During a visit to St. Petersburg in the winter of 1872-73, Tschaikowsky begged his friend Vladimir Stassov to suggest to him a subject for a symphonic fantasia—something, he preferred, Shakespearian. Stassov responded by sending Tschaikowsky a letter proposing "The Tempest" as a theme, and outlining, in elaborate and enthusiastic detail, the poetic and dramatic plan which, he conceived, should underlie the music. This scheme so appealed to Tschaikowsky that he announced his determination "to carry out every detail"; and, to judge from his own programme affixed to the score, he actually did so. Stassov's remarks, therefore, serve as the best possible commentary on the significance of Tschaikowsky's music. He wrote as follows:
"I ... rejoice in the prospect of your work, which should prove a worthy pendant to your 'Romeo and Juliet' [see the preceding pages]. You ask whether it is necessary to introduce the tempest. Most certainly. Undoubtedly, most undoubtedly. Without it ... the entire programme would fall through. I have carefully weighed every incident, with all theirprosandcons, and it would be a pity to upset the whole business. I think the sea should be depicted twice—at theopening and close of the work. In the introduction I pictured it to myself as calm, until Prospero works his spell and the storm begins. But I think this storm should be different from all others [all other orchestral storms], in that it breaks outat oncein all its fury, and does not, as generally happens, work itself up to a climax by degrees. I suggest this original treatment because this particular tempest is brought about by enchantment, and not, as in most operas, oratorios, and symphonies, by natural agencies. When the storm has abated, when its roaring, screeching, booming, and raging have subsided, the Enchanted Island appears in all its beauty, and, still more lovely, the maiden Miranda, who flits like a sunbeam over the island. Her conversation with Prospero, and immediately afterwards with Ferdinand, who fascinates her, and with whom she falls in love. The love theme (crescendo) must resemble the expanding and blooming of a flower; Shakespeare has thus depicted her at the close of the first act, and I think this would be something well suited to your muse. Then I would suggest the appearance of Caliban, the half-animal slave; and then Ariel, whose motto you may find in Shakespeare's lyric (at the end of the first act)—'Come unto these yellow sands.' After Ariel, Ferdinand and Miranda should reappear; this time in a phrase of glowing passion. Then the imposing figure of Prospero, who relinquishes his magic arts and takes farewell of his past; and finally the sea, calm andpeaceful, which washes the shores of the desert island, while the happy inhabitants are borne away in a ship to distant Italy."
"I ... rejoice in the prospect of your work, which should prove a worthy pendant to your 'Romeo and Juliet' [see the preceding pages]. You ask whether it is necessary to introduce the tempest. Most certainly. Undoubtedly, most undoubtedly. Without it ... the entire programme would fall through. I have carefully weighed every incident, with all theirprosandcons, and it would be a pity to upset the whole business. I think the sea should be depicted twice—at theopening and close of the work. In the introduction I pictured it to myself as calm, until Prospero works his spell and the storm begins. But I think this storm should be different from all others [all other orchestral storms], in that it breaks outat oncein all its fury, and does not, as generally happens, work itself up to a climax by degrees. I suggest this original treatment because this particular tempest is brought about by enchantment, and not, as in most operas, oratorios, and symphonies, by natural agencies. When the storm has abated, when its roaring, screeching, booming, and raging have subsided, the Enchanted Island appears in all its beauty, and, still more lovely, the maiden Miranda, who flits like a sunbeam over the island. Her conversation with Prospero, and immediately afterwards with Ferdinand, who fascinates her, and with whom she falls in love. The love theme (crescendo) must resemble the expanding and blooming of a flower; Shakespeare has thus depicted her at the close of the first act, and I think this would be something well suited to your muse. Then I would suggest the appearance of Caliban, the half-animal slave; and then Ariel, whose motto you may find in Shakespeare's lyric (at the end of the first act)—'Come unto these yellow sands.' After Ariel, Ferdinand and Miranda should reappear; this time in a phrase of glowing passion. Then the imposing figure of Prospero, who relinquishes his magic arts and takes farewell of his past; and finally the sea, calm andpeaceful, which washes the shores of the desert island, while the happy inhabitants are borne away in a ship to distant Italy."
How faithfully Tschaikowsky adhered to this admirable plan is made evident by the following programme, which, in Russian and French, prefixes the score:
"The Sea. Ariel, spirit of the air, obedient to the will of the magician Prospero, evokes a tempest. Wreck of the ship which carries Ferdinand. The Enchanted Isle. First timid stirring of love between Miranda and Ferdinand. Ariel. Caliban. The love-lorn couple abandon themselves to the triumphant sway of passion. Prospero lays aside his magical power and quits the isle. The Sea."
"The Sea. Ariel, spirit of the air, obedient to the will of the magician Prospero, evokes a tempest. Wreck of the ship which carries Ferdinand. The Enchanted Isle. First timid stirring of love between Miranda and Ferdinand. Ariel. Caliban. The love-lorn couple abandon themselves to the triumphant sway of passion. Prospero lays aside his magical power and quits the isle. The Sea."
La Tempêtewas begun early in August, 1873, and finished three months later. It is dedicated to Stassov. The work was produced at a concert of the Moscow Musical Society, December 19, 1873. In November of the following year it was performed in St. Petersburg. Stassov attended a rehearsal, and wrote frankly to Tschaikowsky concerning the music of which he was at least part creator:
"I have just come from the rehearsal for Saturday's concert. Your 'Tempest' was played for the first time. Rimsky-Korsakoff and I sat alone in the empty hall and overflowed with delight."Your 'Tempest' is fascinating! Unlike any other work! The tempest itself is not remarkable or new; Prospero, too, is nothing out of the way, and at the close you have made a very common-place cadenza, such as one might find in the finale of an Italian opera—these are three blemishes. But all the rest is a marvel of marvels! Caliban, Ariel, the love scene—all belong to the highest creations of art. In both love scenes, what passion, what languor, what beauty! I know nothing to compare with it. The wild, uncouth Caliban, the wonderful flights of Ariel—these are creations of the first order. In this scene the orchestration is enchanting."Rimsky and I send you our homage and heartiest congratulations upon the completion of such a fine piece of workmanship."[167]
"I have just come from the rehearsal for Saturday's concert. Your 'Tempest' was played for the first time. Rimsky-Korsakoff and I sat alone in the empty hall and overflowed with delight.
"Your 'Tempest' is fascinating! Unlike any other work! The tempest itself is not remarkable or new; Prospero, too, is nothing out of the way, and at the close you have made a very common-place cadenza, such as one might find in the finale of an Italian opera—these are three blemishes. But all the rest is a marvel of marvels! Caliban, Ariel, the love scene—all belong to the highest creations of art. In both love scenes, what passion, what languor, what beauty! I know nothing to compare with it. The wild, uncouth Caliban, the wonderful flights of Ariel—these are creations of the first order. In this scene the orchestration is enchanting.
"Rimsky and I send you our homage and heartiest congratulations upon the completion of such a fine piece of workmanship."[167]