The most important and interesting of Tchaikovsky’s correspondents during this time are: Julie Spajinsky, wife of the well-known dramatist (1885-1891); Emilie Pavlovskaya, the famous singer, with whom Tchaikovsky became acquainted during the rehearsal for Mazeppa in 1884, and continued to correspond until 1888; the Grand Duke Constantine Constantinovich; the composer Ippolitov-Ivanov and his wife, the well-known singer, Zaroudna; Vladimir Napravnik, son of the conductor; the pianists Sapellnikov and Siloti. With Glazounov, Désirée Artôt, Brodsky, Hubert, his cousin Anna Merkling, and many others, there was an occasional exchange of letters.
The greater part of these communications, notwithstanding the intimate style and frankness of the writer’s nature, bear signs of effort, and give the impression of having been written for duty’s sake. Taken as a whole, they are not so important, or so interesting, as the letters to Nadejda von Meck, and to Tchaikovsky’s own family, belonging to the Moscow period.
The same may be said of the majority of new acquaintances made during the later years of his life, of which no epistolary record remains. These were so numerous that it would be impossible to speak of them individually. They included such personalities as Liadov, Altani, Grieg, Sophie Menter, Emil Sauer, Louis Diemer, Colonne, Carl Halir. Besides these, he was in touch with a vast number of people belonging to the most varied strata of social life. Among them was Legoshin, valet to his friend Kondratiev. Tchaikovsky got to know this man by the death-bed of his master, and valued his purity of heart and integrity more and more as years went by. Another unprofessional friend was the celebrated Russian general, Dragomirov. While travelling to France by sea, he made the acquaintance of an extraordinarily gifted boy, the son of Professor Sklifasskovsy. The friendship was brief as it was touching, for the youth died a year later. Tchaikovsky was deeply affected by his loss, and dedicated to his memory the Chant Elégiaque, op. 72.
All these new friendships served to surround the composer with that atmosphere of affection and appreciation which was as indispensable to him as his daily bread. But none of them were as deep and lasting as the ties of old days, none so close and intimate; nor did they contribute any new element to his inner life....
One word as to the dearest of all his later affections. His sister, A. Davidov, had three sons. The second of these, Vladimir, had always been Tchaikovsky’s favourite from childhood. Up to the age of eighteen, however, these pleasant relations between uncle and nephew had not assumed any deep significance. But as Vladimir Davidov grew up, Tchaikovsky gradually felt for him a sentiment which can only be compared to his love for the twins, Toly and Modi, in their youth. The difference of age was no hindrance to their relations. Tchaikovsky preferred the companionship of his nephew; was always grieved to part with him; confided to him his inmost thoughts, and finally made him his heir, commending to this young man all those whom he still desired to assist and cherish, even after his death.
II
To N. F. von Meck.
“Moscow, January 1st (13th), 1885.
“It is so long since I wrote, dear friend! Two events have interrupted my correspondence with you: on Christmas Eve I received a telegram announcing the death of Kotek. Not only was I much upset by this intelligence, but the sad duty of breaking the news to his parents devolved upon me.... I have also had to make the difficult corrections in my new Suite myself. Hans von Bülow is shortly to conduct in Petersburg, and all must be ready four or five days hence. While I was away nothing was done here. I was furious, rated Jurgenson and the engravers, and worked till I was worn out; therefore I have had no time to lament for poor Kotek.”
To N. F. von Meck.