To N. F. von Meck.
“Kamenka, June 25th (July 7th), 1878.
“Yesterday, when I wrote to you about my methods of composing, I did not sufficiently enter into that phase of work which relates to the working out of the sketch. This phase is of primary importance. What has been set down in a moment of ardour must now be critically examined, improved, extended, or condensed, as the form requires. Sometimes one must do oneself violence, must sternly and pitilessly take part against oneself, before one can mercilessly erase things thought out with love and enthusiasm. I cannot complain of poverty of imagination, or lack of inventive power; but, on the other hand, I have always suffered from my want of skill in the management of form. Only after strenuous labour have I at last succeeded in making the form of my compositions correspond, more or less, with their contents. Formerly I was careless and did not give sufficient attention to the critical overhauling of my sketches. Consequently my seams showed, and there was no organic union between my individual episodes. This was a very serious defect, and I only improved gradually as time went on; but the form of my works will never be exemplary, because, although I can modify, I cannot radically alter the essential qualities of my musical temperament. But I am far from believing that my gifts have yet reached their ultimate development. I can affirm with joy that I make continual progress on the way of self-development, and am passionately desirous of attaining the highest degree of perfection of which my talents are capable. Therefore I expressed myself badly when I told you yesterday that I transcribed my works direct from the first sketches. The process is something more than copying; it is actually a critical examination, leading to corrections, occasional additions, and frequent curtailments.
“In your letter you express a wish to see my sketches. Will you accept the original sketch for my opera Eugene Oniegin? As the pianoforte score will be published in the autumn, it might interest you to compare the autograph sketches with the completed work. If so, I will send you the manuscript as soon as I return to Moscow. I suggest Oniegin because none of my works has been written with such fluency; therefore the manuscript is easy to read, as it contains few corrections.”
To N. F. von Meck.
“Verbovka, July 4th (16th), 1878.
“ ... My work progresses slowly. The sonata is finished, however, and to-day I have begun to write out some songs, composed partly abroad and partly at Kamenka, in April. I have heard from Jurgenson that four great Russian concerts, conducted by N. Rubinstein, are to take place in Paris. My Pianoforte Concerto, The Tempest, Francesca, and two movements from our Symphony are to be given. I will let you have further particulars, in case you care to time your visit to Paris so that it coincides with the concerts. Among those engaged to take part in them is Lavrovsky.”
To N. F. von Meck.
“July 25th (August 6th), 1878.
“I write to you, dear friend, with a light heart, happy in the consciousness of having finished a work (the Liturgy).... People who go to work in feverish haste (like myself) are really the laziest folk. They get through their work as fast as possible in order to enjoy idleness. Now I can indulge to the full my secret delight in doing nothing.”