![tchia tchia tchia tchia](https://cdn.shopify.com/s/files/1/1165/2796/products/EQ-Chia_pile_1200x1200.png)
His and Madame von Meck’s subsequent letter-writing lasted between the years 18, a period during which Tchaikovsky enjoyed incredible financial security and productivity.
#TCHIA TCHIA FULL#
He was able to quit his despised position at the Moscow Conservatory, where he taught music theory for ten years, and devote himself to writing music full time. At the time, this was a lavish salary, and Tchaikovsky graciously accepted the offer. The allowance she eventually arranged for him, out of her own purse, was 6,000 Russian rubles a year. Allow me to provide for you!” Madame von Meck wrote back.Īnd provide for him she did. “Why do you hurt and insult me by worrying over material questions? Am I not your friend? You know how I love you.
![tchia tchia tchia tchia](https://cdn.shopify.com/s/files/1/0236/5139/products/Chia_Seeds_promo_2_600x.jpg)
![tchia tchia tchia tchia](https://www.outsidepride.com/images/products/detail/herbseed/chiaplant.jpg)
In the first place, you are very kind and generous secondly, you are wealthy,” Tchaikovsky wrote to her. “You are the only person in the world from whom I am not ashamed to ask for money. Just as shamelessly, Madame von Meck would pay out whatever amount he asked for. Shamelessly, he would also begin to ask Madame von Meck for loans. Funds slipped easily through the hands that produced timeless works of art. Tchaikovsky was grateful for this arranged new friendship, and the extra cash, though he was hardly careful with his money. She desired a seasoned songwriter to invent new pieces for the piano and violin that she could perform. The baroness Nadezhda Filaretovna is left and holding he youngest daughter, Ljudmila, in her arms (Milochka). The matchmaker who could take credit for bringing them together in the first place was the young violinist Iosif Kotek, a former pupil of Tchaikovsky’s who suggested to Madame von Meck, at the time his own patron and employer, that she reach out to the composer in the first place. What would become more regular were the letters exchanged between them. Madame von Meck began to commission compositions from Tchaikovsky, which gave his income a much-needed, though irregular, boost. She was as restless and as unhappy as Tchaikovsky. Whether owing to the shock of her husband’s death or to other causes, she had become practically a recluse, seeing no one but her family. In a different way, she was no less a “problem-case” than Tchaikovsky. Madame von Meck was then barely forty-five, but prematurely aged, a physical and nervous wreck. In 1876, still in his prime, Meck died suddenly of heart-failure, bequeathing all his wealth to his widow. As Bennigsen writes in “ A Bizarre Friendship:” Both were lonely, troubled, and temperamental, as well as desperately in need of a friend who understood. As her sorrows grew and her world shrank, music became her crutch.īennigsen acknowledges that the circumstances were ideal for these two kindred spirits.
![tchia tchia tchia tchia](https://previewsworld.com/news_images/215540_1231833_1009.jpg)
She was also grieving her husband and as the Russia enthusiast and Countess Olga Bennigsen has implied, was perhaps seeking someone new to latch onto. She had heard some of Tchaikovsky’s music at concerts-she particularly exalted The Tempest-and what ensued can only be described as the outpourings of a smitten soul. Tchaikovsky and Madame von Meck’s friendship started with an appreciative fan letter from the recently widowed grande dame, sent on December 18, 1876. Madame von Meck would excel at being a patron, however extraordinary her personal life and preferences. While making out his will, Karl von Meck had understood that his wife would manage the money and wield her power with a degree of competence, though he couldn’t possibly have foreseen that she would become arguably Russia’s most indispensable patron of the arts, supplanting even Empress Catherine the Great, who adored and promoted Russian opera passionately. Her husband’s death in 1876 had left her legally in charge of astounding wealth. She would become arguably Russia’s most indispensable patron of the arts, supplanting even Empress Catherine the Great.