_To Modeste Tchaikovsky._ “MOSCOW, _February_ 10_th_ (22_nd_). “I am working might and main to finish a quartet[43] which--you may remember--I started upon in Paris. Press opinions upon my symphony--Laroche not excepted--are rather cold. They all consider I have nothing new to say, and am beginning to repeat myself. Can this really be the case? After finishing the quartet I will rest for a time, and only complete my ballet. I shall not embark upon anything new until I have decided upon an opera. I waver between two subjects, _Ephraim_ and _Francesca_. I think the latter will carry the day.” _Ephraim_ was a libretto written by Constantine Shilovsky upon a love-tale of the court of Pharaoh, at the period of the Hebrew captivity. _Francesca da Rimini_ was a ready-made libretto by Zvantsiev, which had been suggested to Tchaikovsky by Laroche. It was based upon the fifth canto of Dante’s _Inferno_. Neither of these books satisfied the composer. After seeing _Carmen_ he only cared for a similar subject: a libretto dealing with real men and women who stood in closer touch with modern life; a drama which was at once simple and realistic. The new Quartet No. 3 was played for the first time at a concert given by the violinist Grijimal, March 18th. Later on it was repeated at a chamber music evening of the Musical Society. On both occasions its success was decisive. In May Tchaikovsky was out of health and was ordered by the doctors to take a course of waters at Vichy. He reached Lyons on June 27th (July 9th), where he met Modeste, and made the acquaintance of his brother’s pupil, to whom he became much attached. His first impressions of Vichy were far from favourable, but the local physician persuaded him to remain at least long enough for a “demi-cure,” from which he derived great benefit. He then rejoined Modeste and young Konradi for a short time, and went to Bayreuth at the end of July, where a lodging had been secured for him by Karl Klindworth. _To M. Tchaikovsky._ “BAYREUTH, _August_ 2_nd_ (14_th_). “ ... I arrived here on July 31st (August 12th), the day before the performance. Klindworth met me. I found a number of well-known people here, and plunged straight-way into the vortex of the festival, in which I whirl all day long like one possessed. I have also made the acquaintance of Liszt, who received me most amiably. I called on Wagner, who no longer sees anyone. Yesterday the performance of the _Rheingold_ took place. From the scenic point of view it interested me greatly, and I was also much impressed by the truly marvellous staging of the work. Musically, it is inconceivable nonsense, in which here and there occur beautiful, and even captivating, moments. Among the people here who are known to you are Rubinstein--with whom I am living--Laroche and Cui.