[ Pobierz całość w formacie PDF ]
since neither the neighbors nor my hosts can stand my music. It is true that I play a whole lot.
In a few weeks, I am to perform at a concert by van Zandt273 (a Parisian singer), in the
great hall at the Musikverein, so I shall need to prepare appropriately. I admit, however, that I
haven t got the least desire to do this, nor do I feel up to performing before the Viennese critics, for
after all, this is not Strassburg but such are Kugel s274 wishes, and I must acquiesce to him. On
the other hand, he is to arrange several engagements for me.
Meanwhile, the proposition for me to travel abroad with Bianchi275 has come very much
into question. Her permanent impressario [sic], Pollini, is offering conditions much worse than
those proposed formerly. My entire hope is in Sarasate, who is giving a concert here on the 29th. If
270 Impresario who brought about the organization of Paderewski s Paris debut in March 1888, but originally was
supposed to manage the career of Władysław Górski (as follows from the context). Director Stockhausen was here no
doubt an intermediary in the making of this contact (?)
271 In October 1887, A. Esipova wrote a letter to Paderewski with expressions of admiration for his violin concerto
in progress, asking him not to change a single note in it. It turned out differently; the artist destroyed almost the entire
manuscript. The remaining sketches (of the 1st movement) were reconstructed and performed (as well as recorded) in
Poland several years ago.
272 At the home of Mme Ch. Glaser (Ger.)
273 Marie van Zandt (1858 1919), well-known American singer (soprano), alongside whom Paderewski made his
debut in Vienna on 9 December 1887. She herself made her debut in 1879 in Turin as Zerlina in Mozart s Don
Giovanni, after which she was hired by the royal theater in London; she also sang at the Opéra Comique in Paris
(1880 85). Léo Delibes gave her the title role in Lakmé (1883). She performed until 1898 in, among other places, St.
Petersburg and Moscow, as well as at Covent Garden in London (from 1889 onward), and the Metropolitan Opera in
New York (1891).
274 Ignaz Kugel Paderewski s Viennese impresario.
275 Bianca Bianchi (actually: Bertha Schwarz), (1855 1947), soprano, primadonna of the Viennese opera.
Paderewski reported in a letter to W. Górski (from October 1887, cited in A. Piber Droga& [The Road& ] op. cit.
p. 155) that the proposition included 9 concerts in Russia in December and January, for 150 rubles per concert, plus
living and travel expenses. However, it did not come to pass.
50
he takes me to Russia, then I shall do without Kugel as well276.
Today, the proofs for DziutuÅ› s works arrived. Looking through them, I noticed that they
had been printed without those corrections in the piano part which I had done in pencil. No doubt it
was too unclear for the typesetters, so to be on the safe side they ran off everything, even that
which had been crossed out. Fortunately, DziutuÅ› has all of these changes in his possession so let
him do a careful proofreading. I only ask that he do it quickly and send the proofs back to me here,
in Vienna, at the address indicated, via registered mail. The postal service is not always careful,
even in France. I found out about this for myself in a very unpleasant manner. From St. Mâlo, I had
sent the corrections to Book II of the Humoresques as well as a letter to Bock, asking him at the
same time to hold off on publication until the moment when I write him another work to replace the
Krakowiak277. B.[ock] received neither the corrections, nor the letter, and not wanting to wait any
longer, published the entire book with a million errors, but without the six omitted bars in the
Intermezzo278. Presently, the entire first edition has sold out so that the corrections will appear
only in the second edition. But haven t I already written about this? Entirely possible! Just in case, I
apologize and ask for your indulgence of my flagging memory.
My fortuitous success in Strassburg has resounded with a still very loud echo in the Leipzig
paper Musikalisches Wochen Blatt. My former colleague Somborn279, whom DziutuÅ› met during
his stay in the capital of pâté, fired off an article for me in which genial , Genius etc. were
repeated several times. My surprise amounted to embarrassment.
I did not have much to write, but despite this I am sending you all a rather long letter.
Repay me with a few words, and I shall be very grateful to you280.
Ignacy
276 It was not possible to realize this project, either.
277 Spoken of here is the Krakowiak Fantastique, which Bock published in book II of op. 14, as no. 6, with a
dedication to Anette Esipova; while previously, the work was published (in the sheet music appendix to EMTA) with
a dedication to Aleksander Michałowski (and without opus number).
278 Intermezzo Polacco op. 14 Book II no. 5.
279 A short article, correspondence from Strasbourg by Carl Somborn entitled Berichte in the Musikalisches
Wochenblatt of 10 November 1887, pp. 553 54. I obtained this data from Dr. Stefan Keym of Leipzig, for which I am
very grateful.
280 On 5 November 1887, Paderewski also wrote a letter to W. Górski with information concerning the success of
the concert in collaboration with Zajic (in Strasbourg, 22 October 1887), where among the pieces played was
Paderewski s Sonata op. 13. This reminded the artist of the masterful edition of the violin part by Górski. In Vienna,
also present at the concerts was A. Esipova; Paderewski was working on a violin concerto as well as a new cycle of
variations for piano (later op. 16 no. 3), cited in: A. Piber op. cit. pp. 154 55, according to photocopy from AAN ibid.
A subsequent letter to W. Górski (undated; according to A. Piber 7 November 1887) contained inquiries [ Pobierz całość w formacie PDF ]
zanotowane.pl doc.pisz.pl pdf.pisz.pl fopke.keep.pl
since neither the neighbors nor my hosts can stand my music. It is true that I play a whole lot.
In a few weeks, I am to perform at a concert by van Zandt273 (a Parisian singer), in the
great hall at the Musikverein, so I shall need to prepare appropriately. I admit, however, that I
haven t got the least desire to do this, nor do I feel up to performing before the Viennese critics, for
after all, this is not Strassburg but such are Kugel s274 wishes, and I must acquiesce to him. On
the other hand, he is to arrange several engagements for me.
Meanwhile, the proposition for me to travel abroad with Bianchi275 has come very much
into question. Her permanent impressario [sic], Pollini, is offering conditions much worse than
those proposed formerly. My entire hope is in Sarasate, who is giving a concert here on the 29th. If
270 Impresario who brought about the organization of Paderewski s Paris debut in March 1888, but originally was
supposed to manage the career of Władysław Górski (as follows from the context). Director Stockhausen was here no
doubt an intermediary in the making of this contact (?)
271 In October 1887, A. Esipova wrote a letter to Paderewski with expressions of admiration for his violin concerto
in progress, asking him not to change a single note in it. It turned out differently; the artist destroyed almost the entire
manuscript. The remaining sketches (of the 1st movement) were reconstructed and performed (as well as recorded) in
Poland several years ago.
272 At the home of Mme Ch. Glaser (Ger.)
273 Marie van Zandt (1858 1919), well-known American singer (soprano), alongside whom Paderewski made his
debut in Vienna on 9 December 1887. She herself made her debut in 1879 in Turin as Zerlina in Mozart s Don
Giovanni, after which she was hired by the royal theater in London; she also sang at the Opéra Comique in Paris
(1880 85). Léo Delibes gave her the title role in Lakmé (1883). She performed until 1898 in, among other places, St.
Petersburg and Moscow, as well as at Covent Garden in London (from 1889 onward), and the Metropolitan Opera in
New York (1891).
274 Ignaz Kugel Paderewski s Viennese impresario.
275 Bianca Bianchi (actually: Bertha Schwarz), (1855 1947), soprano, primadonna of the Viennese opera.
Paderewski reported in a letter to W. Górski (from October 1887, cited in A. Piber Droga& [The Road& ] op. cit.
p. 155) that the proposition included 9 concerts in Russia in December and January, for 150 rubles per concert, plus
living and travel expenses. However, it did not come to pass.
50
he takes me to Russia, then I shall do without Kugel as well276.
Today, the proofs for DziutuÅ› s works arrived. Looking through them, I noticed that they
had been printed without those corrections in the piano part which I had done in pencil. No doubt it
was too unclear for the typesetters, so to be on the safe side they ran off everything, even that
which had been crossed out. Fortunately, DziutuÅ› has all of these changes in his possession so let
him do a careful proofreading. I only ask that he do it quickly and send the proofs back to me here,
in Vienna, at the address indicated, via registered mail. The postal service is not always careful,
even in France. I found out about this for myself in a very unpleasant manner. From St. Mâlo, I had
sent the corrections to Book II of the Humoresques as well as a letter to Bock, asking him at the
same time to hold off on publication until the moment when I write him another work to replace the
Krakowiak277. B.[ock] received neither the corrections, nor the letter, and not wanting to wait any
longer, published the entire book with a million errors, but without the six omitted bars in the
Intermezzo278. Presently, the entire first edition has sold out so that the corrections will appear
only in the second edition. But haven t I already written about this? Entirely possible! Just in case, I
apologize and ask for your indulgence of my flagging memory.
My fortuitous success in Strassburg has resounded with a still very loud echo in the Leipzig
paper Musikalisches Wochen Blatt. My former colleague Somborn279, whom DziutuÅ› met during
his stay in the capital of pâté, fired off an article for me in which genial , Genius etc. were
repeated several times. My surprise amounted to embarrassment.
I did not have much to write, but despite this I am sending you all a rather long letter.
Repay me with a few words, and I shall be very grateful to you280.
Ignacy
276 It was not possible to realize this project, either.
277 Spoken of here is the Krakowiak Fantastique, which Bock published in book II of op. 14, as no. 6, with a
dedication to Anette Esipova; while previously, the work was published (in the sheet music appendix to EMTA) with
a dedication to Aleksander Michałowski (and without opus number).
278 Intermezzo Polacco op. 14 Book II no. 5.
279 A short article, correspondence from Strasbourg by Carl Somborn entitled Berichte in the Musikalisches
Wochenblatt of 10 November 1887, pp. 553 54. I obtained this data from Dr. Stefan Keym of Leipzig, for which I am
very grateful.
280 On 5 November 1887, Paderewski also wrote a letter to W. Górski with information concerning the success of
the concert in collaboration with Zajic (in Strasbourg, 22 October 1887), where among the pieces played was
Paderewski s Sonata op. 13. This reminded the artist of the masterful edition of the violin part by Górski. In Vienna,
also present at the concerts was A. Esipova; Paderewski was working on a violin concerto as well as a new cycle of
variations for piano (later op. 16 no. 3), cited in: A. Piber op. cit. pp. 154 55, according to photocopy from AAN ibid.
A subsequent letter to W. Górski (undated; according to A. Piber 7 November 1887) contained inquiries [ Pobierz całość w formacie PDF ]