Pub Date : 2018-12-31DOI: 10.1515/9780691185514-015
{"title":"OTHER PRINCETON UNIVERSITY PRESS VOLUMES PUBLISHED IN CONJUNCTION WITH THE BARD MUSIC FESTIVAL","authors":"","doi":"10.1515/9780691185514-015","DOIUrl":"https://doi.org/10.1515/9780691185514-015","url":null,"abstract":"","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131353804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.1515/9780691185514-013
{"title":"Index","authors":"","doi":"10.1515/9780691185514-013","DOIUrl":"https://doi.org/10.1515/9780691185514-013","url":null,"abstract":"","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114260214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.1515/9780691185514-005
Anna Nisnevich
{"title":"You, Mozart, Aren’t Worthy of Yourself ”: Aesthetic Discontents of Rimsky-Korsakov’s Mozart and Salieri","authors":"Anna Nisnevich","doi":"10.1515/9780691185514-005","DOIUrl":"https://doi.org/10.1515/9780691185514-005","url":null,"abstract":"","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116597461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.1515/9780691185514-fm
{"title":"Frontmatter","authors":"","doi":"10.1515/9780691185514-fm","DOIUrl":"https://doi.org/10.1515/9780691185514-fm","url":null,"abstract":"","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126545058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-11DOI: 10.23943/princeton/9780691182711.003.0003
Anna Nisnevich
This chapter analyzes Rimsky-Korsakov's creative crisis by considering his opera Mozart and Salieri. With Mozart, Rimsky-Korsakov was compelled to interrogate directly—for the first time in his life—the very core of his professional being, and so query the very grounds of composerly worthiness. Indeed, in his Mozart, Rimsky-Korsakov summoned historical styles not to comment on history, but to confront the contemporaneity that appeared increasingly incapacitated by what he'd identified in 1892 as metaphysical excess, but what he was now coming to see as a more widespread ailment, “the indifference of taste”—the loss of familiar experiential connection, of active kinship between life and art. His opera did not just celebrate the creator sympathetically aligned with his environment; it offered an object lesson in the proliferation of sentience.
{"title":"“You, Mozart, Aren’t Worthy of Yourself”: Aesthetic Discontents of Rimsky-Korsakov’s Mozart and Salieri","authors":"Anna Nisnevich","doi":"10.23943/princeton/9780691182711.003.0003","DOIUrl":"https://doi.org/10.23943/princeton/9780691182711.003.0003","url":null,"abstract":"This chapter analyzes Rimsky-Korsakov's creative crisis by considering his opera Mozart and Salieri. With Mozart, Rimsky-Korsakov was compelled to interrogate directly—for the first time in his life—the very core of his professional being, and so query the very grounds of composerly worthiness. Indeed, in his Mozart, Rimsky-Korsakov summoned historical styles not to comment on history, but to confront the contemporaneity that appeared increasingly incapacitated by what he'd identified in 1892 as metaphysical excess, but what he was now coming to see as a more widespread ailment, “the indifference of taste”—the loss of familiar experiential connection, of active kinship between life and art. His opera did not just celebrate the creator sympathetically aligned with his environment; it offered an object lesson in the proliferation of sentience.","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126980749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-11DOI: 10.23943/PRINCETON/9780691182711.003.0009
L. Ader
This chapter explores the legacy of Rimsky-Korsakov's pedagogical work, a legacy that bore greatest fruit in the Soviet Union of the 1920s and 1930s, well after his death, when musical life was rebuilt, and pre-revolutionary ideas reassessed. During those years, a major reform of the Conservatory system was undertaken, and new pedagogical strategies emerged. The Rimsky-Korsakov school and the composer's own oeuvre continued to influence musical tastes and teaching in this period, generating lively polemics. The chapter then provides an understanding of how far-reaching Rimsky-Korsakov's principles of composition proved to be, forming a solid foundation that was built on by loyal members of his compositional school over the next two generations, through favorable and unfavorable ideological swings.
{"title":"Stylistic Turbulence: The Experience of the Rimsky-Korsakov School","authors":"L. Ader","doi":"10.23943/PRINCETON/9780691182711.003.0009","DOIUrl":"https://doi.org/10.23943/PRINCETON/9780691182711.003.0009","url":null,"abstract":"This chapter explores the legacy of Rimsky-Korsakov's pedagogical work, a legacy that bore greatest fruit in the Soviet Union of the 1920s and 1930s, well after his death, when musical life was rebuilt, and pre-revolutionary ideas reassessed. During those years, a major reform of the Conservatory system was undertaken, and new pedagogical strategies emerged. The Rimsky-Korsakov school and the composer's own oeuvre continued to influence musical tastes and teaching in this period, generating lively polemics. The chapter then provides an understanding of how far-reaching Rimsky-Korsakov's principles of composition proved to be, forming a solid foundation that was built on by loyal members of his compositional school over the next two generations, through favorable and unfavorable ideological swings.","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132092206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-11DOI: 10.23943/princeton/9780691182711.003.0004
Adalyat Issiyeva
This chapter discusses Rimsky-Korsakov's last opera, The Golden Cockerel, in the context of his Orientalism, looking at its musical sources and more generally at the complexity of influences at work on an artist working in the capital of a Russian Empire that directed much of its energy and ingenuity to the task of keeping its Asian territories under control. Despite being raised on nineteenth-century Orientalist musical conventions, Rimsky-Korsakov's view of the East underwent a profound transformation and departed from Orientalism; it developed from simple imitation and reliance on the Orientalist truisms to the critique of these very truisms. His last opera's two most fantastic and undeniably eastern characters help to reveal not only the absurdity of Russia's political system but Rimsky-Korsakov's own skepticism vis-à-vis Eurocentric legitimations of colonial conquest.
{"title":"Nikolai Rimsky-Korsakov and His Orient","authors":"Adalyat Issiyeva","doi":"10.23943/princeton/9780691182711.003.0004","DOIUrl":"https://doi.org/10.23943/princeton/9780691182711.003.0004","url":null,"abstract":"This chapter discusses Rimsky-Korsakov's last opera, The Golden Cockerel, in the context of his Orientalism, looking at its musical sources and more generally at the complexity of influences at work on an artist working in the capital of a Russian Empire that directed much of its energy and ingenuity to the task of keeping its Asian territories under control. Despite being raised on nineteenth-century Orientalist musical conventions, Rimsky-Korsakov's view of the East underwent a profound transformation and departed from Orientalism; it developed from simple imitation and reliance on the Orientalist truisms to the critique of these very truisms. His last opera's two most fantastic and undeniably eastern characters help to reveal not only the absurdity of Russia's political system but Rimsky-Korsakov's own skepticism vis-à-vis Eurocentric legitimations of colonial conquest.","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122347084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-11DOI: 10.23943/princeton/9780691182711.003.0002
E. Frey
This chapter looks at Rimsky-Korsakov's Snegurochka (The Snow Maiden) in the political context of the era, namely within a particular branch of 1870s populism that extolled “harmonious communal ritual, agrarian prehistory, and the development of individual feeling.” Together, the Snegurochkas of Alexander Ostrovsky and Rimsky-Korsakov offer perhaps the clearest representations in art of the populist notion of the ideal past, depicting the prehistoric village as a site of social cooperation and humane politics. Indeed, in his adaptation of Snegurochka, Rimsky-Korsakov united an idealized vision of the past with the progress of private, inner feeling. Meanwhile, Russia's thick journals of the seventies brimmed with articles by populist thinkers like Nikolai Mikhailovsky and stories about village life by writers such as Gleb Uspensky and Nikolai Zlatovratsky.
{"title":"Rimsky-Korsakov, Snegurochka, and Populism","authors":"E. Frey","doi":"10.23943/princeton/9780691182711.003.0002","DOIUrl":"https://doi.org/10.23943/princeton/9780691182711.003.0002","url":null,"abstract":"This chapter looks at Rimsky-Korsakov's Snegurochka (The Snow Maiden) in the political context of the era, namely within a particular branch of 1870s populism that extolled “harmonious communal ritual, agrarian prehistory, and the development of individual feeling.” Together, the Snegurochkas of Alexander Ostrovsky and Rimsky-Korsakov offer perhaps the clearest representations in art of the populist notion of the ideal past, depicting the prehistoric village as a site of social cooperation and humane politics. Indeed, in his adaptation of Snegurochka, Rimsky-Korsakov united an idealized vision of the past with the progress of private, inner feeling. Meanwhile, Russia's thick journals of the seventies brimmed with articles by populist thinkers like Nikolai Mikhailovsky and stories about village life by writers such as Gleb Uspensky and Nikolai Zlatovratsky.","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117044825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-11DOI: 10.23943/princeton/9780691182711.003.0010
L. Botstein
This concluding chapter examines Rimsky-Korsakov in the context of Russian politics, philosophy, and aesthetics in the nineteenth and early twentieth centuries, drawing some persuasive parallels between the development of Russian music and Russian painting. Lyricism and poetic beauty defined great music for Rimsky-Korsakov. Music—and all art—was, in the end, about beauty. By the mid-1890s, beauty as Rimsky-Korsakov understood it seemed out of fashion. He hoped that future generations would rediscover classicist aesthetics, but he feared the historic inevitability of a progressive “degeneration” in the arts. Nevertheless, his project was to strengthen the role of music in Russia and assert its value as art. This required finding the right accommodation with the Russian state and the monarchy. Ultimately, it led Rimsky on a career that paralleled and intersected with developments in Russian painting and with the work of Russia's leading visual artists.
{"title":"In Search of Beauty: Autocracy, Music, and Painting in Rimsky-Korsakov’s Russia","authors":"L. Botstein","doi":"10.23943/princeton/9780691182711.003.0010","DOIUrl":"https://doi.org/10.23943/princeton/9780691182711.003.0010","url":null,"abstract":"This concluding chapter examines Rimsky-Korsakov in the context of Russian politics, philosophy, and aesthetics in the nineteenth and early twentieth centuries, drawing some persuasive parallels between the development of Russian music and Russian painting. Lyricism and poetic beauty defined great music for Rimsky-Korsakov. Music—and all art—was, in the end, about beauty. By the mid-1890s, beauty as Rimsky-Korsakov understood it seemed out of fashion. He hoped that future generations would rediscover classicist aesthetics, but he feared the historic inevitability of a progressive “degeneration” in the arts. Nevertheless, his project was to strengthen the role of music in Russia and assert its value as art. This required finding the right accommodation with the Russian state and the monarchy. Ultimately, it led Rimsky on a career that paralleled and intersected with developments in Russian painting and with the work of Russia's leading visual artists.","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127542137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-11DOI: 10.23943/PRINCETON/9780691182711.003.0007
O. Panteleeva
This chapter looks at St. Petersburg Conservatory and Soviet musicology. The St. Petersburg Conservatory bears Nikolai Rimsky-Korsakov's name not only on account of the composer's contribution to the Russian classical music canon, but because he is perceived as a progenitor of the institutionalized study of music in Russia—both practical and theoretical. It is true that Rimsky-Korsakov played a leading role in shaping the first syllabi of music-theoretical courses at the St. Petersburg Conservatory. However, the lineage that connects these courses to the present-day curricula is by no means as direct as it is sometimes painted. The chapter then argues that under Rimsky-Korsakov, music theory was seen as the handmaiden to composition, which hindered the institutionalization of historical musicology.
{"title":"St. Petersburg Conservatory and the Beginnings of Russian Musicology","authors":"O. Panteleeva","doi":"10.23943/PRINCETON/9780691182711.003.0007","DOIUrl":"https://doi.org/10.23943/PRINCETON/9780691182711.003.0007","url":null,"abstract":"This chapter looks at St. Petersburg Conservatory and Soviet musicology. The St. Petersburg Conservatory bears Nikolai Rimsky-Korsakov's name not only on account of the composer's contribution to the Russian classical music canon, but because he is perceived as a progenitor of the institutionalized study of music in Russia—both practical and theoretical. It is true that Rimsky-Korsakov played a leading role in shaping the first syllabi of music-theoretical courses at the St. Petersburg Conservatory. However, the lineage that connects these courses to the present-day curricula is by no means as direct as it is sometimes painted. The chapter then argues that under Rimsky-Korsakov, music theory was seen as the handmaiden to composition, which hindered the institutionalization of historical musicology.","PeriodicalId":436455,"journal":{"name":"Rimsky-Korsakov and His World","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127918155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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