite No. 1]], Kuma's arioso from Act I of [[The Enchantress]] (sung by [[Aleksandra Panayeva-Kartsova]]), the Dance of the Tumblers from that opera, the Andante and ''Valse'' from the [[Serenade for String Orchestra]], the fantasia ''[[Francesca da Rimini]]'', various solo piano pieces (played by Dmitry Klimov), three romances (sung by [[Panayeva-Kartsova]]) and the festival overture ''[[The Year 1812]]''. The concert was received very well both by the public and the critics (though [[César Cui]], as usual, expressed some reservations).</ref>
	<ref name="note3">Tchaikovsky was in a rush to complete the vocal-piano reduction of ''[[The Enchantress]]'' so that the rehearsals for his opera at the [[Moscow]] Bolshoi Theatre could go ahead, and he also needed to orchestrate Acts II, III, and IV so that he could submit the full score to the Theatres' Directorate by Lent, as he had promised.</ref>		<ref name="note3">Tchaikovsky was in a rush to complete the vocal-piano reduction of [[The Enchantress]] so that the rehearsals for his opera at the [[Moscow]] Bolshoi Theatre could go ahead, and he also needed to orchestrate Acts II, III and IV so that he could submit the full score to the Theatres' Directorate by Lent, as he had promised.</ref>
	<ref name="note4">The recital went ahead on 11/23 February 1887, so Tchaikovsky was unable to attend. As [[Mackar]] reported in a letter to Tchaikovsky the following day, it was a great success. The Salle Érard was unable to accommodate all those who came, and so more than 200 people had to listen to the concert standing — see [[Mackar]]'s letter in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 154. On the programme were the ''[[Sérénade mélancolique]]'' (in Tchaikovsky's own arrangement for violin and piano; played by [[Marsick]], with [[Brandukov]] accompanying on the piano); the ''Nocturne'', No. 4 of the [[Six Pieces, Op. 19]], for piano, arranged for solo cello and piano (played by [[Brandukov]], with [[Marsick]] accompanying); the [[Piano Trio]] (played by [[Diémer]], [[Brandukov]], and Marsick); Nos. 1, 2, 5, and 6 from the [[Six Romances, Op. 6]] (sung by Juliette Conneau); the ''Polonaise'' from ''[[Yevgeny Onegin]]'' in [[Liszt]]'s transcription for piano; ''Chant sans paroles'', No. 3 from ''[[Souvenir de Hapsal]]'', Op. 2; ''Polka de salon'', No. 2 of the [[Three Pieces, Op. 9]]; ''Mazurka'', No. 5 of the [[Twelve Pieces, Op. 40]]; and ''Romance'', No. 5 of the [[Six Pieces, Op. 51]] (all played by [[Diémer]]).</ref>		<ref name="note4">The recital went ahead on 11/23 February 1887, so Tchaikovsky was unable to attend. As [[Mackar]] reported in a letter to Tchaikovsky the following day, it was a great success. The Salle Érard was unable to accommodate all those who came, and so more than 200 people had to listen to the concert standing — see [[Mackar]]'s letter in {{bib\|1970/6\|Чайковский и зарубежные музыканты}} (1970), p. 154. On the programme were the ''[[Sérénade mélancolique]]'' (in Tchaikovsky's own arrangement for violin and piano; played by [[Marsick]], with [[Brandukov]] accompanying on the piano); the ''Nocturne'', No. 4 of the [[Six Pieces, Op. 19]], for piano, arranged for solo cello and piano (played by [[Brandukov]], with [[Marsick]] accompanying); the [[Piano Trio]] (played by [[Diémer]], [[Brandukov]], and Marsick); Nos. 1, 2, 5, and 6 from the [[Six Romances, Op. 6]] (sung by Juliette Conneau); the ''Polonaise'' from [[Yevgeny Onegin]] in [[Liszt]]'s transcription for piano; ''Chant sans paroles'', No. 3 from ''[[Souvenir de Hapsal]]'', Op. 2; ''Polka de salon'', No. 2 of the [[Three Pieces, Op. 9]]; ''Mazurka'', No. 5 of the [[Twelve Pieces, Op. 40]]; and ''Romance'', No. 5 of the [[Six Pieces, Op. 51]] (all played by [[Diémer]]).</ref>
	<ref name="note5">As Tchaikovsky confessed in [[Letter 3175]] to [[Nadezhda von Meck]] on 9/21 February 1887, his success in conducting ''[[Cherevichki]]'' had made him start dreaming of ~~organizing~~ a concert tour of his works abroad.</ref>		<ref name="note5">As Tchaikovsky confessed in [[Letter 3175]] to [[Nadezhda von Meck]] on 9/21 February 1887, his success in conducting [[Cherevichki]] had made him start dreaming of organising a concert tour of his works abroad.</ref>
	<ref name="note6">In 1887 Tchaikovsky visited [[Paris]] only very briefly, from 2/14 to 4/16 August. On the last day he was able to spend some time with [[Mackar]] and his wife.</ref>		<ref name="note6">In 1887 Tchaikovsky visited [[Paris]] only very briefly, from 2/14 to 4/16 August. On the last day he was able to spend some time with [[Mackar]] and his wife.</ref>
	<ref name="note7">In [[Letter 2980]] of 22 June/4 July 1886 Tchaikovsky had asked [[Mackar]] to order several prints of the portrait photographs he had had taken at Reutlinger's atelier in [[Paris]] two weeks earlier. It seems that [[Mackar]] had not complied with that request.</ref>		<ref name="note7">In [[Letter 2980]] of 22 June/4 July 1886, Tchaikovsky had asked [[Mackar]] to order several prints of the portrait photographs he had had taken at Reutlinger's atelier in [[Paris]] two weeks earlier. It seems that [[Mackar]] had not complied with that request.</ref>
	<ref name="note8">[[Mackar]]'s wife, Valérie. In 1888, Tchaikovsky would dedicate to her one of the prints made by the [[Hamburg]] photographer E. Bieber on 6/18 January 1888. He wrote on it the following inscription: "Madame Valérie Mackar souvenir affectueux" and sketched three bars from the ''Andante cantabile'' of his [[String Quartet No. 1]] — see {{bib\|1968/16\|Revue de musicologie}} (1968), p. 94. The portrait in question appears as [[:File:Photo060.jpg\|Photograph No. 60]] in our [[Photographs\|Catalogue of Photographs]].</ref>		<ref name="note8">[[Mackar]]'s wife, Valérie. In 1888, Tchaikovsky would dedicate to her one of the prints made by the [[Hamburg]] photographer E. Bieber on 6/18 January 1888. He wrote on it the following inscription: "Madame Valérie Mackar souvenir affectueux" and sketched three bars from the ''Andante cantabile'' of his [[String Quartet No. 1]] — see {{bib\|1968/16\|Revue de musicologie}} (1968), p. 94. The portrait in question appears as [[:File:Photo060.jpg\|Photograph No. 60]] in our [[Photographs\|Catalogue of Photographs]].</ref>
	</references>		</references>

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{{letterhead
|Date=early/mid February 1887
|To=[[Félix Mackar]]
|Place=[[Maydanovo]]
|Language=French
|Autograph=[[Paris]] (France): {{F-Pn}}
|Publication={{bibx|1968/16|Revue de musicologie}}, tome 64 (1968), no. 1, p. 58–59<br/>{{bibx|1970/8|Советская музыка}} (1970), No. 9, p. 64–65<br/>{{bib|1974/53|П. И. Чайковский. Полное собрание сочинений ; том XIV}} (1974), p. 36–37
}}

==Text and Translation==
{{Lettertext
|Language=French
|Translator=Luis Sundkvist
|Original text={{right|Kline, Maïdanowo}}
{{centre|Mon cher ami!}}
Je viens de recevoir Votre bonne lettre. ''Il m'est tout à fait impossible de venir pour le 23''. J'ai accepté l'invitation de conduire l'orchestre à un grand concert qui aura lieu à {{sic|Petersbourg|Pétersbourg}} et qui sera composé uniquement de mes œuvres. Ce concert aura lieu vers le 16 Mars et comme il exigera beaucoup de {{sic|répetitions|répétitions}} je n'aurai jamais le temps de revenir de Paris. Et puis il y a encore d'autres raisons qui m'empêchent de me rendre à Paris maintenant. Mais si vous pouviez remettre ''l'audition'' pour plus tard, – je viendrai. Je puis partir le 17 (Mars), ou le 18 et me trouver à Paris le 21 ou le 22. {{sic|Tachez|Tâchez}} donc, mon cher ami, de remettre la chose à plus tard. Ce serait pour moi un grand plaisir de pouvoir assister à cette audition. Répondez moi vite.

J'ai conduit l'orchestre aux trois premières représentations du «''Caprice d'Oksane''» et à mon très grand étonnement on trouve que je ne me suis pas mal acquitté de ma tâche. Me voilà donc ''devenu chef d'orchestre'' et V[ou]s en voyez déjà le premier résultat. A {{sic|Petersbourg|Pétersbourg}} on veut absolument que je conduise moi-même l'orchestre au concert projeté, et j'ai formellement ''promis'' ; je ne puis me dédire maintenant. Et du reste il peut en résulter des suites d'une grande importance.

''Ainsi, je suis à V[ou]s dès la fin de Mars''.

Pourquoi, cher ami, ne me répondez V[ou]s pas à ma lettre où je V[ou]s ai prié de me faire faire plusieurs douzaines de mes photographies de chez Reutlinger???

Faites cela de grâce. Mille choses à la bonne Madame Mackar!!!
{{right|P. Tschaïkovsky}}

|Translated text={{right|[[Klin]], [[Maydanovo]]}}
{{centre|My dear friend!}}
I have just received your kind letter. ''It is utterly impossible for me to come for the 23rd'' <ref name="note1"/>. I have accepted an invitation to conduct the orchestra at a big concert which will take place in [[Petersburg]], and whose programme will be drawn exclusively from my own works. This concert is due to take place around the 16th of March <ref name="note2"/>, and since it will require lots of rehearsals, I would never be able to travel to [[Paris]] and make it back in time. Moreover, there are other reasons which prevent me from travelling to [[Paris]] right now <ref name="note3"/>. However, if you could put off the ''recital'' to a later date, I shall definitely come. I could leave on the 17th (of March), or the 18th, and arrive in [[Paris]] by the 21st or the 22nd. So please try, my dear friend, to defer the event to a later date. It would be a great pleasure for me to be able to attend this recital <ref name="note4"/>. Send me a quick reply.

I conducted the orchestra at the first three performances of "''[[Cherevichki|Le caprice d'Oksane]]''", and, to my great astonishment, I am reckoned to have acquitted myself of my task quite well. So here I am, ''turned into an orchestra conductor'', and you can already see the first result of that. In [[Petersburg]] they want me at all costs to conduct the orchestra myself at the planned concert, and I have formally ''promised'' to do so. I cannot go back on my word now. And, besides, this concert could have some very important consequences <ref name="note5"/>.

''Thus, I am yours from the end of March onwards'' <ref name="note6"/>.

Why, dear friend, do you not reply to the letter in which I asked you to have several dozens of prints made of the photographs which I had taken at Reutlinger's??? <ref name="note7"/>

Please do that. A thousand regards to good Madame Mackar!!! <ref name="note8"/>
{{right|P. Tchaikovsky}}
}}

==Notes and References==
<references>
<ref name="note1">The letter from [[Mackar]] to which Tchaikovsky is replying here has not been published in {{bib|1970/6|Чайковский и зарубежные музыканты}} (1970) and may well not have survived. However, in an earlier letter from [[Paris]] on 11/23 November 1886 [[Mackar]] had mentioned to Tchaikovsky that he wanted to organize a further concert of his works that winter. It was to take place in the Salle Érard and was to feature the pianist [[Louis Diémer]], the violinist [[Martin Pierre Marsick]] (1848–1924), the cellist Jules Delsart (1844–1900), and the singer Juliette Conneau — see {{bib|1970/6|Чайковский и зарубежные музыканты}} (1970), p. 153–154. In the letter to which Tchaikovsky is replying above, [[Mackar]] had evidently given the specific date of the recital. It was to take place on 11/23 February 1887, and all the musicians mentioned earlier took part, except for Delsart, who was replaced by [[Anatoly Brandukov]]. They were, moreover, joined by the violist Joseph-Louis-Marie Mas and the violinist Alfred Brun (b. 1864) — see the information provided by Vladimir Fédorov in {{bib|1968/16|Revue de musicologie}} (1968), p. 59, note 1.</ref>
<ref name="note2">This concert of the [[Saint Petersburg]] Philharmonic Society conducted by Tchaikovsky would take place in the Hall of the Assembly of the Nobility on 5/17 March 1887. It featured the first performance in the imperial capital of the [[Suite No. 1]], Kuma's arioso from Act I of ''[[The Enchantress]]'' (sung by [[Aleksandra Panayeva-Kartsova]]), the Dance of the Tumblers from that opera, the Andante and ''Valse'' from the [[Serenade for String Orchestra]], the fantasia ''[[Francesca da Rimini]]'', various solo piano pieces (played by Dmitry Klimov), three romances (sung by [[Panayeva-Kartsova]]), and the festival overture ''[[The Year 1812]]''. The concert was received very well both by the public and the critics (though [[César Cui]], as usual, expressed some reservations).</ref>
<ref name="note3">Tchaikovsky was in a rush to complete the vocal-piano reduction of ''[[The Enchantress]]'' so that the rehearsals for his opera at the [[Moscow]] Bolshoi Theatre could go ahead, and he also needed to orchestrate Acts II, III, and IV so that he could submit the full score to the Theatres' Directorate by Lent, as he had promised.</ref>
<ref name="note4">The recital went ahead on 11/23 February 1887, so Tchaikovsky was unable to attend. As [[Mackar]] reported in a letter to Tchaikovsky the following day, it was a great success. The Salle Érard was unable to accommodate all those who came, and so more than 200 people had to listen to the concert standing — see [[Mackar]]'s letter in {{bib|1970/6|Чайковский и зарубежные музыканты}} (1970), p. 154. On the programme were the ''[[Sérénade mélancolique]]'' (in Tchaikovsky's own arrangement for violin and piano; played by [[Marsick]], with [[Brandukov]] accompanying on the piano); the ''Nocturne'', No. 4 of the [[Six Pieces, Op. 19]], for piano, arranged for solo cello and piano (played by [[Brandukov]], with [[Marsick]] accompanying); the [[Piano Trio]] (played by [[Diémer]], [[Brandukov]], and Marsick); Nos. 1, 2, 5, and 6 from the [[Six Romances, Op. 6]] (sung by Juliette Conneau); the ''Polonaise'' from ''[[Yevgeny Onegin]]'' in [[Liszt]]'s transcription for piano; ''Chant sans paroles'', No. 3 from ''[[Souvenir de Hapsal]]'', Op. 2; ''Polka de salon'', No. 2 of the [[Three Pieces, Op. 9]]; ''Mazurka'', No. 5 of the [[Twelve Pieces, Op. 40]]; and ''Romance'', No. 5 of the [[Six Pieces, Op. 51]] (all played by [[Diémer]]).</ref>
<ref name="note5">As Tchaikovsky confessed in [[Letter 3175]] to [[Nadezhda von Meck]] on 9/21 February 1887, his success in conducting ''[[Cherevichki]]'' had made him start dreaming of organizing a concert tour of his works abroad.</ref>
<ref name="note6">In 1887 Tchaikovsky visited [[Paris]] only very briefly, from 2/14 to 4/16 August. On the last day he was able to spend some time with [[Mackar]] and his wife.</ref>
<ref name="note7">In [[Letter 2980]] of 22 June/4 July 1886 Tchaikovsky had asked [[Mackar]] to order several prints of the portrait photographs he had had taken at Reutlinger's atelier in [[Paris]] two weeks earlier. It seems that [[Mackar]] had not complied with that request.</ref>
<ref name="note8">[[Mackar]]'s wife, Valérie. In 1888, Tchaikovsky would dedicate to her one of the prints made by the [[Hamburg]] photographer E. Bieber on 6/18 January 1888. He wrote on it the following inscription: "Madame Valérie Mackar souvenir affectueux" and sketched three bars from the ''Andante cantabile'' of his [[String Quartet No. 1]] — see {{bib|1968/16|Revue de musicologie}} (1968), p. 94. The portrait in question appears as [[:File:Photo060.jpg|Photograph No. 60]] in our [[Photographs|Catalogue of Photographs]].</ref>
</references>