This was Tchaikovsky’s last effort to win back the affection of his “best friend.” But the wound remained unhealed, a cause of secret anguish which darkened his life to the end. Even on his death-bed the name of Nadejda Filaretovna was constantly on his lips, and in the broken phrases of his last delirium these words alone were intelligible to those around him.
Before taking leave of this personality who played so benevolent a part in Tchaikovsky’s existence, let it be said, in extenuation of her undeserved cruelty, that from 1890 Nadejda von Meck’s life was a slow decline, brought about by a terrible nervous disease, which changed her relations not only to him, but to others. The news of his end reached her on her death-bed, and two months later she, too, passed away, on January 13th (25th), 1894.
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Early in September, 1890, Tchaikovsky spent a day or two in Kiev on his way to Tiflis. In the former town he learnt that Prianichnikov, a favourite singer and theatrical impresario, was anxious to produce Dame de Pique. The idea pleased Tchaikovsky, for, thanks to Prianichnikov’s energy, the opera at Kiev almost surpassed that of Moscow as regards ensemble and the excellence of the staging in general.
On October 20th (November 1st) Tchaikovsky conducted a concert given by the Tiflis branch of the Musical Society, the programme of which was drawn exclusively from his own works. The evening was a great success for the composer, who received a perfect ovation and was “almost smothered in flowers,” besides being presented with a bâton.
Tiflis was the first town to welcome Tchaikovsky with cordiality and enthusiasm; it was also the first to accord him a warm and friendly farewell, destined, alas! to be for eternity.
On his return to Frolovskoe he busied himself with the collected edition of his songs, which Jurgenson proposed to issue shortly. The composer stipulated that the songs should be reprinted in their original keys, for, as he writes to Jurgenson: “I have neither strength nor patience to look through all the transpositions, which have been very badly done, and are full of the stupidest mistakes.”
From Frolovskoe Tchaikovsky went to Petersburg, about the middle of November, to attend the rehearsals for his latest opera, Pique Dame. During his stay at the Hôtel Rossiya he arranged an audition of his newly composed sextet. The instrumentalists were: Albrecht, Hildebrandt, Wierzbilowicz, Hille, Kouznietsov and Heine. As audience, he invited Glazounov, Liadov, Laroche, and a few friends and relatives. Neither his hearers, nor the composer himself, were equally pleased with all the movements of the sextet, so that he eventually resolved to rewrite the Scherzo and Finale. Apart from this one disappointment, the rest of his affairs—including the rehearsals—went so well that his prevailing mood at this time was cheerful; although the numerous festivities given in his honour hindered him from keeping up his correspondence during this visit to Petersburg. Not a single letter appears to exist dating from these weeks of his life.
On December 6th (18th) a rehearsal of the opera was given before their Imperial Majesties and many leaders of society in the capital. The success of the work was very evident; yet Tchaikovsky had an idea that the Emperor did not care for it. As we shall see, later on, he was quite mistaken in coming to this conclusion.
The first public representation took place on December 7th (19th), 1890, just a year after the commencement of the work. Not one of Tchaikovsky’s operas had a better caste than Pique Dame. The part of Hermann was taken by the celebrated singer Figner, while the heroine was represented by his wife. The rôles of the old Countess and Paulina were respectively allotted to Slavina and Dolina. Each of these leading singers distinguished themselves in some special quality of their art. Throughout the entire evening artists and audience alike experienced a sense of complete satisfaction, rarely felt during any operatic performance. Napravnik as conductor, and Figner in the part of hero, surpassed themselves, and did most to ensure the success of the opera. The scenery and dresses, by their beauty and historical accuracy, were worthy of the fine musical interpretation.