Mazepa - Revision history

Brett: Text replacement - "proof-read" to "proofread"

2024-08-23T08:55:28Z

Text replacement - "proof-read" to "proofread"

← Older revision		Revision as of 10:55, 23 August 2024
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	==Publication==		==Publication==
	During the summer of 1883, Tchaikovsky left [[Moscow]] for his brother [[Anatoly]]'s dacha at [[Podushkino]], where he corrected the proofs of the opera. On 14/26 July he wrote to [[Modest Tchaikovsky]]: "I'm busy with the proofs... I've now developed an unhealthy obsession with the misprints and errors which disfigure the majority of my compositions. I'm doing all three sets of proofs myself in an enormous rush, so that I am ready to leave at the beginning of August {{NS}} <ref name="note60"/>. Throughout July, the composer was weighed down with the enormous burden of ~~proof-reading~~ <ref name="note61"/>. The proofs were completed at the end of July/beginning of August <ref name="note62"/>.		During the summer of 1883, Tchaikovsky left [[Moscow]] for his brother [[Anatoly]]'s dacha at [[Podushkino]], where he corrected the proofs of the opera. On 14/26 July he wrote to [[Modest Tchaikovsky]]: "I'm busy with the proofs... I've now developed an unhealthy obsession with the misprints and errors which disfigure the majority of my compositions. I'm doing all three sets of proofs myself in an enormous rush, so that I am ready to leave at the beginning of August {{NS}} <ref name="note60"/>. Throughout July, the composer was weighed down with the enormous burden of proofreading <ref name="note61"/>. The proofs were completed at the end of July/beginning of August <ref name="note62"/>.

	The piano arrangement was published by [[Jurgenson]] in August 1883, and it omitted the additional arioso for Mazepa (Act II, No. 10a) <ref name="note63"/>. [[Jurgenson]] issued the choral parts in July 1883, and the full score of the Hopak (Act I, No. 4) separately in December 1883.		The piano arrangement was published by [[Jurgenson]] in August 1883, and it omitted the additional arioso for Mazepa (Act II, No. 10a) <ref name="note63"/>. [[Jurgenson]] issued the choral parts in July 1883, and the full score of the Hopak (Act I, No. 4) separately in December 1883.

Brett at 13:17, 16 September 2023

2023-09-16T13:17:07Z

← Older revision		Revision as of 15:17, 16 September 2023
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	On 19 February/3 March 1883, [[Max Erdmannsdörfer]] conducted the Hopak (Act I, No. 4a) at a special Russian Musical Society concert in [[Moscow]].		On 19 February/3 March 1883, [[Max Erdmannsdörfer]] conducted the Hopak (Act I, No. 4a) at a special Russian Musical Society concert in [[Moscow]].

	The complete opera was staged for the first time at the [[Moscow]] Bolshoi Theatre on 3/15 February 1884, conducted by [[Ippolit Altani]], with soloists: [[Bogomir Korsov]] (''Mazepa''), [[Pavel Borisov]] (''Kochubey''), [[Aleksandra Krutikova]] (''Lyubov''), [[Emiliya Pavlovskaya]] (''Mariya''), Dmitry Usatov (''Andrey''), Otto Führer (''Orlik''), Petr Grigoryev (''Iskra'') and [[Aleksandr Dodonov]] (''Drunken Cossack'').		The complete opera was staged for the first time at the [[Moscow]] Bolshoi Theatre on 3/15 February 1884, conducted by [[Ippolit Altani]], with soloists: [[Bogomir Korsov]] (''Mazepa''), [[Pavel Borisov]] (''Kochubey''), [[Aleksandra Krutikova]] (''Lyubov''), [[Emiliya Pavlovskaya]] (''Mariya''), [[Dmitry Usatov]] (''Andrey''), Otto Führer (''Orlik''), Petr Grigoryev (''Iskra'') and [[Aleksandr Dodonov]] (''Drunken Cossack'').

	The first production in [[Saint Petersburg]] took place just three days later, on 6/18 February, with [[Eduard Nápravník]] conducting the following soloists: [[Ippolit Pryanishnikov]] (''Mazepa''), [[Ivan Melnikov]] (''Kochubey''), [[Mariya Kamenskaya]] (''Lyubov''), Anna Laterner (''Mariya''), Mikhail Vasilyev III (''Andrey''), Fyodor Stravinsky (''Orlik''), Konstantin Kondaraki (''Iskra''), and Vasily Vasilyev II (''Drunken Cossack'').		The first production in [[Saint Petersburg]] took place just three days later, on 6/18 February, with [[Eduard Nápravník]] conducting the following soloists: [[Ippolit Pryanishnikov]] (''Mazepa''), [[Ivan Melnikov]] (''Kochubey''), [[Mariya Kamenskaya]] (''Lyubov''), Anna Laterner (''Mariya''), Mikhail Vasilyev III (''Andrey''), Fyodor Stravinsky (''Orlik''), Konstantin Kondaraki (''Iskra''), and Vasily Vasilyev II (''Drunken Cossack'').

Brett: Text replacement - "Mariya Kamenskaya" to "Mariya Kamenskaya"

2023-09-09T16:11:07Z

Text replacement - "Mariya Kamenskaya" to "Mariya Kamenskaya"

← Older revision		Revision as of 18:11, 9 September 2023
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	The complete opera was staged for the first time at the [[Moscow]] Bolshoi Theatre on 3/15 February 1884, conducted by [[Ippolit Altani]], with soloists: [[Bogomir Korsov]] (''Mazepa''), [[Pavel Borisov]] (''Kochubey''), [[Aleksandra Krutikova]] (''Lyubov''), [[Emiliya Pavlovskaya]] (''Mariya''), Dmitry Usatov (''Andrey''), Otto Führer (''Orlik''), Petr Grigoryev (''Iskra'') and [[Aleksandr Dodonov]] (''Drunken Cossack'').		The complete opera was staged for the first time at the [[Moscow]] Bolshoi Theatre on 3/15 February 1884, conducted by [[Ippolit Altani]], with soloists: [[Bogomir Korsov]] (''Mazepa''), [[Pavel Borisov]] (''Kochubey''), [[Aleksandra Krutikova]] (''Lyubov''), [[Emiliya Pavlovskaya]] (''Mariya''), Dmitry Usatov (''Andrey''), Otto Führer (''Orlik''), Petr Grigoryev (''Iskra'') and [[Aleksandr Dodonov]] (''Drunken Cossack'').

	The first production in [[Saint Petersburg]] took place just three days later, on 6/18 February, with [[Eduard Nápravník]] conducting the following soloists: [[Ippolit Pryanishnikov]] (''Mazepa''), [[Ivan Melnikov]] (''Kochubey''), Mariya Kamenskaya (''Lyubov''), Anna Laterner (''Mariya''), Mikhail Vasilyev III (''Andrey''), Fyodor Stravinsky (''Orlik''), Konstantin Kondaraki (''Iskra''), and Vasily Vasilyev II (''Drunken Cossack'').		The first production in [[Saint Petersburg]] took place just three days later, on 6/18 February, with [[Eduard Nápravník]] conducting the following soloists: [[Ippolit Pryanishnikov]] (''Mazepa''), [[Ivan Melnikov]] (''Kochubey''), [[Mariya Kamenskaya]] (''Lyubov''), Anna Laterner (''Mariya''), Mikhail Vasilyev III (''Andrey''), Fyodor Stravinsky (''Orlik''), Konstantin Kondaraki (''Iskra''), and Vasily Vasilyev II (''Drunken Cossack'').

	Tchaikovsky attended the rehearsals and premiere in [[Moscow]], but left the next day to travel abroad. The first performance to incorporate the composer's changes to the Quarrel Scene (Act I, No. 6), the Scene with Mazepa and Mariya (Act II, No. 11) and the Finale (Act III, No. 19), was the revival at the Mariinsky Theatre on 10/22 September 1884, with [[Eduard Nápravník]] conducting once more.		Tchaikovsky attended the rehearsals and premiere in [[Moscow]], but left the next day to travel abroad. The first performance to incorporate the composer's changes to the Quarrel Scene (Act I, No. 6), the Scene with Mazepa and Mariya (Act II, No. 11) and the Finale (Act III, No. 19), was the revival at the Mariinsky Theatre on 10/22 September 1884, with [[Eduard Nápravník]] conducting once more.

Brett at 15:36, 9 September 2023

2023-09-09T15:36:45Z

← Older revision		Revision as of 17:36, 9 September 2023
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	On 19 February/3 March 1883, [[Max Erdmannsdörfer]] conducted the Hopak (Act I, No. 4a) at a special Russian Musical Society concert in [[Moscow]].		On 19 February/3 March 1883, [[Max Erdmannsdörfer]] conducted the Hopak (Act I, No. 4a) at a special Russian Musical Society concert in [[Moscow]].

	The complete opera was staged for the first time at the [[Moscow]] Bolshoi Theatre on 3/15 February 1884, conducted by [[Ippolit Altani]], with soloists: [[Bogomir Korsov]] (''Mazepa''), [[Pavel Borisov]] (''Kochubey''), Aleksandra Krutikova (''Lyubov''), [[Emiliya Pavlovskaya]] (''Mariya''), Dmitry Usatov (''Andrey''), Otto Führer (''Orlik''), Petr Grigoryev (''Iskra'') and [[Aleksandr Dodonov]] (''Drunken Cossack'').		The complete opera was staged for the first time at the [[Moscow]] Bolshoi Theatre on 3/15 February 1884, conducted by [[Ippolit Altani]], with soloists: [[Bogomir Korsov]] (''Mazepa''), [[Pavel Borisov]] (''Kochubey''), [[Aleksandra Krutikova]] (''Lyubov''), [[Emiliya Pavlovskaya]] (''Mariya''), Dmitry Usatov (''Andrey''), Otto Führer (''Orlik''), Petr Grigoryev (''Iskra'') and [[Aleksandr Dodonov]] (''Drunken Cossack'').

	The first production in [[Saint Petersburg]] took place just three days later, on 6/18 February, with [[Eduard Nápravník]] conducting the following soloists: [[Ippolit Pryanishnikov]] (''Mazepa''), [[Ivan Melnikov]] (''Kochubey''), Mariya Kamenskaya (''Lyubov''), Anna Laterner (''Mariya''), Mikhail Vasilyev III (''Andrey''), Fyodor Stravinsky (''Orlik''), Konstantin Kondaraki (''Iskra''), and Vasily Vasilyev II (''Drunken Cossack'').		The first production in [[Saint Petersburg]] took place just three days later, on 6/18 February, with [[Eduard Nápravník]] conducting the following soloists: [[Ippolit Pryanishnikov]] (''Mazepa''), [[Ivan Melnikov]] (''Kochubey''), Mariya Kamenskaya (''Lyubov''), Anna Laterner (''Mariya''), Mikhail Vasilyev III (''Andrey''), Fyodor Stravinsky (''Orlik''), Konstantin Kondaraki (''Iskra''), and Vasily Vasilyev II (''Drunken Cossack'').

Tony: /* Related Works */

2023-04-11T18:44:16Z

Related Works

← Older revision		Revision as of 20:44, 11 April 2023
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	* Act II, No. 9. The orchestral introduction to the Dungeon Scene uses the theme from ''June'' (No. 6) of ''[[The Seasons]]'' <ref name="note66"/>,		* Act II, No. 9. The orchestral introduction to the Dungeon Scene uses the theme from ''June'' (No. 6) of ''[[The Seasons]]'' <ref name="note66"/>,
	* Act II, No. 11. This scene (bars 146–150) includes quotations from the Act II Mazurka and 'Glory' (Славься) themes from [[Mikhail Glinka]]'s opera ''A Life for the Tsar''.		* Act II, No. 11. This scene (bars 146–150) includes quotations from the Act II Mazurka and 'Glory' (Славься) themes from [[Mikhail Glinka]]'s opera ''A Life for the Tsar''.
	* Act II, No. 13. The Crowd Scenes include the Ukrainian folksong 'Hey, worrying makes me thirsty' (Гей, же, та и журба мене сушыла). The Drunken Cossack's song (bar 150) is set to the Russian folk-tune 'To the end of the street' (Вдоль улицы ы конец).		* Act II, No. 13. The Crowd Scenes include the Ukrainian folksong 'Hey, worrying makes me thirsty' (Гей, же, та и журба мене сушыла). The Drunken Cossack's song (bar 150) is set to the Russian folk tune 'To the end of the street' (Вдоль улицы ы конец).
	* Act III, No. 15. The Battle of Poltava entr'acte includes quotations from the Russian hymns 'Glory to God in the highest' (Уж как слава Тебе Боже на небеси) and 'God, preserve thy people' (Спаси, господи, люди твоя), as well as the 'Glory' (Славься) chorus from [[Glinka]]'s opera ''A Life for the Tsar''.		* Act III, No. 15. The Battle of Poltava entr'acte includes quotations from the Russian hymns 'Glory to God in the highest' (Уж как слава Тебе Боже на небеси) and 'God, preserve thy people' (Спаси, господи, люди твоя), as well as the 'Glory' (Славься) chorus from [[Glinka]]'s opera ''A Life for the Tsar''.

Tony: /* Notes and References */

2023-01-31T20:18:30Z

Notes and References

← Older revision		Revision as of 22:18, 31 January 2023
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	<ref name="note60">[[Letter 2310]] to [[Modest Tchaikovsky]], 14/26 July 1883.</ref>		<ref name="note60">[[Letter 2310]] to [[Modest Tchaikovsky]], 14/26 July 1883.</ref>
	<ref name="note61">See letters to [[Modest Tchaikovsky]], [[Nadezhda von Meck]] and [[Pyotr Jurgenson]] from July 1883.</ref>		<ref name="note61">See letters to [[Modest Tchaikovsky]], [[Nadezhda von Meck]] and [[Pyotr Jurgenson]] from July 1883.</ref>
	<ref name="note61A">The same opera company were also giving [[Anton Rubinstein]]'s ''The Demon'', [[Glinka]]'s ''A Life for the Tsar'' and [[Verdi]]'s ''Rigoletto'', which alternated along with ''Mazepa'' from night to night. For this reason it has not always been possible to determine which operas were being performed on specific dates, or the cast members for each role. See, for example, the advertisement for the Royal Albert Hall concerts in ''The Times'' [London]], 22 September 1888 {{NS}}, page 1, col. 5. At promenade concerts in the Queen's Hall, [[London]], Henry Wood conducted the Hopak (Act I, No. 4a) on 16/28 September 1899, and the Battle of Poltava (Act III, No. 15) on 4/16 August 1904, both of which were advertised as being their first performances in England, although it is possible that the organisers were unaware of the earlier Russian Opera tour.</ref>		<ref name="note61A">The same opera company were also giving [[Anton Rubinstein]]'s ''The Demon'', [[Glinka]]'s ''A Life for the Tsar'' and [[Verdi]]'s ''Rigoletto'', which alternated along with ''Mazepa'' from night to night. For this reason, it has not always been possible to determine which operas were being performed on specific dates, or the cast members for each role. See, for example, the advertisement for the Royal Albert Hall concerts in ''The Times'' [London]], 22 September 1888 {{NS}}, page 1, col. 5. At promenade concerts in the Queen's Hall, [[London]], Henry Wood conducted the Hopak (Act I, No. 4a) on 16/28 September 1899, and the Battle of Poltava (Act III, No. 15) on 4/16 August 1904, both of which were advertised as being their first performances in England, although it is possible that the organisers were unaware of the earlier Russian Opera tour.</ref>
	<ref name="note62">See [[Letter 2321]] to [[Modest Tchaikovsky]], 1/13 August 1883.</ref>		<ref name="note62">See [[Letter 2321]] to [[Modest Tchaikovsky]], 1/13 August 1883.</ref>
	<ref name="note63">Passed by the censor on 27 July/8 August 1883.</ref>		<ref name="note63">Passed by the censor on 27 July/8 August 1883.</ref>

Tony: /* Publication */

2023-01-31T20:10:44Z

Publication

← Older revision		Revision as of 22:10, 31 January 2023
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	==Publication==		==Publication==
	During the summer of 1883, Tchaikovsky left [[Moscow]] for his brother [[Anatoly]]'s dacha at [[Podushkino]], where he corrected the proofs of the opera. On 14/26 July he wrote to [[Modest Tchaikovsky]]: "I'm busy with the proofs... I've now developed an unhealthy obsession with the misprints and errors which disfigure the majority of my compositions. I'm doing all three sets of proofs myself in an enormous rush, so that I am ready to leave at the beginning of August {{NS}} <ref name="note60"/>. Throughout July the composer was weighed down with the enormous burden of proof-reading <ref name="note61"/>. The proofs were completed at the end of July/beginning of August <ref name="note62"/>.		During the summer of 1883, Tchaikovsky left [[Moscow]] for his brother [[Anatoly]]'s dacha at [[Podushkino]], where he corrected the proofs of the opera. On 14/26 July he wrote to [[Modest Tchaikovsky]]: "I'm busy with the proofs... I've now developed an unhealthy obsession with the misprints and errors which disfigure the majority of my compositions. I'm doing all three sets of proofs myself in an enormous rush, so that I am ready to leave at the beginning of August {{NS}} <ref name="note60"/>. Throughout July, the composer was weighed down with the enormous burden of proof-reading <ref name="note61"/>. The proofs were completed at the end of July/beginning of August <ref name="note62"/>.

	The piano arrangement was published by [[Jurgenson]] in August 1883, and it omitted the additional arioso for Mazepa (Act II, No. 10a) <ref name="note63"/>. [[Jurgenson]] issued the choral parts in July 1883, and the full score of the Hopak (Act I, No. 4) separately in December 1883.		The piano arrangement was published by [[Jurgenson]] in August 1883, and it omitted the additional arioso for Mazepa (Act II, No. 10a) <ref name="note63"/>. [[Jurgenson]] issued the choral parts in July 1883, and the full score of the Hopak (Act I, No. 4) separately in December 1883.

Tony: /* Composition */ Text replacement - "mine" to "mind"

2023-01-31T20:00:11Z

Composition: Text replacement - "mine" to "mind"

← Older revision		Revision as of 22:00, 31 January 2023
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	At the end of December/beginning of January, Tchaikovsky left for abroad. In early/mid-January, he reported to [[Nadezhda von Meck]] from [[Paris]]: "I have begun to work with great enthusiasm and during my two days here I have written for six hours each day" <ref name="note43"/>. While awaiting an answer from [[Eduard Nápravník]] to his letter concerning possible changes and cuts to the libretto of the opera <ref name="note44"/>, the composer put aside the instrumentation of Act II, and moved on to Act III, writing on 11/23 January: "My work is going very well, and I have almost orchestrated half an entire act" <ref name="note45"/>.		At the end of December/beginning of January, Tchaikovsky left for abroad. In early/mid-January, he reported to [[Nadezhda von Meck]] from [[Paris]]: "I have begun to work with great enthusiasm and during my two days here I have written for six hours each day" <ref name="note43"/>. While awaiting an answer from [[Eduard Nápravník]] to his letter concerning possible changes and cuts to the libretto of the opera <ref name="note44"/>, the composer put aside the instrumentation of Act II, and moved on to Act III, writing on 11/23 January: "My work is going very well, and I have almost orchestrated half an entire act" <ref name="note45"/>.

	However, the speed of work soon slowed. In a letter to [[Sergey Taneyev]] of 2/14 February, the composer lamented: "The orchestration of ''Mazepa'' is going at a snail's pace. In five weeks I have barely managed to score three fifths of one act" <ref name="note46"/>. This is corroborated by a letter to [[Pyotr Jurgenson]] of 26 February/10 March 1883: "All my available time must be devoted to the opera, which strains me terribly. However, I am in a good frame of ~~mine~~, notwithstanding my pains in giving birth to my offspring" <ref name="note47"/>.		However, the speed of work soon slowed. In a letter to [[Sergey Taneyev]] of 2/14 February, the composer lamented: "The orchestration of ''Mazepa'' is going at a snail's pace. In five weeks I have barely managed to score three fifths of one act" <ref name="note46"/>. This is corroborated by a letter to [[Pyotr Jurgenson]] of 26 February/10 March 1883: "All my available time must be devoted to the opera, which strains me terribly. However, I am in a good frame of mind, notwithstanding my pains in giving birth to my offspring" <ref name="note47"/>.

	In March, Tchaikovsky received a commission to compose a cantata ''[[Moscow (cantata)\|Moscow]]'' and the [[Coronation March]], and proceeded to compose these works; the full scores of the new compositions, together with the completed Act III of ''Mazepa'' were sent to [[Saint Petersburg]] on 26 March/7 April <ref name="note48"/>.		In March, Tchaikovsky received a commission to compose a cantata ''[[Moscow (cantata)\|Moscow]]'' and the [[Coronation March]], and proceeded to compose these works; the full scores of the new compositions, together with the completed Act III of ''Mazepa'' were sent to [[Saint Petersburg]] on 26 March/7 April <ref name="note48"/>.
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	Further on in this same letter, Tchaikovsky touched on the scene with the Drunken Cossack, which had been criticised by [[Eduard Nápravník]]: "Regarding the ''Drunken Cossack'', I assure you that with a good performance this will not seem inappropriate, and in any case I would not want to make a change here, since I feel deeply that this whole number is constructed in such a rounded manner that making cuts or alterations would render it meaningless". On 1/13 April, Tchaikovsky wrote to [[Sergey Taneyev]]: "I have made three important changes in ''Mazepa''. One of them you will be upset about — but I ''had to'' do this to for the sake of the ''staging''" <ref name="note56"/>.		Further on in this same letter, Tchaikovsky touched on the scene with the Drunken Cossack, which had been criticised by [[Eduard Nápravník]]: "Regarding the ''Drunken Cossack'', I assure you that with a good performance this will not seem inappropriate, and in any case I would not want to make a change here, since I feel deeply that this whole number is constructed in such a rounded manner that making cuts or alterations would render it meaningless". On 1/13 April, Tchaikovsky wrote to [[Sergey Taneyev]]: "I have made three important changes in ''Mazepa''. One of them you will be upset about — but I ''had to'' do this to for the sake of the ''staging''" <ref name="note56"/>.

	The changes in Act I affected the finale to the Quarrel Scene (No. 6), where a significant cut was made (from bar 221). In the second scene of Act II, Tchaikovsky shortened the scene between Mariya and Mazepa (No. 11), which required some alterations to the music. In its first version the whole scene was conducted as a dialogue. The new version culminated in a more dramatic duet — Molto ritenuto — Moderato: "You are everything to me" («Ты мне всего»). Leaving Mariya's part untouched, the composer joined it to Mazepa's part, preserving the preceding words, which were now set to new music. However, from bar 13 the entire scene was written afresh, as a result of which it was shortened by 69 bars. In Act III, Tchaikovsky changed the Finale (No. 19), abandoning the end of the scene with Mariya's impulsive suicide, and concluding the opera with the lullaby which Mariya sings over Andrey's body.		The changes in Act I affected the finale to the Quarrel Scene (No. 6), where a significant cut was made (from bar 221). In the second scene of Act II, Tchaikovsky shortened the scene between Mariya and Mazepa (No. 11), which required some alterations to the music. In its first version, the whole scene was conducted as a dialogue. The new version culminated in a more dramatic duet — Molto ritenuto — Moderato: "You are everything to me" («Ты мне всего»). Leaving Mariya's part untouched, the composer joined it to Mazepa's part, preserving the preceding words, which were now set to new music. However, from bar 13 the entire scene was written afresh, as a result of which it was shortened by 69 bars. In Act III, Tchaikovsky changed the Finale (No. 19), abandoning the end of the scene with Mariya's impulsive suicide, and concluding the opera with the lullaby which Mariya sings over Andrey's body.

	In October 1884, [[Bogomir Korsov]] pressured Tchaikovsky into making a further small change to the scene between Mazepa and Mariya (replacing some bars of Mariya's recitatives to Mazepa with the words: "Is it your father or your husband who is dearest to you?" («Отец или супруг тебе дороже») <ref name="note57"/>. This change was included in the [[Moscow]] production that autumn, and in a letter of 5/17 January 1885 Tchaikovsky suggested to [[Eduard Nápravník]] that it should also be made in the [[Saint Petersburg]] production, but it is not known whether [[Nápravník]] complied with this request.		In October 1884, [[Bogomir Korsov]] pressured Tchaikovsky into making a further small change to the scene between Mazepa and Mariya (replacing some bars of Mariya's recitatives to Mazepa with the words: "Is it your father or your husband who is dearest to you?" («Отец или супруг тебе дороже») )<ref name="note57"/>. This change was included in the [[Moscow]] production that autumn, and in a letter of 5/17 January 1885, Tchaikovsky suggested to [[Eduard Nápravník]] that it should also be made in the [[Saint Petersburg]] production, but it is not known whether [[Nápravník]] complied with this request.

	==Arrangements==		==Arrangements==

Tony: /* Composition */

2023-01-31T19:36:07Z

Composition

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	Tchaikovsky remained at [[Kamenka]] until mid/late November, where he orchestrated Act I. Initially he worked with ease and enthusiasm <ref name="note34"/>. Between 1/13–7/19 October he had to spend time revising ''[[The Maid of Orleans]]'', which made him extremely tired, and the pace of work on the instrumentation of ''Mazepa'' slowed. "I very much want to finish the first act of ''Mazepa'' at [[Kamenka]], but am unlikely to do so — for some reason this work is taking me longer than before" <ref name="note35"/>.		Tchaikovsky remained at [[Kamenka]] until mid/late November, where he orchestrated Act I. Initially he worked with ease and enthusiasm <ref name="note34"/>. Between 1/13–7/19 October he had to spend time revising ''[[The Maid of Orleans]]'', which made him extremely tired, and the pace of work on the instrumentation of ''Mazepa'' slowed. "I very much want to finish the first act of ''Mazepa'' at [[Kamenka]], but am unlikely to do so — for some reason this work is taking me longer than before" <ref name="note35"/>.

	In a letter to [[Nadezhda von Meck]] on 3/15 November, Tchaikovsky wrote: "My work is gradually moving forward; in a few days I hope to finish the full score of the first act of the opera, which comprises three sections in all". Later in the same letter Tchaikovsky expressed very interesting ideas which reveal his attitude to the genre of opera. "I will not say, like you and many others, that opera is the lowest class of musical art; on the contrary, it seems to me that in combining so many disparate elements to serve a single purpose, opera may be one of the richest musical forms. But I feel that I am personally more inclined towards symphonic form. At least, I certainly feel that I have more freedom and independence when I am not subservient to the rigours and constraints of theatrical conventions" <ref name="note36"/>. On 13/25 November the composer told [[Anna Aleksandrova-Levenson]]: "I have worked a great deal over the last three months, and my opera has come on markedly. I hope to finish it by the spring" <ref name="note37"/>.		In a letter to [[Nadezhda von Meck]] on 3/15 November, Tchaikovsky wrote: "My work is gradually moving forward; in a few days I hope to finish the full score of the first act of the opera, which comprises three sections in all". Later in the same letter Tchaikovsky expressed very interesting ideas which reveal his attitude to the genre of opera: "I will not say, like you and many others, that opera is the lowest class of musical art; on the contrary, it seems to me that in combining so many disparate elements to serve a single purpose, opera may be one of the richest musical forms. But I feel that I am personally more inclined towards symphonic form. At least, I certainly feel that I have more freedom and independence when I am not subservient to the rigours and constraints of theatrical conventions" <ref name="note36"/>. On 13/25 November the composer told [[Anna Aleksandrova-Levenson]]: "I have worked a great deal over the last three months, and my opera has come on markedly. I hope to finish it by the spring" <ref name="note37"/>.

	In mid/late November, Tchaikovsky travelled to [[Moscow]], where he completed the instrumentation of Act I <ref name="note38"/>. "I've finished my work at last" <ref name="note39"/>, he wrote in a letter of 12/24 December to [[Nadezhda von Meck]], "and tomorrow evening I leave, completely exhausted to the point of foolhardiness" <ref name="note40"/>. During a short stay in [[Saint Petersburg]], according to [[Modest Tchaikovsky]], the composer was busy "copying out" ''Mazepa'' <ref name="note41"/>.		In mid/late November, Tchaikovsky travelled to [[Moscow]], where he completed the instrumentation of Act I <ref name="note38"/>. "I've finished my work at last" <ref name="note39"/>, he wrote in a letter of 12/24 December to [[Nadezhda von Meck]], "and tomorrow evening I leave, completely exhausted to the point of foolhardiness" <ref name="note40"/>. During a short stay in [[Saint Petersburg]], according to [[Modest Tchaikovsky]], the composer was busy "copying out" ''Mazepa'' <ref name="note41"/>.

	Evidently, work on the opera continued while Tchaikovsky was abroad. In a letter to [[Lev Davydov]] of 25 December/6 January the composer made the following request: "Please instruct Stepan to find my ''yellow notebook'', which I have had with me the whole summer during my travels. It contains almost the whole of my opera, and is ''essential'' to me. Send this notebook to [[Jurgenson]], who will forward it to me wherever I am stopping, since I don't yet know myself where I will be going. Please do all this quickly, since without this notebook my opera is lost" <ref name="note42"/>.		Evidently, work on the opera continued while Tchaikovsky was abroad. In a letter to [[Lev Davydov]] of 25 December/6 January, the composer made the following request: "Please instruct Stepan to find my ''yellow notebook'', which I have had with me the whole summer during my travels. It contains almost the whole of my opera, and is ''essential'' to me. Send this notebook to [[Jurgenson]], who will forward it to me wherever I am stopping, since I don't yet know myself where I will be going. Please do all this quickly, since without this notebook my opera is lost" <ref name="note42"/>.

	At the end of December/beginning of January, Tchaikovsky left for abroad. In early/mid January, he reported to [[Nadezhda von Meck]] from [[Paris]]: "I have begun to work with great enthusiasm and during my two days here I have written for six hours each day" <ref name="note43"/>. While awaiting an answer from [[Eduard Nápravník]] to his letter concerning possible changes and cuts to the libretto of the opera <ref name="note44"/>, the composer put aside the instrumentation of Act II, and moved on to Act III, writing on 11/23 January: "My work is going very well, and I have almost orchestrated half an entire act" <ref name="note45"/>.		At the end of December/beginning of January, Tchaikovsky left for abroad. In early/mid-January, he reported to [[Nadezhda von Meck]] from [[Paris]]: "I have begun to work with great enthusiasm and during my two days here I have written for six hours each day" <ref name="note43"/>. While awaiting an answer from [[Eduard Nápravník]] to his letter concerning possible changes and cuts to the libretto of the opera <ref name="note44"/>, the composer put aside the instrumentation of Act II, and moved on to Act III, writing on 11/23 January: "My work is going very well, and I have almost orchestrated half an entire act" <ref name="note45"/>.

	However, the speed of work soon slowed. In a letter to [[Sergey Taneyev]] of 2/14 February, the composer lamented: "The orchestration of ''Mazepa'' is going at a snail's pace. In five weeks I have barely managed to score three fifths of one act" <ref name="note46"/>. This is corroborated by a letter to [[Pyotr Jurgenson]] of 26 February/10 March 1883: "All my available time must be devoted to the opera, which strains me terribly. However, I am in a good frame of mine, notwithstanding my pains in giving birth to my offspring" <ref name="note47"/>.		However, the speed of work soon slowed. In a letter to [[Sergey Taneyev]] of 2/14 February, the composer lamented: "The orchestration of ''Mazepa'' is going at a snail's pace. In five weeks I have barely managed to score three fifths of one act" <ref name="note46"/>. This is corroborated by a letter to [[Pyotr Jurgenson]] of 26 February/10 March 1883: "All my available time must be devoted to the opera, which strains me terribly. However, I am in a good frame of mine, notwithstanding my pains in giving birth to my offspring" <ref name="note47"/>.

Tony: /* Composition */

2023-01-31T19:27:40Z

Composition

← Older revision		Revision as of 21:27, 31 January 2023
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	It was only in May 1882 at [[Kamenka]] that the composer returned to the subject he had set aside. "I am in a mood for writing", he wrote to [[Adolph Brodsky]], "and provided nothing intervenes I should be able work well" <ref name="note14"/>, but on 15/27 May in a letter to [[Modest Tchaikovsky]] he reported: "I'm working assiduously, but not with enthusiasm, and I'm not experiencing a twentieth of that inspiration and love for my creation that I usually feel" <ref name="note15"/>. On 21 May/2 June in another letter to [[Modest]], Tchaikovsky again referred to the opera: "I'm writing an opera, or in any case some scenes for ''Mazepa'', which barely holds my interest. I am writing with difficulty. However, something of substance is emerging..." <ref name="note16"/>.		It was only in May 1882 at [[Kamenka]] that the composer returned to the subject he had set aside. "I am in a mood for writing", he wrote to [[Adolph Brodsky]], "and provided nothing intervenes I should be able work well" <ref name="note14"/>, but on 15/27 May in a letter to [[Modest Tchaikovsky]] he reported: "I'm working assiduously, but not with enthusiasm, and I'm not experiencing a twentieth of that inspiration and love for my creation that I usually feel" <ref name="note15"/>. On 21 May/2 June in another letter to [[Modest]], Tchaikovsky again referred to the opera: "I'm writing an opera, or in any case some scenes for ''Mazepa'', which barely holds my interest. I am writing with difficulty. However, something of substance is emerging..." <ref name="note16"/>.

	Returning to [[Kamenka]] in order to work on ''Mazepa'', in early June Tchaikovsky left for [[Grankino]], where he stayed until 25 July/6 August. At [[Grankino]] work was resumed, and in the course of the summer and early autumn the composer completed the rough sketches for the opera. The surviving notebooks and sketches and numerous references in his letters enable us to establish with some precision the course of work during this period. The composer amended the text of the libretto and his original outline sketches for the earliest scenes of the opera, supplementing them with freshly-written material.		Returning to [[Kamenka]] in order to work on ''Mazepa'', in early June Tchaikovsky left for [[Grankino]], where he stayed until 25 July/6 August. At [[Grankino]] work was resumed, and in the course of the summer and early autumn the composer completed the rough sketches for the opera. The surviving notebooks and sketches and numerous references in his letters enable us to establish with some precision the course of work during this period. The composer amended the text of the libretto and his original outline sketches for the earliest scenes of the opera, supplementing them with freshly written material.

	First came sketches for Act III: themes for Andrey's aria (No. 16) and the last scenes (Nos. 17, 18, 19). At the same time the composer outlined the themes for the Introduction and the opening of the Chorus of Maidens (No. 1). In late May/early June (according to the author's date in his notebook) came sketches for the remaining scenes of Act I: themes for Finale (No. 8), Mariya's Arioso and her scene with Andrey (No. 2). Evidently while continuing to make rough sketches, the composer was occupied with bringing them to their final form. On 24 June/6 July in a letter to [[Nadezhda von Meck]] we read: "I am working with as much zeal as possible; now the opera is coming along in such a manner that, provided I remain alive and healthy, I will be able to begin the instrumentation in the autumn" <ref name="note17"/>, and on 30 June/12 July he told her: "I am working very enthusiastically and punctiliously. I am gradually experiencing, if not a passion for my subject, then at least a warming towards the characters. Like a mother who feels a love for her children, even though they cause her worries, anxieties and agitations, I am already experiencing a paternal tenderness for my new musical offspring, which on many occasions has caused me moments of despondency and disappointment, and yet despite all this it is now taking shape and growing healthily" <ref name="note18"/>.		First came sketches for Act III: themes for Andrey's aria (No. 16) and the last scenes (Nos. 17, 18, 19). At the same time, the composer outlined the themes for the Introduction and the opening of the Chorus of Maidens (No. 1). In late May/early June (according to the author's date in his notebook) came sketches for the remaining scenes of Act I: themes for Finale (No. 8), Mariya's Arioso and her scene with Andrey (No. 2). Evidently, while continuing to make rough sketches, the composer was occupied with bringing them to their final form. On 24 June/6 July in a letter to [[Nadezhda von Meck]] we read: "I am working with as much zeal as possible; now the opera is coming along in such a manner that, provided I remain alive and healthy, I will be able to begin the instrumentation in the autumn" <ref name="note17"/>, and on 30 June/12 July he told her: "I am working very enthusiastically and punctiliously. I am gradually experiencing, if not a passion for my subject, then at least a warming towards the characters. Like a mother who feels a love for her children, even though they cause her worries, anxieties and agitations, I am already experiencing a paternal tenderness for my new musical offspring, which on many occasions has caused me moments of despondency and disappointment, and yet despite all this it is now taking shape and growing healthily" <ref name="note18"/>.

	On 5/17 July the composer wrote to [[Nadezhda von Meck]]: "This week I hope to complete the rough sketches for a second act of the opera <ref name="note19"/>, but there is still one whole enormous act in three scenes still to write" <ref name="note20"/>. I hope to finish this work by early autumn, and then travel abroad to some peaceful corner — [[Clarens]], for instance — and make a start on the instrumentation" <ref name="note21"/>. On 13/25 July he reported: "Today I completed a second third of the opera, i.e. one out of three acts" <ref name="note22"/>.		On 5/17 July the composer wrote to [[Nadezhda von Meck]]: "This week I hope to complete the rough sketches for a second act of the opera <ref name="note19"/>, but there is still one whole enormous act in three scenes still to write" <ref name="note20"/>. I hope to finish this work by early autumn, and then travel abroad to some peaceful corner — [[Clarens]], for instance — and make a start on the instrumentation" <ref name="note21"/>. On 13/25 July he reported: "Today I completed a second third of the opera, i.e. one out of three acts" <ref name="note22"/>.