To N. F. von Meck.“Florence,February12th(24th), 1878.“Early yesterday came your telegram, dear friend. It gave me inexpressible pleasure. I was more than anxious to know how you liked the Symphony. Probably youwould have given me some friendly sign of your sympathy, even if you had not cared much about it. From the warm tone of your telegram, however, I see that you are satisfied, on the whole, with the work which was written for you. In my heart of hearts I feel sure it is the best thing I have done so far. It seems rather strange that not one of my friends in Moscow has thought it worth while to give me any news of the Symphony, although I sent off the score nearly six weeks ago. At the same time as your telegram I received one signed by Rubinstein and all the others. But it only stated the fact that the work had been very well performed. Not a word as to its merits; perhaps that is intended to be understood. Thank you for your news of the success of ‘my favourite child,’ and the cordial words of your telegram. My thoughts were in the concert-room. I calculated the moment when the opening phrase would be heard, and endeavoured, by following every detail, to realise the effect of my music upon the public. The first movement (the most complicated, but also the best) is probably far too long, and would not be completely understood at the first hearing. The other movements are simple....“I have not finished Schopenhauer yet, and am saving up my opinions upon it for some future letter. I have been twice with my brother to the Uffizi and Palazzo Pitti. Thanks to Modeste, I took in a good many artistic impressions. He was lost in ecstasy before the masterpieces of Raphael and Leonardo da Vinci. We also visited an exhibition of modern pictures, and discovered a few fine works. If I am not mistaken, the spirit of realism has entered into modern Italian painting. All the pictures I have seen here by painters of the present day are more remarkable for the truthful presentment of details than for profound or poetic thought. The figures are very lifelike, even when the conception is crude. For instance, a page drawing aside a curtain; both page and curtain are so real that one actually expects to see some movement. An old Pompeiian woman, leaning back in an ancient chair and indulging in a burst of Homeric laughter, makes one want to laugh too. All this has no pretensions to profound thought, but the drawing and colouring are astonishingly truthful.“As regards music, Italy is in a bad way. Such a town as Florence, for instance, has no opera house. There are theatres, but nothing is given in them because there is no impresario.”
To N. F. von Meck.
“Florence,February12th(24th), 1878.
“Early yesterday came your telegram, dear friend. It gave me inexpressible pleasure. I was more than anxious to know how you liked the Symphony. Probably youwould have given me some friendly sign of your sympathy, even if you had not cared much about it. From the warm tone of your telegram, however, I see that you are satisfied, on the whole, with the work which was written for you. In my heart of hearts I feel sure it is the best thing I have done so far. It seems rather strange that not one of my friends in Moscow has thought it worth while to give me any news of the Symphony, although I sent off the score nearly six weeks ago. At the same time as your telegram I received one signed by Rubinstein and all the others. But it only stated the fact that the work had been very well performed. Not a word as to its merits; perhaps that is intended to be understood. Thank you for your news of the success of ‘my favourite child,’ and the cordial words of your telegram. My thoughts were in the concert-room. I calculated the moment when the opening phrase would be heard, and endeavoured, by following every detail, to realise the effect of my music upon the public. The first movement (the most complicated, but also the best) is probably far too long, and would not be completely understood at the first hearing. The other movements are simple....
“I have not finished Schopenhauer yet, and am saving up my opinions upon it for some future letter. I have been twice with my brother to the Uffizi and Palazzo Pitti. Thanks to Modeste, I took in a good many artistic impressions. He was lost in ecstasy before the masterpieces of Raphael and Leonardo da Vinci. We also visited an exhibition of modern pictures, and discovered a few fine works. If I am not mistaken, the spirit of realism has entered into modern Italian painting. All the pictures I have seen here by painters of the present day are more remarkable for the truthful presentment of details than for profound or poetic thought. The figures are very lifelike, even when the conception is crude. For instance, a page drawing aside a curtain; both page and curtain are so real that one actually expects to see some movement. An old Pompeiian woman, leaning back in an ancient chair and indulging in a burst of Homeric laughter, makes one want to laugh too. All this has no pretensions to profound thought, but the drawing and colouring are astonishingly truthful.
“As regards music, Italy is in a bad way. Such a town as Florence, for instance, has no opera house. There are theatres, but nothing is given in them because there is no impresario.”
To N. F. von Meck.“Florence,February16th(28th), 1878.“ ... Of all that I have seen here the chapel of the Medici in San Lorenzo has made the most profound impression upon me. It is grandiose and beautiful. Here, for the first time, I realised the greatness of Michael Angelo in its fullest significance. I think he has a spiritual affinity with Beethoven. The same breadth and power, the same daring courage, which sometimes almost oversteps the limits of the beautiful, the same dark and troubled moods. Probably this idea is not original. Taine gives a very ingenious comparison between Raphael and Mozart. But whether anyone has ever drawn a parallel between Michael Angelo and Beethoven I cannot say.“I have finished Schopenhauer. I do not know what impression this philosophy might have made upon me had I come to know it in some other place, under different surroundings. Here it seems to me only a brilliant paradox. I think Schopenhauer’s inconsequence lies in his ultimate conclusions. When he has proved that non-existence is better than existence, we say to ourselves: granted, but what are we to do? It is in his reply to this question that he shows his weakness. Logically, his theories lead direct to suicide. But Schopenhauer evidently shrinks from this dangerous method of shifting the burden of life, and not daring to recommend self-destruction as a universal method of carrying his philosophy into practice, he falls into a curious sophistry and endeavours to prove that the man who commits suicide merely lays stress on his love of life. This is neither logical nor ingenious. As regards ‘Nirvana,’ this is a species of insanity not worth discussion. But, in any case, I have read Schopenhauer with the greatest interest, and found in him much that is extraordinarily clever. His definition of love is original, although a few details are somewhat distortedand wrested from the truth. You are quite right in saying that we must regard with suspicion the views of a philosopher who bids us renounce all joy in life and stamp out every lust of the flesh, while he himself, without any qualms of conscience, enjoyed the pleasures of existence to the day of his death, and had a very good notion of managing his affairs for the best.”
To N. F. von Meck.
“Florence,February16th(28th), 1878.
“ ... Of all that I have seen here the chapel of the Medici in San Lorenzo has made the most profound impression upon me. It is grandiose and beautiful. Here, for the first time, I realised the greatness of Michael Angelo in its fullest significance. I think he has a spiritual affinity with Beethoven. The same breadth and power, the same daring courage, which sometimes almost oversteps the limits of the beautiful, the same dark and troubled moods. Probably this idea is not original. Taine gives a very ingenious comparison between Raphael and Mozart. But whether anyone has ever drawn a parallel between Michael Angelo and Beethoven I cannot say.
“I have finished Schopenhauer. I do not know what impression this philosophy might have made upon me had I come to know it in some other place, under different surroundings. Here it seems to me only a brilliant paradox. I think Schopenhauer’s inconsequence lies in his ultimate conclusions. When he has proved that non-existence is better than existence, we say to ourselves: granted, but what are we to do? It is in his reply to this question that he shows his weakness. Logically, his theories lead direct to suicide. But Schopenhauer evidently shrinks from this dangerous method of shifting the burden of life, and not daring to recommend self-destruction as a universal method of carrying his philosophy into practice, he falls into a curious sophistry and endeavours to prove that the man who commits suicide merely lays stress on his love of life. This is neither logical nor ingenious. As regards ‘Nirvana,’ this is a species of insanity not worth discussion. But, in any case, I have read Schopenhauer with the greatest interest, and found in him much that is extraordinarily clever. His definition of love is original, although a few details are somewhat distortedand wrested from the truth. You are quite right in saying that we must regard with suspicion the views of a philosopher who bids us renounce all joy in life and stamp out every lust of the flesh, while he himself, without any qualms of conscience, enjoyed the pleasures of existence to the day of his death, and had a very good notion of managing his affairs for the best.”
To N. F. von Meck.“Florence,February17th(March1st), 1878.“What joy your letter brought me to-day, dearest Nadejda Filaretovna! I am inexpressibly delighted that the symphony pleases you: that, hearing it, you felt just as I did while writing it, and that my music found its way to your heart.“You ask if in composing this symphony I had a special programme in view. To such questions regarding my symphonic works I generally answer: nothing of the kind. In reality it is very difficult to answer this question. How interpret those vague feelings which pass through one during the composition of an instrumental work, without reference to any definite subject? It is a purely lyrical process. A kind of musical shriving of the soul, in which there is an encrustation of material which flows forth again in notes, just as the lyrical poet pours himself out in verse. The difference consists in the fact that music possesses far richer means of expression, and is a more subtle medium in which to translate the thousand shifting moments in the mood of a soul. Generally speaking, the germ of a future composition comes suddenly and unexpectedly. If the soil is ready—that is to say, if the disposition for work is there—it takes root with extraordinary force and rapidity, shoots up through the earth, puts forth branches, leaves, and, finally, blossoms. I cannot define the creative process in any other way than by this simile. The great difficulty is that the germ must appear at a favourable moment, the rest goes of itself. It would be vain to try to put into words that immeasurable sense of bliss which comes over me directly a new idea awakens in me and begins to assumea definite form. I forget everything and behave like a madman. Everything within me starts pulsing and quivering; hardly have I begun the sketch ere one thought follows another. In the midst of this magic process it frequently happens that some external interruption wakes me from my somnambulistic state: a ring at the bell, the entrance of my servant, the striking of the clock, reminding me that it is time to leave off. Dreadful, indeed, are such interruptions. Sometimes they break the thread of inspiration for a considerable time, so that I have to seek it again—often in vain. In such cases cool headwork and technical knowledge have to come to my aid. Even in the works of the greatest master we find such moments, when the organic sequence fails and a skilful join has to be made, so that the parts appear as a completely welded whole. But it cannot be avoided. If that condition of mind and soul, which we callinspiration, lasted long without intermission, no artist could survive it. The strings would break and the instrument be shattered into fragments. It is already a great thing if the main ideas and general outline of a work come without any racking of brains, as the result of that supernatural and inexplicable force we call inspiration.“However, I have wandered from the point without answering your question.Oursymphony has a programme. That is to say, it is possible to express its contents in words, and I will tell you—and you alone—the meaning of the entire work and of its separate movements. Naturally I can only do so as regards its general features.“The Introduction is the germ, the leading idea of the whole work.musical notation“This is Fate, that inevitable force which checks our aspirations towards happiness ere they reach the goal, which watches jealously lest our peace and bliss should be complete and cloudless—a force which, like the sword ofDamocles, hangs perpetually over our heads and is always embittering the soul. This force is inescapable and invincible. There is no other course but to submit and inwardly lament.musical notation“The sense of hopeless despair grows stronger and more poignant. Is it not better to turn from reality and lose ourselves in dreams?musical notationO joy! A sweet and tender dream enfolds me. A bright and serene presence leads me on.musical notationHow fair! How remotely now is heard the first theme of the Allegro! Deeper and deeper the soul is sunk in dreams. All that was dark and joyless is forgotten.“Here is happiness!“It is but a dream, Fate awakens us roughly.musical notationSo all life is but a continual alternation between grim truth and fleeting dreams of happiness. There is no haven. The waves drive us hither and thither, until the sea engulfs us. This is, approximately, the programme of the first movement.“The second movement expresses another phase of suffering. Now it is the melancholy which steals over us when at evening we sit indoors alone, weary of work, while the book we have picked up for relaxation slips unheeded from our fingers. A long procession of old memories goes by. How sad to think how much is alreadypast and gone! And yet these recollections of youth are sweet. We regret the past, although we have neither courage nor desire to start a new life. We are rather weary of existence. We would fain rest awhile and look back, recalling many things. There were moments when young blood pulsed warm through our veins and life gave all we asked. There were also moments of sorrow, irreparable loss. All this has receded so far into the past. How sad, yet sweet to lose ourselves therein!“In the third movement no definite feelings find expression. Here we have only capricious arabesques, intangible forms, which come into a man’s head when he has been drinking wine and his nerves are rather excited. His mood is neither joyful nor sad. He thinks of nothing in particular. His fancy is free to follow its own flight, and it designs the strangest patterns. Suddenly memory calls up the picture of a tipsy peasant and a street song. From afar come the sounds of a military band. These are the kind of confused images which pass through our brains as we fall asleep. They have no connection with actuality, but are simply wild, strange, and bizarre.“The fourth movement. If you can find no reasons for happiness in yourself, look at others. Go to the people. See how they can enjoy life and give themselves up entirely to festivity. A rustic holiday is depicted. Hardly have we had time to forget ourselves in the spectacle of other people’s pleasure, when indefatigable Fate reminds us once more of its presence. Others pay no heed to us. They do not spare us a glance, nor stop to observe that we are lonely and sad. How merry, how glad they all are! All their feelings are so inconsequent, so simple. And will you still say that all the world is immersed in sorrow? Happiness does exist, simple and unspoilt. Be glad in others’ gladness. This makes life possible.“I can tell you no more, dear friend, about the symphony.Naturally my description is not very clear or satisfactory. But there lies the peculiarity of instrumental music; we cannot analyse it. ‘Where words leave off, music begins,’ as Heine has said.“It is growing late. I will not tell you anything about Florence in this letter. Only one thing—that I shall always keep a happy memory of this place.“P.S.—Just as I was putting my letter into the envelope I began to read it again, and to feel misgivings as to the confused and incomplete programme which I am sending you. For the first time in my life I have attempted to put my musical thoughts and forms into words and phrases. I have not been very successful. I was horribly out of spirits all the time I was composing this symphony last winter, and this is a true echo of my feelings at the time. But only an echo. How is it possible to reproduce it in clear and definite language? I do not know. I have already forgotten a good deal. Only the general impression of my passionate and sorrowful experiences has remained. I am very, very anxious to know what my friends in Moscow say of my work.“Last night I went to the People’s Theatre, and was very much amused. Italian humour is coarse, and lacks grace and delicacy, but it carries everything before it.”
To N. F. von Meck.
“Florence,February17th(March1st), 1878.
“What joy your letter brought me to-day, dearest Nadejda Filaretovna! I am inexpressibly delighted that the symphony pleases you: that, hearing it, you felt just as I did while writing it, and that my music found its way to your heart.
“You ask if in composing this symphony I had a special programme in view. To such questions regarding my symphonic works I generally answer: nothing of the kind. In reality it is very difficult to answer this question. How interpret those vague feelings which pass through one during the composition of an instrumental work, without reference to any definite subject? It is a purely lyrical process. A kind of musical shriving of the soul, in which there is an encrustation of material which flows forth again in notes, just as the lyrical poet pours himself out in verse. The difference consists in the fact that music possesses far richer means of expression, and is a more subtle medium in which to translate the thousand shifting moments in the mood of a soul. Generally speaking, the germ of a future composition comes suddenly and unexpectedly. If the soil is ready—that is to say, if the disposition for work is there—it takes root with extraordinary force and rapidity, shoots up through the earth, puts forth branches, leaves, and, finally, blossoms. I cannot define the creative process in any other way than by this simile. The great difficulty is that the germ must appear at a favourable moment, the rest goes of itself. It would be vain to try to put into words that immeasurable sense of bliss which comes over me directly a new idea awakens in me and begins to assumea definite form. I forget everything and behave like a madman. Everything within me starts pulsing and quivering; hardly have I begun the sketch ere one thought follows another. In the midst of this magic process it frequently happens that some external interruption wakes me from my somnambulistic state: a ring at the bell, the entrance of my servant, the striking of the clock, reminding me that it is time to leave off. Dreadful, indeed, are such interruptions. Sometimes they break the thread of inspiration for a considerable time, so that I have to seek it again—often in vain. In such cases cool headwork and technical knowledge have to come to my aid. Even in the works of the greatest master we find such moments, when the organic sequence fails and a skilful join has to be made, so that the parts appear as a completely welded whole. But it cannot be avoided. If that condition of mind and soul, which we callinspiration, lasted long without intermission, no artist could survive it. The strings would break and the instrument be shattered into fragments. It is already a great thing if the main ideas and general outline of a work come without any racking of brains, as the result of that supernatural and inexplicable force we call inspiration.
“However, I have wandered from the point without answering your question.Oursymphony has a programme. That is to say, it is possible to express its contents in words, and I will tell you—and you alone—the meaning of the entire work and of its separate movements. Naturally I can only do so as regards its general features.
“The Introduction is the germ, the leading idea of the whole work.
musical notation
“This is Fate, that inevitable force which checks our aspirations towards happiness ere they reach the goal, which watches jealously lest our peace and bliss should be complete and cloudless—a force which, like the sword ofDamocles, hangs perpetually over our heads and is always embittering the soul. This force is inescapable and invincible. There is no other course but to submit and inwardly lament.
musical notation
“The sense of hopeless despair grows stronger and more poignant. Is it not better to turn from reality and lose ourselves in dreams?
musical notation
O joy! A sweet and tender dream enfolds me. A bright and serene presence leads me on.
musical notation
How fair! How remotely now is heard the first theme of the Allegro! Deeper and deeper the soul is sunk in dreams. All that was dark and joyless is forgotten.
“Here is happiness!
“It is but a dream, Fate awakens us roughly.
musical notation
So all life is but a continual alternation between grim truth and fleeting dreams of happiness. There is no haven. The waves drive us hither and thither, until the sea engulfs us. This is, approximately, the programme of the first movement.
“The second movement expresses another phase of suffering. Now it is the melancholy which steals over us when at evening we sit indoors alone, weary of work, while the book we have picked up for relaxation slips unheeded from our fingers. A long procession of old memories goes by. How sad to think how much is alreadypast and gone! And yet these recollections of youth are sweet. We regret the past, although we have neither courage nor desire to start a new life. We are rather weary of existence. We would fain rest awhile and look back, recalling many things. There were moments when young blood pulsed warm through our veins and life gave all we asked. There were also moments of sorrow, irreparable loss. All this has receded so far into the past. How sad, yet sweet to lose ourselves therein!
“In the third movement no definite feelings find expression. Here we have only capricious arabesques, intangible forms, which come into a man’s head when he has been drinking wine and his nerves are rather excited. His mood is neither joyful nor sad. He thinks of nothing in particular. His fancy is free to follow its own flight, and it designs the strangest patterns. Suddenly memory calls up the picture of a tipsy peasant and a street song. From afar come the sounds of a military band. These are the kind of confused images which pass through our brains as we fall asleep. They have no connection with actuality, but are simply wild, strange, and bizarre.
“The fourth movement. If you can find no reasons for happiness in yourself, look at others. Go to the people. See how they can enjoy life and give themselves up entirely to festivity. A rustic holiday is depicted. Hardly have we had time to forget ourselves in the spectacle of other people’s pleasure, when indefatigable Fate reminds us once more of its presence. Others pay no heed to us. They do not spare us a glance, nor stop to observe that we are lonely and sad. How merry, how glad they all are! All their feelings are so inconsequent, so simple. And will you still say that all the world is immersed in sorrow? Happiness does exist, simple and unspoilt. Be glad in others’ gladness. This makes life possible.
“I can tell you no more, dear friend, about the symphony.Naturally my description is not very clear or satisfactory. But there lies the peculiarity of instrumental music; we cannot analyse it. ‘Where words leave off, music begins,’ as Heine has said.
“It is growing late. I will not tell you anything about Florence in this letter. Only one thing—that I shall always keep a happy memory of this place.
“P.S.—Just as I was putting my letter into the envelope I began to read it again, and to feel misgivings as to the confused and incomplete programme which I am sending you. For the first time in my life I have attempted to put my musical thoughts and forms into words and phrases. I have not been very successful. I was horribly out of spirits all the time I was composing this symphony last winter, and this is a true echo of my feelings at the time. But only an echo. How is it possible to reproduce it in clear and definite language? I do not know. I have already forgotten a good deal. Only the general impression of my passionate and sorrowful experiences has remained. I am very, very anxious to know what my friends in Moscow say of my work.
“Last night I went to the People’s Theatre, and was very much amused. Italian humour is coarse, and lacks grace and delicacy, but it carries everything before it.”
To N. F. von Meck.“Florence,February20th(March4th), 1878.“To-day is the last day but one of the Carnival.... My window is open. I am drinking in with delight the cool night air after a hot spring day. How strange, how odd, but yet how sweet, to think of my dear and distant country! There it is still winter! Probably you are sitting near the stove in your study. Fur-clad figures go to and fro in your house. The silence is unbroken by any sound of wheels, since all conveyances are turned into sleighs. How far we are apart! You amid winter snows, and I in a land where spring is green, and my window stands open at 11 p.m.! And yet I look back with affection to our seasons. I love our long, hard winters. How beautiful it is! How magical is the suddenness of our spring, when itbursts upon us with its first message! I delight in the trickle of melting snow in the streets, and the sense of something life-giving and exhilarating that pervades the atmosphere! With what delight we welcome the first blade of grass, the first sprouting seed, the arrival of the lark and all our summer guests! Here, spring comes by gradual stages, so that we cannot actually fix the time of its awakening.“Do you remember I once wrote to you from Florence about a boy with a lovely and touching voice? A few days ago I met some street-singers, and inquired about him. They knew him, and promised to bring him to me on the Lung’ Arno at nine o’clock. Punctual to the moment I appeared at the place of meeting. The man who had promised was there with the boy. A curious crowd stood around them. As the numbers increased, I beckoned him aside and led the way into a side street. I had my doubts as to whether it was the same boy. ‘As soon as I begin to sing,’ he said, ‘you will be convinced that I am the same. Give me a silver piece of fifty centimes first.’ These words were spoken in a glorious voice, which seemed to come from his inmost soul. What I felt when he began to sing is beyond all words!“I wept, I trembled, I was consumed with pure delight. He sang once more, ‘Perchè tradirmi, perchè lasciarmi!’ I do not remember any simple folksong ever having made such an impression upon me. This time the lad sang me a charming new melody, which I intend to make him sing again, so that I may write it down for my own use on some future occasion. I pitied this child. He seems to be exploited by his father and other relatives. Just now, during the Carnival, he is made to sing from morning till night, and will continue to do so until his voice vanishes for good and all.... If he belonged to a respectable family he might have some chance of becoming a great artist. One must live for a time with Italians in order to understand their supremacy in vocal art. Even as I write, I can hear in the distance a wonderful tenor singing some song with all his might. But even when the quality of the voice is not beautiful, every Italian can boast that he is a singer by nature. They all have a trueémission(production), and sing from their chests, not from their throats and noses as we do.”
To N. F. von Meck.
“Florence,February20th(March4th), 1878.
“To-day is the last day but one of the Carnival.... My window is open. I am drinking in with delight the cool night air after a hot spring day. How strange, how odd, but yet how sweet, to think of my dear and distant country! There it is still winter! Probably you are sitting near the stove in your study. Fur-clad figures go to and fro in your house. The silence is unbroken by any sound of wheels, since all conveyances are turned into sleighs. How far we are apart! You amid winter snows, and I in a land where spring is green, and my window stands open at 11 p.m.! And yet I look back with affection to our seasons. I love our long, hard winters. How beautiful it is! How magical is the suddenness of our spring, when itbursts upon us with its first message! I delight in the trickle of melting snow in the streets, and the sense of something life-giving and exhilarating that pervades the atmosphere! With what delight we welcome the first blade of grass, the first sprouting seed, the arrival of the lark and all our summer guests! Here, spring comes by gradual stages, so that we cannot actually fix the time of its awakening.
“Do you remember I once wrote to you from Florence about a boy with a lovely and touching voice? A few days ago I met some street-singers, and inquired about him. They knew him, and promised to bring him to me on the Lung’ Arno at nine o’clock. Punctual to the moment I appeared at the place of meeting. The man who had promised was there with the boy. A curious crowd stood around them. As the numbers increased, I beckoned him aside and led the way into a side street. I had my doubts as to whether it was the same boy. ‘As soon as I begin to sing,’ he said, ‘you will be convinced that I am the same. Give me a silver piece of fifty centimes first.’ These words were spoken in a glorious voice, which seemed to come from his inmost soul. What I felt when he began to sing is beyond all words!
“I wept, I trembled, I was consumed with pure delight. He sang once more, ‘Perchè tradirmi, perchè lasciarmi!’ I do not remember any simple folksong ever having made such an impression upon me. This time the lad sang me a charming new melody, which I intend to make him sing again, so that I may write it down for my own use on some future occasion. I pitied this child. He seems to be exploited by his father and other relatives. Just now, during the Carnival, he is made to sing from morning till night, and will continue to do so until his voice vanishes for good and all.... If he belonged to a respectable family he might have some chance of becoming a great artist. One must live for a time with Italians in order to understand their supremacy in vocal art. Even as I write, I can hear in the distance a wonderful tenor singing some song with all his might. But even when the quality of the voice is not beautiful, every Italian can boast that he is a singer by nature. They all have a trueémission(production), and sing from their chests, not from their throats and noses as we do.”
To N. F. von Meck.“Clarens,March3rd(15th), 1878.“I have been very much occupied with music the last few days, as the weather has made going out impossible. To-day I played nearly all day with Kotek. Do you know theSymphonie Espagnole, by the French composer, Lalo? The piece has been recently brought out by that very modern violinist, Sarasate. It is for solo violin and orchestra, and consists of five independent movements, based upon Spanish folksongs. The work has given me great enjoyment. It is so fresh and light, and contains piquant rhythms and melodies which are beautifully harmonised. It resembles many other works of the modern French school with which I am acquainted. Like Leo Délibes and Bizet, Lalo is careful to avoid all that isroutinier, seeks new forms without trying to be profound, and is more concerned with musical beauty than with tradition, as are the Germans. The young generation of French composers is really very promising.”
To N. F. von Meck.
“Clarens,March3rd(15th), 1878.
“I have been very much occupied with music the last few days, as the weather has made going out impossible. To-day I played nearly all day with Kotek. Do you know theSymphonie Espagnole, by the French composer, Lalo? The piece has been recently brought out by that very modern violinist, Sarasate. It is for solo violin and orchestra, and consists of five independent movements, based upon Spanish folksongs. The work has given me great enjoyment. It is so fresh and light, and contains piquant rhythms and melodies which are beautifully harmonised. It resembles many other works of the modern French school with which I am acquainted. Like Leo Délibes and Bizet, Lalo is careful to avoid all that isroutinier, seeks new forms without trying to be profound, and is more concerned with musical beauty than with tradition, as are the Germans. The young generation of French composers is really very promising.”
To N. F. von Meck.“Clarens,March5th(17th), 1878.“It is delightful to talk to you about my own methods of composition. So far I have never had any opportunity of confiding to anyone these hidden utterances of my inner life; partly because very few would be interested, and partly because, of these few, scarcely one would know how to respond to me properly. To you, and you alone, I gladly describe all the details of the creative process, because in you I have found one who has a fine feeling and can understand my music.“Do not believe those who try to persuade you that composition is only a cold exercise of the intellect. The only music capable of moving and touching us is that which flows from the depths of a composer’s soul when he is stirred by inspiration. There is no doubt that even thegreatest musical geniuses have sometimes worked without inspiration. This guest does not always respond to the first invitation. We mustalwayswork, and a self-respecting artist must not fold his hands on the pretext that he is not in the mood. If we wait for the mood, without endeavouring to meet it half-way, we easily become indolent and apathetic. We must be patient, and believe that inspiration will come to those who can master theirdisinclination. A few days ago I told you I was working every day without any real inspiration. Had I given way to my disinclination, undoubtedly I should have drifted into a long period of idleness. But my patience and faith did not fail me, and to-day I felt that inexplicable glow of inspiration of which I told you; thanks to which I know beforehand that whatever I write to-day will have power to make an impression, and to touch the hearts of those who hear it. I hope you will not think I am indulging in self-laudation, if I tell you that I very seldom suffer from this disinclination to work. I believe the reason for this is that I am naturally patient. I have learnt to master myself, and I am glad I have not followed in the steps of some of my Russian colleagues, who have no self-confidence and are so impatient that at the least difficulty they are ready to throw up the sponge. This is why, in spite of great gifts, they accomplish so little, and that in an amateur way.You ask me how I manage my instrumentation. I never compose in theabstract; that is to say, the musical thought never appears otherwise than in a suitable external form. In this way I invent the musical idea and the instrumentation simultaneously. Thus I thought out the scherzo of our symphony—at the moment of its composition—exactly as you heard it. It is inconceivable except aspizzicato. Were it played with the bow, it would lose all its charm and be a mere body without a soul.As regards the Russian element in my works, I may tell you that not infrequently I begin a composition with the intention of introducing some folk-melody into it. Sometimes it comes of its own accord, unintentionally (as in the finale of our symphony). As to this national element in my work, its affinity with the folksongs in some ofmy melodies and harmonies proceeds from my having spent my childhood in the country, and having, from my earliest years, been impregnated with the characteristic beauty of our Russian folk-music. I am passionately fond of the national element in all its varied expressions. In a word, I am Russian in the fullest sense of the word.”
To N. F. von Meck.
“Clarens,March5th(17th), 1878.
“It is delightful to talk to you about my own methods of composition. So far I have never had any opportunity of confiding to anyone these hidden utterances of my inner life; partly because very few would be interested, and partly because, of these few, scarcely one would know how to respond to me properly. To you, and you alone, I gladly describe all the details of the creative process, because in you I have found one who has a fine feeling and can understand my music.
“Do not believe those who try to persuade you that composition is only a cold exercise of the intellect. The only music capable of moving and touching us is that which flows from the depths of a composer’s soul when he is stirred by inspiration. There is no doubt that even thegreatest musical geniuses have sometimes worked without inspiration. This guest does not always respond to the first invitation. We mustalwayswork, and a self-respecting artist must not fold his hands on the pretext that he is not in the mood. If we wait for the mood, without endeavouring to meet it half-way, we easily become indolent and apathetic. We must be patient, and believe that inspiration will come to those who can master theirdisinclination. A few days ago I told you I was working every day without any real inspiration. Had I given way to my disinclination, undoubtedly I should have drifted into a long period of idleness. But my patience and faith did not fail me, and to-day I felt that inexplicable glow of inspiration of which I told you; thanks to which I know beforehand that whatever I write to-day will have power to make an impression, and to touch the hearts of those who hear it. I hope you will not think I am indulging in self-laudation, if I tell you that I very seldom suffer from this disinclination to work. I believe the reason for this is that I am naturally patient. I have learnt to master myself, and I am glad I have not followed in the steps of some of my Russian colleagues, who have no self-confidence and are so impatient that at the least difficulty they are ready to throw up the sponge. This is why, in spite of great gifts, they accomplish so little, and that in an amateur way.
You ask me how I manage my instrumentation. I never compose in theabstract; that is to say, the musical thought never appears otherwise than in a suitable external form. In this way I invent the musical idea and the instrumentation simultaneously. Thus I thought out the scherzo of our symphony—at the moment of its composition—exactly as you heard it. It is inconceivable except aspizzicato. Were it played with the bow, it would lose all its charm and be a mere body without a soul.
As regards the Russian element in my works, I may tell you that not infrequently I begin a composition with the intention of introducing some folk-melody into it. Sometimes it comes of its own accord, unintentionally (as in the finale of our symphony). As to this national element in my work, its affinity with the folksongs in some ofmy melodies and harmonies proceeds from my having spent my childhood in the country, and having, from my earliest years, been impregnated with the characteristic beauty of our Russian folk-music. I am passionately fond of the national element in all its varied expressions. In a word, I am Russian in the fullest sense of the word.”
To N. F. von Meck.“Clarens,March7th(19th), 1872.“The wintry weather still continues. To-day it has never ceased snowing. However, I am not at all bored, and time passes very quickly while I am at work. The sonata and concerto interest me greatly. For the first time in my life I have begun to work at a new piece before finishing the one on hand. Hitherto I have invariably followed the rule not to take up a new composition until the old was completed. This time I could not resist the pleasure of sketching out the concerto, and allowed myself to be so carried away that the sonata has been set aside; but I return to it at intervals.“I have read the two volumes ofRussian Antiquitieswith delight. As they were already cut, I conclude you have read them yourself.“Do you not think, dear friend, that Serov’s letters are extremely interesting? At least I find them so, because I well remember the period to which the correspondence belongs. I made Serov’s acquaintance just at the moment whenJudith[60]was first performed, and I attended many of the rehearsals. The work roused my enthusiasm at the time, and Serov seemed to me a genius. Afterwards I was bitterly disappointed in him, not only as a man, but as a composer. His personality was never very sympathetic to me. His petty vanity and self-adoration, which often showed themselves in the most naïve way, were repugnant and incomprehensible in so gifted and clever a man. For he was remarkably clever in spite of his small-minded egotism.“All the same, he was an interesting personality. At the age of forty-three he had not composedanything at all;he had made some attempts, but was either inflated by his self-admiration, or else he entirely lost heart. Finally, after twenty-five years of irresolution, he set to work uponJudith, and astonished the world, which expected from him a dull and pretentious work, in the style of Grand Opera. It was supposed that a man who had reached maturity without having produced a single composition could not be greatly gifted. But the world was wrong. The novice of forty-three presented the public of St. Petersburg with an opera which, in every respect, must be described asbeautiful, and shows no indications whatever of being the composer’sfirst work. I do not know whether you have heardJudith, dear friend; the opera has many good points. It is written with unusual warmth, and sometimes rises to great emotional heights. It had considerable success with the public, and was extraordinarily well received by musical circles, especially by the younger generation. Serov, who had hitherto been unknown, and led a very humble life, in which he had been obliged to fight poverty, became suddenly the hero of the hour, the idol of a certain set, in fact, a celebrity. This unexpected success turned his head, and he began to regard himself as a genius. The childishness with which he sings his own praises in his letters is quite remarkable. Never before was there such originality of style, or such beauty of melody. And Serov actually had proved himself a gifted composer, but not a genius of the first order. His second opera,Rogneda, is already a falling off from the first. Here he is evidently striving for effect, frequently degenerates into the commonplace, and attempts to impress the gallery by coarse and startling effects. This is all the more remarkable because, as a true Wagnerian, he inveighed in speech and in writing against Meyerbeer’s vulgar and flashy style.The Power of the Evil Oneis still weaker. Serov is, in reality, a very peculiar and interesting musical phenomenon. If we consider his voluminous critical articles, we shall observe that his practice does not agree with his principles; he composes his music on methods diametrically opposed to those which he advocates in his writings. I have held forth at length upon Serov, because I am still under the influence of his letters, which I readyesterday, and all day to-day I can think of nothing else. I recall the arrogance with which he behaved to me, and how I longed for his recognition. Now I know that this very clever and highly cultured man possessed one weakness: he could not appreciate anyone but himself. He disparaged the success of others; detested those who had become famous in his own art, and frequently gave way to impulses of small-minded egotism. On the other hand, one forgave him all, on account of what he suffered before success raised him from poverty, and because he bore his troubles in a strong, manly spirit for love of his art. Having regard to his birth, education, and connections, he might have had a brilliant career, but his love for music won the day. How painful it was to me to learn from his letters that he met with neither support nor encouragement at home but, on the contrary, with derision, mistrust, and hostility!“I do not know how to thank you, my dear, for the collection of poems you have sent me. I am particularly delighted with those of A. Tolstoi, of whom I am very fond, and—apart from my intention to use some of his words for songs—it will be a great pleasure to read a few of his longer poems again. I am specially interested in hisDon Juan, which I read long ago.”
To N. F. von Meck.
“Clarens,March7th(19th), 1872.
“The wintry weather still continues. To-day it has never ceased snowing. However, I am not at all bored, and time passes very quickly while I am at work. The sonata and concerto interest me greatly. For the first time in my life I have begun to work at a new piece before finishing the one on hand. Hitherto I have invariably followed the rule not to take up a new composition until the old was completed. This time I could not resist the pleasure of sketching out the concerto, and allowed myself to be so carried away that the sonata has been set aside; but I return to it at intervals.
“I have read the two volumes ofRussian Antiquitieswith delight. As they were already cut, I conclude you have read them yourself.
“Do you not think, dear friend, that Serov’s letters are extremely interesting? At least I find them so, because I well remember the period to which the correspondence belongs. I made Serov’s acquaintance just at the moment whenJudith[60]was first performed, and I attended many of the rehearsals. The work roused my enthusiasm at the time, and Serov seemed to me a genius. Afterwards I was bitterly disappointed in him, not only as a man, but as a composer. His personality was never very sympathetic to me. His petty vanity and self-adoration, which often showed themselves in the most naïve way, were repugnant and incomprehensible in so gifted and clever a man. For he was remarkably clever in spite of his small-minded egotism.
“All the same, he was an interesting personality. At the age of forty-three he had not composedanything at all;he had made some attempts, but was either inflated by his self-admiration, or else he entirely lost heart. Finally, after twenty-five years of irresolution, he set to work uponJudith, and astonished the world, which expected from him a dull and pretentious work, in the style of Grand Opera. It was supposed that a man who had reached maturity without having produced a single composition could not be greatly gifted. But the world was wrong. The novice of forty-three presented the public of St. Petersburg with an opera which, in every respect, must be described asbeautiful, and shows no indications whatever of being the composer’sfirst work. I do not know whether you have heardJudith, dear friend; the opera has many good points. It is written with unusual warmth, and sometimes rises to great emotional heights. It had considerable success with the public, and was extraordinarily well received by musical circles, especially by the younger generation. Serov, who had hitherto been unknown, and led a very humble life, in which he had been obliged to fight poverty, became suddenly the hero of the hour, the idol of a certain set, in fact, a celebrity. This unexpected success turned his head, and he began to regard himself as a genius. The childishness with which he sings his own praises in his letters is quite remarkable. Never before was there such originality of style, or such beauty of melody. And Serov actually had proved himself a gifted composer, but not a genius of the first order. His second opera,Rogneda, is already a falling off from the first. Here he is evidently striving for effect, frequently degenerates into the commonplace, and attempts to impress the gallery by coarse and startling effects. This is all the more remarkable because, as a true Wagnerian, he inveighed in speech and in writing against Meyerbeer’s vulgar and flashy style.The Power of the Evil Oneis still weaker. Serov is, in reality, a very peculiar and interesting musical phenomenon. If we consider his voluminous critical articles, we shall observe that his practice does not agree with his principles; he composes his music on methods diametrically opposed to those which he advocates in his writings. I have held forth at length upon Serov, because I am still under the influence of his letters, which I readyesterday, and all day to-day I can think of nothing else. I recall the arrogance with which he behaved to me, and how I longed for his recognition. Now I know that this very clever and highly cultured man possessed one weakness: he could not appreciate anyone but himself. He disparaged the success of others; detested those who had become famous in his own art, and frequently gave way to impulses of small-minded egotism. On the other hand, one forgave him all, on account of what he suffered before success raised him from poverty, and because he bore his troubles in a strong, manly spirit for love of his art. Having regard to his birth, education, and connections, he might have had a brilliant career, but his love for music won the day. How painful it was to me to learn from his letters that he met with neither support nor encouragement at home but, on the contrary, with derision, mistrust, and hostility!
“I do not know how to thank you, my dear, for the collection of poems you have sent me. I am particularly delighted with those of A. Tolstoi, of whom I am very fond, and—apart from my intention to use some of his words for songs—it will be a great pleasure to read a few of his longer poems again. I am specially interested in hisDon Juan, which I read long ago.”
To N. F. von Meck.“Clarens,March14th(26th), 1878.“I have just been reading the newspapers, and am thoroughly depressed. Undoubtedly a war is imminent. It is terrible. It seems to me that now I am no longer absorbed in my personal troubles, I feel far more keenly all the wounds inflicted upon our Fatherland, although I have no doubt that in the end Russia—indeed, the whole Slavonic world—will triumph, if only because we have truth and honour on our side. I am glad I shall be in Russia during the war. How many unpleasant moments have I endured abroad, seeing the satisfaction (Schadenfreude) which greeted the news of every small misfortune that befell us, and the ill_feeling which was provoked by any victory on our part! Let us hope our cup ofbitterness may pass from us. There are good men to be found among us in every walk of life—with one exception. I am now speaking of my own special line. Whether the (Moscow) Conservatoire was somewhat too forcibly planted upon Muscovite soil by the despotic hand of N. Rubinstein, or whether the Russian intellect is not made to grasp the theory of music, it is certain that there is nothing more difficult than to find a good teacher of harmony. I have come to this conclusion because—in spite of the low valuation I set upon my teaching capacities, in spite, too, of my loathing for a professor’s work—I am indispensable to the Conservatoire. If I resigned my post, it would be hardly possible to find anyone to take my place. This is the reason why I hold it to be my duty to remain there until I feel sure the institution would not suffer from my departure. I am telling you all this, my dear, because I have been constantly wondering of late whether it might not be possible to slip this heavy load from my shoulders.“How unpleasant teaching will be after these months of freedom! I can give you no adequate idea how derogatory this kind of work can be to a man who has not the smallest vocation for it. Among the male students I have to deal with a considerable number of raw youths who intend, however, to make music their profession: violinists, horn-players, teachers, and so on. Although it is very hard to have to explain to such lads, for twelve consecutive years, that a triad consists of a third and fifth, I feel at least that I am instilling into them some indispensable knowledge. Here, at any rate, I am of some use. But the ladies’ classes! O Lord! Out of the sixty or seventy girls who attend my harmony lessons there are, at the utmost, five who will really turn out musicians. All the rest come to the Conservatoire simply for occupation, or from motives which have nothing to do with music. It cannot be said that these young ladies are less intelligent, or industrious, than the men. Rather the reverse; the women are more conscientious and make greater efforts. They take in a new rule far quicker—but only up to a certain point. Directly this rule ceases to be applied mechanically, and it becomes a question of initiative, all these young women, althoughinspired with the best intentions in the world, come hopelessly to grief. I often lose my patience and my head, forget all that is going on, and go into a frantic rage, as much with myself as with them. I think a more patient teacher might produce better results. What makes one despair is the thought that it is all to no purpose: a mere farce! Out of the crowd of girls I have taught in the Conservatoire only a very small number came to the classes with a serious aim in view. For how few of them is it worth while to torment and exhaust myself, to wear myself to thread-paper! For how few is my teaching of any real importance! There are many other unpleasant aspects of my work.“And yet I amboundto continue it. I am delighted at what you tell me about my pupils’ sympathy. I always feel they must hate me for my irritability, which sometimes overstepped the bounds of reason; as well as for my scolding and eternal discontent. I was very glad to be convinced of the contrary.”
To N. F. von Meck.
“Clarens,March14th(26th), 1878.
“I have just been reading the newspapers, and am thoroughly depressed. Undoubtedly a war is imminent. It is terrible. It seems to me that now I am no longer absorbed in my personal troubles, I feel far more keenly all the wounds inflicted upon our Fatherland, although I have no doubt that in the end Russia—indeed, the whole Slavonic world—will triumph, if only because we have truth and honour on our side. I am glad I shall be in Russia during the war. How many unpleasant moments have I endured abroad, seeing the satisfaction (Schadenfreude) which greeted the news of every small misfortune that befell us, and the ill_feeling which was provoked by any victory on our part! Let us hope our cup ofbitterness may pass from us. There are good men to be found among us in every walk of life—with one exception. I am now speaking of my own special line. Whether the (Moscow) Conservatoire was somewhat too forcibly planted upon Muscovite soil by the despotic hand of N. Rubinstein, or whether the Russian intellect is not made to grasp the theory of music, it is certain that there is nothing more difficult than to find a good teacher of harmony. I have come to this conclusion because—in spite of the low valuation I set upon my teaching capacities, in spite, too, of my loathing for a professor’s work—I am indispensable to the Conservatoire. If I resigned my post, it would be hardly possible to find anyone to take my place. This is the reason why I hold it to be my duty to remain there until I feel sure the institution would not suffer from my departure. I am telling you all this, my dear, because I have been constantly wondering of late whether it might not be possible to slip this heavy load from my shoulders.
“How unpleasant teaching will be after these months of freedom! I can give you no adequate idea how derogatory this kind of work can be to a man who has not the smallest vocation for it. Among the male students I have to deal with a considerable number of raw youths who intend, however, to make music their profession: violinists, horn-players, teachers, and so on. Although it is very hard to have to explain to such lads, for twelve consecutive years, that a triad consists of a third and fifth, I feel at least that I am instilling into them some indispensable knowledge. Here, at any rate, I am of some use. But the ladies’ classes! O Lord! Out of the sixty or seventy girls who attend my harmony lessons there are, at the utmost, five who will really turn out musicians. All the rest come to the Conservatoire simply for occupation, or from motives which have nothing to do with music. It cannot be said that these young ladies are less intelligent, or industrious, than the men. Rather the reverse; the women are more conscientious and make greater efforts. They take in a new rule far quicker—but only up to a certain point. Directly this rule ceases to be applied mechanically, and it becomes a question of initiative, all these young women, althoughinspired with the best intentions in the world, come hopelessly to grief. I often lose my patience and my head, forget all that is going on, and go into a frantic rage, as much with myself as with them. I think a more patient teacher might produce better results. What makes one despair is the thought that it is all to no purpose: a mere farce! Out of the crowd of girls I have taught in the Conservatoire only a very small number came to the classes with a serious aim in view. For how few of them is it worth while to torment and exhaust myself, to wear myself to thread-paper! For how few is my teaching of any real importance! There are many other unpleasant aspects of my work.
“And yet I amboundto continue it. I am delighted at what you tell me about my pupils’ sympathy. I always feel they must hate me for my irritability, which sometimes overstepped the bounds of reason; as well as for my scolding and eternal discontent. I was very glad to be convinced of the contrary.”
To P. I. Jurgenson.“Clarens,March15th(27th), 1878.“ ... The violin concerto is rapidly nearing completion. I hit upon the idea quite accidentally, began to work at it, was completely carried away, and now the sketch is all but finished. Altogether a considerable number of new compositions are hanging over your head: seven little pieces, two songs, and a pianoforte sonata which I have begun. By the end of the summer I shall have to engage a railway truck to convey them all to you. I can hear your energetic expletive: ‘The devil take you!’”
To P. I. Jurgenson.
“Clarens,March15th(27th), 1878.
“ ... The violin concerto is rapidly nearing completion. I hit upon the idea quite accidentally, began to work at it, was completely carried away, and now the sketch is all but finished. Altogether a considerable number of new compositions are hanging over your head: seven little pieces, two songs, and a pianoforte sonata which I have begun. By the end of the summer I shall have to engage a railway truck to convey them all to you. I can hear your energetic expletive: ‘The devil take you!’”
To N. F. von Meck.“Clarens,March16th(28th), 1878.“Yesterday I received your letter with the news of Rubinstein’s concert. I am so glad you were pleased with my concerto. I was convinced from the first that Nicholas Grigorievich would play it splendidly. The work was originally intended for him, and took into considerationhis immense virtuosity. It is good to see from your letter how attentively you follow every new musical event. Hardly has a new concerto by Max Bruch appeared than you know all about it. I do not know it yet; nor the concerto by Goldmark which you mention. I only know one of his orchestral works, the overture toSakuntala, and a quartet. Both compositions are clever and sympathetic. Goldmark is one of the few German composers who possess some originality and freshness of invention.“Why do you not care for Mozart? In this respect our opinions differ, dear friend. I not only like Mozart, I idolise him. To me the most beautiful opera ever written isDon Juan. You, who possess such a fine musical taste, must surely love this pure and ideal artist. It is true Mozart used up his forces too generously, and often wrote without inspiration, because he was compelled by want. But read his biography by Otto Jahn, and you will see that he could not help it. Even Bach and Beethoven have left a considerable number of inferior works which are not worthy to be spoken of in the same breath as their masterpieces. Fate compelled them occasionally to degrade their art to the level of a handicraft. But think of Mozart’s operas, of two or three of his symphonies, his Requiem, the six quartets dedicated to Haydn, and the D minor string quintet. Do you feel no charm in these works? True, Mozart reaches neither the depths nor heights of Beethoven. And since in life, too, he remained to the end of his days a careless child, his music has not that subjectively tragic quality which is so powerfully expressed in that of Beethoven. But this did not prevent him from creating an objectively tragic type, the most superb and wonderful human presentment ever depicted in music. I mean Donna Anna, inDon Juan. Ah, how difficult it is to make anyone else see and feel in music what we see and feel ourselves! I am quite incapable of describing to you what I felt on hearingDon Juan, especially in the scene where the noble figure of the beautiful, proud, revengeful woman appears on the stage. Nothing in any opera ever impressed me so profoundly. And afterwards, when Donna Anna recognises in DonJuan the man who has wounded her pride and killed her father, and her wrath breaks out like a rushing torrent in that wonderful recitative, or in that later aria, in which every note in the orchestra seems to speak of her wrath and pride and actually to quiver with horror—I could cry out and weep under the overwhelming stress of the emotional impression. And her lament over her father’s corpse, the duet with Don Ottavio, in which she vows vengeance, her arioso in the great sextet in the churchyard—these are inimitable, colossal operatic scenes!“I am so much in love with the music ofDon Juanthat even as I write to you I could shed tears of agitation and emotion. In his chamber music, Mozart charms me by his purity and distinction of style and his exquisite handling of the parts. Here, too, are things which can bring tears to our eyes. I will only mention the adagio of the D minor string quintet. No one else has ever known as well how to interpret so exquisitely in music the sense of resigned and inconsolable sorrow. Every time Laub played the adagio I had to hide in the farthest corner of the concert-room, so that others might not see how deeply this music affected me....“I could go on to eternity holding forth to you upon this sunny genius, for whom I cherish a cult. Although I am very tolerant to other people’s musical views, I must confess, my dear, that I should like very much to convert you to Mozart. I know that would be difficult. I have met one or two others, besides yourself, who have a fine feeling for music, yet nevertheless failed to appreciate Mozart. I should have tried in vain to make them discover the beauties of his music. Our musical sympathies are often affected by purely external circumstances. The music ofDon Juanwas the first which stirred me profoundly. It roused in me a divine enthusiasm which was not without after-results. Through its medium I was transplanted to that region of artistic beauty where only genius dwells. Previously I had only known the Italian opera. It is thanks to Mozart that I have devoted my life to music. All these things have probably played a part in my exclusive love for him—and perhaps it is foolish of me to expect those who are dear to me to feel towards Mozartas I do. But if I could do anything to change your opinion—it would make me very happy. If ever you tell me that you have been touched by the adagio of the D minor quintet I shall rejoice.”
To N. F. von Meck.
“Clarens,March16th(28th), 1878.
“Yesterday I received your letter with the news of Rubinstein’s concert. I am so glad you were pleased with my concerto. I was convinced from the first that Nicholas Grigorievich would play it splendidly. The work was originally intended for him, and took into considerationhis immense virtuosity. It is good to see from your letter how attentively you follow every new musical event. Hardly has a new concerto by Max Bruch appeared than you know all about it. I do not know it yet; nor the concerto by Goldmark which you mention. I only know one of his orchestral works, the overture toSakuntala, and a quartet. Both compositions are clever and sympathetic. Goldmark is one of the few German composers who possess some originality and freshness of invention.
“Why do you not care for Mozart? In this respect our opinions differ, dear friend. I not only like Mozart, I idolise him. To me the most beautiful opera ever written isDon Juan. You, who possess such a fine musical taste, must surely love this pure and ideal artist. It is true Mozart used up his forces too generously, and often wrote without inspiration, because he was compelled by want. But read his biography by Otto Jahn, and you will see that he could not help it. Even Bach and Beethoven have left a considerable number of inferior works which are not worthy to be spoken of in the same breath as their masterpieces. Fate compelled them occasionally to degrade their art to the level of a handicraft. But think of Mozart’s operas, of two or three of his symphonies, his Requiem, the six quartets dedicated to Haydn, and the D minor string quintet. Do you feel no charm in these works? True, Mozart reaches neither the depths nor heights of Beethoven. And since in life, too, he remained to the end of his days a careless child, his music has not that subjectively tragic quality which is so powerfully expressed in that of Beethoven. But this did not prevent him from creating an objectively tragic type, the most superb and wonderful human presentment ever depicted in music. I mean Donna Anna, inDon Juan. Ah, how difficult it is to make anyone else see and feel in music what we see and feel ourselves! I am quite incapable of describing to you what I felt on hearingDon Juan, especially in the scene where the noble figure of the beautiful, proud, revengeful woman appears on the stage. Nothing in any opera ever impressed me so profoundly. And afterwards, when Donna Anna recognises in DonJuan the man who has wounded her pride and killed her father, and her wrath breaks out like a rushing torrent in that wonderful recitative, or in that later aria, in which every note in the orchestra seems to speak of her wrath and pride and actually to quiver with horror—I could cry out and weep under the overwhelming stress of the emotional impression. And her lament over her father’s corpse, the duet with Don Ottavio, in which she vows vengeance, her arioso in the great sextet in the churchyard—these are inimitable, colossal operatic scenes!
“I am so much in love with the music ofDon Juanthat even as I write to you I could shed tears of agitation and emotion. In his chamber music, Mozart charms me by his purity and distinction of style and his exquisite handling of the parts. Here, too, are things which can bring tears to our eyes. I will only mention the adagio of the D minor string quintet. No one else has ever known as well how to interpret so exquisitely in music the sense of resigned and inconsolable sorrow. Every time Laub played the adagio I had to hide in the farthest corner of the concert-room, so that others might not see how deeply this music affected me....
“I could go on to eternity holding forth to you upon this sunny genius, for whom I cherish a cult. Although I am very tolerant to other people’s musical views, I must confess, my dear, that I should like very much to convert you to Mozart. I know that would be difficult. I have met one or two others, besides yourself, who have a fine feeling for music, yet nevertheless failed to appreciate Mozart. I should have tried in vain to make them discover the beauties of his music. Our musical sympathies are often affected by purely external circumstances. The music ofDon Juanwas the first which stirred me profoundly. It roused in me a divine enthusiasm which was not without after-results. Through its medium I was transplanted to that region of artistic beauty where only genius dwells. Previously I had only known the Italian opera. It is thanks to Mozart that I have devoted my life to music. All these things have probably played a part in my exclusive love for him—and perhaps it is foolish of me to expect those who are dear to me to feel towards Mozartas I do. But if I could do anything to change your opinion—it would make me very happy. If ever you tell me that you have been touched by the adagio of the D minor quintet I shall rejoice.”
To N. F. von Meck.“Clarens,March19th(31st), 1878.“ ... You need not be troubled about my fame abroad, my dear. If I am destined ever to acquire such fame, it will come of its own accord, although in all probability not while I am alive to see it. When you come to think that during my many trips abroad I have never called on influential people, or sent them my compositions, that I have never pushed my reputation in other countries, we must be satisfied with any little success which my works may win. Do you know, all my pianoforte compositions are reprinted in Leipzig, and my songs also, with translations of the words? My principal works (with the exception of the operas) can be procured without difficulty in most of the large towns of France, Germany, and England. I myself bought my Third Symphony, arranged for four hands, and my Third Quartet, in Vienna. I have even come across some transcriptions hitherto unknown to me: the Barcarole for piano (Op. 37a) arranged for violin and piano, the andante from the First Quartet for flute. Brandus, in Paris, keeps all my works in stock. There are many reasons why my symphonic works are so seldom heard of abroad. In the first place I am a Russian, and consequently looked upon with prejudice by every Western European. Secondly—also because I am a Russian—there is something exotic in my music which makes it inaccessible to foreigners. My overture toRomeo and Juliethas been played in every capital, but always without success. In Vienna and Paris it was hissed. A short time ago it met with no better reception in Dresden. In some other towns (London and Hamburg) it was more fortunate, but, all the same, my music has not been included in the standard repertory of Germany and other countries. Among musical circles abroad my name is not unknown. A few men have been specially interested in me, andtaken some pains to include my works in their concert programmes; but have generally met with insurmountable obstacles. For instance, Hans Richter, the Bayreuth conductor. In spite of all protests, he put my overture into the programme of one of the eight Philharmonic concerts which he conducts in Vienna. Disregarding its failure, he wished this season to do my Third Symphony; but after one rehearsal the directors of the Philharmonic pronounced the work ‘too Russian,’ and it was unanimously rejected. There is no doubt that I could do a great deal to spread my works abroad if I went the round of all the European capitals, calling upon the ‘big wigs,’ and displaying my wares to them. But I would rather abandon every joy in life. Good Lord! what one must undergo, what wounds to one’s self-respect one must be prepared to receive before one can catch the attention of these gentlemen! I will give you an instance. Supposing I wanted to become known in Vienna: Brahms is the musical lion of Vienna. Consequently, I should have to pay my respects to him. Brahms, the celebrity—and I, the unknown composer. I may tell you, however, without false modesty, that I place myself a good deal higher than Brahms. What could I say to him? If I were an honourable and sincere man I should have to say something of this kind: ‘Herr Brahms, I regard you as an uninspired and pretentious composer, without any creative genius whatever. I do not rate you very highly, and look down upon you with disdain. But you could be of some use to me, so I have come to call upon you.’ But if I were a dishonest man, then I should say exactly the opposite. I cannot adopt either course.“I need not go into further details. You alone—with the exception of my brothers—can fully enter into my feelings. My friends in Moscow cannot reconcile themselves to my having declined to act as delegate in Paris. They cannot believe that my association with such distinguished names as Liszt (who represents Hungary) and Verdi would not do much to promote my reputation. My dear friend, I have the reputation of being modest. But I will confess to you that my modesty is nothing less than a secret, but immense,amour propre. Among all living musicians there is not one before whom I would willingly lower my crest. At thesame time, Nature, who endowed me with such pride, denied me the capacity for showing off my wares.Je ne sais pas me faire valoir. I do not know how to meet fame half-way on my own initiative, and prefer to wait until it comes to me unsought. I have long since resigned myself to the belief that I shall not live to see the general recognition of my talents.“You speak of Anton Rubinstein. How can I compare myself to him? He is at present the greatest pianist in the world. He combines the personalities of a remarkable virtuoso and a gifted composer, so that the latter is borne as it were upon the shoulders of the former. In my lifetime I shall never attain to a tenth part of what he has accomplished. Now we are on the subject of Rubinstein, let me tell you this: as my teacher, he knew my musical temperament better than anyone else, so that he might have done much to further my reputation abroad. Unfortunately, this ‘great light’ has always treated me with a loftiness bordering on contempt. No one has inflicted such cruel wounds upon my self-esteem as Rubinstein. Externally, he has always been amiable and friendly. But beneath this friendly manner he showed plainly that he did not think me worth a brass farthing! The one ‘big wig’ who has always been most kindly disposed towards me is Bülow. Unluckily, he has been forced almost to abandon his musical career on account of ill_health, and cannot therefore do much more on my behalf. Thanks to him, I am well known in England and America. I have a number of Press notices relating to myself which appeared in these countries, and were sent to me by Bülow.“You need not worry yourself, my dear. If fame is destined for me, it will come with slow but sure steps. History convinces us that the success which is long delayed is often more lasting than when it comes easily and at a bound. Many a name which resounded through its own generation is now engulfed in the ocean of oblivion. An artist should not be troubled by the indifference of his contemporaries. He should go on working and say all he has been predestined to say. He should know that posterity alone can deliver a true and just verdict. I will tell you something more. Perhaps I accept my modestshare with so little complaint because my faith in the judgment of the future is immovable. I have a foretaste during my lifetime of the fame which will be meted out to me when the history of Russian music comes to be written. For the present I am satisfied with what I have already acquired. I have no right to complain. I have met people on my way through life whose warm sympathy for my music more than compensates me for the indifference, misunderstanding, and ill_will of others.”
To N. F. von Meck.
“Clarens,March19th(31st), 1878.
“ ... You need not be troubled about my fame abroad, my dear. If I am destined ever to acquire such fame, it will come of its own accord, although in all probability not while I am alive to see it. When you come to think that during my many trips abroad I have never called on influential people, or sent them my compositions, that I have never pushed my reputation in other countries, we must be satisfied with any little success which my works may win. Do you know, all my pianoforte compositions are reprinted in Leipzig, and my songs also, with translations of the words? My principal works (with the exception of the operas) can be procured without difficulty in most of the large towns of France, Germany, and England. I myself bought my Third Symphony, arranged for four hands, and my Third Quartet, in Vienna. I have even come across some transcriptions hitherto unknown to me: the Barcarole for piano (Op. 37a) arranged for violin and piano, the andante from the First Quartet for flute. Brandus, in Paris, keeps all my works in stock. There are many reasons why my symphonic works are so seldom heard of abroad. In the first place I am a Russian, and consequently looked upon with prejudice by every Western European. Secondly—also because I am a Russian—there is something exotic in my music which makes it inaccessible to foreigners. My overture toRomeo and Juliethas been played in every capital, but always without success. In Vienna and Paris it was hissed. A short time ago it met with no better reception in Dresden. In some other towns (London and Hamburg) it was more fortunate, but, all the same, my music has not been included in the standard repertory of Germany and other countries. Among musical circles abroad my name is not unknown. A few men have been specially interested in me, andtaken some pains to include my works in their concert programmes; but have generally met with insurmountable obstacles. For instance, Hans Richter, the Bayreuth conductor. In spite of all protests, he put my overture into the programme of one of the eight Philharmonic concerts which he conducts in Vienna. Disregarding its failure, he wished this season to do my Third Symphony; but after one rehearsal the directors of the Philharmonic pronounced the work ‘too Russian,’ and it was unanimously rejected. There is no doubt that I could do a great deal to spread my works abroad if I went the round of all the European capitals, calling upon the ‘big wigs,’ and displaying my wares to them. But I would rather abandon every joy in life. Good Lord! what one must undergo, what wounds to one’s self-respect one must be prepared to receive before one can catch the attention of these gentlemen! I will give you an instance. Supposing I wanted to become known in Vienna: Brahms is the musical lion of Vienna. Consequently, I should have to pay my respects to him. Brahms, the celebrity—and I, the unknown composer. I may tell you, however, without false modesty, that I place myself a good deal higher than Brahms. What could I say to him? If I were an honourable and sincere man I should have to say something of this kind: ‘Herr Brahms, I regard you as an uninspired and pretentious composer, without any creative genius whatever. I do not rate you very highly, and look down upon you with disdain. But you could be of some use to me, so I have come to call upon you.’ But if I were a dishonest man, then I should say exactly the opposite. I cannot adopt either course.
“I need not go into further details. You alone—with the exception of my brothers—can fully enter into my feelings. My friends in Moscow cannot reconcile themselves to my having declined to act as delegate in Paris. They cannot believe that my association with such distinguished names as Liszt (who represents Hungary) and Verdi would not do much to promote my reputation. My dear friend, I have the reputation of being modest. But I will confess to you that my modesty is nothing less than a secret, but immense,amour propre. Among all living musicians there is not one before whom I would willingly lower my crest. At thesame time, Nature, who endowed me with such pride, denied me the capacity for showing off my wares.Je ne sais pas me faire valoir. I do not know how to meet fame half-way on my own initiative, and prefer to wait until it comes to me unsought. I have long since resigned myself to the belief that I shall not live to see the general recognition of my talents.
“You speak of Anton Rubinstein. How can I compare myself to him? He is at present the greatest pianist in the world. He combines the personalities of a remarkable virtuoso and a gifted composer, so that the latter is borne as it were upon the shoulders of the former. In my lifetime I shall never attain to a tenth part of what he has accomplished. Now we are on the subject of Rubinstein, let me tell you this: as my teacher, he knew my musical temperament better than anyone else, so that he might have done much to further my reputation abroad. Unfortunately, this ‘great light’ has always treated me with a loftiness bordering on contempt. No one has inflicted such cruel wounds upon my self-esteem as Rubinstein. Externally, he has always been amiable and friendly. But beneath this friendly manner he showed plainly that he did not think me worth a brass farthing! The one ‘big wig’ who has always been most kindly disposed towards me is Bülow. Unluckily, he has been forced almost to abandon his musical career on account of ill_health, and cannot therefore do much more on my behalf. Thanks to him, I am well known in England and America. I have a number of Press notices relating to myself which appeared in these countries, and were sent to me by Bülow.
“You need not worry yourself, my dear. If fame is destined for me, it will come with slow but sure steps. History convinces us that the success which is long delayed is often more lasting than when it comes easily and at a bound. Many a name which resounded through its own generation is now engulfed in the ocean of oblivion. An artist should not be troubled by the indifference of his contemporaries. He should go on working and say all he has been predestined to say. He should know that posterity alone can deliver a true and just verdict. I will tell you something more. Perhaps I accept my modestshare with so little complaint because my faith in the judgment of the future is immovable. I have a foretaste during my lifetime of the fame which will be meted out to me when the history of Russian music comes to be written. For the present I am satisfied with what I have already acquired. I have no right to complain. I have met people on my way through life whose warm sympathy for my music more than compensates me for the indifference, misunderstanding, and ill_will of others.”
From S. I. Taneiev to Tchaikovsky.“March18th(30th), 1878.“ ... The first movement of your Fourth Symphony is disproportionately long in comparison with the others; it seems to me a symphonic poem, to which the three other movements are added fortuitously. The fanfare for trumpets in the introduction, which is repeated in other places, the frequent change oftempoin the tributary themes—all this makes me think that a programme is being treated here. Otherwise this movement pleases me.But the rhythmmusical notationappears too often and becomes wearisome.“The Andante is charming (the middle does not particularly please me). The Scherzo is exquisite, and goes splendidly. The Trio I cannot bear: it sounds like a ballet movement.“Nicholas Grigorievich (Rubinstein) likes the Finale best, but I do not altogether agree with him. The variations on a folksong do not strike me as very important or interesting.“In my opinion the Symphony has one defect, to which I shall never be reconciled: in every movement there are phrases which sound like ballet music: the middle section of the Andante, the Trio of the Scherzo, and a kind of march in the Finale. Hearing the Symphony, my inner eye sees involuntarily ‘ourprimaballerina,’ which puts me out of humour and spoils my pleasure in the many beauties of the work.“This is my candid opinion. Perhaps I have expressed it somewhat freely, but do not be hurt. It is not surprising that the Symphony does not entirely please me. Had you not sentEugene Onieginat the same time, perhaps it might have satisfied me. It is your own fault. Why have you composed such an opera, which has no parallel in the world?Onieginhas given me such pleasure that I cannot find words to express it. A splendid opera! And yet you say you want to give up composing. You have never done so well. Rejoice that you have attained such perfection, and profit by it.”
From S. I. Taneiev to Tchaikovsky.
“March18th(30th), 1878.
“ ... The first movement of your Fourth Symphony is disproportionately long in comparison with the others; it seems to me a symphonic poem, to which the three other movements are added fortuitously. The fanfare for trumpets in the introduction, which is repeated in other places, the frequent change oftempoin the tributary themes—all this makes me think that a programme is being treated here. Otherwise this movement pleases me.
But the rhythmmusical notationappears too often and becomes wearisome.
“The Andante is charming (the middle does not particularly please me). The Scherzo is exquisite, and goes splendidly. The Trio I cannot bear: it sounds like a ballet movement.
“Nicholas Grigorievich (Rubinstein) likes the Finale best, but I do not altogether agree with him. The variations on a folksong do not strike me as very important or interesting.
“In my opinion the Symphony has one defect, to which I shall never be reconciled: in every movement there are phrases which sound like ballet music: the middle section of the Andante, the Trio of the Scherzo, and a kind of march in the Finale. Hearing the Symphony, my inner eye sees involuntarily ‘ourprimaballerina,’ which puts me out of humour and spoils my pleasure in the many beauties of the work.
“This is my candid opinion. Perhaps I have expressed it somewhat freely, but do not be hurt. It is not surprising that the Symphony does not entirely please me. Had you not sentEugene Onieginat the same time, perhaps it might have satisfied me. It is your own fault. Why have you composed such an opera, which has no parallel in the world?Onieginhas given me such pleasure that I cannot find words to express it. A splendid opera! And yet you say you want to give up composing. You have never done so well. Rejoice that you have attained such perfection, and profit by it.”
Tchaikovsky to Taneiev.“Clarens,March27th(April 8th), 1878.“Dear Serge,—I have read your letter with the greatest pleasure and interest.... You need not be afraid that your criticism of my Fourth Symphony is too severe. You have simply given me your frank opinion, for which I am grateful. I want these kind of opinions, not choruses of praise. At the same time many things in your letter astonished me. I have no idea what you consider ‘ballet music,’ or why you should object to it. Do you regard every melody in a lively dance-rhythm as ‘ballet music’? In that case how can you reconcile yourself to the majority of Beethoven’s symphonies, for in them you will find similar melodies on every page? Or do you mean to say that the Trio of my Scherzo is in the style of Minkus, Gerber, or Pugni? It does not, to my mind, deserve such criticism. I never can understand why ‘ballet music’ should be used as a contemptuous epithet. The music of a ballet is not invariably bad, there are good works of this class—Délibes’Sylvia, for instance. And when the music is good, what difference does it make whether the Sobiesichanskaya[61]dances to it or not? I can only say that certain portions of my Symphony do not please you becausethey recall the ballet, not because they are intrinsically bad. You may be right, but I do not see whydance tunes should not be employed episodically in a symphony, even with the avowed intention of giving a touch of coarse, everyday humour. Again I appeal to Beethoven, who frequently had recourse to similar effects. I must add that I have racked my brains in vain to recall in what part of the Allegro you can possibly have discovered ‘ballet music.’ It remains an enigma. With all that you say as to my Symphony having a programme, I am quite in agreement. But I do not see why this should be a mistake. I am far more afraid of the contrary; I do not wish any symphonic work to emanate from me which has nothing to express, and consists merely of harmonies and a purposeless design of rhythms and modulations. Of course, my Symphony is programme music, but it would be impossible to give the programme in words; it would appear ludicrous and only raise a smile. Ought not this to be the case with a symphony which is the most lyrical of all musical forms? Ought it not to express all those things for which words cannot be found, which nevertheless arise in the heart and clamour for expression? Besides, I must tell you that in my simplicity I imagined the plan of my Symphony to be so obvious that everyone would understand its meaning, or at least its leading ideas, without any definite programme. Pray do not imagine I want to swagger before you with profound emotions and lofty ideas. Throughout the work I have made no effort to express any new thought. In reality my work is a reflection of Beethoven’s Fifth Symphony; I have not copied his musical contents, only borrowed the central idea. What kind of a programme has this Fifth Symphony, do you think? Not only has it a programme, but it is so clear that there cannot be the smallest difference of opinion as to what it means. Much the same lies at the root of my Symphony, and if you have failed to grasp it, it simply proves that I am no Beethoven—on which point I have no doubt whatever. Let me add that there is not a single bar in this Fourth Symphony of mine which I have not truly felt, and which is not an echo of my most intimate spiritual life. The only exception occurs perhaps in the middle section of the first movement, in which there are some forced passages, some things which are labouredand artificial. I know you will laugh as you read these lines. You are a sceptic and a mocking-bird. In spite of your great love of music you do not seem to believe that a man can compose from his inner impulses. Wait awhile, you too will join the ranks! Some day, perhaps very soon, you will compose, not because others ask you to do so, but because it is your own desire. Only then will the seed which can bring forth a splendid harvest fall upon the rich soil of your gifted nature. I speak the truth, if somewhat grandiloquently. Meanwhile your fields are waiting for the sower. I will write more about this in my next. There were beautiful details in your score, it only lacks ... but I will not forestall matters. In my next letter I will talk exclusively of yourself.“There have been great changes in my life since I wrote that I had lost all hope of composing any more. The devil of authorship has awoke in me again in the most unexpected way.“Please, dear Serge, do not see any shadow of annoyance in my defence of the Symphony; of course I should like you to be pleased with everything I write, but I am quite satisfied with the interest you always show me. You cannot think how delighted I am with your approval ofOniegin. I value your opinion very highly, and the more frankly you express it, the more I feel its worth. And so I cordially thank you, and beg you not to be afraid of over-severity. I want just those stinging criticisms from you. So long as you give me the truth, what does it matter whether it is favourable or not?”
Tchaikovsky to Taneiev.
“Clarens,March27th(April 8th), 1878.
“Dear Serge,—I have read your letter with the greatest pleasure and interest.... You need not be afraid that your criticism of my Fourth Symphony is too severe. You have simply given me your frank opinion, for which I am grateful. I want these kind of opinions, not choruses of praise. At the same time many things in your letter astonished me. I have no idea what you consider ‘ballet music,’ or why you should object to it. Do you regard every melody in a lively dance-rhythm as ‘ballet music’? In that case how can you reconcile yourself to the majority of Beethoven’s symphonies, for in them you will find similar melodies on every page? Or do you mean to say that the Trio of my Scherzo is in the style of Minkus, Gerber, or Pugni? It does not, to my mind, deserve such criticism. I never can understand why ‘ballet music’ should be used as a contemptuous epithet. The music of a ballet is not invariably bad, there are good works of this class—Délibes’Sylvia, for instance. And when the music is good, what difference does it make whether the Sobiesichanskaya[61]dances to it or not? I can only say that certain portions of my Symphony do not please you becausethey recall the ballet, not because they are intrinsically bad. You may be right, but I do not see whydance tunes should not be employed episodically in a symphony, even with the avowed intention of giving a touch of coarse, everyday humour. Again I appeal to Beethoven, who frequently had recourse to similar effects. I must add that I have racked my brains in vain to recall in what part of the Allegro you can possibly have discovered ‘ballet music.’ It remains an enigma. With all that you say as to my Symphony having a programme, I am quite in agreement. But I do not see why this should be a mistake. I am far more afraid of the contrary; I do not wish any symphonic work to emanate from me which has nothing to express, and consists merely of harmonies and a purposeless design of rhythms and modulations. Of course, my Symphony is programme music, but it would be impossible to give the programme in words; it would appear ludicrous and only raise a smile. Ought not this to be the case with a symphony which is the most lyrical of all musical forms? Ought it not to express all those things for which words cannot be found, which nevertheless arise in the heart and clamour for expression? Besides, I must tell you that in my simplicity I imagined the plan of my Symphony to be so obvious that everyone would understand its meaning, or at least its leading ideas, without any definite programme. Pray do not imagine I want to swagger before you with profound emotions and lofty ideas. Throughout the work I have made no effort to express any new thought. In reality my work is a reflection of Beethoven’s Fifth Symphony; I have not copied his musical contents, only borrowed the central idea. What kind of a programme has this Fifth Symphony, do you think? Not only has it a programme, but it is so clear that there cannot be the smallest difference of opinion as to what it means. Much the same lies at the root of my Symphony, and if you have failed to grasp it, it simply proves that I am no Beethoven—on which point I have no doubt whatever. Let me add that there is not a single bar in this Fourth Symphony of mine which I have not truly felt, and which is not an echo of my most intimate spiritual life. The only exception occurs perhaps in the middle section of the first movement, in which there are some forced passages, some things which are labouredand artificial. I know you will laugh as you read these lines. You are a sceptic and a mocking-bird. In spite of your great love of music you do not seem to believe that a man can compose from his inner impulses. Wait awhile, you too will join the ranks! Some day, perhaps very soon, you will compose, not because others ask you to do so, but because it is your own desire. Only then will the seed which can bring forth a splendid harvest fall upon the rich soil of your gifted nature. I speak the truth, if somewhat grandiloquently. Meanwhile your fields are waiting for the sower. I will write more about this in my next. There were beautiful details in your score, it only lacks ... but I will not forestall matters. In my next letter I will talk exclusively of yourself.
“There have been great changes in my life since I wrote that I had lost all hope of composing any more. The devil of authorship has awoke in me again in the most unexpected way.
“Please, dear Serge, do not see any shadow of annoyance in my defence of the Symphony; of course I should like you to be pleased with everything I write, but I am quite satisfied with the interest you always show me. You cannot think how delighted I am with your approval ofOniegin. I value your opinion very highly, and the more frankly you express it, the more I feel its worth. And so I cordially thank you, and beg you not to be afraid of over-severity. I want just those stinging criticisms from you. So long as you give me the truth, what does it matter whether it is favourable or not?”