Search Results for: tchaikovsky

Tchaikovsky, Pyotr Ilyich, Russian composer (1840-1893). Autograph letter signed, in Cyrillic ("P. Tchaikovsky").St. Petersburg, 17 Nov. 1890 29 Nov. 1890, Gregorian style.

Unpublished letter in Russian to Aleksandr Glazunov (1865-1936) in which Tchaikovsky expresses his fatigue and anxieties three weeks before the premiere of "The Queen of Spades" and asks a favour: "I am deadly tired from the opera's rehearsals; tomorrow awaits another one, demanding again great attention and all kinds of anxieties of an author. I am afraid for my disease not to repeat, not going to the concert today. Laziness is unfortunate, but it is necessary [...]. I have a request for you: ask to visit me on Tuesday evening Lyadov [Anatoly Lyadov], both Blumenfelds [Felix and his brother Stanislav Blumenfeld] and Lavrov [Nikolay Stepanovich Lavrov], whom you will not see today, but perhaps you’ll write him a note. I do not know his address. Remind as well Nikolay Andreevich [Rimsky-Korsakov], I am most convincingly asking him to be at my place on Tuesday evening. And please, do not forget! [...]" (transl.).

This important letter adds to only twelve known letters from Tchaikovsky to his friend and protegé Glazunov, dating from 1887 to 1892. It provides insights into Tchaikovsky's St. Petersburg circle, members of which included the composers Glazunov, Nikolay Rimsky-Korsakov and Anatoly Lyadov, who were part of the so called Belyayev circle, the composer and conductor Felix Blumenfeld (1863-1931), his brother the piano teacher Stanislav Blumenfeld (1850-97), and the pianist Nikolay Stepanovich Lavrov (1861-1927). The letter was written during the rehearsals for "The Queen of Spades" which premiered successfully at Mariinsky Theatre in St. Petersburg on 19 Dec. 1890 (Gregorian calendar).

Folded and slightly smudged; envelope somewhat foxed.

Tchaikovsky, Pyotr Ilyich, Russian composer (1840-1893). Portrait photograph inscribed and signed., 16 Mar 1888.

Fine head-and-shoulders portrait in quarter profile, within a white vignette, inscribed by Tchaikovsky to the French conductor and violinist Édouard Colonne (1838-1910), thanking him warmly for having made his music successful in France: "A mon cher ami Edouard Colonne de la part d’un artiste fier de ses succès Parisiens qu'il n'a obtenus que grâce au chef éminent du célèbre orchestre du Chatelet".

Colonne's orchestra, the "Association Artistique des Concerts Colonne" situated at the Théâtre du Châtelet since 1875, famously performed the works of contemporary French composers (doing much to rehabilitate Berlioz in his native country), but also devoted itself to the works of foreign masters, notably Richard Wagner and Richard Strauss. The orchestra would also invide great composers such as Mahler, Debussy, or Prokofiev to perform their works. Colonne had met Tchaikovsky as early as 1878 during the Russian composer's visit to Paris and gave the local premiere of his 4th Symphony. In return, from 1890 onwards Tchaikovsky mediated several 'exchange' concert trips for Colonne to Russia.

A few old pencil notes on the reverse; very finely preserved.

Tchaikovsky, Pyotr Ilyich, Russian composer (1840-1893). Autograph musical manuscript. "Allegro molto", Dance of the Buffoons (from …Florence, 27 Nov. - 9 Dec. 1878.

Extremely rare musical manuscript: the orchestral score for a dance from "The Maid of Orleans". Composed in 1878-79, with a libretto by the composer, Tchaikovsky's opera in 4 acts premiered on 25 February 1881 at the Mariinsky Theatre in St Petersburg; in the following year it became the first of Tchaikovsky's operas to be performed outside Russia, with a production in Prague opening on 28 July.

The part in this manuscript belongs to Act II, nearing the central moment of the opera when Joan of Arc's victory is announced: at the Château de Chinon, King Charles VII, absorbed in his worries, seeks to distract himself by listening to the minstrels, and three dances follow one another: "Dance of the Gypsies" (Allegro vivace), "Dance of the Pages and Dwarves" (Allegro moderato), and finally the present "Dance of the Buffoons" (Allegro molto).

Though lacking a bifolium (bars 173-233), the manuscript is otherwise complete in orchestration and includes a number of revisions by the composer. An elegant copy, the manuscript nevertheless shows some haste in writing, with corrections to the text, a whole bar crossed through, and other corrections (with a slightly thicker pen nib) probably made on checking through. The text offers a number of minor variants from the received printed score, chiefly relating to dynamics and slurrings.

The manuscript's dating poses a puzzle: Tchaikovsky was working on the libretto from about 21 November to 3 December, though in a letter to Mme. von Meck he indicated he did not intend to begin composition until after he had finished work on the orchestral Suite no. 1, whose last two movements he completed on 27 November (the same day as the present manuscript). In the event he did not begin work on the composition until 4 December, according to a letter to his brother Anatoli of the following day; at the end of the opera's autograph he writes that it was begun in Florence on 23 December. The present manuscript therefore precedes the accepted dates for the beginning of composition: its finished condition, and the fact that the "Dance of the Buffoons" would not represent the most obvious starting point for the opera, may mean that it originally formed part of a separate composition, and the coincidence of dates hints at some association with the Suite no. 1 itself. Tchaikovsky had left home late in 1878 for a trip to Florence and Paris, arriving in Florence on 20 November.

Provenance: The editors of the Thematic and Bibliographical Catalogue of P. I. Tchaikovsky's Works refer to the composer's "rather careless attitude towards his own manuscripts [...] Many of them were handed to various people and were later partly lost". The present manuscript, of a movement which was subsequently incorporated into a larger work, would have been a suitable candidate for presentation. It was most likely acquired from the composer, or shortly afterwards, by a cousin of Anton and Nikolai Rubinstein, Aaron Rubinstein (b. 1850); at some subsequent stage ownership stamps appear to have been roughly removed from the first and fifth leaves. Sold at Christie's London for Aaron Rubinstein's descendants on 3 June 2009 (lot 41: £97,250).

Musical manuscripts by Tchaikovsky are extremely rare on the market: prior to the appearance of this manuscript at Christie's more than a decade ago, only a single leaf had been offered for sale in the preceding 30 years, and no substantial manuscript had appeared since before the war. Since then, a 16-leaf working manuscript comprising score drafts of several movements of the orchestral Suite no. 2 was sold at Sotheby's in 2015, commanding £270,000.

Artôt de Padilla, Désirée, Belgian soprano (1835-1907). Autograph letter signed.Paris, 31 Oct 1895.

To an unnamed recipient addressed as "Dear Auntie", asking her whether she knows any Americans in Paris who would like to join one of Artôt de Padilla's musical soirées, as they would hear "compatriot voices", naming several artists who were scheduled to perform: "Je sais que vous ne sortez pas le soir, je ne vous invite pas à notre soirée musicale du Jeudi 7 Novembre - Mais si vouz avez quelques amis américains que cela intéressait - envoyez moi leurs noms et leurs adresses. Je serai heureuse qu'ils entendent quelques belles voix compatriates - J'ai Nikita, le nouveau contralto de l'opéra, Miss Patts, M.me de Tercane [?], M.lles de Korff et de Broemsen en un mot je crois que ce sera belle". Among the artists mentioned in the letter, only the American opera singer Nikita (b. 1872) can be identified.

A student of Pauline Viardot, Désirée Artôt made her successful debut at the Paris Opéra in Meyerbeer's "Le prophète" on 5 February 1858. Engagements in Milan, Berlin, London, St Petersburg, and Moscow followed. During an 1868 tour in Russia, Artôt met Pyotr Ilyich Tchaikovsky, who dedicated his Romance in F minor for piano (Op. 5) to Artôt and eventually proposed to her. Both Tchaikovsky and Artôt had second thoughts, and the marriage was not finalized. On 15 September 1869, Artôt married the Spanish baritone Mariano Padilla y Ramos without informing Tchaikovsky, who learned the news from Nikolai Rubinstein. The memory of these events was fresh in Tchaikovsky's mind when he composed "Romeo and Juliet" in 1869. They met on several occasions after the engagement and in 1887 Tchaikovsky even dedicated his "Six French Songs" (Op. 65) to Désirée Artôt-Padilla, whom he considered one of the greatest singers alive.

Minimally stained.

Dostoevsky, Fyodor, Russian writer (1821-1881). Portrait photograph inscribed, dated and signed ("Fyodor").No place, 12 Oct 1879.

Fine head-and-shoulders portrait. The reverse bears an uncommonly personal three-line inscription to his brother, the architect Andrey Mikhailovich Dostoevsky (1825-97): "Dorogomu bratu / Andreju ot brata / Fedora 12 Oktob[ra] / 79" ("For my dear brother Andrey from his brother Fyodor, 12 October 1879").

Not listed in the census of Dostevsky's inscriptions, published in 1990. Altogether, the editors of the scholarly 30-volume Academy of Sciences edition of Dostoevsky's works count only 42 inscriptions, of which 16 are on photographs - a surprisingly small number for a so prolific and significant author of his day.

The St Petersburg photographer and Hebrew poet Constantin Shapiro (1839-1900) was a close friend of Dostevsky's and produced several portraits of him. His fashionable studio on Nevsky Prospect was popular with celebrities, and his many famous sitters included Tolstoy, Chekhov, Tchaikovsky, Turgenev, and Gontcharov.

Tissue guards to both sides, protecting image and inscription (somewhat wrinkled); in very appealing condition. An extremely fine example of an inscribed Dostoevsky portrait, exceedingly rare.

Rimsky-Korsakov, Nikolai, Russian composer (1844-1908). Autograph letter signed.Brussels, 13 Mar 1900.

Insightful letter to the Russian-French journalist Michel Delines in Nice, concerning rehearsals in Brussels, obligations in St Petersburg, and the possibility of staging his operas at La Monnaie in Brussels under the forthcoming directorate of Maurice Kufferath. Rimsky-Korsakov was rehearsing "daily the programme of the concert" after which he would have to return to St Petersburg, as he was "obliged to attend the rehearsals of two symphony concerts", complaining that, "as a professor at the Conservatory", he is "always busy and obliged to be there". Concerning the staging of his operas in Brussels, Rimsky-Korsakov stresses that it is "premature to talk about it, because the theatre has not yet passed under the directorate of Kufferath". In addition, the librettos would have to be translated, "which depends on the publishers (Belaieff and Bessel)". In closing, Rimsky-Korsakov promises to "see to it that Belaieff" sends Delines "the scores of his operas that he does not know yet" but declines a visit in Paris due to his aforementioned obligations.

Rimsky-Korsakov first met Michel Delines in the summer of 1889 when he conducted two concerts on the occasion of the World Exhibition. Delines, born as Mikhael Osipovich Ashkenazi (1851-1914), had been active in revolutionary circles in Odessa and went into exile in 1878, eventually settling in Paris. There he made a name for himself as a journalist and as a promoter and translator of Russian literature, including works of Tolstoy and Dostoyevsky. In 1888, Delines was introduced to Tchaikovsky and subsequently started to promote Russian music in his new home. He translated the libretto of "Yevgeny Onegin" and facilitated its French premiere in Nice in 1895. As this beautiful letter shows, Delines was also eager to promote Rimsky-Korsakov's music in the francophone world. The composer appreciated Delines' efforts, including a translation of his opera "Sadko". In his autobiography, Rimsky-Korsakov has warm words for the journalist: "We also made the acquaintance of Michel Delines, subsequently translator of Onyegin and of my Sadko. With the exception of Delines, all these acquaintanceships proved most superficial [...] Delines was a kind man, danced attendance upon us, aided us in many things" (My Musical Life, New York 1945, pp. 303f.).

On stationery with lithographed letterhead of the "Hotel Metropole Bruxelles". Traces of folds; minor tears to the vertical fold.

[Ballets Russes de Monte-Carlo]. 11 autograph letters signed and 1 telegram.Paris, Le Mans, Barcelona, Vaison-la-Romaine, Kolbsheim, and no place, 1933-1934.

Correspondence of five artists with Wassily de Basil, director of the famous ballet company and his office: André Derain (1 letter), Jean Françaix (2 letters), André Masson (1 letter), Nicolas Nabokoff (2 letters, one of which incomplete), and Pedro Pruna (5 letters). Carbon copies of answers and requests addressed to the artists complete the collection.

André Derain confirms the receipt of a cheque for his stage designs for the ballet "La Concurrence" (Competition) and photographs from the production as announced in an undated letter from the office (Paris, 26 July 1933). "La Concurrence" had successfully premiered on 12 April 1932.

In January 1933 Jean Françaix sold his ballet "Scuola di Ballo" with music based on themes by Luigi Boccherini to the company and later had a disagreement concerning an outstanding payment. A letter from the office was sent with the contract, asking for the signature of Jean’s father Alfred Françaix, as the young composer was not yet of age, prohibiting ballet productions with other companies until the premiere. Jean Françaix responded within a week: "You will find the contract signed by my father, as you requested, attached to this letter. Concerning the letter that you sent me, my father has reminded me that it is important to set the latest possible date for the premiere of our ballet in Paris. This date should be 1 July 1933. Before that date I naturally commit not to have another ballet performed. I would be willing to give you an option for the commission of a new ballet under the condition that I receive the binding commission no later than 1 January 1934 and that the terms of the new contract are established by mutual agreement [...]“ (Le Mans, 17 January 1933). Apparently, Françaix's offer led to the commission of the musical "Beach" mentioned in the telegram from 16 June 1933: "Urgent tell me date first performance Beach". The more successful premiere of "Scuola di Ballo" was on 9 June 1933 at the Théâtre du Châtelet.

In February 1933, André Masson received two letters from the office ahead of the premiere of "Les Présages" on 13 April 1933 at the Théâtre de Monte Carlo, concerning a meeting with Wassily de Basil and a stay in Monte Carlo for the execution of stage designs. "Les Présages" was a plotless ballet choreographed by Léonide Massine based on symphonic music from Tchaikovsky’s Symphony No. 5 with costumes and stage designs by Masson. On 10 June 1933 Masson sent a pneumatic post to de Basil, underlining the absolute necessity to repair a damaged frieze: "It is necessary to repair the second frieze that was damaged. I absolutely want to. Please give me notice so that I can go where it needs to be done. Yesterday’s soiree was completely to the honour of the Ballets de Monte-Carlo. Decidedly, it is what is really good that ultimately triumphs over snobism and free advertisement". This intervention probably occurred during the production of "Les Présages" in Paris.

Both letters from Nicolas Nabokov are in Russian. The complete letter from 20 March 1934 concerns his ballet "Union Pacific, composed for the Ballets Russes de Monte Carlo that premiered in Philadelphia and New York with resounding success.

The correspondence with the Spanish painter and Picasso student Pedro Pruna concerns stage and costume designs for the revival of "Les Matelots" (The Seamen) in Monte Carlo, which had originally premiered in Paris on 17 June 1925. In a letter to de Basil from 15 February 1933, Pruna accepts the commission: "I agree to redo the sets for the Ballet 'the Matelots' under the conditions indicated in your kind letter from the 12th February inst. In three days I will have the documents that will serve me for this reconstruction, and I will start immediately. Please be so kind and tell me until when you will be in Paris, as well as the dimensions in which I need to do the designs. Is it 12 by 18 meters? I forget [...]". Pruna's set designs were to be complemented by decorations by the scenographer and painter Prince Aleksandr Shervashidze. In a letter from 27 March 1933 an impatient Wassily de Basil asked Pruna for two additional costume designs for the premiere on 11 April. In later letters Pruna asks for the final payment and confirms sending his sets to Shervashdize after the production, as the company needed them for an exhibition in New York: "I have asked you several times please to return to us Pruna's designs in your possession. Mr Pruna himself confirmed to us by letter and verbally that these designs will be sent us by you. As we cannot wait any longer, being obliged to send them to New York for the exhibition, I ask you to have them sent to me as soon as you receive this letter [...]. Do you have the model for your design for Swan Lake? If you want it to be shown in New York, please provide us also with the same [...]" (draft for a letter to Shervashdize).

All but one of the letters and all carbon copies with filing holes occasionally touching the text. Some rust stains and small holes from paper-clips and staples. Minor browning and tears to some of the letters; carbon copies with creases, tears and brownstains but no loss to text.