Besides the above, the following works were found at Klin after Tchaikovsky’s death:—
1. Momento lirico. A piece, nearly completed, for the pianoforte. Taneiev only pieced together the separate sketches. Published by Jurgenson.
2. Duet, “Romeo and Juliet.” In this work Taneiev had more to amplify, as he had to supply the entire accompaniments of the solo parts. He borrowed these from Tchaikovsky’s orchestral fantasia on the same subject.
3. Andante and Finale, for pianoforte and orchestra. Both movements were arranged by Tchaikovsky himself from sketches for the Symphony planned in 1892. The orchestration is by Taneiev, who was the first to play the work in public at Belaiev’s first Russian Symphony Concert, February 8th (20th), 1896. Thus Taneiev accomplished his rôle as the original interpreter of all Tchaikovsky’s pianoforte works (excepting the Concerto in B flat minor, which was played for the first time by Kross). Published by Belaiev.
APPENDIX B
THE PLOTS OF TCHAIKOVSKY’S CHIEF OPERAS
1. The Oprichnik. The Oprichniks were a band of dissolute young noblemen, the chosen body-guard of Ivan the Terrible, who swore by fearful and unnatural oaths to carry out every command of the despot they served. Sometimes they masqueraded as monks and celebrated “black mass.” In reality they were robbers and murderers, hated and feared by the people whom they oppressed. Andrew Morozov, the descendant of a noble, but impoverished, house, and the only son of the widowed Lady Morozova, is in love with the beautiful Natalia, daughter of Prince Jemchoujny. His poverty disqualifies him as a suitor. Natalia’s father promises her hand to the elderly boyard Mitkov. While desperately in need of money, Andrew falls in with Basmanov, a young Oprichnik, who persuades him to join their community, telling him that an Oprichnik can always fill his own pockets. Andrew consents, believing it to be his only chance of revenging himself upon Prince Jemchoujny. The Lady Morozova is a high-minded, religious woman. Andrew, anxious to relieve her poverty, takes her money which he has borrowed from Basmanov. His mother refuses to touch what she knows to be the fruit of robbery and murder, and implores her son not to associate with the hated Oprichniks. Andrew, who is devoted to his mother, promises to respect her wishes. Afterwards the desire for power and vengeance prevails, and he consents to take the oath of the Oprichnik band. The first sacrifice demanded of him is the complete renunciation of his mother and Natalia. Lady Morozova is now heart-broken, deserted by her son and hated by the populace, who insult her in the public square as the “mother of an Oprichnik.” She is about to take refuge in the church, when Natalia flies to her for protection. She has escaped from her father and her middle-aged suitor Mitkov. Prince Jemchoujny appears on the scene and orders his rebellious daughter to return to her home. His chidings are interrupted by the arrival of the Oprichniks, awakening terror and hatred among the people. Andrew catches sight of his mother, whom he has not seen for many days, and rushes to embrace her, when the sinister theme of the Oprichniks is heard in the orchestra, reminding him of his vows. Lady Morozova turns from her son, disowns him, and solemnly curses him as an Oprichnik. In the last act Andrew, unable to abandon Natalia to her fate, resolves to marry her in spite of his vows. But Prince Viazminsky, the leader of the Oprichniks, cherishes an old grudge against the family of Morozov, and works for Andrew’s downfall. He breaks in upon the wedding-feast with a message from the Tsar. Ivan the Terrible has heard of the bride’s beauty, and desires her attendance at the royal apartments. Andrew, with gloomy forebodings in his heart, prepares to escort his bride, when Viazminsky, with a meaning smile, explains that the invitation is for the bride alone. Andrew refuses to let his wife go into the royal presence without his protection. Viazminsky proclaims him a traitor to his vows. Natalia is carried off by force, and the Oprichniks lead Andrew into the market-place to suffer the death penalty at their hands. Meanwhile Lady Morozova, who has relented, comes to bless her son on his wedding-day. She enters the deserted hall, where Viazminsky, alone, is gloating over the success of his intrigue. She inquires unsuspectingly for Andrew, and he leads her to the window. Horror-stricken, she witnesses the execution of her son, and falls dead at the feet of her triumphant enemy.
2. Vakoula the Smith, afterwards known as Cherevichek (“The Little Shoes”), and finally republished as Les Caprices d’Oxane. Christmas Eve. A moonlight night, in the village of Dikanka. Solokha, the witch, comes out of one of the huts, and is joined by the devil. They decide to fly off together. The witch goes to fetch a broomstick, and the devil in his monologue sings of his hatred of Vakoula the Smith, because the latter has drawn a caricature of him upon the church wall. He invokes a snowstorm. Solokha reappears, and they elope together, stealing the moon and stars as they go, and leaving the village plunged in darkness. Vakoula is making love to the beautiful daughter of Choub the Cossack. To-night Choub is going to supper with the sacristan, and Vakoula will take the opportunity of visiting his sweetheart, who, however, remains deaf to all his entreaties. Meanwhile Choub loses his way in the darkness, and after wandering round in a circle finds himself at his own hut. Vakoula mistakes him for a rival lover, and drives him away from his own threshold.
The second act shows the interior of the witch’s hut, where Solokha is making herself smart after her ride through space on a broomstick. The devil comes out of the stove and makes love to her. They dance the Gopak, while little imps emerge from every nook and cranny in the form of crickets and beetles. A knock is heard, and the devil hides himself in an empty sack. Enter the Headman of the village. Another knock, and the Headman, who does not want to be caught with Solokha, disposes of himself in another sack. This time the sacristan comes in, and the same ruse is enacted; and, finally, Choub appears on the scene and, at a fourth knock, he too takes refuge in a sack. The last comer is the witch’s son Vakoula. He is so wrapped up in his love troubles, that he picks up the sacks in an absent-minded way and carries them off to the smithy. In the scene that follows the villagers are singing Christmas carols in the village street. The moon has returned to its place. Oxana, who is among the singers, catches sight of Vakoula and cannot refrain from teazing him a little more. She tells him she will marry him if he will bring her the Tsaritsa’s own shoes. Vakoula goes off in a temper, taking the sack containing the devil and leaving the others in the road. The children peep inside and discover the Headman, the sacristan, and Choub.
In the third act Vakoula goes to drown himself in the forest pool. He puts the sack containing the devil at the edge of the water. The evil spirit offers to give Oxana to the smith in exchange for his soul. Vakoula consents, and will sign the contract in his blood. The devil lets him go for a moment, and Vakoula overpowers him in turn. He makes the devil promise to take him to the Tsaritsa, and they take flight for St. Petersburg. A room in the Palace: the herald announces a victory of the Russian army. The Zaparogue Cossacks are summoned before the Tsar. The Cossacks dance a Gopak. Vakoula takes the opportunity of begging for the Tsaritsa’s shoes, which are granted to him. The devil takes him back to his native village. Christmas morning: Vakoula finds Oxana bewailing his supposed loss. He consoles her with the shoes, and she consents to become his wife.
3. Eugene Oniegin. Madame Lerin and the old nurse are making preserves in the garden of a Russian country house. From indoors a duet is heard. Tatiana and her sister Olga are singing to the accompaniment of a harp. The peasants appear on the scene, carrying the last sheaf from the harvest fields. National songs and dances. The announcement of guests creates a considerable commotion in the quiet country household. They prove to be Lensky, a young neighbour, fresh from a German university, and Oniegin, a dandy from the capital, on a visit to his friend. Madame Lerin and the nurse retire to prepare supper. The young people saunter in the garden, Lensky with Olga, Tatiana with Oniegin. Tatiana is shy at first, then falls in love with the stranger. In the second scene Tatiana is sitting in her room by moonlight. The old nurse comes to scold her for not being asleep. There follows a long, confidential talk between them (recitative with soft accompaniment based on Tatiana’s theme). When her nurse has gone, Tatiana sits dreaming of her love for Oniegin. How will he guess her secret, unless she reveals it herself? In her innocence of the world she resolves to write him a love letter. She begs the nurse to convey it to Oniegin. The old woman hesitates, but cannot refuse anything to the child of her heart. Reluctantly she departs on her errand. The third scene takes us back to the garden. Oniegin meets Tatiana. He cannot appreciate the directness and sweetness of the girl’s nature. Jaded and world-worn, Tatiana seems to him insipid and provincial, while at the same time he finds her forward. He thanks her coldly for her letter, assures her he is not a marrying man, and gives her some cynical advice as to the wisdom of acting with more maidenly reserve in future. Then he leaves her, crushed with shame and disappointment.