XVIII

“Piquant charms and dazzling fireworks abound in Tchaikovsky’sFrancesca da Rimini, which bristles with difficulties, and shrinks from no violence of effect. The gentlest and kindest of men has let loose a whirlwind in this work, and shows as little pity for his interpreters and hearers as Satan for sinners. But the composer’s talent and astounding technique are so great that the critic can only feel pleasure in the work. A long melodic phrase, the love-song of Paola and Francesca, soars above this tempest, thisbufera infernale, which attracted Liszt before Tchaikovsky, and engendered his Dante Symphony. Liszt’s Francesca is more touching and more Italian in character than that of the great Slavonic composer; the whole work is so typical that we seem to see the profile of Danteprojected in it. Tchaikovsky’s art is more subtle, the outlines clearer, the material more attractive; from a purely musical point of view the work is better. Liszt’s version is perhaps more to the taste of the poet or painter. On the whole, they can fitly stand side by side; either of them is worthy of Dante, and as regards noise, both leave nothing to be desired.”[191]

The concert was followed by a banquet in the hall of King’s College, at which a hundred guests sat down to table. As it was purely a musical festivity, only those who were to receive the honorary musical degree were invited to this banquet. The place of honour, next to the chairman, was given to Saint-Saëns, the eldest of the guests. Never had Tchaikovsky greater reason to congratulate himself upon his comparative youth, for, together with the honour, the difficult task of replying to a toast on behalf of his colleagues fell to the lot of Saint-Saëns.

After the dinner came a brilliant reception to the composers in the hall of the Museum.

Besides the musicians, there were several other recipients of the honorary degree, including the Maharajah of Bohonager, Lord Herschel, Lord Roberts, Dr. Julius Stupitza, Professor of English Philology in the University of Berlin, and the Irish scholar, Standish O’Grady.

On the morning of June 13th all the future doctors assembled in the Arts School and attired themselves in their splendid doctors’ robes of red and white; after which they took up their positions, and the procession started. Saint-Saëns, in the volume already quoted, says:

“We were attired in ample robes of silk, parti-coloured scarlet and white, with full sleeves, and on our heads college-caps of black velvet with gold tassels. Thus decked out, we walked in procession through the town, under a tropical sun. At the head of the group of doctors went the King of Bohonager in a turban of cloth of gold,sparkling with fabulous jewels and a diamond necklace. Dare I confess that, as the enemy of the commonplace, and of the neuter tints of our modern garb, I was enchanted with the adventure?“The people stood on each side of the railings, and cheered us with some enthusiasm, especially Lord Roberts.”“Meanwhile the Senate House, in which the degrees were conferred, had become crowded with undergraduates and guests. The former were not merely spectators, but—as we afterwards discovered—participated in the event. When the Vice-Chancellor and other members of the Senate had taken their places, the ceremony began. Each recipient rises in turn from his seat, while the public orator recounts his claims to recognition in a Latin oration. Here the undergraduates begin to play their part. According to ancient tradition, they are allowed to hiss, cheer, and make jokes at the expense of the new doctors. At every joke the orator waits until the noise and laughter has subsided, then continues to read aloud. When this is done, the recipient is led up to the Vice-Chancellor, who greets him as doctor innomine Patri, Filii et Spiritus Sancti. This formula was not used in the case of the Maharajah.”

“The people stood on each side of the railings, and cheered us with some enthusiasm, especially Lord Roberts.”

“Meanwhile the Senate House, in which the degrees were conferred, had become crowded with undergraduates and guests. The former were not merely spectators, but—as we afterwards discovered—participated in the event. When the Vice-Chancellor and other members of the Senate had taken their places, the ceremony began. Each recipient rises in turn from his seat, while the public orator recounts his claims to recognition in a Latin oration. Here the undergraduates begin to play their part. According to ancient tradition, they are allowed to hiss, cheer, and make jokes at the expense of the new doctors. At every joke the orator waits until the noise and laughter has subsided, then continues to read aloud. When this is done, the recipient is led up to the Vice-Chancellor, who greets him as doctor innomine Patri, Filii et Spiritus Sancti. This formula was not used in the case of the Maharajah.”

The oration delivered in honour of Tchaikovsky ran as follows:—

“Russorum ex imperio immenso hodie ad nos delatus est viri illustris, Rubinsteinii, discipulus insignis, qui neque Italiam neque Helvetiam inexploratam reliquit, sed patriae carmina popularia ante omnia dilexit. Ingenii Slavonici et ardorem fervidum et languorem subtristem quam feliciter interpretatur! Musicorum modorum in argumentis animo concipiendis quam amplus est! in numeris modulandis quam distinctus! in flexionibus variandis quam subtilis! in orchestrae (ut aiunt) partibus inter se diversis una componendis quam splendidus! Talium virorum animo grato admiramur ingenium illud facile et promptum, quod, velut ipsa rerum natura, nulla, necessitate coactum sed quasi sua sponte pulcherrimum quidque in luminis oras quotannis submittit.“Audiamus Propertium:“‘aspice quot submittit humus formosa colores;et veniunt hederae sponte sua melius.’“Etiam nosmet ipsi hodie fronti tam felici hederae nostrae corollam sponte imponimus.“Duco ad vos Petrum Tchaikovsky.”

“Audiamus Propertium:

“‘aspice quot submittit humus formosa colores;et veniunt hederae sponte sua melius.’

“Etiam nosmet ipsi hodie fronti tam felici hederae nostrae corollam sponte imponimus.

“Duco ad vos Petrum Tchaikovsky.”

After the ceremony there was a breakfast given by the Vice-Chancellor, at which all attended in their robes. At the end of the meal, in obedience to the tradition of centuries, a loving-cup was passed round.

The breakfast was followed by a garden-party, the hostess being the wife of the Vice-Chancellor.

By evening Tchaikovsky was back in London, where he gave a farewell dinner to some of his new friends. Among these I must mention the fine baritone, Eugene Oudin. Tchaikovsky was soon very sincerely attached to him, both as a man and an artist. Upon his initiative Oudin was invited to sing at the Symphony Concerts in Moscow and Petersburg.

The following day Tchaikovsky left for Paris.

To P. Jurgenson.“Paris,June3rd(15th), 1893.“Cambridge, with its peculiar customs which retain much that is medieval, with its colleges that resemble monasteries, and its buildings recalling a remote past, made a very agreeable impression upon me.”

To P. Jurgenson.

“Paris,June3rd(15th), 1893.

“Cambridge, with its peculiar customs which retain much that is medieval, with its colleges that resemble monasteries, and its buildings recalling a remote past, made a very agreeable impression upon me.”

To N. Konradi.“Paris,June3rd(15th), 1893.“At Cambridge I stayed with Professor Maitland. This would have been dreadfully embarrassing for me, if he and his wife had not proved to be some of the most charming people I ever met; and Russophiles into the bargain, which is the greatest rarity in England. Nowall is over, it is pleasant to look back upon my visit to England, and to remember the extraordinary cordiality shown to me everywhere, although, in consequence of my peculiar temperament, while there, I tormented and worried myself to fiddle-strings.”XVIIITchaikovsky’s home-coming was by no means joyful. The shadow of death was all around him. Hardly had he heard of the death of his old friend Karl Albrecht than a letter from the Countess Vassiliev-Shilovsky informed him that her husband had passed away. Besides this, Apukhtin lay dying in Petersburg, and in Moscow another valued friend, Zvierev, was in an equally hopeless condition.A few years earlier one such grief would have affected Tchaikovsky more keenly than all of them taken together seemed to do at this juncture. Now death appeared to him less enigmatical and fearful. Whether his feelings were less acute, or whether the mental sufferings of later years had taught him that death was often a deliverance, I cannot say. I merely lay emphasis on the fact that, in spite of the discomforting news which met him in all directions, from the time of his return from England to the end of his life, Tchaikovsky was as serene and cheerful as at any period in his existence.He looked forward with joy to meeting his nephew Vladimir Davidov at Grankino, in the government of Poltava. He always felt well in the glorious air of the steppes.From Grankino he went to stay with his brother Nicholas at Oukolovo.

To N. Konradi.

“Paris,June3rd(15th), 1893.

“At Cambridge I stayed with Professor Maitland. This would have been dreadfully embarrassing for me, if he and his wife had not proved to be some of the most charming people I ever met; and Russophiles into the bargain, which is the greatest rarity in England. Nowall is over, it is pleasant to look back upon my visit to England, and to remember the extraordinary cordiality shown to me everywhere, although, in consequence of my peculiar temperament, while there, I tormented and worried myself to fiddle-strings.”

Tchaikovsky’s home-coming was by no means joyful. The shadow of death was all around him. Hardly had he heard of the death of his old friend Karl Albrecht than a letter from the Countess Vassiliev-Shilovsky informed him that her husband had passed away. Besides this, Apukhtin lay dying in Petersburg, and in Moscow another valued friend, Zvierev, was in an equally hopeless condition.

A few years earlier one such grief would have affected Tchaikovsky more keenly than all of them taken together seemed to do at this juncture. Now death appeared to him less enigmatical and fearful. Whether his feelings were less acute, or whether the mental sufferings of later years had taught him that death was often a deliverance, I cannot say. I merely lay emphasis on the fact that, in spite of the discomforting news which met him in all directions, from the time of his return from England to the end of his life, Tchaikovsky was as serene and cheerful as at any period in his existence.

He looked forward with joy to meeting his nephew Vladimir Davidov at Grankino, in the government of Poltava. He always felt well in the glorious air of the steppes.

From Grankino he went to stay with his brother Nicholas at Oukolovo.

To Vladimir Davidov.“July19th(31st), 1893.“I spent two very pleasant days in Moscow. Tell Modi I was very ill the day after he left. They said it was from drinking too much cold water at dinner and supper.... The day after to-morrow I start upon the Symphony again. I must write letters for the next two days.”

To Vladimir Davidov.

“July19th(31st), 1893.

“I spent two very pleasant days in Moscow. Tell Modi I was very ill the day after he left. They said it was from drinking too much cold water at dinner and supper.... The day after to-morrow I start upon the Symphony again. I must write letters for the next two days.”

To Modeste Tchaikovsky.“July22nd(August3rd), 1893.“I am up to my eyes in the Symphony. The further I go, the more difficult the orchestration becomes. Twenty years ago I should have rushed it through without a second thought, and it would have turned out all right. Now I am turning coward, and have lost my self-confidence. I have been sitting all day over two pages, yet they will not come out as I wish. In spite of this, the work makes progress, and I should not have done so much anywhere else but at home.“Thanks to Alexis’ exertions, my house has a very coquettish appearance. All is in order; a mass of flowers in the garden, good paths, and a new fence with gates. I am well cared for. And yet I get terribly bored unless I am working....”

To Modeste Tchaikovsky.

“July22nd(August3rd), 1893.

“I am up to my eyes in the Symphony. The further I go, the more difficult the orchestration becomes. Twenty years ago I should have rushed it through without a second thought, and it would have turned out all right. Now I am turning coward, and have lost my self-confidence. I have been sitting all day over two pages, yet they will not come out as I wish. In spite of this, the work makes progress, and I should not have done so much anywhere else but at home.

“Thanks to Alexis’ exertions, my house has a very coquettish appearance. All is in order; a mass of flowers in the garden, good paths, and a new fence with gates. I am well cared for. And yet I get terribly bored unless I am working....”

To Vladimir Davidov.“August3rd(15th), 1893.“The Symphony which I intended to dedicate to you—although I have now changed my mind[192]—is progressing. I am very well pleased with its contents, but not quite so satisfied with the orchestration. It does not realise my dreams. To me, it will seem quite natural, and not in the least astonishing, if this Symphony meets with abuse, or scant appreciation at first. I certainly regard it as quite the best—and especially the ‘most sincere’—of all my works. I love it as I never loved any one of my musical offspring before.”

To Vladimir Davidov.

“August3rd(15th), 1893.

“The Symphony which I intended to dedicate to you—although I have now changed my mind[192]—is progressing. I am very well pleased with its contents, but not quite so satisfied with the orchestration. It does not realise my dreams. To me, it will seem quite natural, and not in the least astonishing, if this Symphony meets with abuse, or scant appreciation at first. I certainly regard it as quite the best—and especially the ‘most sincere’—of all my works. I love it as I never loved any one of my musical offspring before.”

To P. Jurgenson.“Klin,August12th(24th), 1893.“Dear Friend,—I have finished the orchestration of the new Symphony.... I have made the arrangement for four hands myself, and must play it through, so I have asked the youngest Konius to come here, that we may try it together. As regards the score and parts, I cannot put them in order before the first performance, which takes place in Petersburg on October 16th (28th).... On my word of honour, I have never felt such self-satisfaction, such pride, such happiness, as in the consciousness that I am really the creator of this beautiful work.”

To P. Jurgenson.

“Klin,August12th(24th), 1893.

“Dear Friend,—I have finished the orchestration of the new Symphony.... I have made the arrangement for four hands myself, and must play it through, so I have asked the youngest Konius to come here, that we may try it together. As regards the score and parts, I cannot put them in order before the first performance, which takes place in Petersburg on October 16th (28th).... On my word of honour, I have never felt such self-satisfaction, such pride, such happiness, as in the consciousness that I am really the creator of this beautiful work.”

To the same.“Klin,August20th(September1st), 1893.“I shall take the Symphony with me to Petersburg to-day. I promise not to give away the score. The arrangement for four hands needs a thorough revision. I have entrusted this to Leo Konius. I wished him to receive a fee of at least 100 roubles, but he refused....”

To the same.

“Klin,August20th(September1st), 1893.

“I shall take the Symphony with me to Petersburg to-day. I promise not to give away the score. The arrangement for four hands needs a thorough revision. I have entrusted this to Leo Konius. I wished him to receive a fee of at least 100 roubles, but he refused....”

Tchaikovsky spent two days with Laroche in Petersburg. Even the prospect of his journey to Hamburg did not suffice to damp his cheerful frame of mind. He does not appear to have written any letters during his absence from Russia, which was of very brief duration.

“On his return from Hamburg he met me in St. Petersburg,” says Modeste, “and stayed with me a day or two. I had not seen him so bright for a long time past. He was keenly interested in the forthcoming season of the Musical Society, and was preparing the programme of the fourth concert, which he was to conduct.“At this time there was a change in the circumstances of my own life. Having finished the education of N. Konradi, I decided to set up housekeeping with my nephew Vladimir Davidov, who had completed his course at the School of Jurisprudence and was now an independent man. Mybrother was naturally very much interested in all the arrangements of our new home.“At this time we discussed subjects for a new opera. Peter Ilich’s favourite author in later life was George Eliot. Once during his travels abroad he had come across her finest book,The Mill on the Floss, and from that time he considered she had no rival but Tolstoi as a writer of fiction.Adam Bede,Silas Marner, andMiddlemarchstirred him to the greatest enthusiasm, and he read them over and over again. He cared less forRomola, but was particularly fond ofScenes from Clerical Life. For a time he seriously contemplated founding the libretto of his next opera uponThe Sad Fortunes of the Rev. Amos Barton. He wished me to read the tale and give him my opinion: I must confess that, from his own account of it, I persuaded him to give up the idea.“I do not know if I actually convinced him, or whether he lost interest in it himself, but he never referred to this tale again when he spoke of other subjects for a libretto.“We separated early in September, and he went to our brother Anatol, who was spending the summer and autumn with his family at Mikhailovskoe.”

“At this time there was a change in the circumstances of my own life. Having finished the education of N. Konradi, I decided to set up housekeeping with my nephew Vladimir Davidov, who had completed his course at the School of Jurisprudence and was now an independent man. Mybrother was naturally very much interested in all the arrangements of our new home.

“At this time we discussed subjects for a new opera. Peter Ilich’s favourite author in later life was George Eliot. Once during his travels abroad he had come across her finest book,The Mill on the Floss, and from that time he considered she had no rival but Tolstoi as a writer of fiction.Adam Bede,Silas Marner, andMiddlemarchstirred him to the greatest enthusiasm, and he read them over and over again. He cared less forRomola, but was particularly fond ofScenes from Clerical Life. For a time he seriously contemplated founding the libretto of his next opera uponThe Sad Fortunes of the Rev. Amos Barton. He wished me to read the tale and give him my opinion: I must confess that, from his own account of it, I persuaded him to give up the idea.

“I do not know if I actually convinced him, or whether he lost interest in it himself, but he never referred to this tale again when he spoke of other subjects for a libretto.

“We separated early in September, and he went to our brother Anatol, who was spending the summer and autumn with his family at Mikhailovskoe.”

Here he enjoyed a very happy visit. “It is indescribably beautiful,” he wrote to Modeste. “It is altogether pleasant and successful. The weather is wonderful. All day long I wander in the forest and bring home quantities of mushrooms.”

His high opinion of the new Symphony was still unchanged, for he wrote to the Grand Duke Constantine Constantinovich on September 21st (October 3rd), “Without exaggeration I have put my whole soul into this work.” Yet in spite of his cheerful attitude, a momentary cloud of depression passed over him at this time. Writing to Modeste from Moscow, a few days later, he says: “Just lately I have been dreadfully bored and misanthropical. 1 do not know why. I sit in my room and see no one but the waiter. I long for home, work, and my normal existence.”

On September 25th he returned to Klin for the last time.

To Anna Merkling.“September29th(October11th), 1893.“I am now very busy with the orchestration of the Pianoforte Concerto. I shall soon appear on the banks of the Neva. You will see me about the 10th.”

To Anna Merkling.

“September29th(October11th), 1893.

“I am now very busy with the orchestration of the Pianoforte Concerto. I shall soon appear on the banks of the Neva. You will see me about the 10th.”

On October 7th (19th) Tchaikovsky left Klin never to return. The following day he intended to be present at the memorial service for his friend Zvierev and then to go on to Petersburg. As the train passed the village of Frolovskoe, he pointed to the churchyard, remarking to his fellow-travellers: “I shall be buried there, and people will point out my grave as they go by.” He repeated this wish to be buried at Frolovskoe while talking to Taneiev at the memorial service for Zvierev. Beyond these two references to his death, prompted no doubt by the sad ceremony with which he was preoccupied, Tchaikovsky does not appear to have shown any symptoms of depression or foreboding.

Kashkin has given the following account of his friend’s last visit to Moscow:—

“We met at the memorial service in the church, and afterwards Peter Ilich went to Zvierev’s grave. On October 9th (21st) he had promised to go to the Conservatoire to hear the vocal quartet (‘Night’) which he had arranged from Mozart’s pianoforte Fantasia. The master’s music had not been altered, Tchaikovsky had only written words to it.... Madame Lavrovsky had promised that her pupils should learn the work. We assembled in the concert hall of the Conservatoire, and I sat with Tchaikovsky. The quartet was beautifully sung ... Tchaikovsky afterwards told me this music had the most indescribable charm for him, but he could not explain, even to himself, why this simple melody gave him such pleasure....“At that time Pollini, the Director of the Hamburg Opera, was staying in Moscow. He was an ardent admirer of Tchaikovsky, and had given some of his operas in Hamburg. When—as invited—I went to supper with Tchaikovsky at the Moscow Restaurant, I met Pollini, Safonov, and two foreign guests. We talked over Pollini’s idea of making a great concert tour through Russia, with a German orchestra under a Russian conductor ... Tchaikovsky was to conduct his own works and Safonov the rest of the programme.... After the others had gone, and Peter Ilich and I were left to ourselves, he told me all about Cambridge, and spoke very warmly of the Professor in whose house he had stayed, and of one of the other recipients of the honorary degree—Arrigo Boïto, who had charmed him with his intellect and culture.... Unconsciously the talk turned to our recent losses: to the death of Albrecht and Zvierev. We thought of the gaps time had made in our circle of old friends and how few now remained. Involuntarily the question arose: Who will be the next to take the road from which there is no return? With complete assurance of its truth, I declared that Tchaikovsky would outlive us all. He disputed the probability, but ended by saying he had never felt better or happier in his life. He had to catch the night mail to Petersburg, where he was going to conduct his Sixth Symphony, which was still unknown to me. He said he had no doubt as to the first three movements, but the last was still a problem, and perhaps after the performance in Petersburg he should destroy the Finale and replace it by another. The concert of the Musical Society in Moscow was fixed for October 23rd (November 4th). We arranged, if we should not see each other there, to meet at the Moscow Restaurant, for Tchaikovsky was anxious to introduce the singer Eugene Oudin to the musical circle in Moscow. Here our conversation ended. Tchaikovsky went to the station. It never occurred to me to see him off, for neither of us cared for that kind of thing; besides, we should meet again in a fortnight. We parted without the least presentiment that it was for the last time.”

“At that time Pollini, the Director of the Hamburg Opera, was staying in Moscow. He was an ardent admirer of Tchaikovsky, and had given some of his operas in Hamburg. When—as invited—I went to supper with Tchaikovsky at the Moscow Restaurant, I met Pollini, Safonov, and two foreign guests. We talked over Pollini’s idea of making a great concert tour through Russia, with a German orchestra under a Russian conductor ... Tchaikovsky was to conduct his own works and Safonov the rest of the programme.... After the others had gone, and Peter Ilich and I were left to ourselves, he told me all about Cambridge, and spoke very warmly of the Professor in whose house he had stayed, and of one of the other recipients of the honorary degree—Arrigo Boïto, who had charmed him with his intellect and culture.... Unconsciously the talk turned to our recent losses: to the death of Albrecht and Zvierev. We thought of the gaps time had made in our circle of old friends and how few now remained. Involuntarily the question arose: Who will be the next to take the road from which there is no return? With complete assurance of its truth, I declared that Tchaikovsky would outlive us all. He disputed the probability, but ended by saying he had never felt better or happier in his life. He had to catch the night mail to Petersburg, where he was going to conduct his Sixth Symphony, which was still unknown to me. He said he had no doubt as to the first three movements, but the last was still a problem, and perhaps after the performance in Petersburg he should destroy the Finale and replace it by another. The concert of the Musical Society in Moscow was fixed for October 23rd (November 4th). We arranged, if we should not see each other there, to meet at the Moscow Restaurant, for Tchaikovsky was anxious to introduce the singer Eugene Oudin to the musical circle in Moscow. Here our conversation ended. Tchaikovsky went to the station. It never occurred to me to see him off, for neither of us cared for that kind of thing; besides, we should meet again in a fortnight. We parted without the least presentiment that it was for the last time.”

Tchaikovsky arrived in Petersburg on October 10th (22nd). He was met by his brother Modeste and his favourite nephew. He was delighted with their new abode and his spirits were excellent—so long as his arrival remained unknown and he was master of his time.

One thing only depressed him: at the rehearsals the Sixth Symphony made no impression upon the orchestra. He always set store by the opinion of the musicians. Moreover, he feared lest the interpretation of the Symphony might suffer from their coldness. Tchaikovsky only conducted his works well when he knew they appealed to the players. To obtain delicatenuancesand a good balance of tone he needed his surroundings to be sympathetic and appreciative. A look of indifference, a coolness on the part of any of the band, seemed to paralyse him; he lost his head, went through the work perfunctorily, and cut the rehearsal as short as possible, so as to release the musicians from a wearisome task. Whenever he conducted a work of his own for the first time, a kind of uncertainty—almost carelessness—in the execution of details was apparent, and the whole interpretation lacked force and definite expression. The Fifth Symphony andHamletwere so long making their way merely because the composer had failed to make them effective. The same reason accounts for the failure of the orchestral ballade,The Voyevode.

Tchaikovsky was easily disenchanted with his work by the adverse opinion of others. But on this occasion his judgment remained unshaken, and even the indifference of the orchestra did not alter his opinion that this Symphony was “the best thing I ever composed or ever shall compose.” He did not, however, succeed in convincing the public or the performers. At the concert on the 16th (28th) thework fell rather flat. It was applauded and the composer was recalled; but the enthusiasm did not surpass what was usually shown for one of Tchaikovsky’s new works. The Symphony produced nothing approaching to that powerful and thrilling impression it made shortly afterwards (November 6th (18th), 1893) under Napravnik, which has since been repeated in so many other cities.

The Press did not speak of the new Symphony with as much admiration as Tchaikovsky had expected, but on the whole the notices were appreciative. TheSt. Petersburg Viedomostithought “the thematic material of the work was not very original, the leading subjects were neither new nor significant. The last movement, Adagio Lamentoso, was the best.” TheSyn Otechestvadiscovered a phrase in the first movement which recalled Gounod’sRomeo and Juliet, while Grieg was reflected in the Finale. TheNovoe Vremyasaid: “The new Symphony is evidently the outcome of a journey abroad; it contains much that is clever and resourceful as regards orchestral colour, besides grace and delicacy (in the two middle movements), butas far as inspiration is concerned it stands far below Tchaikovsky’s other Symphonies. Only one newspaper,The Birjevya Viedomosti, spoke of the work in terms of unqualified praise, while finding fault with the composer’s conducting of the work.

The morning after the concert I found my brother sitting at the breakfast-table with the score of the Symphony before him. He had agreed to send it to Jurgenson in Moscow that very day, and could not decide upon a title. He did not wish to designate it merely by a number, and had abandoned his original intention of calling it “a programme Symphony.” “Why programme,” he said, “since I do not intend to expound any meaning?” I suggested “tragic Symphony” as an appropriate title. But this did not please him either. I left the room while Peter Ilich was still in a state of indecision. Suddenlythe word “pathetic” occurred to me, and I returned to suggest it. I remember, as though it were yesterday, how my brother exclaimed: “Bravo, Modeste, splendid!Pathetic!” Then and there, in my presence, he added to the score the title by which the Symphony has always been known.[193]

I do not relate this incident in order to connect my name with this work. Probably I should never have mentioned it but for the fact that it serves to illustrate in a simple way how far the conjectures of the most enlightened commentators may wander from the truth.

Hugo Riemann, in his thematic analysis of the Sixth Symphony, sees the solution of this title in “the striking resemblance between the fundamental idea of this work and the chief subject of Beethoven’sSonata Pathétique,” of which Tchaikovsky never dreamed:

Tchaikovsky.Beethoven.musical notation

After having despatched the score to Moscow with this title, Tchaikovsky changed his mind, as may be seen from the following letter to Jurgenson:—

“October18th, 1893.“Be so kind as to put on the title page what stands below.To Vladimir LvovichDavidov(No. 6)Composed byP. T.“I hope it is not too late.“It is very strange about this Symphony. It was not exactly a failure, but was received with some hesitation. As far as I am concerned, I am prouder of it than of any of my previous works. However, we can soon talk it over together, for I shall be in Moscow on Saturday.”

“October18th, 1893.

“Be so kind as to put on the title page what stands below.

To Vladimir LvovichDavidov(No. 6)Composed byP. T.

“I hope it is not too late.

“It is very strange about this Symphony. It was not exactly a failure, but was received with some hesitation. As far as I am concerned, I am prouder of it than of any of my previous works. However, we can soon talk it over together, for I shall be in Moscow on Saturday.”

At this time he talked a great deal about the remodelling ofThe OprichnikandThe Maid of Orleans, which he had in view for the immediate future. He did not confide to me his intentions as to the former opera; but as regardsThe Maid of Orleans, we discussed the alteration of the last scene, and I made a point of his arranging this, like so many other parts of the opera, from Schiller’s poem. The idea seemed to interest him, but it was not permitted to him to come to a definite conclusion on the subject.

During these last days he was neither very cheerful, nor yet depressed. In the circle of his intimate friends he was contented and jovial; among strangers he was, as usual, nervous and excited and, as time went on, tired out and dull. But nothing gave the smallest hint of his approaching end.

On Tuesday, October 19th (31st), he went to a private performance of Rubinstein’sThe Maccabees. On the 20th (November 1st) he was still in good health and dined with his old friend Vera Boutakov (néeDavidov). Afterwards he went to see Ostrovsky’s play,A Warm Heart, at the Alexander Theatre. During the interval he went with me to see the actor Varlamov in his dressing-room. The conversation turned upon spiritualism. Varlamov described in his own humorous style—which cannot be transferred to paper—his loathing for “all those abominations” which reminded one of death. Peter Ilich laughed at Varlamov’s quaint way of expressing himself.

“There is plenty of time,” said Tchaikovsky, “before we need reckon with this snub-nosed horror; it will not come to snatch us off just yet! I feel I shall live a long time.” From the theatre, Tchaikovsky went with his nephews, Count Litke and Baron Buxhövden, to the Restaurant Leiner. I joined them an hour later, and found one or two other visitors—of whom Glazounov was one. They had already had their supper, and I was afterwards told my brother had eaten macaroni and drunk, as usual, white wine and soda water. We went home about two a.m. Peter Ilich was perfectly well and serene.

On the morning of Thursday, October 21st (November 2nd), Tchaikovsky did not appear as usual at the early breakfast-table. His brother went to his room and found him slightly indisposed. He complained of his digestion being upset and of a bad night. About eleven a.m. he dressed and went out to see Napravnik. Half an hour later he returned, still feeling unwell. He absolutely declined to send for a doctor. His condition gave no anxiety to Modeste, who had often seen him suffer from similar derangements.

He joined his brother and nephew at lunch, although he ate nothing. But this was probably the fatal moment in his indisposition for, while talking, he poured out a glass of water and drank a long draught. The water had not been boiled, and they were dismayed at his imprudence. But he was not in the least alarmed, and tried to calm their fears. He dreaded cholera less than any other illness. After this his condition grew worse; but he attributed all his discomfort to a copious dose of Hunyadi which he had taken earlier in the day, and still declined to send for his favourite doctor, Bertenson. Towards evening Modeste grew so anxious that he sent for the doctor on his own account. Meanwhile Tchaikovsky was tended by his brother’s servant Nazar, who had once travelled with him to Italy.

About eight p.m. Bertenson arrived. He saw at once that the illness was serious, and sent for his brother in consultation. The sufferer had grown very weak, and complainedof terrible oppression on his chest. More than once he said, “I believe this is death.”

After a short consultation the brothers Bertenson, the two leading physicians in Petersburg, pronounced it to be a case of cholera.

All night long those who nursed him in turn fought against the cramps; towards morning with some hope of success. His courage was wonderful, and in the intervals between the paroxysms of pain he made little jokes with those around him. He constantly begged his nurses to take some rest, and was grateful for the smallest service.

On Friday his condition seemed more hopeful, and he himself believed he had been “snatched from the jaws of death.” But on the following day his mental depression returned. “Leave me,” he said to his doctors, “you can do no good. I shall never recover.”

Gradually he passed into the second stage of the cholera, with its most dangerous symptom—complete inactivity of the kidneys. He slept more, but his sleep was restless, and sometimes he wandered in his mind. At these times he continually repeated the name of Nadejda Filaretovna von Meck in an indignant, or reproachful, tone. Consciousness returned at longer intervals, and when his servant Alexis arrived from Klin he was no longer able to recognise him. A warm bath was tried as a last resource, but without avail, and soon afterwards his pulse grew so weak that the end seemed imminent. At the desire of his brother Nicholas, a priest was sent for from the Isaac Cathedral. He did not administer the sacrament, as Tchaikovsky was now quite unconscious, but prayed in clear and distinct tones, which, however, did not seem to reach the ears of the dying man.

At three o’clock on the morning of October 25th (November 6th) Tchaikovsky passed away in the presence of his brothers Nicholas and Modeste, his nephews Litke, Buxhövden, and Vladimir Davidov, the three doctors, andhis faithful servant Alexis Safronov. At the last moment an indescribable look of clear recognition lit up his face—a gleam which only died away with his last breath.

My work is finished. With this account of Tchaikovsky’s last moments my task, which was to express the man, is accomplished.

To characterise the artist in every phase of his development, and to determine his position in the history of music, is beyond my powers. If all the documental and authentic evidence I have collected in this book should serve as fundamental material for another writer capable of fulfilling such a task, the most cherished aim of all my efforts will have been attained.

MODESTE TCHAIKOVSKY

Rome, 1902

First Season, 1866-1867

1. Op. 15. Festival Overture upon the Danish National Hymn; completed October, 1866. Published by Jurgenson.

2. Op. 13. Symphony in G minor, No. 1, “Winter Dreams.” Begun in March, completed in November, 1866. Jurgenson.

3. Op. 1. Russian Scherzo and Impromptu. Composed early in 1867. The first of these compositions was originally entitled “Capriccio.” It is based on the first theme of the Andante in the quartet in B major, which Tchaikovsky composed while still at the Conservatoire in 1865. The theme itself is a Malo-Russian folksong, heard at Kamenka. The Impromptu—a still earlier work—was never intended for publication. It chanced to be in the same manuscript-book as the Capriccio, which was given to Jurgenson by Rubinstein, without any intimation that the Impromptu was not to be published. The Russian Scherzo was performed at Rubinstein’s concert in 1867. Both these works—like theFirst Symphony—were dedicated to Nicholas Rubinstein, and published by Jurgenson.

4. Op. 2.Souvenir de Hapsal—three pianoforte pieces: (a) “The Ruin,” (b) “Scherzo,” (c) “Chant sans Paroles.” June and July, 1867. Hapsal. Only the first and third of these pieces were composed at Hapsal; the second dates back to the days of the Conservatoire. Thisopusnumber is dedicated to Vera Davidov. Jurgenson. Besides these works, Tchaikovsky was engaged from the beginning of 1867 upon his opera,The Voyevode.

1867-1868

The Voyevodewas the sole work of this season.

In a letter dated November 25th (December 7th) Tchaikovsky speaks of having completed the third act, which is as good as saying that he had finished the whole opera, because he rarely broke through his custom of working straight through a composition. The instrumentation remained, and this was finished in Paris during the summer.

The Voyevode, orA Dream on the Volga, is a play in five acts, with a prologue, by A. N. Ostrovsky. The opera libretto is condensed into three acts, the prologue being omitted.

The chief beauty of the play, the scenes from national life, so charmingly depicted by Ostrovsky, had been ruthlessly cut out of the libretto, and only an insipid and uninteresting story left. The charm of national colour, the characteristic details of the secondarydramatis personæ, such as Nedviga, the apparition of the Domovoi, or “house spirit,” the gloomy figure of Mizgir—of all these things the libretto had been completely denuded.

But it was not so much Ostrovsky as Tchaikovsky who was to blame, for it is evident from the manuscript which the latter used while composing the music that he eliminated every episode which did not bear directly upon the tale. A few years later Tchaikovsky would not have missed so many good opportunities of effective musical illustration.

Ostrovsky’s collaboration was practically limited to Act I., which is also the best, and to a portion of Act II. The remainder is almost entirely of Tchaikovsky’s own writing.

Of this opera only the “Dances of the Serving Maids” and the “Entr’acte” were published as Op. 3. Jurgenson. The rest of the score was destroyed by the composer during the seventies. The orchestral and choral parts and some of the solos—unfortunately not the principal ones—are still preserved in the library of the Imperial Opera House in Moscow.

1868-1869

1. Op. 77. Symphonic Poem,Fatum. Begun about the middle of September, 1868. Sketch completed on October 21st.(November 2nd). Orchestrated in November and December. Produced for the first time by the Musical Society in Moscow, February 25th (March 9th), 1869, conducted by N. Rubinstein. This work is dedicated to M. A. Balakirev. During the seventies Tchaikovsky destroyed the score, but the orchestral parts remained intact, and the work was reconstructed from these, and published in 1896, by Belaiev, in Leipzig.

2. Op. 4. Valse Caprice for pianoforte. Composed in October, 1868. Dedicated to Anton Door. Jurgenson.

3. Op. 5. Romance for pianoforte. November, 1868. Dedicated to Désirée Artôt. Jurgenson.

4. Twenty-five Russian folksongs, arranged for pianoforte, four hands. These were probably finished during the autumn months, and printed in November, 1868.

5. Recitatives and choruses forLe Domino Noir, by Auber. This work has entirely disappeared; it cannot be found in the library of the Petersburg or Moscow Opera.

6.Undine, an opera in three acts, begun in January and completed in July, 1869. The text by Count Sollogoub.

The libretto ofUndinecontained scenes more interesting and grateful for musical treatment thanThe Voyevode, but was so unskilfully put together and so lacking in logical sequence that it is even inferior to the dry, uninteresting, but literary verse of the latter. The music—judging from the fragments that have been preserved—seems to have possessed a certain vitality.

The composer destroyed the score ofUndinein 1873. All that remains of the music is Undine’s aria, “The spring is my brother,” which was afterwards utilised inSniegourochka, and the Wedding March in the last act, which Tchaikovsky employed in the Andantino Marziale of his Second Symphony. Besides these two fragments, Kashkin says an Adagio in the ballet, “The Swan Lake,” was originally the love-duet between Gulbrand and Undine.

Part of this opera was produced at a concert given by the Capellmeister Merten, March 16th (28th), 1870. Laroche wrote:—

“Unfortunately, I was not able to attend the concert itself, but I had heard these fragments fromUndineat the rehearsals,and observed not only the careful and delicate orchestration for which Tchaikovsky’s music is remarkable, but picturesque suggestions of the fantastic realms of the water sprites. Other parts—notably the finale—appeared to me lacking in spontaneity. On the whole, however, the new score is worthy of attention.”

1869-1870

1. Twenty-five Russian folksongs, arranged for pianoforte, four hands. Completed September 25th, 1869. Published, together with the twenty-five of the previous year, by Jurgenson, Moscow.

2.Romeo and Juliet.Overture-Fantasia for orchestra, founded on Shakespeare’s tragedy. Begun September 25th (October 7th); sketch completed by October 7th (19th), and orchestrated by November 15th (27th), 1869. During the summer of 1870 the work was completely revised. According to Kashkin, the Introduction was entirely new; the funeral march at the close of the work was omitted and a fresh ending substituted for it, while many alterations were made in the orchestration as a whole. The overture is dedicated to Mily Alexandrovich Balakirev, and was performed for the first time at Moscow, under the bâton of N. Rubinstein, March 4th (16th), 1870. Published by Bote and Bock, Berlin, 1871.

3. Pianoforte arrangement for four hands of the overtureIvan the Terrible, by Anton Rubinstein. Bessel, St. Petersburg.

4. Op. 6. Six songs.[194]Written between November 15th (27th) and December 19th (31st), 1869. (1) “Glaub’ nicht mein Freund,” words by Count A. Tolstoi, dedicated to A. G. Menshikov. (2) “Nicht Worte,” words by Plestcheiev, dedicated to N. Kashkin. (3) “Wie wehe, wie süss,” words by Countess Rostopchin, dedicated to A. D. Kochetov. (4) “Die Thräne bebt,” words by Count A. Tolstoi, dedicated to P. Jurgenson. (5) “Warum,” words by Mey, dedicated to I. Klimenko. (6) “Nur wer die Sehnsucht kennt,” words by Mey (from Goethe), dedicated to Madame Khvostova. P. Jurgenson, Moscow.

5. “Chorus of Insects,” from the unfinished operaMandragora, January 13th (25th), 1870. The score of this work has been entirely lost. The pianoforte arrangement is preserved by Jurgenson. In 1898 Glazounov orchestrated it.

6. Op. 7. Valse Scherzo (A major) for pianoforte, dedicated to Alexandra Ilinichna Davidov. P. Jurgenson.

7. Op. 8. Capriccio (G flat) for piano, dedicated to K. Klindworth. P. Jurgenson. Both these pieces were completed about February 3rd (15th), 1870.

Besides the above, Tchaikovsky began his opera,The Oprichnik, about the end of January, 1870.

1870-1871

1. Op. 9. Three pianoforte pieces, (1) “Rêverie,” dedicated to N. Murometz. (2) “Polka de Salon,” dedicated to A. Zograf. (3) “Mazurka de Salon,” dedicated to A. L. Dubuque.

2. Song, “So schnell vergessen,” words by Apukhtin. This and the above works were composed before October 26th (November 7th), 1870, and published by Jurgenson, Moscow.

3. “Nature and Love.” Trio for two sopranos and one contralto, with chorus and pianoforte accompaniment; dedicated to Madame Valzek. It was composed in December expressly for this lady’s pupils, and performed for the first time at Tchaikovsky’s concert on March 16th (28th), 1871. It was published by Jurgenson after the composer’s death.

4. Op. 11. Quartet No. 1 (D major), for two violins, viola, and violoncello. Dedicated to Serge Rachinsky. Composed during February, 1871, and first performed at the composer’s concert, March 16th (28th), 1871. The Andante of this quartet is based on a Russian folksong which Tchaikovsky wrote down at Kamenka in the summer of 1869. It was sung in Great Russian by a man who was working outside the room in which he was engaged in orchestrating hisUndine.

5. A Course of Harmony, completed during the summer at Nizy. Jurgenson.

Besides the above, Tchaikovsky was working during the whole of this period on his opera,The Oprichnik.

1871-1872

1. Op. 10. Two pianoforte pieces: “Nocturne” and “Humoresque.” Probably composed in December, 1871, during his stay at Nice. Part of the second piece consists of a French popular song. These pieces are both dedicated to Vladimir Shilovsky.

2. Cantata for chorus, orchestra, and tenor solo. Text by Polonsky. Composed during February and March, 1872. Performed May 31st (June 12th), 1872, under the conductorship of K. Davidov. The manuscript of the score is in the library of the Imperial Opera House, Moscow.

3.The Oprichnik, an opera in four acts. Begun at the end of January, 1870, completed in April, 1872. Dedicated to His Imperial Highness the Grand Duke Constantine Nicholaevich. Published by Bessel, St. Petersburg.

Without entering into a detailed criticism of Lajetnikov’s tragedy, I must call attention to some of its features which are calculated to make it an easy subject for the librettist to handle; these special features lie in its admirable plot. The interest of the love-intrigue, which is well sustained, a whole series of effective situations, the dark yet poetic colouring of its sinister period (Ivan the Terrible), the variety of episodes well suited to musical illustration (such as the love-duet in the first act, the scenes with the populace, the picturesque figures of the Oprichniks, the pathos of the oath scene, “The Terrible” himself, and the death of Andrew), all contribute to make an effective and moving opera.

But it did not fulfil these expectations. The most serious hindrance came from the Censor. The striking figure of Ivan the Terrible, which seemed so well adapted to musical representation, was not permitted to appear. For an outline of the plot of this opera, seeAppendix B.

1872-1873

1. Op. 17. Symphony No. 2 (C minor), composed during June, July, and August, 1872. Orchestrated in September and October of the same year, and completed early in November.Dedicated to the Moscow section of the Imperial Russian Musical Society. First performed, under N. Rubinstein, in Moscow, January 26th (February 7th), 1873. Published by V. Bessel, St. Petersburg. The second movement, Andantino Marziale, is taken from the operaUndine. Speaking of this work, Kashkin says, “It may be called ‘The Little Russian’ Symphony, because its chief themes are Little Russian folksongs.”[195]Later on the composer made considerable alterations, and entirely rewrote the first movement.

2. Op. 16. Six songs, (1) “Wiegenlied,” words by Maikov, dedicated to Frau N. N. Rimsky-Korsakov. (2) “Warte noch,” words by Grekov, dedicated to N. A. Rimsky-Korsakov. (3) “Erfass nur einmal,” words by Maikov, dedicated to G. A. Laroche. (4) “Oh, möchtest du einmal noch singen,” words by Plestcheiev, dedicated to N. A. Hubert. (5) “Was nun?” Words by the composer, dedicated to N. Rubinstein. (6) “Neugrie-chisches Lied,” words by Maikov, dedicated to K. Albrecht. The precise date of these songs is not known. Probably they were written in December, 1872. Published by V. Bessel, St. Petersburg.

3. Op. 12. Music toSniegourochka, a Legend of Springtide, by A. N. Ostrovsky. Composed during March and April, 1873. First performed at the Opera, Moscow, May 11th (23rd), 1873. Jurgenson, Moscow. One or two numbers of this work are transferred fromUndine.

4. “Perpetuum mobile,” from a sonata by Weber, arranged for the left hand only. Dedicated to Madame Zograf. Published 1873, by Jurgenson.

Besides the above, Tchaikovsky worked at the symphonic fantasia,The Tempest, between August 7th-17th (19th-29th), 1873.

His literary work comprised seventeen articles, in which he reviewed the chief musical events of the season in Moscow.

1873-1874

1. Op. 18.The Tempest, symphonic fantasia for full orchestra upon a Shakespearean programme. Composed between 7th (19th) and 17th (29th) August, 1873; orchestrated by October 10th (22nd). Dedicated to Vladimir Vassilievich Stassov. First performed December 7th (19th), 1873, under N. Rubinstein. Jurgenson.

2. Op. 21. Six pianoforte pieces upon a theme. (1) Prelude, (2) Fugue, (3) Impromptu, (4) Funeral March, (5) Mazurka, (6) Scherzo. Dedicated to Anton Rubinstein. Composed before October 30th (November 11th), 1873. Bessel.

3. Op. 22. Quartet No. 2 (F major), for two violins, viola, and violoncello. Dedicated to the Grand Duke Constantine. Commenced at the end of December, 1873, or early in January, 1874, and finished by the 26th of that month. Shortly afterwards it was played at a musical evening at N. Rubinstein’s, and probably Tchaikovsky afterwards made some changes in it, as he was still engaged upon the work in the middle of February. First public performance March 10th (22nd), 1874. Jurgenson.

4. Op. 14.Vakoula the Smith(Kouznetz Vakoula, known also asCherevichekandLes Caprices d’Oxane), opera in three acts and seven scenes. The libretto is taken from a tale by Gogol and set to verse by J. Polonsky. Dedicated to the memory of the Grand Duchess Helena. Composed and orchestrated during the summer of 1874. Partially remodelled about 1885. Published by Jurgenson.

1874-1875

1. Op. 25. Six songs: (1) “Herz, o lass dich von Schlummer umfangen,” words by Scherbin, dedicated to A. P. Kroutikov. (2) “Wie hier die Schrift in Aschengluth,” words by Tioutchev, dedicated to D. Orlov. (3) “Mignon’s Lied,” words by Goethe, dedicated to M. Kamenskaya. (4) “Der Kanarienvogel,” words by Mey, dedicated to V. Raab. (5) “Mit ihr ein Wort gesprochen hab’ ich nie,” words by Mey, dedicated to I. Melnikov. (6) “Einst zum Narren Jemand spricht,” words by Mey. Thesesongs were probably composed in September, 1874. Published by V. Bessel.

2. Op. 19. Six pianoforte pieces: (1) “Rêverie,” dedicated to N. D. Kondratiev. (2) “Scherzo-humoristique,” dedicated to Vera Timanov. (3) “Feuillet d’album,” dedicated to A. Abramov, (4) “Nocturne,” dedicated to Frau Terminsky. (5) “Capriccio”, dedicated to E. Langer. (6) “Thème avec Variations,” dedicated to H. Laroche. The manuscript is dated October 27th (November 8th), 1873. Jurgenson.

3. Op. 23. Concerto for pianoforte and orchestra (in B♭ minor). Composed in November and December, 1874. The orchestration was completed, according to a note on the score, February 9th (21st), 1875. Dedicated to Hans von Bülow. Published by Jurgenson. In a letter to Frau von Meck, Tchaikovsky says he took as the principal subject of the first movement a phrase sung by Malo-Russian blind beggars at a village fair at Kamenka.

musical notation

Besides the example just quoted, he also borrowed another air, the chansonette, “IL faut s’amuser, danser, et rire,” which the twins used to hum early in the seventies, in remembrance of a certain charming singer.

4. Op. 26. Serenade for violin, with orchestral accompaniment (B minor). Composed January, 1875. Dedicated to L. Auer. Jurgenson.

5. Op. 27. Six songs: (1) “An den Schlaf,” words by Ogariev. (2) “Ob sich die Wolke dort,” words by Grekov. (3) “Geh’ nicht von mir,” words by Fet. (4) “Abend,” words by Chevchenko. (5) “Klage,” words by Mickiewicz. (6) “Dem Vöglein gleich,” words by Mickiewicz. All six dedicated to Madame Lavrovskaya. The date of composition not precisely known. Jurgenson.

6. Op. 28. Six songs: (1) “Nein, wenn ich liebe,” words from de Musset, dedicated to A. Nikholaev. (2) “Die rothe Perlenschnur,” words by Syrokomli, dedicated to D. Dodonov. (3) “Warum im Traume,” words by Mey, dedicated to Frau Ilina. (4) “Er liebte mich so sehr,” words by Apukhtin, dedicated to E. Marsini. (5) “Kein Wort von Dir,” words by Alexis Tolstoi, dedicated to B. Korsov. (6) “Ein einzig Wortchen,” text by P. Tchaikovsky, dedicated to Frau E. Kadmina. The date of completion is given on the manuscript as April 11th (23rd), 1875, in Moscow. Jurgenson.

7. Op. 29. Symphony No. 3 (in D major) in five movements. The score bears the following note in the composer’s own writing: “Commenced June 5th (17th) at Ussovo, completed August 1st (13th), 1875, at Verbovka.” Published by Jurgenson. Played for the first time in Moscow, November 7th (19th), 1875.

Besides the above works, Tchaikovsky was engaged during part of August, 1875, upon the Ballet,The Swan Lake.

His literary activity was very considerable. Between September, 1874, and April, 1875, he wrote not less than fifteen articles.

1875-1876

1. Op. 30. Quartet No. 3 in E flat major, for two violins, viola, and ‘cello, dedicated to the memory of F. Laub. The first sketch dates from the beginning of January, 1876, in Paris. Finished, according to date upon the manuscript, February 18th (March 1st), 1876. Performed for the first time March 18th (30th) of the same year at Grijimaly’s concert. Published by Jurgenson.

2. Op. 20.The Swan Lake.Ballet in four acts. Begun August, 1875, finished at the end of March, 1876. Published by Jurgenson. First performance at the Opera House, Moscow, February 20th (March 4th), 1877.

3. Op. 37.The Seasons, twelve pieces for piano. These were written in the course of the year, one piece each month, and were commissioned by the publisher of a St. Petersburg musical journal. Kashkin tells us that Tchaikovsky did not consider this a very important work, but in order not to miss sending each number at the right time, he ordered his servant to remind himwhen a certain date came round in each month. The man carried out his master’s order, coming at the right day with the reminder: “Peter Ilich, is it not time to send to St. Petersburg?” upon which Tchaikovsky would sit down at once and write the required piece without a pause. Later the pieces were collected and republished by Jurgenson.

4 The translation of the libretto and arrangement of the recitatives of Mozart’sFigaro, which Tchaikovsky undertook (at the desire of N. Rubinstein) for a performance of this opera by the students of the Conservatoire.

This season Peter Ilich brought his literary work to an end. His last criticisms dealt with Wagner’s Trilogy, and remained unfinished.

1876-1877

1. Op. 31. Slavonic March for full orchestra. First performance in November, 1877, under N. Rubinstein’s bâton, at a symphony concert in Moscow. Jurgenson.

2. Op. 32.Francesca da Rimini(after Dante), symphonic fantasia for full orchestra. Dedicated to S. I. Taneiev. Tchaikovsky sketched the plan of this work during his visit to Paris in the summer of 1876. He did not actually work at the composition until the end of September. The sketch was finished October 14th (26th), the orchestration November 5th (17th). First performance, under N. Rubinstein, at a symphony concert, Moscow, February 26th (March 10th), 1877. Jurgenson.

3. Op. 33.Variations on a Rococo Theme, for violoncello and orchestra. Dedicated to G. Fitzenhagen. Composed December, 1876. Jurgenson.

4. Op. 34. Valse Scherzo, for violin and orchestra. Dedicated to Joseph Kotek. Composed early in January, 1877. Jurgenson.

During this season Tchaikovsky sketched out his Fourth Symphony and two-thirds of his opera,Eugene Oniegin.

1877-1878

1. Op. 36, Symphony No. 4 (F minor), in four movements. Dedicated to “My best friend.” The first sketch was finished inMay, 1877. On August 11th (23rd) Tchaikovsky began the instrumentation of the work, and completed the first movement on September 12th (24th). After an interval of two months he returned to the Symphony, about the end of November. The Andante was finished on December 15th (27th), the Scherzo on the 20th (January 1st) 1878, and the Finale on the 26th (January 7th, 1878). The first performance of the Symphony took place February 10th (22nd), 1878, at a concert of the Russian Musical Society, conducted by N. Rubinstein.

2. Op. 24,Eugene Oniegin, lyric scenes, in three acts and seven scenes. The libretto is freely arranged from Poushkin by the composer himself and K. S. Shilovsky. The idea of this opera originated with the celebrated singer, Madame E. A. Lavrovsky.

On May 18th (30th), 1877, Tchaikovsky sketched the plan for a libretto.

On June 6th (18th) the second scene of the first act (the Letter Scene) was finished, and by June 15th (27th) the entire act was complete. By June 23rd (July 5th), two-thirds of the opera were ready. After a month’s respite, Tchaikovsky returned to the work at Kamenka, in August, and completed the opera. Here he also began the instrumentation. During September and the first half of October he did not work upon it at all; afterwards he continued the instrumentation, finishing the whole of the first act and despatching it to Moscow by the 23rd (November 4th). In November Tchaikovsky orchestrated the first scene of the second act. The whole of December, was devoted to the Fourth Symphony. On January 2nd (14th) he took up the opera once more, at San Remo, and, completed it by the 20th (February 1st) of this month. In the summer of 1880, at the request of the Director of the Imperial Opera, Tchaikovsky added anécossaiseto the first scene of Act II. and made some slight changes in the Finale.

The first performance of the opera took place on March 17th (29th), 1879, by the students of the Moscow Conservatoire, in the Small Theatre. For an account of the plot, seeAppendix B.

3. Op. 38. Six songs, dedicated to A. Tchaikovsky. (1) “Don Juan’s Serenade,” words by Count A. Tolstoi; (2) “Das war imersten Lenzesstrahl” (A. Tolstoi); (3) “Im erregenden Tanze” (A. Tolstoi); (4) “Ach wenn du könntest” (A. Tolstoi); (5) “Aus dem Jenseits” (Lermontov); (6) “Pimpinella” (Florentine song). Published by P. I. Jurgenson, Moscow.

4. Op. 40. Twelve pieces for pianoforte (medium difficulty), dedicated to M. Tchaikovsky, (1) “Etude,” (2) “Chanson triste,” (3) “Marche funèbre,” (4) “Mazurka in C major,” (5) “Mazurka in D major,” (6) “Chant sans paroles,” (7) “Au village,” (8) “Valse in A major,” (9) “Valse in A major,” (10) “Danse russe,” (11) “Scherzo in F major,” (12) “Rêverie interrompue.” Of these pieces, No. 12 was composed first. The middle section of this piece is a Venetian song, which was sung almost every evening under his window in Venice. The other pieces date from various times, the “Danse russe” from 1876, having been originally intended as a number for the Ballet,The Swan Lake. Jurgenson, Moscow.

5. Op. 37. Sonata for pianoforte (G major), in four movements. Dedicated to Carl Klindworth. Commenced early in March, 1878, at Clarens, and completed on April 30th (May 12th). First performed in public by Nicholas Rubinstein, in Moscow, October 21st (November 2nd), 1879.

6. Op. 35. Concerto for violin and orchestra. Originally dedicated to L. Auer. Tchaikovsky afterwards substituted the name of A. Brodsky. Begun early in March, 1878, at Clarens, and the sketch finished by the 16th (28th) of the same month. The original Andante did not satisfy the composer, who wrote a new one. The instrumentation was completed by the end of April. First performance by A. Brodsky, in Vienna (1879). Jurgenson.

7. Op. 42. “Souvenir d’un lieu cher,” three pieces for violin and pianoforte accompaniment. No. 1 is the original Andante of the Violin Concerto. The other two pieces were composed at Brailov about the end of May. Jurgenson.

8. Op. 41. The Liturgy of St. John Chrysostom, for four-part mixed chorus. Commenced May, 1878, at Kamenka, and finished on the 27th (June 8th) at Brailov. Jurgenson.

9. Op. 39. Kinderalbum, twenty-four easy pieces for pianoforte (à laSchumann). Dedicated to Volodya Davidov. P. I. Jurgenson.

10. “Skobeliev March,” composed by “Sinopov.” Tchaikovsky concealed the authorship of this piece, because he considered it of no value. It was commissioned by Jurgenson at the end of April, and composed at Kamenka.

Besides these works, Tchaikovsky translated in December, 1877, the Italian words of six songs by Glinka, and wrote the text of a vocal quartet, also by Glinka.

The greater part of his First Suite was also completed during August, 1878.

1878-1879

1. Op. 43. First Suite, for full orchestra, in six movements.

The first sketches were made at Verbovka between August 15th and 25th, 1878. Originally the Suite was intended to have five movements only: Introduction and Fugue, Scherzo, Andante, Intermezzo (“Echo du bal”), and Rondo. Of these, three movements were completed, the fourth sketched out, and the fifth projected, when Tchaikovsky laid it aside, only to return to it in November while in Florence. On the 13th (25th) of this month it was finished. The last two movements, however, received different titles, “March Miniature” (4th) and “Giants’ Dance” (5th). In August, 1879, the composer added a sixth movement, Divertimento. The work was first performed in Moscow, under Nicholas Rubinstein. Published by Jurgenson.

2. TheMaid of Orleans, an opera in four acts and six scenes, dedicated to E. Napravnik.

The libretto of this work was written by Tchaikovsky himself. It is chiefly based upon Joukovsky’s translation of Schiller’sMaid of Orleans, but some ideas were also derived from Wallon, Barbier’s play, and the libretto of Mermet’s opera on the same subject. It is a pity the composer did not confine himself to Schiller’s work, and more especially as regards the uninteresting and gloomy ending. Shortly before his death Tchaikovsky frequently spoke of altering the last scene and substituting Schiller’s close. With this intention, he purchased the works of the German poet, but unfortunately he was not destined to read the tragedy again. For the plot ofThe Maid of Orleans, seeAppendix B.

1879-1880

1. Op. 44. Second Concerto, for pianoforte and orchestra, in three movements. Dedicated to N. Rubinstein. Played for the first time in public on May 22nd (June 3rd), 1882, by S. I. Taneiev. Jurgenson.

2. The revised edition of the Second Symphony. Published by Bessel.

3. The “Italian Capriccio,” for full orchestra. Dedicated to K. Davidov. The opening fanfare in this work is a bugle call of the Italian cavalry, which Tchaikovsky heard every evening while living in the Hôtel Constanzi, next to the barracks of the Royal Cuirassiers. Jurgenson.

4. Music for atableau vivant: “Montenegro at the moment of receiving the news of war between Russia and Turkey. A village elder reading out the manifesto.” This music was never performed, as the projected entertainment fell through. The manuscript has entirely disappeared.

5. Six vocal duets, with pianoforte accompaniment. Dedicated to Tatiana Davidov: (a) “Der Abend,” (b) “Ballade,” (c) “Thränen,” (d) “Im Garten,” (e) “Leidenschaft,” (f) “Dämmerung.” Jurgenson.

6. Op. 47. Seven songs, with pianoforte accompaniment. Dedicated to A. V. Panaiev: (a) “Wenn ich das gewusst,” (b) “Durch die Gefilde des Himmels,” (c) “Der Dämmerung Schleier sank,” (d) “Schlaf ein, betrübtes Lieb,” (e) “Gesegnet sei mir Wald und Au,” (f) “Ob Heller Tag,” (g) “War ich nicht ein Halm.” Jurgenson.

Besides the above, Tchaikovsky revised the overture,Romeo and Juliet.

1880-1881

1. Serenade for string orchestra, in four movements. Dedicated to Carl Albrecht. First performance January 16th (28th), under the direction of Erdmannsdörfer. Published by Jurgenson.

2. Op. 49.The Year 1812, festival overture for full orchestra. Composed for the consecration of the Cathedral of the Saviour, Moscow. Jurgenson.

Besides the above, an attempt to harmonise the Vesper Service and the first sketch of the opera,Mazeppa.

1881-1882

1. Op. 50. Trio for pianoforte, violin, and violoncello. Dedicated to the memory of a great artist (N. G. Rubinstein). The variation theme of the second movement is a reminiscence of an excursion made in company with Nicholas Rubinstein, and other colleagues from the Moscow Conservatoire, shortly after the first performance ofSniegourochka(The Snow Maiden), in the spring of 1873. The Trio was played for the first time in public on October 18th (30th), 1882, by Taneiev, Grijimaly, and Fitzenhagen. Published by Jurgenson.

2. An attempt to harmonise Divine Service. Setting for mixed chorus. Seventeen numbers. Jurgenson.

From June to October Tchaikovsky was occupied in editing the works of Bortniansky.

During this year he began the sketch of the opera,Mazeppa. By the middle of July two acts were completed.

1882-1883

1. Op. 51. Six pieces for pianoforte: (1) “Valse de Salon,” (2) “Polka peu dansante,” (3) “Menuetto scherzoso,” (4) “Natha—Valse,” (5) “Romance,” (6) “Valse sentimentale.”

These pieces were commissioned by the brothers Jurgenson and composed at Kamenka about the end of August.

2. Verses upon the theme of the “Slavsia,” from Glinka’sA Life for the Tsar, winding up with the Russian National Anthem, for chorus and orchestra.

This chorus was sung by 7,500 students in Moscow, May 10th (22nd), 1883, at the moment when the Emperor Alexander III appeared at the Red Staircase upon his solemn entry to the Kremlin. (Manuscript only.)

3. Festal Coronation March for orchestra. Commissioned by the city of Moscow, first performed at Sokolinky, on May 23rd (June 4th), at a fête in honour of the Coronation. Jurgenson.

4.Mazeppa, an opera, in three acts and six scenes. Thesubject is taken from Poushkin’s poem,Poltava, arranged by Bourenin and the composer himself.

The opera was first performed at the Imperial Opera, Moscow, February 3rd (15th), 1884. Jurgenson. For the plot, seeAppendix B.

Besides the above, Tchaikovsky began his Second Suite for orchestra during the summer of 1883.

1883 TO JANUARY, 1885

1. Op. 53. Suite No. 2, in four movements, for full orchestra. Dedicated to Madame P. W. Tchaikovsky. First performed at an extra concert of the Russian Musical Society, February 4th (16th), 1884, in Moscow, under the direction of Max Erdmannsdörfer. Published by Jurgenson.

2. Op. 54. Sixteen Children’s Songs, with pianoforte accompaniment. Published by Jurgenson.

3. Op. 55. Suite No. 3, in four movements, for full orchestra. Dedicated to M. Erdmannsdörfer. First performance in Petersburg, in January, 1885, under the direction of Hans von Bülow. Published by Jurgenson.

4. Op. 56. Fantasia Concerto, in two movements, for pianoforte, with orchestral accompaniment. Originally dedicated to Madame A. Essipoff; afterwards to Madame Sophie Menter. Played for the first time by S. Taneiev, February 22nd (March 6th), 1885, in Moscow. Published by Jurgenson.

5. Impromptu Capriccio for pianoforte. Dedicated to Madame S. Jurgenson. Originally published in the “Subscribers’ Album” of ParisGaulois. Was taken over later by Jurgenson.

6. Elegy for string orchestra. Composed in memory of the actor, I. Samarin. Published by Jurgenson.

7. Three church anthems. Published by Jurgenson.

8. Op. 57. Six songs, with pianoforte accompaniment, (1) “O, sprich, wovon die Nachtigall,” (2) “Auf’s bleiche Herbstgefild,” (3) “O, frage nicht,” (4) “Schlaf’ ein,” (5) “Der Tod,” (6) “Nur du allein.” Published by Jurgenson. Besides the above, Tchaikovsky had been working, in November, 1884, at the reconstruction of his opera,Vakoula the Smith.

From January 1st to September 12th, 1885

1. Remodelling the operaVakoula the SmithasLes Caprices d’Oxane. Besides simplifying the orchestration and harmony and cutting down the work, as he first proposed, Tchaikovsky also introduced some entirely new numbers: (1) the duet between Vakoula and Oxane and the Finale of the second scene in first act, (2) the Schoolmaster’s song, (3) the quintet in the first scene of the second act, (4) the couplets in third act. Published by Jurgenson.

2. Hymn in honour of Saints Cyril and Methodius. This hymn is an old Slavonic melody arranged for a choir:—

musical notation: Vá[)z

Published by Jurgenson.]

3. Five church hymns. Published by Jurgenson.

4. “Ecossaise,” for the sixth scene in the operaEugene Oniegin. Tchaikovsky composed and orchestrated this piece in Maidanovo and sent it to St. Petersburg all in one day.

5. Op. 58.Manfred. A Symphony in four scenes for full orchestra, from a dramatic poem by Lord Byron. Dedicated to Mily Balakirev. The first sketches for this work were made in April, 1885. According to the note on the score, it was finished December 12th (24th), 1885, and played for the first time March 11th (23rd), 1886, under the direction of Erdmannsdörfer, in Moscow. Published by Jurgenson.

1885-1886

1. Text and music of a chorus for the fiftieth anniversary of the foundation of the Imperial School of Jurisprudence. Composed at Maidanovo, September, 1885. Manuscript.

2. “Jurists’ March,” for full orchestra. Composed at Kamenka, October, 1885. Published by Jurgenson.

3. The “Domovoi” (“House Spirit”), from a scene in Ostrovsky’s play,The Voyevode. Composed January, 1886. Manuscript.

4. Op. 59. “Dumka.” Russian village scene for the pianoforte. Dedicated to the Principal of the Paris Conservatoire, A. Marmontel. Composed at Maidanovo end of February. Published by Jurgenson. Besides these unimportant works, Tchaikovsky was engaged during the whole season upon his opera,The Enchantress.

1886-1887(From September 1st, 1886, to January 1st, 1888)

1. Op. 60. Twelve songs, with pianoforte accompaniment. Dedicated to Her Majesty the Empress Maria Feodorovna. (1) “Die gestrige Nacht,” (2) “Verschwiegenheit,” (3) “O, wüsstest Du,” (4) “Die Nachtigall,” (5) “Schlichte Worte,” (6) “Die Schlaflose Nächte,” (7) “Lied der Zigeunerin,” (8) “Lebewohl,” (9) “Die Nacht,” (10) “Lockung,” (11) “Heldenmut,” (12) “Sternennacht.” Published by Jurgenson.

2.The Enchantress, opera in four acts. The libretto byI. V. Shpajinsky, author of the drama of the same name. First performed on October 20th (November 1st), 1887, at the Maryinsky Theatre, St. Petersburg, and conducted by the composer. Jurgenson. For plot, seeAppendix B.

3. Op. 61.Mozartiana.Suite No. 4, in four movements, arranged from various works of Mozart and orchestrated for full orchestra. In his short preface to the score Tchaikovsky gives the following reasons which prompted this work: “A large number of the most beautiful of Mozart’s smaller works are, for some reason, little known, not only to the public, but to musicians. The composer’s object in arranging this Suite was to bring more frequently before the public works which, however modest in form, are gems of musical literature.” First performed at Moscow, November 14th (26th), 1887, under the direction of the composer. Jurgenson.

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