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The Russian Opera by Rosa Newmarch

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KEODOR IVANOVJCH SHALIAPIN THE RUSSIAN OPERA BY ROSA NEWMARCH WITH SIXTEEN ILLUSTRATIONS HERBERT JENKINS LIMITED ARUNDEL PLACE HAYMARKET LONDON S.W. ffl MCMXIV 1737 THE ANCHOB PBESS, LTD., TIPTBEE, ESSEX. TO FEODOR IVANOVICH SHALIAPIN IN MEMORY OF OUR OLD FRIEND VLADIMIR VASSILIEVICH STASSOV PREFACE January igth, 1900, and April BETWEEN4th, 1905, I read before the Musical Association of London five papers deal- ing with the Development of National Opera in Russia, covering a period from the first perform- ance 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. Mr. Seth Hughes, 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 viii PREFACE 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 even in Russia itself while the copious, ; 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 Cesar 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 PREFACE ix has grown wiser. The last few years have witnessed the vindication of Moussorgsky's a consummation genius in France and England ; devoutly wished, but hardly anticipated, by those who had been convinced from the begin- ning 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 forth- coming season it is Borodin's turn to be introduced to the British public, and I confi- dently 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 1 their turn in the character of producers." 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 1 Letter from Borodin to Countess Mercy-Argenteau x PREFACE things to be attempted and those to be shunned. Too much technical analysis has been intention- ally 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 will be ; average opera-goer glad to gain a general view of the subject, unencum- bered by the monotonous terminology of musical analysis. CONTENTS CHAPTER I THE DAWN OF MUSIC IN RUSSIA PAGE Primitive music of the Russian Slavs. The four periods of Russian music. The Skomorokhi or Gleemen. Clerical Intolerance. Church pa- geants. Tsar Alexis Mikhailovich, 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. I 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 xii CONTENTS CHAPTER IV GLINKA'S OPERAS PAGE Marriage and home surroundings. A Life for the Tsar. Features of the music. Its reception in Russia. Prince Kholmsky and the songs. Russian and Liudmilla. Later works. Failure of health. His interpretation of Russian na- tionality 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 aca- demic party. Rapid increase of conservatoires and schools. Struggle between the young na- tionalists 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 d6but as a prodigy pianist. Musical studies in Berlin. Court pianist at St. Petersburg. His early operas. Dmitri Donskoi and Thomoushka Dourachok. CONTENTS xiii PAGE Biblical Imperial Russian Musical Society. Para- operas, The Tower of Babel, The Maccabees, dise Lost, The Shulamite. Secular and national The Merchant operas, The Demon, Nero, and Kalashnikov. Historical Concerts. Rubinstein's and in- opportunism. Estimate of his work fluence. l62 CHAPTER VIII BALAKIREV AND HIS DISCIPLES Balakirev. The nationalist circle. Social inter- course. Rimsky-Korsakov. Goussakovsky. School. Borodin. The The Free Pourgolds." the Hostility of the Press. Solidarity of Invincible Band." 183 CHAPTER IX PERSONAL MEMORIES OF BALAKIREV'S CIRCLE Gradual dissolution of the circle of friends. Personal reminiscences of Balakirev. Individual develop- " ment of the Invincible Band." Belaiev. Lody- Personal jensky. Liadov. Vladimir Stassov. Reminiscences. Z 98 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-Kor- sakov as editor. 218 CHAPTER XI BORODIN AND CUI Borodin. Biographical details. Prince Igor. Com- and Liud- parison of Igor with Glinka's Russian xiv CONTENTS PAGE milla. Orientalism and optimism in Prince Igor. Death of Borodin. Cesar Cui. His French - descent. Early opera's', The Mandarin's Son, the The Captive in Caucasus, William Ratcliff, Angela, The Saracen. A French opera, Le Fli- bustier. Mam'selle Fifi. Analysis of Cui's style. 253 CHAPTER XII RIMSKY-KORSAKOV Rimsky-Korsakov's position as a national com- poser 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. Boy- arinya Vera Sheloga. Sadko. The Tsar's Bride. The Legend of Tsar Saltan. The use of the leit- motif. Servilia. Kastchei the Immortal. Wag- nerian 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. ugene . Oniegin. The Maid of Orleans. The composer's enthusiasm for this opera. Mazeppa. Analysis of the subject. Charodeika (The Enchantress). v The Queen of Spades. lolanthe. Analysis y. of Tchaikovsky's operatic styles. 334 CONTENTS xv CHAPTER XIV CONCLUSION PAGE Some minor composers. Napravnik : The Citizens of Nijny-Novgorod, Harold, Doubrovsky, Francesca da Rimini. Blarambetg :, Skomorokhi, The Rous- salka-Maidenrfoushinets, The Wave. Arensky : A Dream on the Volga, Raphael, Nal and Damyanti. JRachmaninoy : Aleko. Grechyaninov : Dolrynia ^Niffiftch. -Ippolitov-Ivanov : Ruth, Assya. Kalin- nikov : The Year
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