“DEAR PETER ILICH,--An hour after we had parted at the Rimsky-Korsakovs’--that is to say, the moment I was alone and could collect my thoughts--I hit upon the right subject for you. I have not written the last three days because I had not absolutely made up my mind. Now listen, please, to my suggestion. I have not only thought of one suitable subject--I have three. I began by looking at Shakespeare, because you said you would prefer a Shakesperean theme. Here I came at once upon the poetical _Tempest_, so well adapted for musical illustration, upon which Berlioz has already drawn for his fine choruses in _Lelio_. To my mind you might write a splendid overture on this subject. Every element of it is so full of poetry, so grateful. First the Ocean, the Desert Island, the striking and rugged figure of the enchanter Prospero, and, in contrast, the incarnation of womanly grace--Miranda, like an Eve who has not as yet looked upon any man (save Prospero), and who is charmed and fascinated by the first glimpse of the handsome youth Ferdinand, thrown ashore during the tempest. They fall in love with each other; and here I think you have the material for a wonderfully poetical picture. In the first half of the overture Miranda awakens gradually from her childish innocence to a maidenly love; in the second half, both she and Ferdinand have passed through ‘the fires of passion’--it is a fine subject. Around these leading characters others might be grouped (in the middle section of the work): the monstrous Caliban, the sprite Ariel, with his elfin chorus. The close of the overture should describe how Prospero renounces his spells, blesses the lovers, and returns to his country.” Besides _The Tempest_ Stassov suggested two alternative subjects--Scott’s _Ivanhoe_ and Gogol’s _Tarass Boulba_. Tchaikovsky, however, decided upon the Shakespearean subject, and after informing Stassov of his decision, received the following letter:-- “ST. PETERSBURG, “_January_ 21_st_ (_February_ 2_nd_), 1873. “I now hasten to go into further details, and rejoice in the prospect of your work, which should prove a worthy _pendant_ to your _Romeo and Juliet_. You ask whether it is necessary to introduce the tempest itself. Most certainly. Undoubtedly, most undoubtedly. Without it the overture would cease to be an overture; without it the entire programme would fall through.