the bassoons played their fifth in the bass so energetically that they drowned the other parts. There were no absolutely false notes, but the piece produced a poor effect. Pasdeloup obviously understood nothing about it, and does not know how such a piece should be played. No wonder the Overture did not please the public and was but coolly received. It was as painful to me as if I had been taking part in the concert myself. Pasdeloup alone, however, was to blame, not the public. The Overture is by no means incomprehensible; it only needs to be well interpreted.
“I played your concerto to Saint-Saëns; everyone was much pleased with it. All musicians here are greatly interested in your compositions.”
To S. Taneiev.
“Moscow, December 5th (17th), 1876.
“Dear Sergius,—I have just received your letter. Good luck and bad always come together; it is proverbial, and I am not surprised to hear of the non-success of my Francesca, as just now all my compositions are failures. But your letter suggested an idea to me. Last year Saint-Saëns advised me to give a concert of my own compositions in Paris. He said such a concert would be best given with Colonne’s orchestra at the Châtelet, and would not cost very much.”
S. Taneiev to Tchaikovsky.
“Paris, December 16th (28th), 1876.
“Saint-Saëns advises you more strongly than ever to give a concert, in order to produce your Romeo and Juliet.... ‘Cela l’a posé, cette overture,’ was his remark. You must give your concert in the Salle Herz, with Colonne’s orchestra. All expenses, including two rehearsals, will come to 1,500 francs. Two rehearsals will not be sufficient; we should need at least three. Even then, 2,000 francs would be the maximum expenditure. The orchestra are paid five francs for each rehearsal, and ten for the concert. The most favourable time would be February or March.”
To S. Taneiev.