The time Tchaikovsky now spent at Frolovskoe was devoted to the Hamlet music, which he had promised Guitry should be ready in February.
Not one of his works inspired him with less enthusiasm than this. As a rule he rather enjoyed working to order, but he took up this task with great repugnance, because he had to begin by arranging the existing Hamlet overture, originally written for full orchestra, for the small band of the Michael Theatre. At his request the orchestra of twenty-nine was increased by seven musicians, but there was no room to accommodate a larger number. In spite of his disinclination for the work, Tchaikovsky succeeded in composing several numbers which delighted the public; while one movement (The Funeral March) became exceedingly popular.
Tchaikovsky arrived at Frolovskoe on January 6th (18th), and immediately telegraphed to the concert agent, Wolf, that he would be unable to fulfil the engagements made for him at Mainz, Buda-Pesth, and Frankfort.
It was not merely the composition of the Hamlet music which caused him to relinquish these engagements; at this time he was suffering from a nervous affection of the right hand, which made conducting a matter of considerable difficulty.
To S. I. Taneiev.
“January 14th (26th), 1891.
“The question: How should opera be written? is one I answer, have answered, and always shall answer, in the simplest way. Operas, like everything else, should be written just as they come to us. I always try to express in the music as truthfully and sincerely as possible all there is in the text. But truth and sincerity are not the result of a process of reasoning, but the inevitable outcome of our inmost feelings. In order that these feelings should have warmth and vitality, I always choose subjects in which I have to deal with real men and women, who share the same emotions as myself. That is why I cannot bear the Wagnerian subjects, in which there is so little human interest. Neither would I have chosen your subject, with its supernatural agencies, its inevitable crimes, its Eumenides and Fates as dramatis personæ. As soon as I have found a subject, and decided to compose an opera, I give free rein to my feelings, neither trying to carry out Wagner’s principles, nor striving after originality. At the same time I make no conscious effort to go against the spirit of my time. If Wagner had not existed, probably my compositions would have been different to what they are. I may add that even the ‘Invincible Band’ has had some influence on my operas. Italian music, which I loved passionately from my childhood, and Glinka, whom I idolised in my youth, have both influenced me deeply, to say nothing of Mozart. But I never invoked any one of these musical deities and bade him dispose of my musical conscience as he pleased. Consequently I do not think any of my operas can be said to belong to a particular school. Perhaps one of these influences may occasionally have gained the upper hand and I have fallen into imitation; but whatever happened came of itself, and I am sure I appear in my works just as God made me, and such as I have become through the action of time, nationality, and education. I have never been untrue to myself. What I am, whether good or bad, others must judge for me....
“Arensky’s opera[154] did not please me much when he played me fragments of it in Petersburg after his illness. I liked it a little better when he played it to you at Altani’s; far more when I went through it myself this summer; and now, having seen it actually performed, I think it one of the best of Russian operas. It is very elegant and equal throughout; only the end lacks something of inspiration. It has one defect: a certain monotony of method which reminds me of Korsakov.... Arensky is extraordinarily clever in music; everything is so subtly and truly thought out. He is a very interesting musical personality.”
To P. Jurgenson.
“January 15th (27th), 1891.