Dear Ladies & Gentlemen,
As Tchaikovsky has met most of the other famous composers of the second
half of the 19th century during his many travels across Europe, I now
wonder whether this has also been the case with Franz von Suppé
(1809-1895) from Austria-Hungary, several of whose Overtures (especielly
"Peasant and Poet" and "Cavallerie légère") are (still) word-famous. I
have found no mention of Franz von Suppé in Tchaikovsky's diaries (German
translation) or otherwise, but maybe there is a letter where he has
mentioned something about Suppé.
Also, I wonder whether very much whether Tchaikovsky did like Suppé's
music.
With many thanks in advance.
Guido Muehlemann
18/07/2012 11:06
For want of any comments by Tchaikovsky himself on Franz von Suppé’s
music, the following testimony by a Russian contemporary may be of some
interest. In her memoirs Anna Dostoevskaia recalls how she and her
husband, while staying in Dresden in the spring of 1867, would often go
for walks in the Großer Garten park:
“There was then a restaurant in the park called ‘Zur großen
Wirtschaft’ where in the evenings they would play now military brass
music, now orchestral music. The programmes of these concerts were
sometimes quite sophisticated. Although my husband was not a connoisseur
in music, he very much liked the works of Mozart, Beethoven’s Fidelio,
Mendelssohn-Bartholdy’s Wedding March, and Rossini’s Air du
Stabat Mater, and he would experience sincere delight when listening
to these favourite pieces. Richard Wagner’s works, however, Fedor
Mikhailovich did not like at all.
During these walks my husband would normally rest from all his literary
and other preoccupations and was always in the most jovial mood; he would
make jokes and laugh. I remember that the concert programmes featured some
variations and a potpourri from Franz von Suppé’s opera Dichter und
Bauer [Peasant and Poet] and that Fedor Mikhailovich took a
liking to these variations thanks to the following chance episode: During
a walk in the Großer Garten we somehow started quarrelling over a matter
of principles and I expressed my opinion rather sharply. Fedor
Mikhailovich broke off the conversation, and we walked to the restaurant
in silence. I was irritated with myself for having spoilt my husband’s
good mood, and in order to try to restore it, when they started playing
the potpourri from Franz von Suppé’s opera, I remarked: “Why, this is
about us”, i.e. that he was “Dichter”, whilst I was “Bauer”, and I began
gently humming Bauer’s part. Fedor Mikhailovich liked my idea and he in
turn started humming Dichter’s aria. We were thus reconciled by Suppé.
Since then it became a habit with us to gently sing along to the music of
the protagonists’ duet: my husband would hum Dichter’s part while I would
hum Bauer’s. No one could hear us since we always sat far away, under ‘our
oak tree’.”
(Quoted from the Lib.ru website:
http://az.lib.ru/d/dostoewskij_f_m/text_0610.shtml
)
Luis Sundkvist
27/08/2012 20:58