“‘The Elves’ Chorus’ is intended for boys’ voices in unison, with accompaniment for mixed chorus and orchestra. The atmosphere of a calm moonlight night (described in the text) and the fantastic character of the scene are admirably reproduced. In this chorus we find not only that silky texture, that softness, distinction, and delicacy which Tchaikovsky shows in all his best work, but far more marked indications of maturity than in any of his earlier compositions. The orchestration is very rich, and on the whole original, although the influence of Berlioz is sometimes noticeable.” _To his sister, A. Davidov._ “_February_ 5_th_ (17_th_). “One thing troubles me: there is no one in Moscow with whom I can enter into really intimate, familiar, and homely relations. I often think how happy I should be if you, or someone like you, lived here. I have a great longing for the sound of children’s voices, and for a share in all the trifling interests of a home--in a word, for family life. “I intend to begin a third opera; this time on a subject borrowed from Lajetnikov’s tragedy, _The Oprichnik_. My _Undine_ is to be produced at the beginning of next season, if they do not fail me. Although the spring is still far off and the frosts are hardly over yet, I have already begun to think of the summer, and to long for the early spring sunshine, which always has such a good effect upon me.” _To Modeste Tchaikovsky._ “_March_ 3_rd_ (15_th_), 1870. “ ... The day after to-morrow my overture _Romeo and Juliet_ will be performed. There has been a rehearsal already: the work does not seem detestable. But the Lord only knows!... “In the third week of Lent excerpts from my opera _Undine_ will be played at Merten’s[20] concert. I am very curious to hear them. Sietov writes that there is every reason to believe the opera will be given early next season.” Merten’s concert took place on March 16th (28th). Kashkin says it gave further proof how hardly Tchaikovsky conquered the public sympathy. “In the orchestration of the aria from _Undine_,” he says, “the pianoforte plays an important and really beautiful part. Nicholas Rubinstein undertook to play it; yet, in spite of the wonderful rendering of the piece, it had very little success. After the adagio from the _First Symphony_--also included in the programme--even a slight hissing was heard. The Italian craze was still predominant at the Opera House, so that it was very difficult for a Russian work to find recognition.” _Romeo and Juliet_, given at the Musical Society’s Concert on March 4th (16th), had no success.