“Maidanovo, October 9th (21st), 1885.
“Dear Friend,—Hubert tells me you do not think it possible to publish Manfred this season. Is this true? The question is this, I cannot allow two opportunities to slip: (1) Bülow is conducting in Petersburg; (2) Erdmannsdörfer is conducting in Moscow—perhaps his last season—and, in spite of all, he is one of the few people on whom I can depend. On the other hand, I am not in a position to spend an incredible amount of trouble on a work which I regard as one of my very best, and then wait till it is played some time. As far as I am concerned, it is all the same to me whether it is played from written or printed notes—so long as it is done. I believe it might be ready by February. But if you think that this is quite impossible, then I propose that you decline Manfred altogether (this will not offend me at all, for I know you cannot do the impossible for the sake of my whims). Only understand that I cannot on any account wait till next season, and cost what it may, I will see Manfred produced. Do not take my caprice (if it is a caprice) amiss, and answer me at once.”
To N. F. von Meck.
“Maidanovo, October 11th (23rd), 1885.
“ ... As regards the lofty significance of symphony and chamber music in comparison with opera, let me only add that to refrain from writing operas is the work of a hero, and we have one such hero in our time—Brahms. Cui has justly remarked in one of his recent articles that Brahms, both as man and artist, has only followed the highest ideals—those which were worthy of respect and admiration. Unfortunately his creative gift is poor, and does not correspond to his great aspirations. Nevertheless he is a hero. This heroism does not exist in me, for the stage with all its glitter attracts me irresistibly.”
VII
To N. F. von Meck.
“Maidanovo, November 19th (December 1st), 1885.
“ ... I spent a week in Moscow, and was present at three concerts. The first, given by Siloti, who has just returned from abroad to serve his time in the army. He has made great progress. Then the Musical Society gave a concert and quartet-matinée, at which the celebrated Paris violinist, Marsick, played. All three concerts gave me great pleasure, as I have not heard any good music for so long. For a musician who writes as much as I do it is very necessary and refreshing to hear foreign music from time to time. Nothing inspires me more than listening to a great foreign work: immediately I want to write one equally beautiful.
“I have also been once or twice to the Conservatoire, and was very pleased to notice that Taneiev is just the Director we wanted under the circumstances. His work shows resolution, firmness, energy, and also capability. I hear nothing about Les Caprices d’Oxane, and begin to fear the work will not be produced this season.”