In the literary and dramatic world Tchaikovsky had two good friends--the dramatist Ostrovsky and Sadovsky. He won the sympathy of these distinguished men entirely by his own personality, since neither of them cared greatly for music.
During the season 1866-7 the composer made another friendship which was of great importance to his future career. Vladimir Petrovich Begichev, Intendant of the Imperial Opera, Moscow, enjoyed a considerable reputation--first as an elderly Adonis, secondly as the hero of many romantic episodes in the past, and thirdly as the husband of his wife, a lady once renowned for her singing and for her somewhat sensational past. By her first husband Madame Begichev had two sons--Constantine and Vladimir Shilovsky. These young men were strongly attracted to art and literature, and played a considerable part in Tchaikovsky’s subsequent career.
Soon after his arrival in Moscow Tchaikovsky began to compose an overture on the Danish National Hymn, which N. Rubinstein had requested him to have ready for the approaching marriage of the Tsarevitch with the Princess Dagmar, to be played in the presence of the royal pair during their visit to Moscow.
As with all his commissioned works, Tchaikovsky had completed this overture before the appointed day, although he had to compose under the most unfavourable conditions. Rubinstein’s house was beset all day long by professors from the Conservatoire and other visitors, who did not hesitate to intrude into Tchaikovsky’s room, so that he found no peace at home, and had to take refuge in a neighbouring inn, “The Great Britain,” which was very little frequented during the daytime. When finished, he dedicated the overture to the Tsarevitch, and received in return a pair of jewelled sleeve-links, which he immediately sold to Dubuque. Tchaikovsky, who generally judged his early works very severely, kept a favourable recollection of this overture, and wrote to Jurgenson, in 1892:--
“My Danish Overture may become a popular concert work, for, as far as I can remember, it is effective and, from a musical standpoint, far superior to ‘1812.’”
After making some alterations in his symphony--undertaken at the desire of Anton Rubinstein and Zaremba--Tchaikovsky, setting aside N. Rubinstein, desired to hear the judgments of his old teachers, so greatly was he still under the influence of Petersburg opinion. He only permitted the least important movement to be heard at a Moscow Symphony Concert in December--the scherzo, which had very little success. In Petersburg the work was once more refused, but afterwards the two middle movements (adagio and scherzo) were performed in February, 1867. The reception was not encouraging, only one anonymous critic speaking warmly in praise of the music.
