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Pyotr Ilyich Tchaikovsky

Currency:USD Category:Collectibles / Autographs Start Price:NA Estimated At:6,000.00 - 8,000.00 USD
Pyotr Ilyich Tchaikovsky

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Auction Date:2011 Jan 12 @ 16:00 (UTC-05:00 : EST/CDT)
Location:5 Rt 101A Suite 5, Amherst, New Hampshire, 03031, United States
ALS - Autograph Letter Signed
ANS - Autograph Note Signed
AQS - Autograph Quotation Signed
AMQS - Autograph Musical Quotation Signed
DS - Document Signed
FDC - First Day Cover
Inscribed - “Personalized”
ISP - Inscribed Signed Photograph
LS - Letter Signed
SP - Signed Photograph
TLS - Typed Letter Signed
Esteemed Russian composer (1840–1893) whose colorful, dramatic, and expressive works represent the epitome of the Russian Romantic tradition and take a place among the most beloved staples of the concert repertory. Rare and desirable ALS in Russian, signed “P. I. Tchaikovsky,” one page, 6 x 8, Tchaikovsky’s blind embossed monogrammed letterhead, no date. Letter to librettist Konstantin Ivanovich Zvantsev. In full (translated): “‘Francesca’ is languishing in the censorship committee and God knows when Laroche will wrangle it out of there and forward it to me. Therefore, I dare to disturb you with the request that you make a new copy of your delightful libretto for me. I am afraid this will inconvenience you, but I am willing to risk it as I would like to more quickly familiarize myself with all the details of your work. Forgive my importunity.” Letter is apparently affixed to a mount by the reverse of its four corners, and matted and framed with a color portrait to an overall size of 21 x 16.25. In fine condition, with central horizontal and vertical fold, and a thin strip of light toning along left edge.

Tchaikovsky acknowledges the inconvenience he’s imposing upon Zvantsev, but the composer’s anxiety is understandable. In 1876, Tchaikovsky considered writing an opera on the subject of Francesca da Rimini—a 13th century woman who was the basis of a character in Dante’s Divine Comedy—to a libretto by Zvantsev. Troubled by the delay experienced by Herman Laroche, Tchaikovsky’s friend and a music critic, in the referenced “censorship committee,” the great composer clearly wanted to move forward with the project. In the end, he and Zvantsev were unable to reach an agreement on the work, with this single piece of correspondence believed to be the only remaining evidence of the collaboration.