“Maidanovo, June 13th (25th), 1885.
“Alexeiev has told me that according to the rules of the Conservatoire it is not permissible for me to be both teacher and member of Committee. Of course, I will not go back on my word, and I leave it to you to decide which would be the most useful—to remain on the Committee, or undertake the somewhat honorary post of professor. I think it would be best to remain on the Committee, but just as you like. In any case I will do my duty conscientiously, on the condition that my freedom is not curtailed and that I may travel whenever I please....
“So, my dear chief, my fate lies in your hands.
“After some hesitation I have made up my mind to compose Manfred, because I shall find no rest until I have redeemed my promise, so rashly given to Balakirev in the winter. I do not know how it will turn out, but meantime I am very discontented. No! it is a thousand times pleasanter to compose without any programme. When I write a programme symphony I always feel I am not paying in sterling coin, but in worthless paper money.”
IV
Tchaikovsky began the composition of Manfred in June. The following letter from Balakirev, dated 1882, led him to choose this subject for a symphonic work.
M. Balakirev to P. Tchaikovsky.
“Petersburg, October 28th (November 9th), 1882.
“Forgive me for having left your last letter so long unanswered. I wanted to write to you in perfect peace and quiet, but many things hindered me. You are more fortunate than we are, for you do not need to give lessons, and can devote your whole time to art. I first offered the subject about which I spoke to you to Berlioz, who declined my suggestion on account of age and ill_health. Your Francesca gave me the idea that you were capable of treating this subject most brilliantly, provided you took great pains, subjected your work to stringent self-criticism, let your imagination fully ripen, and did not hurry. This fine subject—Byron’s Manfred—is no use to me, for it does not harmonise with my intimate moods.
“Let me tell you first of all that your Symphony—like the Second Symphony of Berlioz—must have an idée fixe (the Manfred theme), which must be carried through all the movements. Now for the programme:—