2011-03-27, 00:21
#121
Tjajkovskij till Nadezhda von Meck. Omkring 1878.
http://en.wikipedia.org/wiki/Piano_C...ith_Rubinstein
http://www.youtube.com/user/TheWickedNorth - första satsen
Citat:
I played the first movement. Not a single word, not a single remark! If you knew how stupid and intolerable is the situation of a man who cooks and sets before a friend a meal, which he proceeds to eat in silence! Oh, for one word, for friendly attack, but for God's sake one word of sympathy, even if not of praise. Rubinstein was amassing his storm, and Hubert was waiting to see what would happen, and that there would be a reason for joining one side or the other. Above all I did not want sentence on the artistic aspect. My need was for remarks about the virtuoso piano techinque. R's eloquent silence was of the greatest significance. He seemed to be saying: "My friend, how can I speak of detail when the whole thing is antipathetic? I fortified myself with patience and played through to the end. Still silence. I stood up and asked, "Well?" Then a torrent poured from Nikolay Grigoryevich's mouth, gentle at first, then more and more growing into the sound of a Jupiter Tonana. It turned out that my concerto was worthless and unplayable; passages were so fragmented, so clumsy, so badly written that they were beyond rescue; the work itself was bad, vulgar; in places I had stolen from other composers; only two or three pages were worth preserving; the rest must be thrown away or completely rewritten. "Here, for instance, this—now what's all that? (he caricatured my music on the piano) "And this? How can anyone ..." etc., etc. The chief thing I can't reproduce is the tone in which all this was uttered. In a word, a disinterested person in the room might have thought I was a maniac, a talented, senseless hack who had come to submit his rubbish to an eminent musician. Having noted my obstinate silence, Hubert was astonished and shocked that such a ticking off was being given to a man who had already written a great deal and given a course in free composition at the Conservatory, that such a contemptuous judgment without appeal was pronounced over him, such a judgment without appeal was pronounced over him, such a judgment as you would not pronounce over a pupil with the slightest talent who had neglected some of his tasks—then he began to explain N.G.'s judgment, not disputing it in the least but just softening that which His Excellency had expressed with too little ceremony.
I was not only astounded but outraged by the whole scene. I am no longer a boy trying his hand at composition, and I no longer need lessons from anyone, especially when they are delivered so harshly and unfriendlily. I need and shall always need friendly criticism, but there was nothing resembling friendly criticism. It was indiscriminate, determined censure, delivered in such a way as to wound me to the quick. I left the room without a word and went upstairs. In my agitation and rage I could not say a thing. Presently R. enjoined me, and seeing how upset I was he asked me into one of the distant rooms. There he repeated that my concerto was impossible, pointed out many places where it would have to be completely revised, and said that if within a limited time I reworked the concerto according to his demands, then he would do me the honor of playing my thing at his concert. "I shall not alter a single note," I answered, "I shall publish the work exactly as it is!" This I did.
I was not only astounded but outraged by the whole scene. I am no longer a boy trying his hand at composition, and I no longer need lessons from anyone, especially when they are delivered so harshly and unfriendlily. I need and shall always need friendly criticism, but there was nothing resembling friendly criticism. It was indiscriminate, determined censure, delivered in such a way as to wound me to the quick. I left the room without a word and went upstairs. In my agitation and rage I could not say a thing. Presently R. enjoined me, and seeing how upset I was he asked me into one of the distant rooms. There he repeated that my concerto was impossible, pointed out many places where it would have to be completely revised, and said that if within a limited time I reworked the concerto according to his demands, then he would do me the honor of playing my thing at his concert. "I shall not alter a single note," I answered, "I shall publish the work exactly as it is!" This I did.
http://en.wikipedia.org/wiki/Piano_C...ith_Rubinstein
http://www.youtube.com/user/TheWickedNorth - första satsen