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attempted to control them with strict rules—applying his "musical conscience", as he called it. In this sense, he was both a progressive and a conservative composer. The whole tone and octatonic scales were both considered adventurous in the
Western classical tradition, and Rimsky-Korsakov's use of them made his harmonies seem radical. Conversely, his care about how or when in a composition he used these scales made him seem conservative compared with later composers like
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Maes, in reviewing
Mussorgsky's scores, wrote that Rimsky-Korsakov allowed his "musical conscience" to dictate his editing, and he changed or removed what he considered musical over-experimentation or poor form. Because of this, Rimsky-Korsakov has been accused of pedantry in "correcting", among other things, matters of harmony. Rimsky-Korsakov may have foreseen questions over his efforts when he wrote,
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in these works often lacks dramatic power, a seemingly fatal flaw in an operatic composer. This may have been consciously done, as he repeatedly stated in his scores that he felt operas were first and foremost musical works rather than mainly dramatic ones. Ironically, the operas succeed in most cases by being deliberately non-dramatic.
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in a painting or events reported through another non-musical source. The second category of works are more academic, such as his First and Third
Symphonies and his Sinfonette. In these, Rimsky-Korsakov still employed folk themes; however, he subjected these them to abstract rules of musical composition.
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If
Mussorgsky's compositions are destined to live unfaded for fifty years after their author's death (when all his works will become the property of any and every publisher), such an archeologically accurate edition will always be possible, as the manuscripts went to the Public Library on leaving me.
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More debatable, according to Maes, is Rimsky-Korsakov's editing of
Mussorgsky's works. After Mussorgsky's death in 1881, Rimsky-Korsakov revised and completed several of Mussorgsky's works for publication and performance, helping to spread Mussorgsky's works throughout Russia and to the West. However
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cite an analysis of
Borodin's manuscripts by musicologist Pavel Lamm, which showed that Rimsky-Korsakov and Glazunov discarded nearly 20 percent of Borodin's score. According to Maes, the result is more a collaborative effort by all three composers than a true representation of Borodin's intent. Lamm
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The purely orchestral works fall into two categories. The best-known ones in the West and perhaps the finest in overall quality are mainly programmatic in nature—in other words, the musical content and how it is handled in the piece is determined by the plot or characters in a story, the action
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While Rimsky-Korsakov is best known in the West for his orchestral works, his operas are more complex, offering a wider variety of orchestral effects than in his instrumental works and fine vocal writing. Excerpts and suites from them have proved as popular in the West as the purely orchestral works.
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Rimsky-Korsakov's editing of works by The Five are significant. It was a practical extension of the collaborative atmosphere of The Five during the 1860s and 1870s, when they heard each other's compositions in progress and worked on them together, and was an effort to save works that would otherwise
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Rimsky-Korsakov taught theory and composition to 250 students over his 35-year tenure at the Saint
Petersburg Conservatory, "enough to people a whole 'school' of composers." This does not include pupils at the two other schools where he taught, including Glazunov, or those he taught privately at his
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wrote that the operas "open up a delightful new world, the world of the
Russian East, the world of supernaturalism and the exotic, the world of Slavic pantheism and vanished races. Genuine poetry suffuses them, and they are scored with brilliance and resource." Nevdertheless, Rimsky-Korsakov's music
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pale compared to the luxuriance of the more popular works of the 1880s. While a principle of highlighting "primary hues" of instrumental color remained in place, it was augmented in the later works by a sophisticated cachet of orchestral effects, some gleaned from other composers including Wagner,
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Rimsky-Korsakov felt talented students needed little formal dictated instruction. His teaching method included distinct steps: show the students everything needed in harmony and counterpoint; direct them in understanding the forms of composition; give them a year or two of systematic study in the
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world of folk rites. Rimsky-Korsakov wrote that his interest in these songs was heightened by his study of them while compiling his folk song collections. He wrote that he "was captivated by the poetic side of the cult of sun-worship, and sought its survivals and echoes in both the tunes and the
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remembered that Rimsky-Korsakov began the first class of the term by saying, "I will speak, and you will listen. Then I will speak less, and you will start to work. And finally I will not speak at all, and you will work." Malko added that his class followed exactly this pattern. "Rimsky-Korsakov
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Rimsky-Korsakov's non-programmic music, though well-crafted, do not come up to the same level of inspiration; he needed fantasy to bring out the best in him. The First
Symphony follows the outlines of Schumann's Fourth extremely closely and is slighter in its thematic material than what he would
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Of this range Rimsky-Korsakov wrote in 1902, "In every new work of mine I am trying to do something that is new for me. On the one hand, I am pushed on by the thought that in this way, will retain freshness and interest, but at the same time I am prompted by my pride to think that many facets,
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Rimsky-Korsakov maintained an interest in harmonic experiments and continues exploring new idioms throughout his career. However, he tempered this interest with an abhorrence of excess and kept his tendency to experiment under constant control. The more radical his harmonies became, the more he
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words of the songs. The pictures of the ancient pagan period and spirit loomed before me, as it then seemed, with great clarity, luring me on with the charm of antiquity. These occupations subsequently had a great influence in the direction of my own activity as a composer".
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Rimsky-Korsakov was open about the influences in his music, telling Vasily
Yastrebtsev, "Study Liszt and Balakirev more closely, and you'll see that a great deal in me is not mine". He followed Balakirev in his use of the whole tone scale, treatment of folk songs and musical
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and piano music. While the piano music is relatively inimportant, many of the art songs possess a delicate beauty. While they yield in overy lyricism to Tchaikovsky and Rachmaninoff, otherwise they reserve their place in the standard repertory of Russian singers.
709:, Rimsky-Korsakov edited and orchestrated the existing fragments of the opera while Glazunov composed and added missing parts, including most of the third act and the overture. This was exactly what Rimsky-Korsakov stated in his memoirs. However, both Maes and
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Maes stated that time proved Rimsky-Korsakov correct when it came to posterity's re-evaluation of Mussorgsky's work. Mussorgsky's musical style, once considered unpolished, is now admired for its originality. While Rimsky-Korsakov's arrangement of
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development of technique, exercises in free composition and orchestration; instill a good knowledge of the piano. Once these were properly completed, studies would be over. He carried this attitude into his conservatory classes. Conductor
773:", which were written for specific ritual occasions. The ties to folk culture was what interested him most in folk music, even in his days with The Five; these songs formed a part of rural customs, echoed old Slavic paganism, and the
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Program music came naturally to Rimsky-Korsakov. To him, "even a folk theme has a program of sorts." He composed the majority of his orchestral works in this genre at two periods of his career—at the beginning, with
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Rimsky-Korsakov may have saved the most personal side of his creativity for his approach to Russian folklore. Folklorism as practiced by Balakirev and the other members of The Five had been based largely on the
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For the present, though, there was need of an edition for performances, for practical artistic purposes, for making his colossal talent known, and not for the mere studying of his personality and artistic sins.
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Where Rimsky-Korsakov changed between these two sets of works was in orchestration. While his pieces were always celebrated for their imaginative use of instrumental forces, the sparer textures of
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but many invented by himself. As a result, these works resemble brightly colored mosaics, striking in their own right and often scored with a juxtaposition of pure orchestral groups. The final
137:, possibly his best known work. He proved a prolific composer but also a perpetually self-critical one. He revised every orchestral work up to and including his Third Symphony—some, like
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do demonstrate his originality. He developed both these compositional devices for the "fantastic" sections of his operas, which depicted magical or supernatural characters and events.
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stated that because of the extremely chaotic state of Borodin's manuscripts, a modern alternative to Rimsky-Korsakov and Glazunov's edition would be extremely difficult to complete.
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which has often been heard by itself in orchestral programs, and in countless arrangements and transcriptions, most famously in a piano version made by Russian composer
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three times—in 1869–70, 1892 and 1902. While not a member of The Five himself, Dargomyzhsky was closely associated with the group and shared their musical philosophy.
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and Liszt for harmonic adventurousness. (The violin melody used to portray Scheherazade is very closely related to its counterpart in Balakirev's symphonic poem
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Musicologist Francis Maes wrote that while Rimsky-Korsakov's efforts are laudable, they are also controversial. It was generally assumed that with
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compose later. The Third Symphony and Sinfonette each contains a series of variations on less-than-best music that lead to tedium.
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Rimsky-Korsakov followed the musical ideals espoused by The Five. He employed Orthodox liturgical themes in the
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elaborated lyric song. The characteristics of this song exhibit extreme rhythmic flexibility, an
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is still the version generally performed, Rimsky-Korsakov's other revisions, like his version of
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either have languished unheard or become lost entirely. This work included the completion of
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explained everything so clearly and simply that all we had to do was to do our work well."
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use a robust "Russian" theme to portray the male progagonists (the title character in
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Rimsky-Korsakov's interest in pantheism was whetted by the folkloristic studies of
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171:.) Nevertheless, while he took Glinka and Liszt as his harmonic models, his use of
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Arrangement for two pianos by Russel Warner, performed by Neal and Nancy O'Doan
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patterns. Meanwhile, another pattern alternates with chromatic scales in the
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for its first production in 1869. He also completely orchestrated the opera
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1929 recording of transcription for violin and piano, featuring violinist
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Rimsky-Korsakov also wrote a body of choral works, both secular and for
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The Legend of the Invisible City of Kitezh and the Maiden Fevroniya
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devices, moods and styles, if not all, should be with my reach."
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490:) and a more sinuous "Eastern" theme for the female ones (the
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is a prime example of this scoring. The theme is assigned to
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was a powerful exponent of the Rimsky-Korsakov version of
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playing in unison, and is accompanied by a combination of
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service. The latter include settings of portions of the
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and a third pattern of rhythms is played by percussion.
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phrase structure and tonal ambiguity. After composing
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103:List of compositions by Nikolai Rimsky-Korsakov
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282:Problems playing these files? See
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446:Opening themes of the Sultan and
169:Second Overture on Russian Themes
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122:Russian Easter Festival Overture
58:Create or edit your own sandbox
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1021:The New Grove Russian Masters 2
785:. That author's standard work,
554:, arrangements of folk songs,
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81:Submit your draft for review!
646:Editing the work of The Five
257:The Song of the Indian Guest
149:and complete recomposition.
1045:Morrison, 116–117, 168–169.
498:and the title character in
294:The Flight of the Bumblebee
236:The Flight of the Bumblebee
54:not an encyclopedia article
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229:performed by US Army Band
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165:Russian Easter Overtures
564:Russian Orthodox Church
472:Russian Easter Overture
408:The Tale of Tsar Saltan
299:The Tale of Tsar Saltan
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212:Flight of the Bumblebee
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783:Alexander Afanasyev
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546:Smaller-scale works
427:Harold C. Schonberg
326:The Golden Cockerel
305:Sergei Rachmaninoff
131:and orientalism in
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763:asymmetrical
755:Protyazhnaya
754:
753:dance song.
751:protyazhnaya
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97:Compositions
67:Main sandbox
64:
38:
1010:, 16:32–33.
775:pantheistic
707:Prince Igor
658:Prince Igor
386:Fairy tales
155:orientalism
1328:Maes, 188.
1311:ReferenceB
1297:, 165–166.
1272:Maes, 187.
1248:Maes, 115.
1226:Maes, 181.
1217:Maes, 183.
1179:Taruskin,
1170:Maes, 182.
1092:Malko, 49.
1056:Stravinsky
1054:Taruskin,
913:Maes, 180.
890:, 197–198.
616:Artur Kapp
284:media help
173:whole tone
1315:help page
1284:Maes, 65.
1157:help page
1135:help page
1110:help page
1032:Abraham,
1019:Abraham,
1006:Abraham,
984:Abraham,
972:, 21:405.
934:Abraham,
886:Abraham,
873:Abraham,
860:help page
839:, 21:409.
799:khorovodi
791:May Night
767:May Night
663:César Cui
655:'s opera
552:art songs
536:woodwinds
528:trombones
376:May Night
50:user page
39:the user
1153:mfw21401
1131:abng1628
1058:, 1:163.
988:, 16:33.
938:, 16:32.
888:Slavonic
875:Slavonic
581:Students
470:and the
45:Jonyungk
37:This is
1106:maes171
856:maes175
575:atheism
556:chamber
390:legends
296:" from
69:|
41:sandbox
1239:, 249.
1196:, 283.
1183:, 185.
877:, 197.
618:, and
532:string
364:Epics.
191:Operas
160:Tamara
115:(1898)
92:Legacy
1181:Music
1080:, 34.
1036:, 288
1023:, 27.
520:tutti
514:Antar
508:Sadko
496:Antar
484:Antar
476:Antar
460:Antar
456:Sadko
320:Sadko
314:Mlada
143:Sadko
139:Antar
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511:and
492:peri
478:and
458:and
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