Chapter I: Preface

Between January 19th, 1900, and April 4th, 1905, I read before the Musical Association of London five papers dealing with the Development of National Opera in Russia, covering a period from the first performance of Glinka's _A Life for the Tsar_ in 1836, to the production of Rimsky-Korsakov's opera _The Tsar's Bride_, in 1899. These lectures were illustrated by the following artists: the late Mrs. Henry J. Wood, Miss Grainger Kerr, Mr. Seth Hughes, Mr. Robert Maitland; Sir (Mr.) Henry J. Wood and Mr. Richard Epstein at the piano. While using these lectures as the scaffolding of my present book, I have added a considerable amount of new material, amassed during ten years unremitting research into my subject. The additions concern chiefly the earlier phases of Russian music, and the operas that have appeared since 1900. The volume also contains some account of the foundation of the nationalist school of composers under the leadership of Balakirev. It has been my privilege to meet and converse with most of the members of this circle. I give also a few details about the literary champion of "the Invincible Band," Vladimir Stassov, under whose guidance I first studied the history of Russian music. With all modesty I believe I may claim to have been a pioneer worker in this field. When in 1895 I published my translation (from the French edition of M. Habets) of Stassov's book on Borodin, and followed it up in 1897 by a series of articles--the fruits of my first visit to Russia--in that short-lived weekly _The Musician_, the literature of the subject was by no means copious, even in Russia itself; while the daily increasing public in Western Europe who were anxious to learn something about the remarkable galaxy of composers newly arisen in the east, based their knowledge and opinions almost entirely upon César Cui's pamphlet _La Musique en Russie_, an interesting, but in many respects misleading, statement of the phenomenon; or upon the views propagated by Rubinstein and his followers, wherefrom they learnt that the Russians, though musically gifted, were only represented by incapable amateurs.

Happily for its own enjoyment, the world has grown wiser. The last few years have witnessed the vindication of Moussorgsky's genius in France and England; a consummation devoutly wished, but hardly anticipated, by those who had been convinced from the beginning of the nobility and sincerity of spirit and motive which entitles his two finished operas to be regarded as masterpieces. During Sir Joseph Beecham's season of Russian Opera at Drury Lane last year, Rimsky-Korsakov's early music-drama _Ivan the Terrible_ ("The Maid of Pskov") made a profound impression, with Shaliapin in the part of the tyrant Tsar. In the forthcoming season it is Borodin's turn to be introduced to the British public, and I confidently predict the success of his lyric opera _Prince Igor_. So, one by one, these Russians, "eaters of tallow candles, Polar bears, too long consumers of foreign products, are admitted in their turn in the character of producers."[1]

In view of the extended interest now felt in Russian opera, drama and ballet, it has been thought worth while to offer to the public this outline of the development of a genuine national opera, from the history of which we have much to learn in this country, both as regards the things to be attempted and those to be shunned. Too much technical analysis has been intentionally avoided in this volume. The musician can supply this deficiency by the study of the scores mentioned in the book, which, dating from Glinka's time, have nearly all been published and are therefore accessible to the student; the average opera-goer will be glad to gain a general view of the subject, unencumbered by the monotonous terminology of musical analysis.

CONTENTS

CHAPTER I

THE DAWN OF MUSIC IN RUSSIA

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Primitive music of the Russian Slavs. The four periods of Russian music. The Skomorokhi or Gleemen. Clerical Intolerance. Church pageants. Tsar Alexis Mikhaïlovich, the first patron of music and the drama. Biblical plays with incidental music. Mystery plays of Dmitri of Rostov. Origin of the Ballet. First public theatre in Russia, 1703......1

CHAPTER II

THE RUSSIAN OPERA PRIOR TO GLINKA

Accession of Empress Anne. Cultivation of the folk melodies. Change of taste. The Italians bring in secular plays. Feodor Volkov. Music under Catherine the Great. Fomin and his operas. Berezovsky and Bortniansky. Further change of taste under Alexander I. Patriotic enthusiasm following French invasion of 1812. Cavos exploits national melody. Verstovsky and Alabiev......32

CHAPTER III

MICHAEL IVANOVICH GLINKA

Childhood and education of Glinka. His awakening to music. Early years in the country. Love of nature. First music lessons. He enters the Civil Service. Begins to write songs. Visit to Italy. Musical studies in Berlin......69

CHAPTER IV

GLINKA'S OPERAS

Marriage and home surroundings. _A Life for the Tsar._ Features of the music. Its reception in Russia. _Prince Kholmsky_ and the songs. _Russlan and Liudmilla._ Later works. Failure of health. His interpretation of Russian nationality in music......89

CHAPTER V

DARGOMIJSKY

Alexander Sergeivich Dargomijsky. His meeting with Glinka. Visit to Paris. _Esmeralda_ and _The Triumph of Bacchus_. Growing interest in national music. Begins work on Poushkin's _Roussalka_. Second tour in Western Europe. Balakirev and his circle. _The Stone Guest._ His treatment of national character as compared with Glinka's......117

CHAPTER VI

SEROV

Musical life in Russia at the time of Glinka and Dargomijsky. Musical criticism and the academic party. Rapid increase of conservatoires and schools. Struggle between the young nationalists in music and the officials to whom foreign composers were supreme. Two great musical critics, Alexander Serov and Vladimir Stassov. Serov's writings and compositions. His devotion to Wagner. Production of _Judith_ and _Rogneda_. Estimate of Serov's music......137

CHAPTER VII

ANTON RUBINSTEIN

Early life and education. His début as a prodigy pianist. Musical studies in Berlin. Court pianist at St. Petersburg. His early operas. _Dmitri Donskoi_ and _Thomoushka Dourachok_. Imperial Russian Musical Society. Biblical operas, _The Tower of Babel_, _The Maccabees_, _Paradise Lost_, _The Shulamite_. Secular and national operas, _The Demon_, _Nero_, and _The Merchant Kalashnikov_. Historical Concerts. Rubinstein's opportunism. Estimate of his work and influence......162

CHAPTER VIII

BALAKIREV AND HIS DISCIPLES

Balakirev. The nationalist circle. Social intercourse. Rimsky-Korsakov. Goussakovsky. The Free School. Borodin. The Pourgolds. Hostility of the Press. Solidarity of "the Invincible Band.".....183

CHAPTER IX

PERSONAL MEMORIES OF BALAKIREV'S CIRCLE

Gradual dissolution of the circle of friends. Personal reminiscences of Balakirev. Individual development of "the Invincible Band." Belaiev. Lodyjensky. Liadov. Vladimir Stassov. Personal Reminiscences......198

CHAPTER X

MOUSSORGSKY

Two tendencies in Russian opera, the lyrical and the declamatory. Moussorgsky the disciple of Dargomijsky. Literary and social influences. Biographical details. Early unfinished operas. _Boris Godounov._ _Khovanstchina._ Rimsky-Korsakov as editor......218

CHAPTER XI

BORODIN AND CUI

Borodin. Biographical details. _Prince Igor._ Comparison of _Igor_ with Glinka's _Russlan and Liudmilla._ Orientalism and optimism in _Prince Igor._ Death of Borodin. César Cui. His French descent. Early operas, _The Mandarin's Son_, _The Captive in the Caucasus_, _William Ratcliff_, _Angelo_, _The Saracen_. A French opera, _Le Flibustier._ _Mam'selle Fifi._ Analysis of Cui's style......253

CHAPTER XII

RIMSKY-KORSAKOV

Rimsky-Korsakov's position as a national composer and as a teacher. Biographical. Joins Balakirev's circle. Leaves the naval service. His early works. A tone-painter. His first Opera. _The Maid of Pskov_ (Ivan the Terrible). Accession of the Emperor Alexander III. He encourages Russian music. _A Night in May._ _The Snow-Maiden_ (Sniegourochka). _Mlada._ _Christmas Eve Revels._ _Mozart and Salieri._ _Boyarinya Vera Sheloga._ _Sadko._ _The Tsar's Bride._ _The Legend of Tsar Saltan._ The use of the _leitmotif_. _Servilia._ _Kastchei the Immortal._ Wagnerian influence. _Pan Voyevode._ _The Tale of the City of Kitezh._ _The Golden Cock._.....281

CHAPTER XIII

TCHAIKOVSKY

Tchaikovsky considered apart from the nationalist circle. His early love of Italian opera. _The Voyevode._ _Undine._ _The Oprichnik._ The libretto described. _Cherevichek_, or _Le Caprice d'Oxane_. Passing influence of Balakirev's circle. _Eugene Oniegin._ _The Maid of Orleans._ The composer's enthusiasm for this opera. _Mazeppa._ Analysis of the subject. _Charodeika_ (_The Enchantress_). _The Queen of Spades._ _Iolanthe._ Analysis of Tchaikovsky's operatic styles......334

CHAPTER XIV

CONCLUSION

Some minor composers. Napravnik: _The Citizens of Nijny-Novgorod_, _Harold_, _Doubrovsky_, _Francesca da Rimini_. Blaramberg: _Skomorokhi_, _The Roussalka-Maiden_, _Toushino_, _The Wave_. Arensky: _A Dream on the Volga_, _Raphael_, _Nal and Damyanti_. Rachmaninov: _Aleko_. Grechyaninov: _Dobrynia Nikitich_. Ippolitov-Ivanov: _Ruth_, _Assya_. Kalinnikov: _The Year 1812_. Taneiev: _Orestes_. Foreign influence in contemporary Russian music. Rebikov: _In the Storm_, _The Christmas Tree_. Kazachenko, Korestchenko, Kochetov, Stravinsky. Famous operatic singers: Platonova, Petrov, Melnikov, the Figners, Shaliapin. Mamantov and the Moscow Private Opera Company. Great increase of opera companies in Russia. Concluding observations......362

THE RUSSIAN OPERA

THE RUSSIAN OPERA