“ ... The first movement of your Fourth Symphony is disproportionately long in comparison with the others; it seems to me a symphonic poem, to which the three other movements are added fortuitously. The fanfare for trumpets in the introduction, which is repeated in other places, the frequent change of _tempo_ in the tributary themes--all this makes me think that a programme is being treated here. Otherwise this movement pleases me. But the rhythm [Illustration: musical notation] appears too often and becomes wearisome. “The Andante is charming (the middle does not particularly please me). The Scherzo is exquisite, and goes splendidly. The Trio I cannot bear: it sounds like a ballet movement. “Nicholas Grigorievich (Rubinstein) likes the Finale best, but I do not altogether agree with him. The variations on a folksong do not strike me as very important or interesting. “In my opinion the Symphony has one defect, to which I shall never be reconciled: in every movement there are phrases which sound like ballet music: the middle section of the Andante, the Trio of the Scherzo, and a kind of march in the Finale. Hearing the Symphony, my inner eye sees involuntarily ‘our _prima ballerina_,’ which puts me out of humour and spoils my pleasure in the many beauties of the work. “This is my candid opinion. Perhaps I have expressed it somewhat freely, but do not be hurt. It is not surprising that the Symphony does not entirely please me. Had you not sent _Eugene Oniegin_ at the same time, perhaps it might have satisfied me. It is your own fault. Why have you composed such an opera, which has no parallel in the world? _Oniegin_ has given me such pleasure that I cannot find words to express it. A splendid opera! And yet you say you want to give up composing. You have never done so well. Rejoice that you have attained such perfection, and profit by it.” _Tchaikovsky to Taneiev._ “CLARENS, _March_ 27_th_ (April 8_th_), 1878.