As soon as Tchaikovsky returned to Moscow, on September 1st, he set to work upon the orchestration of The Tempest.
In the second half of the month he moved into new quarters in the Nikitskaya (House Vishnevsky).
Nothing particularly eventful had happened since last year, either in his career as professor or musical critic. His daily life ran in the same grooves as before, with this difference only: the things which once seemed to him new and interesting now appeared more and more wearisome and unprofitable, and his moods of depression became more frequent, more intense, and of longer duration.
To V. Bessel.
“September, 1873.
“Be so kind as to do something for The Oprichnik. Yesterday they told me at the Opera House that the Direction had quite decided to produce it in Moscow during the spring. Although, with the exception of Kadmina, I have no strong forces to reckon upon here, yet I think we had better not raise any objections. Let them do it if they like. The repétiteur has assured me that no expense shall be spared in mounting the opera brilliantly. The rehearsals will be carried on throughout the season. As regards The Oprichnik, I think it would be best to dedicate it to the Grand Duke Constantine Nicholaevich.”
To the same.
“October 10th (22nd).
“Dear Friend,—I have written to Gedeonov and told him that you are my representative as regards everything pertaining to the production of The Oprichnik. As to the pianoforte arrangement, you must wait patiently for a little while. When you meet Stassov, please tell him I have quite finished The Tempest, according to his programme, but I shall not send him the work until I have heard it performed in Moscow.”
To the same.