“Balakirev and Rimsky-Korsakov have been here. We saw each other every day. Balakirev begins to respect me more and more. Korsakov has dedicated a charming song to me. My overture pleased them both, and I like it myself. Besides the overture, I have recently composed a chorus from the opera Mandragora, the text of which, by Rachinsky, is already known to you. I intended to write music to this libretto, but my friends dissuaded me, because they considered the opera gave too little scope for stage effects. Now Rachinsky is writing another book for me, called Raymond Lully.”
Kashkin was one of the friends who dissuaded Tchaikovsky from composing Mandragora. The latter played him a ‘Chorus of Insects’ from the unfinished work, which pleased him very much. But he thought the subject more suitable for a ballet than an opera. A fierce argument took place which lasted a long time. Finally, with tears in his eyes, Tchaikovsky came round to Kashkin’s view, and relinquished his intention of writing this opera. It made him very unhappy and more chary in future of confiding his plans to his friends.
Laroche gives the following account of this unpublished chorus:—
“‘The Elves’ Chorus’ is intended for boys’ voices in unison, with accompaniment for mixed chorus and orchestra. The atmosphere of a calm moonlight night (described in the text) and the fantastic character of the scene are admirably reproduced. In this chorus we find not only that silky texture, that softness, distinction, and delicacy which Tchaikovsky shows in all his best work, but far more marked indications of maturity than in any of his earlier compositions. The orchestration is very rich, and on the whole original, although the influence of Berlioz is sometimes noticeable.”
To his sister, A. Davidov.
“February 5th (17th).
“One thing troubles me: there is no one in Moscow with whom I can enter into really intimate, familiar, and homely relations. I often think how happy I should be if you, or someone like you, lived here. I have a great longing for the sound of children’s voices, and for a share in all the trifling interests of a home—in a word, for family life.
“I intend to begin a third opera; this time on a subject borrowed from Lajetnikov’s tragedy, The Oprichnik. My Undine is to be produced at the beginning of next season, if they do not fail me. Although the spring is still far off and the frosts are hardly over yet, I have already begun to think of the summer, and to long for the early spring sunshine, which always has such a good effect upon me.”
To Modeste Tchaikovsky.
“March 3rd (15th), 1870.