Letter 671 - Revision history

Tony: Omitted commas for consistency with UK style

2024-04-23T12:40:57Z

Omitted commas for consistency with UK style

Brett at 17:45, 9 September 2023

2023-09-09T17:45:16Z

← Older revision		Revision as of 19:45, 9 September 2023
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	[[Karlusha]]! It is only today that I have at last received your letter. It gladdened me very much, because I can see in it a lot of friendly affection for me. It was very, very agreeable for me to read your Russo-German language. When reading this letter it was as if I were hearing your voice: I could see your dear physiognomy and the expression of your eyes matching this or that phrase <ref name="note1"/>. You are a wonderful and sweet person, I love you awfully… But all the same you're a ''Machiavelli''. I say this with regard to ''[[Onegin]]''. You sugared very nicely and appetizingly the pill which I had to swallow. Essentially it all comes down to the fact that staging my opera in a Conservatory production has been deemed inconvenient and difficult. Since I had counted on its being staged, this is unpleasant for me, and you did not want to ''crush'' me all of a ''sudden''. Thank you, golubchik.		[[Karlusha]]! It is only today that I have at last received your letter. It gladdened me very much, because I can see in it a lot of friendly affection for me. It was very, very agreeable for me to read your Russo-German language. When reading this letter it was as if I were hearing your voice: I could see your dear physiognomy and the expression of your eyes matching this or that phrase <ref name="note1"/>. You are a wonderful and sweet person, I love you awfully… But all the same you're a ''Machiavelli''. I say this with regard to ''[[Onegin]]''. You sugared very nicely and appetizingly the pill which I had to swallow. Essentially it all comes down to the fact that staging my opera in a Conservatory production has been deemed inconvenient and difficult. Since I had counted on its being staged, this is unpleasant for me, and you did not want to ''crush'' me all of a ''sudden''. Thank you, golubchik.

	But here is what I would like to say to you. If I am supposed to wait for a ''real'' Tatyana, a ''real'' Onegin, an ''ideal'' Lensky, and so on, then my opera will of course never make it onto the stage. For me, ''[[Klimentova]]'', no matter what her qualities are, is in any case better than Raab <ref name="note2"/>, [[Velinskaya]], [[Menshikova]], etc., because she will be drilled by Galvani <ref name="note4"/>, you, [[Samarin]], and [[Nikolay Rubinstein\|Rubinstein]]. ''Gilev'' <ref name="note5"/> is for me also better than [[Melnikov]], and ''Zilbershtein'' <ref name="note6"/> is better than [[Dodonov]], because they are students, youths: they will not display that revolting, banal routine which I fear more than anything else as far as my opera is concerned. For God's sake, [[Karlusha]], try to understand me! I shall ''never'' hand over this opera to the Theatres' Directorate until it has been produced at the Conservatory. I wrote it for the Conservatory, because what I need here is not the grand stage with its ''routine'' and ''conventionality'', ''its talentless stage directors, its nonsensical, albeit luxurious stagings, its signalling machines instead of conductors'', and so on and so forth. For ''[[Onegin]]'' this is what I need: 1) singers of medium quality, but who have been drilled properly and know their roles well; 2) singers who will also be able to act ''simply'' but ''well''; 3) the staging doesn't have to be lavish but it must be strictly in keeping with the period; the costumes must absolutely be from the period in which the opera's action takes place (the 1820s); 4) the choruses should not be like a herd of sheep, as is the case on the imperial stage—rather, they must be ''people'' who participate in the action of the opera; 5) the conductor must be not a machine, nor even a musician à la ''[[Nápravník]]'', who is concerned only with ensuring that where there's a C-sharp the orchestra doesn't play a C, but, rather, a true leader of the orchestra… In short, for this production I need neither Kiuster, nor Kavelin, nor [[Nápravník]], nor Merten, nor [[Kondratyev]], nor Dmitriyev nor any such trash. Rather, I need ''[[Hubert]]'', ''[[Albrecht]]'', ''[[Samarin]]'' and ''[[Nikolay Rubinstein\|Rubinstein]]'', that is artists and, moreover, my friends. Do try to understand this, ''[[Karlusha]]'', for God's sake. Not for the world will I hand over ''[[Onegin]]'' to the [[Petersburg]] or [[Moscow]] [Theatres'] Directorates, and if my opera is not fated to be produced at the Conservatory, it will not be produced anywhere.		But here is what I would like to say to you. If I am supposed to wait for a ''real'' Tatyana, a ''real'' Onegin, an ''ideal'' Lensky, and so on, then my opera will of course never make it onto the stage. For me, ''[[Klimentova]]'', no matter what her qualities are, is in any case better than [[Raab]] <ref name="note2"/>, [[Velinskaya]], [[Menshikova]], etc., because she will be drilled by Galvani <ref name="note4"/>, you, [[Samarin]], and [[Nikolay Rubinstein\|Rubinstein]]. ''Gilev'' <ref name="note5"/> is for me also better than [[Melnikov]], and ''Zilbershtein'' <ref name="note6"/> is better than [[Dodonov]], because they are students, youths: they will not display that revolting, banal routine which I fear more than anything else as far as my opera is concerned. For God's sake, [[Karlusha]], try to understand me! I shall ''never'' hand over this opera to the Theatres' Directorate until it has been produced at the Conservatory. I wrote it for the Conservatory, because what I need here is not the grand stage with its ''routine'' and ''conventionality'', ''its talentless stage directors, its nonsensical, albeit luxurious stagings, its signalling machines instead of conductors'', and so on and so forth. For ''[[Onegin]]'' this is what I need: 1) singers of medium quality, but who have been drilled properly and know their roles well; 2) singers who will also be able to act ''simply'' but ''well''; 3) the staging doesn't have to be lavish but it must be strictly in keeping with the period; the costumes must absolutely be from the period in which the opera's action takes place (the 1820s); 4) the choruses should not be like a herd of sheep, as is the case on the imperial stage—rather, they must be ''people'' who participate in the action of the opera; 5) the conductor must be not a machine, nor even a musician à la ''[[Nápravník]]'', who is concerned only with ensuring that where there's a C-sharp the orchestra doesn't play a C, but, rather, a true leader of the orchestra… In short, for this production I need neither Kiuster, nor Kavelin, nor [[Nápravník]], nor Merten, nor [[Kondratyev]], nor Dmitriyev nor any such trash. Rather, I need ''[[Hubert]]'', ''[[Albrecht]]'', ''[[Samarin]]'' and ''[[Nikolay Rubinstein\|Rubinstein]]'', that is artists and, moreover, my friends. Do try to understand this, ''[[Karlusha]]'', for God's sake. Not for the world will I hand over ''[[Onegin]]'' to the [[Petersburg]] or [[Moscow]] [Theatres'] Directorates, and if my opera is not fated to be produced at the Conservatory, it will not be produced anywhere.

	I understand very well what is going on. You have staged ''La dame blanche'' <ref name="note7"/>. You need to put on a play for [[Samarin]]'s class, and there is simply no room for my ''[[Onegin]]''. But both you and [[Nikolay Grigoryevich]] are sorry to have to disappoint me, and you want to avoid a confrontation by means of tricks. But, for God's sake, don't imagine that I will be offended if ''[[Onegin]]'' isn't staged. If you don't have the time to stage the opera now, let us stage it in its entirety next year. I am willing to wait as long as you wish. As for your remark that ''[[Klimentova]]'' is unsuitable, believe me: we will ''never'' find a singer who is completely suitable. And if we were to wait for this ''ideal'' Tatyana, we would have to wait until some future age. Therefore, when [[Nikolay Rubinstein\|Rubinstein]] has read this letter and you have had a detailed discussion with him, write to me frankly whether it is yes or ''no''. I have to know this so that I can plan my work schedule. Once again I repeat that I will by no means be offended if you decide to postpone the staging of ''[[Onegin]]'' until next year.		I understand very well what is going on. You have staged ''La dame blanche'' <ref name="note7"/>. You need to put on a play for [[Samarin]]'s class, and there is simply no room for my ''[[Onegin]]''. But both you and [[Nikolay Grigoryevich]] are sorry to have to disappoint me, and you want to avoid a confrontation by means of tricks. But, for God's sake, don't imagine that I will be offended if ''[[Onegin]]'' isn't staged. If you don't have the time to stage the opera now, let us stage it in its entirety next year. I am willing to wait as long as you wish. As for your remark that ''[[Klimentova]]'' is unsuitable, believe me: we will ''never'' find a singer who is completely suitable. And if we were to wait for this ''ideal'' Tatyana, we would have to wait until some future age. Therefore, when [[Nikolay Rubinstein\|Rubinstein]] has read this letter and you have had a detailed discussion with him, write to me frankly whether it is yes or ''no''. I have to know this so that I can plan my work schedule. Once again I repeat that I will by no means be offended if you decide to postpone the staging of ''[[Onegin]]'' until next year.
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	<references>		<references>
	<ref name="note1">Despite having lived in Russia for many years, [[Karl Albrecht]] continued to express himself in Russian in a peculiar fashion, and this was particularly reflected in his letters.</ref>		<ref name="note1">Despite having lived in Russia for many years, [[Karl Albrecht]] continued to express himself in Russian in a peculiar fashion, and this was particularly reflected in his letters.</ref>
	<ref name="note2">Wilhelmina (Vilgelmina) Ivanovna Raab (née ~~Balik~~, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885.</ref>		<ref name="note2">[[Wilhelmina Raab\|Wilhelmina (Vilgelmina) Ivanovna Raab]] (née Bilik, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885.</ref>
	<ref name="note4">Giacomo Galvani (1825–1889), Italian professor of singing at the [[Moscow]] Conservatory.</ref>		<ref name="note4">Giacomo Galvani (1825–1889), Italian professor of singing at the [[Moscow]] Conservatory.</ref>
	<ref name="note5">Sergey Vasilyevich Gilev (1854–1933), Russian baritone, sang the title-role at the premiere of ''[[Yevgeny Onegin]]'' on 17/29 March 1879.</ref>		<ref name="note5">Sergey Vasilyevich Gilev (1854–1933), Russian baritone, sang the title-role at the premiere of ''[[Yevgeny Onegin]]'' on 17/29 March 1879.</ref>

Brett at 08:17, 2 September 2023

2023-09-02T08:17:24Z

← Older revision		Revision as of 10:17, 2 September 2023
Line 40:		Line 40:
	[[Karlusha]]! It is only today that I have at last received your letter. It gladdened me very much, because I can see in it a lot of friendly affection for me. It was very, very agreeable for me to read your Russo-German language. When reading this letter it was as if I were hearing your voice: I could see your dear physiognomy and the expression of your eyes matching this or that phrase <ref name="note1"/>. You are a wonderful and sweet person, I love you awfully… But all the same you're a ''Machiavelli''. I say this with regard to ''[[Onegin]]''. You sugared very nicely and appetizingly the pill which I had to swallow. Essentially it all comes down to the fact that staging my opera in a Conservatory production has been deemed inconvenient and difficult. Since I had counted on its being staged, this is unpleasant for me, and you did not want to ''crush'' me all of a ''sudden''. Thank you, golubchik.		[[Karlusha]]! It is only today that I have at last received your letter. It gladdened me very much, because I can see in it a lot of friendly affection for me. It was very, very agreeable for me to read your Russo-German language. When reading this letter it was as if I were hearing your voice: I could see your dear physiognomy and the expression of your eyes matching this or that phrase <ref name="note1"/>. You are a wonderful and sweet person, I love you awfully… But all the same you're a ''Machiavelli''. I say this with regard to ''[[Onegin]]''. You sugared very nicely and appetizingly the pill which I had to swallow. Essentially it all comes down to the fact that staging my opera in a Conservatory production has been deemed inconvenient and difficult. Since I had counted on its being staged, this is unpleasant for me, and you did not want to ''crush'' me all of a ''sudden''. Thank you, golubchik.

	But here is what I would like to say to you. If I am supposed to wait for a ''real'' Tatyana, a ''real'' Onegin, an ''ideal'' Lensky, and so on, then my opera will of course never make it onto the stage. For me, ''[[Klimentova]]'', no matter what her qualities are, is in any case better than Raab <ref name="note2"/>, [[Velinskaya]], Menshikova ~~<ref name="note3"/>~~, etc., because she will be drilled by Galvani <ref name="note4"/>, you, [[Samarin]], and [[Nikolay Rubinstein\|Rubinstein]]. ''Gilev'' <ref name="note5"/> is for me also better than [[Melnikov]], and ''Zilbershtein'' <ref name="note6"/> is better than [[Dodonov]], because they are students, youths: they will not display that revolting, banal routine which I fear more than anything else as far as my opera is concerned. For God's sake, [[Karlusha]], try to understand me! I shall ''never'' hand over this opera to the Theatres' Directorate until it has been produced at the Conservatory. I wrote it for the Conservatory, because what I need here is not the grand stage with its ''routine'' and ''conventionality'', ''its talentless stage directors, its nonsensical, albeit luxurious stagings, its signalling machines instead of conductors'', and so on and so forth. For ''[[Onegin]]'' this is what I need: 1) singers of medium quality, but who have been drilled properly and know their roles well; 2) singers who will also be able to act ''simply'' but ''well''; 3) the staging doesn't have to be lavish but it must be strictly in keeping with the period; the costumes must absolutely be from the period in which the opera's action takes place (the 1820s); 4) the choruses should not be like a herd of sheep, as is the case on the imperial stage—rather, they must be ''people'' who participate in the action of the opera; 5) the conductor must be not a machine, nor even a musician à la ''[[Nápravník]]'', who is concerned only with ensuring that where there's a C-sharp the orchestra doesn't play a C, but, rather, a true leader of the orchestra… In short, for this production I need neither Kiuster, nor Kavelin, nor [[Nápravník]], nor Merten, nor [[Kondratyev]], nor Dmitriyev nor any such trash. Rather, I need ''[[Hubert]]'', ''[[Albrecht]]'', ''[[Samarin]]'' and ''[[Nikolay Rubinstein\|Rubinstein]]'', that is artists and, moreover, my friends. Do try to understand this, ''[[Karlusha]]'', for God's sake. Not for the world will I hand over ''[[Onegin]]'' to the [[Petersburg]] or [[Moscow]] [Theatres'] Directorates, and if my opera is not fated to be produced at the Conservatory, it will not be produced anywhere.		But here is what I would like to say to you. If I am supposed to wait for a ''real'' Tatyana, a ''real'' Onegin, an ''ideal'' Lensky, and so on, then my opera will of course never make it onto the stage. For me, ''[[Klimentova]]'', no matter what her qualities are, is in any case better than Raab <ref name="note2"/>, [[Velinskaya]], [[Menshikova]], etc., because she will be drilled by Galvani <ref name="note4"/>, you, [[Samarin]], and [[Nikolay Rubinstein\|Rubinstein]]. ''Gilev'' <ref name="note5"/> is for me also better than [[Melnikov]], and ''Zilbershtein'' <ref name="note6"/> is better than [[Dodonov]], because they are students, youths: they will not display that revolting, banal routine which I fear more than anything else as far as my opera is concerned. For God's sake, [[Karlusha]], try to understand me! I shall ''never'' hand over this opera to the Theatres' Directorate until it has been produced at the Conservatory. I wrote it for the Conservatory, because what I need here is not the grand stage with its ''routine'' and ''conventionality'', ''its talentless stage directors, its nonsensical, albeit luxurious stagings, its signalling machines instead of conductors'', and so on and so forth. For ''[[Onegin]]'' this is what I need: 1) singers of medium quality, but who have been drilled properly and know their roles well; 2) singers who will also be able to act ''simply'' but ''well''; 3) the staging doesn't have to be lavish but it must be strictly in keeping with the period; the costumes must absolutely be from the period in which the opera's action takes place (the 1820s); 4) the choruses should not be like a herd of sheep, as is the case on the imperial stage—rather, they must be ''people'' who participate in the action of the opera; 5) the conductor must be not a machine, nor even a musician à la ''[[Nápravník]]'', who is concerned only with ensuring that where there's a C-sharp the orchestra doesn't play a C, but, rather, a true leader of the orchestra… In short, for this production I need neither Kiuster, nor Kavelin, nor [[Nápravník]], nor Merten, nor [[Kondratyev]], nor Dmitriyev nor any such trash. Rather, I need ''[[Hubert]]'', ''[[Albrecht]]'', ''[[Samarin]]'' and ''[[Nikolay Rubinstein\|Rubinstein]]'', that is artists and, moreover, my friends. Do try to understand this, ''[[Karlusha]]'', for God's sake. Not for the world will I hand over ''[[Onegin]]'' to the [[Petersburg]] or [[Moscow]] [Theatres'] Directorates, and if my opera is not fated to be produced at the Conservatory, it will not be produced anywhere.

	I understand very well what is going on. You have staged ''La dame blanche'' <ref name="note7"/>. You need to put on a play for [[Samarin]]'s class, and there is simply no room for my ''[[Onegin]]''. But both you and [[Nikolay Grigoryevich]] are sorry to have to disappoint me, and you want to avoid a confrontation by means of tricks. But, for God's sake, don't imagine that I will be offended if ''[[Onegin]]'' isn't staged. If you don't have the time to stage the opera now, let us stage it in its entirety next year. I am willing to wait as long as you wish. As for your remark that ''[[Klimentova]]'' is unsuitable, believe me: we will ''never'' find a singer who is completely suitable. And if we were to wait for this ''ideal'' Tatyana, we would have to wait until some future age. Therefore, when [[Nikolay Rubinstein\|Rubinstein]] has read this letter and you have had a detailed discussion with him, write to me frankly whether it is yes or ''no''. I have to know this so that I can plan my work schedule. Once again I repeat that I will by no means be offended if you decide to postpone the staging of ''[[Onegin]]'' until next year.		I understand very well what is going on. You have staged ''La dame blanche'' <ref name="note7"/>. You need to put on a play for [[Samarin]]'s class, and there is simply no room for my ''[[Onegin]]''. But both you and [[Nikolay Grigoryevich]] are sorry to have to disappoint me, and you want to avoid a confrontation by means of tricks. But, for God's sake, don't imagine that I will be offended if ''[[Onegin]]'' isn't staged. If you don't have the time to stage the opera now, let us stage it in its entirety next year. I am willing to wait as long as you wish. As for your remark that ''[[Klimentova]]'' is unsuitable, believe me: we will ''never'' find a singer who is completely suitable. And if we were to wait for this ''ideal'' Tatyana, we would have to wait until some future age. Therefore, when [[Nikolay Rubinstein\|Rubinstein]] has read this letter and you have had a detailed discussion with him, write to me frankly whether it is yes or ''no''. I have to know this so that I can plan my work schedule. Once again I repeat that I will by no means be offended if you decide to postpone the staging of ''[[Onegin]]'' until next year.
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	<ref name="note1">Despite having lived in Russia for many years, [[Karl Albrecht]] continued to express himself in Russian in a peculiar fashion, and this was particularly reflected in his letters.</ref>		<ref name="note1">Despite having lived in Russia for many years, [[Karl Albrecht]] continued to express himself in Russian in a peculiar fashion, and this was particularly reflected in his letters.</ref>
	<ref name="note2">Wilhelmina (Vilgelmina) Ivanovna Raab (née Balik, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885.</ref>		<ref name="note2">Wilhelmina (Vilgelmina) Ivanovna Raab (née Balik, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885.</ref>
	<ref name="note3">Aleksandra Grigoryevna Menshikova (1840–1902), Russian soprano, sang at the [[Moscow]] Bolshoi Theatre from 1867 to 1869, and subsequently (until 1880) appeared mainly at the [[Saint Petersburg]] Mariinsky Theatre.</ref>
	<ref name="note4">Giacomo Galvani (1825–1889), Italian professor of singing at the [[Moscow]] Conservatory.</ref>		<ref name="note4">Giacomo Galvani (1825–1889), Italian professor of singing at the [[Moscow]] Conservatory.</ref>
	<ref name="note5">Sergey Vasilyevich Gilev (1854–1933), Russian baritone, sang the title-role at the premiere of ''[[Yevgeny Onegin]]'' on 17/29 March 1879.</ref>		<ref name="note5">Sergey Vasilyevich Gilev (1854–1933), Russian baritone, sang the title-role at the premiere of ''[[Yevgeny Onegin]]'' on 17/29 March 1879.</ref>

Brett: 1 revision imported

2022-07-12T12:47:42Z

1 revision imported

← Older revision	Revision as of 14:47, 12 July 2022
(No difference)

Brett at 15:01, 9 November 2019

2019-11-09T15:01:42Z

New page

{{letterhead
|Date=3/15 December 1877
|To=[[Karl Albrecht]]
|Place=[[Venice]]
|Language=Russian
|Autograph=[[Moscow]] (Russia): {{RUS-Mcm}} (ф. 37, No. 24)
|Publication={{bib|1901/24|Жизнь Петра Ильича Чайковского'; том 2}} (1901), p. 57–59 (abridged)<br/>{{bibx|1940/228|Чайковский на Московской сцене}} (1940), p. 263–266 (abridged)<br/>{{bib|1961/38|П. И. Чайковский. Полное собрание сочинений ; том VI}} (1961), p. 275–277
}}

==Text and Translation==
{{Lettertext
|Language=Russian
|Translator=Luis Sundkvist and Brett Langston
|Original text={{right|Венеция, 15/3 Дек[абря] 1877}}
Карлуша! Только сегодня получил я, наконец, письмо твоё. Оно меня очень обрадовало, ибо я вижу в нём много дружеского расположения ко мне. Мне очень, очень приятно было читать твой русско-немецкий язык; казалось, я слышал твой голос, читая это письмо; видел твою милую физиономию и выражение глаз, соответствующее той или другой фразе. Ты чудный и милый человек, я тебя ужасно люблю... Но всё-таки ты ''Макиавель''. Это я говорю по поводу «''Онегина''». Ты очень мило и аппетитно позолотил пилюлю, которую мне пришлось проглотить. В сущности вся штука в том, что найдено неудобным и затруднительным ставить на консерваторском спектакле мою оперу. А так как я рассчитывал, что её поставят, то мне это неприятно, и ты не хотел ''сразить'' меня ''сразу''. Благодарствуй, милый.

Но вот что я тебе скажу. Если мне ждать ''настоящую'' Татьяну, ''настоящего'' ''Онегина'', ''идеального'' Ленского и т. д.—то опера моя, конечно, никогда не пойдёт на сцене. Для меня ''Климентова'', какая она ни есть, всё-таки лучше, чем Рааб, Велинская, Меньшикова и т. д., потому что она будет промуштрована Гальвани, тобой, Самариным и Рубинштейном. ''Гилев'' для меня тоже лучше Мельникова, а '' Зильберштейн'' лучше Додонова, потому что они ученики, юноши, у них не будет этой омерзительной, пошлой рутины, которой для моей новой оперы я боюсь больше всего. Пойми меня, ради Бога, Карлуша! Я '' никогда'' не отдам этой оперы в Дирекцию театров, прежде чем она не пойдёт в Консерватории. Я её писал для Консерватории потому, что мне нужна здесь не Большая сцена с её ''рутиной, условностью'', с её '' бездарными режиссёрами, бессмысленной, хотя и роскошной постановкой, с её махальными машинами вместо капельмейстера'' и т. д. и т. д. Для «''Онегина''» мне нужно вот что: 1) певцы средней руки, но хорошо промуштрованные и твёрдые, 2) певцы, которые вместе с тем будут '' просто'', но ''хорошо'' играть, 3) нужна постановка не роскошная, но соответствующая времени очень строго; костюмы должны быть непременно того времени, в которое происходит действие оперы (20-е годы), 4) хоры должны быть не стадом овец, как на императорской сцене, а ''людьми'', принимающими участие в действии оперы, 5) капельмейстер должен быть не машиной и даже не музыкантом à la ''Направник'', который гонится только за тем, чтоб там, где cis, не играли C, а настоящим вождём оркестра... Словом, мне нужны для этой постановки не Кюстер, не Кавелин, не Направник, не Мертен, не Кондратьев, не Дмитриев и тому подобная сволочь, — а мне нужны: ''Губерт'', ''Альбрехт'', ''Самарин'' и ''Рубинштейн'', т. е. артисты и притом мои друзья. Пойми это, ''Карлуша'', ради Бога. Я не отдам «''Онегина''» ни за какие блага ни Петербургской, ни Московской Дирекции, и если ей не суждено итти в Консерватории, то она не пойдёт нигде.

Я очень понимаю, в чём дело. Вы поставили «''Белую Даму''». Вам нужно дать пиэсу для класса Самарина, и моему «Онегину» просто места нет. Но и Ник[олаю] Гр[игорьевичу] и тебе жалко меня разочаровать, и Вы хотите отделаться хитростями. Но ради Бога не думайте, что я обижусь, если «''Онегин''» не пойдёт. Если некогда его ставить нынче, поставим его целиком в будущем году. Я готов ждать сколько угодно. Что касается того, что ''Климентова'' не годится, то поверь, что ''никогда'' не найдётся певицы, которая бы вполне годилась. И если ждать этой ''идеальной'' Татьяны, то придётся ждать до будущего века. Итак, когда Рубинштейн прочтёт это письмо и ты с ним обстоятельно переговоришь, то напишите мне прямо да или ''нет''. Мне нужно это знать, чтобы распланировать свои занятия. Ещё раз повторяю, что я нисколько не обижусь, если решите отложить постановку «''Онегина''» до будущего года

Вот, что касается ''симфонии'', которую я теперь оркеструю, то умоляю ''Николая Григорьевича'' оставить ей место в конце сезона. Для меня по некоторым причинам весьма важно, чтобы она шла именно в нынешнем году. Через месяц (самое позндее) она будет совершенно готова

Теперь поговорим о другом.

Я расстался с братом и ''ужасно'' скучаю. Впрочем, надеюсь, что симфония, в которую я погрузился всецело со вчерашнего дня, займёт меня настолько, что месяц этот кое-как проживу здесь. Я поселился в верхнем этаже огромного дома. Вид у меня отличный. Но в Венеции всё отличается каким-то грустным, могильным характером, и потому вид этот не радует меня. И вообще чем более я живу за границей, тем более убеждаюсь, что жить можно только в России. Тем не менее я наверное не покажу своего ''носа'' в Москве до будущего Сентября. Мне невозможно теперь вернуться в Москву по тысяче причин, из которых главная та, что как только я туда теперь попаду, то сейчас же начну хандрить и сумасшествовать. Нужно подождать ещё. Проживу здесь ещё месяц, а что дальше будет—не знаю.

Я сегодня целый день писал, очень устал и потому больше не пишу. Мерси, голубчик, за содействие перевозке моих вещей. Очень тебе буду благодарен, если ты будешь мне высылать все ваши программы. Брат Толя привезёт 1 картину 2-го действия «''Онегина''». Если решено будет не ставить нынче «''Онегина''», то всё-таки потрудись велеть списать ''клавираусцуг''. Целую тебя нежно, мой милый друг. Анне Леонтьевне и детям передай всякие приветствия и лобзания. Милому Н[иколаю] Гр[игорьевичу] тоже посылаю безешку, а также Кашкину, Губерту, Юргенсону.
{{right|Твой, П. Чайковский}}
''Italia. Venezia. Hôtel Beau-Rivage.''
-----
Письмо моё уже было запечатано. когда мне захотелось перечитать твоё послание, и я не могу у держаться, чтобы не выразить моего восторга от этого чудного письма. Это такая прелесты Это ты сам, это живой Карлуша с его своеобразным стилем, .с его собственным, им изобретенным языком, с его приемами, неподражаемыми ужимками и ухватками. Ах! Карлуша, только один раз ты мне написал, но зато уж разодолжил! Merci, голубчик.

Во-2-х, мне кажется, что я неясно ответил на твой вопрос, может быть, оттого, что ты неясно его изложил. Сколько я понимаю, вопрос сводится к тому: приеду или не приеду я к постановке. Отвечаю решительно: как я вас всех ни люблю, как мне бы ни хотелось послушать «Онегина»,-но ''я не приеду'' в Москву раньше будущего сентября. Итак, решайте как хотите. Я с моей стороны ,вполне доверяюсь Н[иколаю] Гр[игорьевичу}, тебе, Самарину и другим друзьям. Я ''вполне'' убеждён, что моё присутствие не необходимо для постановки. Повторяю, что я не обижусь, если отложите до бу дущего года, ''но'', если можно, желал бы, чтоб 1½ акта шли нынче. Подчиняюсь вполне вашему приговору, но прошу только дать мне о нем знать.

Я в ''восторге'', что музыка вам всем понравилась.

Теперь, очередь за симфонией. Боюсь за нее; что-то про неё ты мне напишешь! Целую тебя.

|Translated text={{right|[[Venice]], 15/3 December 1877}}
[[Karlusha]]! It is only today that I have at last received your letter. It gladdened me very much, because I can see in it a lot of friendly affection for me. It was very, very agreeable for me to read your Russo-German language. When reading this letter it was as if I were hearing your voice: I could see your dear physiognomy and the expression of your eyes matching this or that phrase <ref name="note1"/>. You are a wonderful and sweet person, I love you awfully… But all the same you're a ''Machiavelli''. I say this with regard to ''[[Onegin]]''. You sugared very nicely and appetizingly the pill which I had to swallow. Essentially it all comes down to the fact that staging my opera in a Conservatory production has been deemed inconvenient and difficult. Since I had counted on its being staged, this is unpleasant for me, and you did not want to ''crush'' me all of a ''sudden''. Thank you, golubchik.

But here is what I would like to say to you. If I am supposed to wait for a ''real'' Tatyana, a ''real'' Onegin, an ''ideal'' Lensky, and so on, then my opera will of course never make it onto the stage. For me, ''[[Klimentova]]'', no matter what her qualities are, is in any case better than Raab <ref name="note2"/>, [[Velinskaya]], Menshikova <ref name="note3"/>, etc., because she will be drilled by Galvani <ref name="note4"/>, you, [[Samarin]], and [[Nikolay Rubinstein|Rubinstein]]. ''Gilev'' <ref name="note5"/> is for me also better than [[Melnikov]], and ''Zilbershtein'' <ref name="note6"/> is better than [[Dodonov]], because they are students, youths: they will not display that revolting, banal routine which I fear more than anything else as far as my opera is concerned. For God's sake, [[Karlusha]], try to understand me! I shall ''never'' hand over this opera to the Theatres' Directorate until it has been produced at the Conservatory. I wrote it for the Conservatory, because what I need here is not the grand stage with its ''routine'' and ''conventionality'', ''its talentless stage directors, its nonsensical, albeit luxurious stagings, its signalling machines instead of conductors'', and so on and so forth. For ''[[Onegin]]'' this is what I need: 1) singers of medium quality, but who have been drilled properly and know their roles well; 2) singers who will also be able to act ''simply'' but ''well''; 3) the staging doesn't have to be lavish but it must be strictly in keeping with the period; the costumes must absolutely be from the period in which the opera's action takes place (the 1820s); 4) the choruses should not be like a herd of sheep, as is the case on the imperial stage—rather, they must be ''people'' who participate in the action of the opera; 5) the conductor must be not a machine, nor even a musician à la ''[[Nápravník]]'', who is concerned only with ensuring that where there's a C-sharp the orchestra doesn't play a C, but, rather, a true leader of the orchestra… In short, for this production I need neither Kiuster, nor Kavelin, nor [[Nápravník]], nor Merten, nor [[Kondratyev]], nor Dmitriyev nor any such trash. Rather, I need ''[[Hubert]]'', ''[[Albrecht]]'', ''[[Samarin]]'' and ''[[Nikolay Rubinstein|Rubinstein]]'', that is artists and, moreover, my friends. Do try to understand this, ''[[Karlusha]]'', for God's sake. Not for the world will I hand over ''[[Onegin]]'' to the [[Petersburg]] or [[Moscow]] [Theatres'] Directorates, and if my opera is not fated to be produced at the Conservatory, it will not be produced anywhere.

I understand very well what is going on. You have staged ''La dame blanche'' <ref name="note7"/>. You need to put on a play for [[Samarin]]'s class, and there is simply no room for my ''[[Onegin]]''. But both you and [[Nikolay Grigoryevich]] are sorry to have to disappoint me, and you want to avoid a confrontation by means of tricks. But, for God's sake, don't imagine that I will be offended if ''[[Onegin]]'' isn't staged. If you don't have the time to stage the opera now, let us stage it in its entirety next year. I am willing to wait as long as you wish. As for your remark that ''[[Klimentova]]'' is unsuitable, believe me: we will ''never'' find a singer who is completely suitable. And if we were to wait for this ''ideal'' Tatyana, we would have to wait until some future age. Therefore, when [[Nikolay Rubinstein|Rubinstein]] has read this letter and you have had a detailed discussion with him, write to me frankly whether it is yes or ''no''. I have to know this so that I can plan my work schedule. Once again I repeat that I will by no means be offended if you decide to postpone the staging of ''[[Onegin]]'' until next year.

Yet as regards to the ''[[Symphony No. 4|symphony]]'' which I am now orchestrating, I implore ''[[Nikolay Grigoryevich]]'' to leave a slot for it at the end of the season. For a number of reasons it is most important for me that it should be performed precisely during this season. Within a month (at the latest) it will be completely ready.

Now to talk about other things.

I have parted with [[Anatoly Tchaikovsky|my brother]] and I am ''terribly'' depressed <ref name="note8"/>. Still, I hope that the symphony, in which I have become fully absorbed since yesterday, will occupy me so much that I can somehow last out this month here. I have moved into the top floor of a huge house. The view from my room is splendid. However, in [[Venice]] everything is marked by a kind of sad, sepulchral character, and that is why this view cannot cheer me up. Indeed, the more I live abroad, the more I am convinced that I can live only in Russia. All the same, I shall probably not show my ''face'' in [[Moscow]] until September next year. It is impossible for me to return to [[Moscow]] now due to a thousand reasons, the main one being that as soon as I arrived there I should start to feel depressed and act like a madman. I still have to wait a bit more. I shall spend one more month here, but what I'll do afterwards, I don't know.

I have been writing all day today and I am very tired, so I won't write any more. Merci, dear friend, for your help in removing my things <ref name="note9"/>. I would be much obliged to you if you could regularly send me all your programmes. My brother ''[[Tolya]]'' will bring with him the first scene of Act II of ''[[Onegin]]''. If the decision is taken not to stage ''[[Onegin]]'' now, would you nevertheless kindly have the ''piano reduction'' copied? I kiss you affectionately, my dear friend. Convey to Anna Leontyevna and the children all kinds of greetings and kisses from me. I also send a little kiss for dear [[Nikolay Grigoryevich]], as well as for [[Kashkin]], [[Hubert]], and [[Jurgenson]].
{{right|Yours, P. Tchaikovsky}}
''Italy. [[Venice]]. Hotel Beau-Rivage''.
-----
My letter was already sealed when I wanted to re-read your message, and I cannot resist expressing my admiration of this wonderful letter. It is such a joy! This is the real live [[Karlusha]], with his distinctive style! His own invented language, with its techniques, inimitable syntax and grammar. Oh, [[Karlusha]]! You may have only written to me once, but it is truly a bonus! Merci, golubchik.

Secondly, it seems to me that I firmly answered your question, but perhaps this was not clearly expressed. As I understand it the question boils down to: do I come for the production or not. The answer is clear: I should like to hear "Onegin", but ''I can't come'' to [[Moscow]] before next September. So it's up to you. For my part I trust, [[Nikolay Grigoryevich]], you, [[Samarin]] and my other friends. I am ''wholly'' convinced that my presence is not necessary for the production. I repeat that I shall not be offended if you decide to postpone the staging for a year, ''but'' otherwise only one-and-a-half acts may be ready to go on. You are free to reach your own judgement, but please just let me know about it.

I am ''delighted'' that you like the all the music.

Now, regarding the symphony: I'm worried about it. Write something about it to me. I kiss you.
}}

==Notes and References==
<references>
<ref name="note1">Despite having lived in Russia for many years, [[Karl Albrecht]] continued to express himself in Russian in a peculiar fashion, and this was particularly reflected in his letters.</ref>
<ref name="note2">Wilhelmina (Vilgelmina) Ivanovna Raab (née Balik, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885.</ref>
<ref name="note3">Aleksandra Grigoryevna Menshikova (1840–1902), Russian soprano, sang at the [[Moscow]] Bolshoi Theatre from 1867 to 1869, and subsequently (until 1880) appeared mainly at the [[Saint Petersburg]] Mariinsky Theatre.</ref>
<ref name="note4">Giacomo Galvani (1825–1889), Italian professor of singing at the [[Moscow]] Conservatory.</ref>
<ref name="note5">Sergey Vasilyevich Gilev (1854–1933), Russian baritone, sang the title-role at the premiere of ''[[Yevgeny Onegin]]'' on 17/29 March 1879.</ref>
<ref name="note6">Mikhail Mikhaylovich Zilbershtein (later assumed the surname Mikhaylov; b. 1858), Russian tenor.</ref>
<ref name="note7">An opera by François-Adrien Boieldieu (1775-1834) which was staged in a student production at the [[Moscow]] Conservatory on 1/13 April 1878, with [[Nikolay Rubinstein]] conducting.</ref>
<ref name="note8">[[Anatoly]], who had accompanied Tchaikovsky on his flight abroad and had been at his side for two months, left [[Vienna]] to return to Russia on 30 November/12 December 1877.</ref>
<ref name="note9">After Tchaikovsky's departure from Russia and the sale of his [[Moscow]] apartment his belongings were taken over to [[Nikolay Rubinstein]]'s apartment, as well as to [[Albrecht]]'s. Tchaikovsky instructed [[Albrecht]] to sell off some of them.</ref>
</references>
{{DEFAULTSORT:Letter 0671}}

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	\|Translated text={{right\|[[Venice]], 15/3 December 1877}}		\|Translated text={{right\|[[Venice]], 15/3 December 1877}}
	[[Karlusha]]! It is only today that I have at last received your letter. It gladdened me very much, because I can see in it a lot of friendly affection for me. It was very, very agreeable for me to read your Russo-German language. When reading this letter it was as if I were hearing your voice: I could see your dear physiognomy and the expression of your eyes matching this or that phrase <ref name="note1"/>. You are a wonderful and sweet person, I love you awfully… But all the same you're a ''Machiavelli''. I say this with regard to ''[[Onegin]]''. You sugared very nicely and appetizingly the pill which I had to swallow. Essentially it all comes down to the fact that staging my opera in a Conservatory production has been deemed inconvenient and difficult. Since I had counted on its being staged, this is unpleasant for me, and you did not want to ''crush'' me all of a ''sudden''. Thank you, golubchik.		[[Karlusha]]! It is only today that I have at last received your letter. It gladdened me very much, because I can see in it a lot of friendly affection for me. It was very, very agreeable for me to read your Russo-German language. When reading this letter it was as if I were hearing your voice: I could see your dear physiognomy and the expression of your eyes matching this or that phrase <ref name="note1"/>. You are a wonderful and sweet person, I love you awfully… But all the same you're a ''Machiavelli''. I say this with regard to ''[[Onegin]]''. You sugared very nicely and appetizingly the pill which I had to swallow. Essentially, it all comes down to the fact that staging my opera in a Conservatory production has been deemed inconvenient and difficult. Since I had counted on its being staged, this is unpleasant for me, and you did not want to ''crush'' me all of a ''sudden''. Thank you, golubchik.

	But here is what I would like to say to you. If I am supposed to wait for a ''real'' Tatyana, a ''real'' Onegin, an ''ideal'' Lensky, and so on, then my opera will of course never make it onto the stage. For me, ''[[Klimentova]]'', no matter what her qualities are, is in any case better than [[Raab]] <ref name="note2"/>, [[Velinskaya]], [[Menshikova]], etc., because she will be drilled by Galvani <ref name="note4"/>, you, [[Samarin]], and [[Nikolay Rubinstein\|Rubinstein]]. ''Gilev'' <ref name="note5"/> is for me also better than [[Melnikov]], and ''Zilbershtein'' <ref name="note6"/> is better than [[Dodonov]], because they are students, youths: they will not display that revolting, banal routine which I fear more than anything else as far as my opera is concerned. For God's sake, [[Karlusha]], try to understand me! I shall ''never'' hand over this opera to the Theatres' Directorate until it has been produced at the Conservatory. I wrote it for the Conservatory, because what I need here is not the grand stage with its ''routine'' and ''conventionality'', ''its talentless stage directors, its nonsensical, albeit luxurious stagings, its signalling machines instead of conductors'', and so on and so forth. For ''[[Onegin]]'' this is what I need: 1) singers of medium quality, but who have been drilled properly and know their roles well; 2) singers who will also be able to act ''simply'' but ''well''; 3) the staging doesn't have to be lavish but it must be strictly in keeping with the period; the costumes must absolutely be from the period in which the opera's action takes place (the 1820s); 4) the choruses should not be like a herd of sheep, as is the case on the ~~imperial~~ stage—rather, they must be ''people'' who participate in the action of the opera; 5) the conductor must be not a machine, nor even a musician à la ''[[Nápravník]]'', who is concerned only with ensuring that where there's a C-sharp the orchestra doesn't play a C, but, rather, a true leader of the orchestra… In short, for this production I need neither Kiuster, nor Kavelin, nor [[Nápravník]], nor Merten, nor [[Kondratyev]], nor Dmitriyev nor any such trash. Rather, I need ''[[Hubert]]'', ''[[Albrecht]]'', ''[[Samarin]]'' and ''[[Nikolay Rubinstein\|Rubinstein]]'', that is artists and, moreover, my friends. Do try to understand this, ''[[Karlusha]]'', for God's sake. Not for the world will I hand over ''[[Onegin]]'' to the [[Petersburg]] or [[Moscow]] [Theatres'] Directorates, and if my opera is not fated to be produced at the Conservatory, it will not be produced anywhere.		But here is what I would like to say to you. If I am supposed to wait for a ''real'' Tatyana, a ''real'' Onegin, an ''ideal'' Lensky, and so on, then my opera will of course never make it onto the stage. For me, ''[[Klimentova]]'', no matter what her qualities are, is in any case better than [[Raab]] <ref name="note2"/>, [[Velinskaya]], [[Menshikova]], etc., because she will be drilled by Galvani <ref name="note4"/>, you, [[Samarin]] and [[Nikolay Rubinstein\|Rubinstein]]. ''Gilev'' <ref name="note5"/> is for me also better than [[Melnikov]], and ''Zilbershtein'' <ref name="note6"/> is better than [[Dodonov]], because they are students, youths: they will not display that revolting, banal routine which I fear more than anything else as far as my opera is concerned. For God's sake, [[Karlusha]], try to understand me! I shall ''never'' hand over this opera to the Theatres' Directorate until it has been produced at the Conservatory. I wrote it for the Conservatory, because what I need here is not the grand stage with its ''routine'' and ''conventionality'', ''its talentless stage directors, its nonsensical, albeit luxurious stagings, its signalling machines instead of conductors'', and so on and so forth. For ''[[Onegin]]'' this is what I need: 1) singers of medium quality, but who have been drilled properly and know their roles well; 2) singers who will also be able to act ''simply'' but ''well''; 3) the staging doesn't have to be lavish but it must be strictly in keeping with the period; the costumes must absolutely be from the period in which the opera's action takes place (the 1820s); 4) the choruses should not be like a herd of sheep, as is the case on the Imperial stage—rather, they must be ''people'' who participate in the action of the opera; 5) the conductor must be not a machine, nor even a musician à la ''[[Nápravník]]'', who is concerned only with ensuring that where there's a C-sharp the orchestra doesn't play a C, but, rather, a true leader of the orchestra… In short, for this production I need neither Kiuster, nor Kavelin, nor [[Nápravník]], nor Merten, nor [[Kondratyev]], nor Dmitriyev nor any such trash. Rather, I need ''[[Hubert]]'', ''[[Albrecht]]'', ''[[Samarin]]'' and ''[[Nikolay Rubinstein\|Rubinstein]]'', that is artists and, moreover, my friends. Do try to understand this, ''[[Karlusha]]'', for God's sake. Not for the world will I hand over ''[[Onegin]]'' to the [[Petersburg]] or [[Moscow]] [Theatres'] Directorates, and if my opera is not fated to be produced at the Conservatory, it will not be produced anywhere.

	I understand very well what is going on. You have staged ''La dame blanche'' <ref name="note7"/>. You need to put on a play for [[Samarin]]'s class, and there is simply no room for my ''[[Onegin]]''. But both you and [[Nikolay Grigoryevich]] are sorry to have to disappoint me, and you want to avoid a confrontation by means of tricks. But, for God's sake, don't imagine that I will be offended if ''[[Onegin]]'' isn't staged. If you don't have the time to stage the opera now, let us stage it in its entirety next year. I am willing to wait as long as you wish. As for your remark that ''[[Klimentova]]'' is unsuitable, believe me: we will ''never'' find a singer who is completely suitable. And if we were to wait for this ''ideal'' Tatyana, we would have to wait until some future age. Therefore, when [[Nikolay Rubinstein\|Rubinstein]] has read this letter and you have had a detailed discussion with him, write to me frankly whether it is yes or ''no''. I have to know this so that I can plan my work schedule. Once again I repeat that I will by no means be offended if you decide to postpone the staging of ''[[Onegin]]'' until next year.		I understand very well what is going on. You have staged ''La dame blanche'' <ref name="note7"/>. You need to put on a play for [[Samarin]]'s class, and there is simply no room for my ''[[Onegin]]''. But both you and [[Nikolay Grigoryevich]] are sorry to have to disappoint me, and you want to avoid a confrontation by means of tricks. But, for God's sake, don't imagine that I will be offended if ''[[Onegin]]'' isn't staged. If you don't have the time to stage the opera now, let us stage it in its entirety next year. I am willing to wait as long as you wish. As for your remark that ''[[Klimentova]]'' is unsuitable, believe me: we will ''never'' find a singer who is completely suitable. And if we were to wait for this ''ideal'' Tatyana, we would have to wait until some future age. Therefore, when [[Nikolay Rubinstein\|Rubinstein]] has read this letter and you have had a detailed discussion with him, write to me frankly whether it is yes or ''no''. I have to know this so that I can plan my work schedule. Once again I repeat that I will by no means be offended if you decide to postpone the staging of ''[[Onegin]]'' until next year.

	Yet as regards to the ''[[Symphony No. 4\|symphony]]'' which I am now orchestrating, I implore ''[[Nikolay Grigoryevich]]'' to leave a slot for it at the end of the season. For a number of reasons it is most important for me that it should be performed precisely during this season. Within a month (at the latest) it will be completely ready.		Yet as regards to the ''[[Symphony No. 4\|symphony]]'' which I am now orchestrating, I implore ''[[Nikolay Grigoryevich]]'' to leave a slot for it at the end of the season. For a number of reasons it is most important for me that it should be performed precisely during this season. Within a month (at the latest), it will be completely ready.

	Now to talk about other things.		Now to talk about other things.
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	I have parted with [[Anatoly Tchaikovsky\|my brother]] and I am ''terribly'' depressed <ref name="note8"/>. Still, I hope that the symphony, in which I have become fully absorbed since yesterday, will occupy me so much that I can somehow last out this month here. I have moved into the top floor of a huge house. The view from my room is splendid. However, in [[Venice]] everything is marked by a kind of sad, sepulchral character, and that is why this view cannot cheer me up. Indeed, the more I live abroad, the more I am convinced that I can live only in Russia. All the same, I shall probably not show my ''face'' in [[Moscow]] until September next year. It is impossible for me to return to [[Moscow]] now due to a thousand reasons, the main one being that as soon as I arrived there I should start to feel depressed and act like a madman. I still have to wait a bit more. I shall spend one more month here, but what I'll do afterwards, I don't know.		I have parted with [[Anatoly Tchaikovsky\|my brother]] and I am ''terribly'' depressed <ref name="note8"/>. Still, I hope that the symphony, in which I have become fully absorbed since yesterday, will occupy me so much that I can somehow last out this month here. I have moved into the top floor of a huge house. The view from my room is splendid. However, in [[Venice]] everything is marked by a kind of sad, sepulchral character, and that is why this view cannot cheer me up. Indeed, the more I live abroad, the more I am convinced that I can live only in Russia. All the same, I shall probably not show my ''face'' in [[Moscow]] until September next year. It is impossible for me to return to [[Moscow]] now due to a thousand reasons, the main one being that as soon as I arrived there I should start to feel depressed and act like a madman. I still have to wait a bit more. I shall spend one more month here, but what I'll do afterwards, I don't know.

	I have been writing all day today and I am very tired, so I won't write any more. Merci, dear friend, for your help in removing my things <ref name="note9"/>. I would be much obliged to you if you could regularly send me all your programmes. My brother ''[[Tolya]]'' will bring with him the first scene of Act II of ''[[Onegin]]''. If the decision is taken not to stage ''[[Onegin]]'' now, would you nevertheless kindly have the ''piano reduction'' copied? I kiss you affectionately, my dear friend. Convey to Anna Leontyevna and the children all kinds of greetings and kisses from me. I also send a little kiss for dear [[Nikolay Grigoryevich]], as well as for [[Kashkin]], [[Hubert]], and [[Jurgenson]].		I have been writing all day today and I am very tired, so I won't write any more. Merci, dear friend, for your help in removing my things <ref name="note9"/>. I would be much obliged to you if you could regularly send me all your programmes. My brother ''[[Tolya]]'' will bring with him the first scene of Act II of ''[[Onegin]]''. If the decision is taken not to stage ''[[Onegin]]'' now, would you nevertheless kindly have the ''piano reduction'' copied? I kiss you affectionately, my dear friend. Convey to Anna Leontyevna and the children all kinds of greetings and kisses from me. I also send a little kiss for dear [[Nikolay Grigoryevich]], as well as for [[Kashkin]], [[Hubert]] and [[Jurgenson]].
	{{right\|Yours, P. Tchaikovsky}}		{{right\|Yours, P. Tchaikovsky}}
	''Italy. [[Venice]]. Hotel Beau-Rivage''.		''Italy. [[Venice]]. Hotel Beau-Rivage''.
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	My letter was already sealed when I wanted to re-read your message, and I cannot resist expressing my admiration of this wonderful letter. It is such a joy! This is the real live [[Karlusha]], with his distinctive style! His own invented language, with its techniques, inimitable syntax and grammar. Oh, [[Karlusha]]! You may have only written to me once, but it is truly a bonus! Merci, golubchik.		My letter was already sealed when I wanted to re-read your message, and I cannot resist expressing my admiration of this wonderful letter. It is such a joy! This is the real live [[Karlusha]], with his distinctive style! His own invented language, with its techniques, inimitable syntax and grammar. Oh, [[Karlusha]]! You may have only written to me once, but it is truly a bonus! Merci, golubchik.

	Secondly, it seems to me that I firmly answered your question, but perhaps this was not clearly expressed. As I understand it the question boils down to: do I come for the production or not. The answer is clear: I should like to hear "Onegin", but ''I can't come'' to [[Moscow]] before next September. So it's up to you. For my part I trust, [[Nikolay Grigoryevich]], you, [[Samarin]] and my other friends. I am ''wholly'' convinced that my presence is not necessary for the production. I repeat that I shall not be offended if you decide to postpone the staging for a year, ''but'' otherwise only one-and-a-half acts may be ready to go on. You are free to reach your own judgement, but please just let me know about it.		Secondly, it seems to me that I firmly answered your question, but perhaps this was not clearly expressed. As I understand it, the question boils down to: do I come for the production or not? The answer is clear: I should like to hear "Onegin", but ''I can't come'' to [[Moscow]] before next September. So it's up to you. For my part, I trust [[Nikolay Grigoryevich]], you, [[Samarin]] and my other friends. I am ''wholly'' convinced that my presence is not necessary for the production. I repeat that I shall not be offended if you decide to postpone the staging for a year, ''but'' otherwise only one-and-a-half acts may be ready to go on. You are free to reach your own judgement, but please just let me know about it.

	I am ''delighted'' that you like the all the music.		I am ''delighted'' that you like the all the music.
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	<ref name="note2">[[Wilhelmina Raab\|Wilhelmina (Vilgelmina) Ivanovna Raab]] (née Bilik, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885.</ref>		<ref name="note2">[[Wilhelmina Raab\|Wilhelmina (Vilgelmina) Ivanovna Raab]] (née Bilik, Plyushchevskaya-Plyushchik in her second marriage; 1848–1917), Russian soprano, soloist at the [[Saint Petersburg]] Mariinsky Theatre from 1871 to 1885.</ref>
	<ref name="note4">Giacomo Galvani (1825–1889), Italian professor of singing at the [[Moscow]] Conservatory.</ref>		<ref name="note4">Giacomo Galvani (1825–1889), Italian professor of singing at the [[Moscow]] Conservatory.</ref>
	<ref name="note5">Sergey Vasilyevich Gilev (1854–1933), Russian baritone, sang the title-role at the premiere of ''[[Yevgeny Onegin]]'' on 17/29 March 1879.</ref>		<ref name="note5">Sergey Vasilyevich Gilev (1854–1933), Russian baritone, sang the title-role at the premiere of [[Yevgeny Onegin]] on 17/29 March 1879.</ref>
	<ref name="note6">Mikhail Mikhaylovich Zilbershtein (later assumed the surname Mikhaylov; b. 1858), Russian tenor.</ref>		<ref name="note6">Mikhail Mikhaylovich Zilbershtein (later assumed the surname Mikhaylov; b. 1858), Russian tenor.</ref>
	<ref name="note7">An opera by François-Adrien Boieldieu (1775-1834) which was staged in a student production at the [[Moscow]] Conservatory on 1/13 April 1878, with [[Nikolay Rubinstein]] conducting.</ref>		<ref name="note7">An opera by François-Adrien Boieldieu (1775-1834) which was staged in a student production at the [[Moscow]] Conservatory on 1/13 April 1878, with [[Nikolay Rubinstein]] conducting.</ref>
	<ref name="note8">[[Anatoly]], who had accompanied Tchaikovsky on his flight abroad and had been at his side for two months, left [[Vienna]] to return to Russia on 30 November/12 December 1877.</ref>		<ref name="note8">[[Anatoly]], who had accompanied Tchaikovsky on his flight abroad and had been at his side for two months, left [[Vienna]] to return to Russia on 30 November/12 December 1877.</ref>
	<ref name="note9">After Tchaikovsky's departure from Russia and the sale of his [[Moscow]] apartment his belongings were taken over to [[Nikolay Rubinstein]]'s apartment, as well as to [[Albrecht]]'s. Tchaikovsky instructed [[Albrecht]] to sell off some of them.</ref>		<ref name="note9">After Tchaikovsky's departure from Russia and the sale of his [[Moscow]] apartment, his belongings were taken over to [[Nikolay Rubinstein]]'s apartment, as well as to [[Albrecht]]'s. Tchaikovsky instructed [[Albrecht]] to sell off some of them.</ref>
	</references>		</references>
	{{DEFAULTSORT:Letter 0671}}		{{DEFAULTSORT:Letter 0671}}