Journal articles: 'Rimsky-Korsakov'

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Spitzer, Michael. "Rimsky-Korsakov." Nineteenth-Century Music Review 4, no. 1 (June 2007): 164–66. http://dx.doi.org/10.1017/s1479409800000215.

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Davis, Richard Beattie. "Rimsky-Korsakov in Reproduction." Musical Times 132, no. 1778 (April 1991): 178. http://dx.doi.org/10.2307/966128.

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Pines, R. "Sadko. Nikolai Rimsky-Korsakov." Opera Quarterly 12, no. 3 (January 1, 1996): 118–20. http://dx.doi.org/10.1093/oq/12.3.118.

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Roseberry, Eric, Sveshnikov Academic Russian Choir, and Andrey Chistiakov. "Rimsky-Korsakov: The Tsar's Bride." Musical Times 134, no. 1804 (June 1993): 348. http://dx.doi.org/10.2307/1003074.

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Wakeling, Dennis W. "Zolotoy Pyetushok. Nikolai Rimsky-Korsakov." Opera Quarterly 9, no. 2 (1992): 165–67. http://dx.doi.org/10.1093/oq/9.2.165.

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Taruskin, Richard. "Catching Up with Rimsky-Korsakov." Music Theory Spectrum 33, no. 2 (October 2011): 169–85. http://dx.doi.org/10.1525/mts.2011.33.2.169.

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Ewell, Philip. "On Rimsky-Korsakov’s False (Hexatonic) Progressions Outside the Limits of a Tonality." Music Theory Spectrum 42, no. 1 (December 27, 2019): 122–42. http://dx.doi.org/10.1093/mts/mtz020.

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Abstract It is well known that Nikolai Rimsky-Korsakov used various types of octatonicism in his music, and that he likely passed on this eight-note device to his students, including, most famously, Igor Stravinsky. However, little work has been done with respect to Rimsky-Korsakov’s use of hexatonicism, despite its frequent appearance in his music. Octatonic and hexatonic structures arise naturally in Rimsky’s concept of “false progressions” along the cycle of minor and major thirds, respectively, a concept that he included at the end of his influential harmony textbook from 1885. In this article I examine his use of hexatonicism and demonstrate how it was a significant part of both his pedagogy and his compositions. In music examples selected from his operas, I identify three types of hexatonic structures and suggest specific dramatic and expressive functions for why he may have used them. I then discuss Rimsky’s own beliefs, expressed in his writings, about the hexatonic collection, which he called “wild” and “luring.” Ultimately, I aim to enrich the discourse on Rimsky-Korsakov the teacher, writer, and composer, beyond the typical Western narrative of Rimsky-Korsakov as, primarily, the teacher of Igor Stravinsky.

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Graeme, R. "The Tsar's Bride. Nikolai Rimsky-Korsakov." Opera Quarterly 13, no. 4 (January 1, 1997): 204–8. http://dx.doi.org/10.1093/oq/13.4.204.

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Pines, R. "The Tsar's Bride. Nikolai Rimsky-Korsakov." Opera Quarterly 17, no. 1 (January 1, 2001): 154–57. http://dx.doi.org/10.1093/oq/17.1.154.

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Robinson, Harlow. "The Tsar's Bride. Nikolai Rimsky-Korsakov." Opera Quarterly 8, no. 4 (1991): 112–14. http://dx.doi.org/10.1093/oq/8.4.112.

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Baur, Steven. "Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-1908." Journal of the American Musicological Society 52, no. 3 (1999): 531–92. http://dx.doi.org/10.2307/831792.

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The octatonic scale has provided composers an important alternative to common diatonic practice since the middle of the nineteenth century. Scholars have traced a direct line of transmission with respect to octatonic writing passing from Liszt, through Rimsky-Korsakov, to Stravinsky. But octatonicism also figures prominently in the music of Maurice Ravel, and several works from the first fifteen years of his career implicate Ravel directly in the octatonic legacy, simultaneously bearing the influence of nineteenth-century chromatic harmony as practiced by Liszt and Rimsky-Korsakov and anticipating methods of octatonic partitioning heretofore considered specifically Stravinskian innovations.

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Guseinova, Zivar. "“Tchaikovsky and Rimsky-Korsakov as Reflected in Their Friendship”: An Unpublished Article by А. N. Rimsky-Korsakov." Vestnik of Saint Petersburg University. Arts 8, no. 4 (December 2018): 567–77. http://dx.doi.org/10.21638/spbu15.2018.402.

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Ramírez, Federico. "El discurso operístico como fuente histórica." Sociohistórica, no. 49 (March 1, 2022): e167. http://dx.doi.org/10.24215/18521606e167.

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Law, Joe K. "Snegurochka (The Snow Maiden). Nicolai Rimsky-Korsakov." Opera Quarterly 3, no. 4 (1985): 116–17. http://dx.doi.org/10.1093/oq/3.4.116.

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Guenther, Roy J., Gerald R. Seaman, Steven Griffiths, and Rimsky-Korsakov. "Nikolai Andreevich Rimsky-Korsakov: A Guide to Research." Notes 48, no. 2 (December 1991): 491. http://dx.doi.org/10.2307/942047.

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Kovnatskaya, Ludmila. "Shostakovich and the LASM." Tempo, no. 206 (October 1998): 2–6. http://dx.doi.org/10.1017/s0040298200006665.

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In the 1920s there were plenty of new opportunities for young composers to meet colleagues of all ages in the many circles, societies and associations which were then in existence. The most interesting, though short-lived of them was the Leningrad Association of Contemporary Music (LASM), which declared itself to be ‘a gathering of everyone connected with music today’. The Association was planned as a local branch of the International Society of Contemporary Music (ISCM) and of the central Moscow association. But in fact the LASM acted quite independently. Its founders were people who were already well-placed and even high-ranking in the country's musical life: the musicologists and critics Boris Asafyev (Igor Glebov), Vyacheslav Karatigin, Alexander Ossovsky and Andrey Rimsky-Korsakov, the composers Yuliya Weysberg, Alexander Zhitomirsky, Andrey Paschenko, Yuriy Tyulin, Maximilian Shteinberg, Lyubov Shtreikher-Bikhter and Vladimir Shcherbachev. Their first meeting took place on 15 April 1925 at the home of Rimsky-Korsakov and Weysberg.

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Almeida, Jorge De. "Melodias de Sheherazade: Um ensaio sobre o orientalismo musical." Tiraz 5 (December 10, 2008): 44. http://dx.doi.org/10.11606/issn.2594-5955.tiraz.2008.135357.

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O ensaio desenvolve algumas variações históricas e teóricas sobre o tema do “Orientalismo musical” (discutido por Aldous Huxley, Edward Said e Derek Scott) tendo como base uma interpretação do poema sinfônico “Sheherazade”, composto em 1889 pelo russo Rimsky-Korsakov, inspirado pela leitura do livro das Mil e uma noites

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Babenko, ksana Vasil’evna. "TO THE QUESTION OF THE HISTORICAL SIGNIFICANCE OF “THE MIGHTY BUNCH”." Globus 8, no. 3(68) (August 4, 2022): 7–14. http://dx.doi.org/10.52013/2658-5197-68-3-2.

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The article characterizes the historical significance of the creative community of composers “The Mighty Bunch”. The activity of M.A. Balakirev, A.P. Borodin, C.A. Cui, M.P. Mussorgsky and N.A. Rimsky-Korsakov is considered. The conclusion is made about the peculiarities of the creativity of “The Mighty Bunch”, its ethnically Russian orientation.

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Nanqiao, Lyu. "Contribution of the “Mighty Bunch” Composers to the Development of Russian Music Pedagogy of the XIX Century." Prepodavatel XXI vek, no. 3, 2020 (2020): 201–11. http://dx.doi.org/10.31862/2073-9613-2020-3-201-211.

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The article considers the pedagogical component of the activity of the composers of the “Mighty bunch” — M. A. Balakirev and N. A. Rimsky-Korsakov, who had a significant influence on the formation and development of Russian music education. Developing the musical and aesthetic ideas put forward by the creative work of the kuchkists, both representatives of the “New Russian music school” justified progressive pedagogical attitudes and principles that are in great demand in the modern practice of music education. Realizing their pedagogical views in the process of leadership and teaching in such Russian musical and educational institutions of the 19th century as the free music school, the Court singing Capella, the St. Petersburg Conservatory, etc., the above-mentioned representatives of the “Mighty bunch” moved to solve the problem they faced from alternative positions: if Balakirev was characterized by an empirical approach to solving creative, including pedagogical tasks, then Rimsky-Korsakov was able to justify the conceptual foundations and basic provisions of Russian music pedagogy. This article is devoted to the consideration of these provisions.

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Белоус, Ю. М. "Music Press-1917: Peripeteias in the Editorial Policy of the Muzykalny Sovremennik Magazine." Журнал Общества теории музыки, no. 1(25) (April 1, 2019): 45–50. http://dx.doi.org/10.26176/otmroo.2019.25.1.005.

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Цель данной статьи — выявить особенности публикаций и редакционной политики музыкальных изданий в 1917 году на примере журнала «Музыкальный современник», главным редактором которого являлся А. Н. Римский-Корсаков. По материалам музыкальной прессы можно проследить противостояние новаторских и академических взглядов в искусстве на фоне революционной обстановки в социуме. Эго-документы (например, личная переписка Б. В. Асафьева как автора ряда музыкальных изданий того времени и А. Н. Римского-Корсакова как редактора) помогают создать более подробную картину. The purpose of this article is to reveal the publication features and editorial policy of musical editions in 1917 using the example of the Muzykalny Sovremennik magazine which editor-in-chief was A. N. Rimsky-Korsakov. On the materials of the musical press it is possible to track the opposition of innovative and academic views in art against the background of a revolutionary situation in the society. The ego-documents (for example, personal correspondence of B. V. Asafyev as the author of different musical editions of that time and A. N. Rimsky-Korsakov as an editor) allows us to create a more detailed picture.

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Kahan, Sylvia. ""Rien de la tonalite usuelle": Edmond de Polignac and the Octatonic Scale in Nineteenth-Century France." 19th-Century Music 29, no. 2 (2005): 097–120. http://dx.doi.org/10.1525/ncm.2005.29.2.097.

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The reification and theorization of the octatonic scale, arguably one of the principal organizational devices of twentieth-century music, have been long in coming. Rimsky-Korsakov was the first to describe the scale, in an 1867 letter, discussing its use as a Leitmotiv in the symphonic poem Sadko. Stravinsky used the collection as the basis for many of his groundbreaking works, especially The Rite of Spring, but never acknowledged the fundamental role that the "Rimsky-Korsakov scale" played in his compositional technique. It took another thirty years for Messiaen to identify the collection as one of the "modes of limited transposition." And another twenty years would pass before Arthur Berger, in a 1963 article, coined the name "octatonic scale."The post-Berger generation of scholars, beginning with van den Toorn and Taruskin, have continued to shed light on the functional and formal uses of the octatonic scale. Taruskin has traced the influence of Schubert's and Liszt's use of harmonic progressions based on mediant and diminished-seventh relations on Rimsky-Korsakov, who in turn influenced a whole generation of early modernist Russians. However, the fact that Rimsky-Korsakov never wrote down in any systematic way the theory underlying the scale that bore his name--in the same way that he codified his theories of orchestration--meant that its presence in early modernist compositions, although used frequently and conspicuously by his followers, remained obscure to those outside his circle. Therefore, the presence of the octatonic collection in the music of non-Russian early modernist composers cannot be easily explained, and the sources of influence are harder to trace. Interestingly, it appears that an important historical link between nineteenth- and twentieth-century octatonic composition--a link with particular implications for the presence of octatonicism in early modernist French music--is found in the music and theoretical writings of Prince Edmond de Polignac (1834--1901), an aristocrat and amateur French composer, who, in 1879, penned not only the first pervasively octatonic composition, but also what appears to be the first treatise on octatonic theory; he went on to write several other compositions based on the "gammes chromatico-diatoniques." In 1894 one of PolignacÕs contemporaries, musicologist Alexandre de Bertha, wrote and lectured extensively about his "discovery" of the "gammes enharmo-niques." In this article, I examine the reception of the works and ideas of Polignac and Bertha by contemporary critics and composers, and PolignacÕs role as an important precursor of modern octatonic theory.

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Kiun, Hwang. "Rimsky-Korsakov"s "Snegurochka": From Folktale to Synthesis of Arts." Korean Journal of Russian Language and Literature 33, no. 3 (September 30, 2021): 237–74. http://dx.doi.org/10.38077/kjrll.2021.9.33.3.237.

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Alexander, Tamsin. "Rimsky-Korsakov and his World. Ed. by Marina Frolova-Walker." Music and Letters 100, no. 4 (November 1, 2019): 733–35. http://dx.doi.org/10.1093/ml/gcz069.

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MORRISON, SIMON. "The semiotics of symmetry, or Rimsky-Korsakov's operatic history lesson." Cambridge Opera Journal 13, no. 3 (November 2001): 261–93. http://dx.doi.org/10.1017/s0954586701002610.

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Rimsky-Korsakov dwelled at length on his place in music history. His musings informed his creative processes, notably his handling of operatic time and space relationships. His stage works rely on structural and syntactic reflection rather than patterns of cause and effect for cohesion. This article examines the narrative contents of Sadko (1896), a setting of the merchant tale ‘‘Sadko the Rich Trader” that follows the contours of the Orpheus parable. The analysis, focusing on the mirror relationships between Russians and non-Russians, indicates that the composer conceived the score as a parody of nationalism and orientalism. In depicting self as other and other as self, Sadko also demonstrates the inherent universality, rather than the inherent Russianness, of Rimsky-Korsakov’s music.

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Bullock, Philip Ross. "Lyric and Landscape in Rimsky-Korsakov's Songs." 19th-Century Music 40, no. 3 (2017): 223–38. http://dx.doi.org/10.1525/ncm.2017.40.3.223.

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Observing the use of landscape as a category of reception, whether in nineteenth-century debates about artistic realism or Soviet-era criticism, this article examines the uses of landscape in several songs by Rimsky-Korsakov and replaces a persistent emphasis in criticism on questions of representation with a focus on how music generates a sense of subjectivity. Three approaches facilitate a more subtle and variegated understanding of Rimsky-Korsakov's “soundscapes” than has been proposed so far. First, landscape is interpreted as a facet of Russian national identity in the second half of the nineteenth century. Second, the evocation of the sounds of the natural world is seen as a metapoetic commentary on the creative act, providing an “internal” commentary on landscape to match the “external” one of the nation. Intertwined with these two themes is a series of parallels between music, literature, and the visual arts, which together show that Rimsky-Korsakov's songs are indicative of a tension between dynamism and stasis that is characteristic of musical representation of landscapes, and that has often been seen as characteristic of Russian music more generally.

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Nikulin, Ivan. "Metropolitan Ignatius (Rimsky-Korsakov) from Siberia and his attitude to the Greeks." Elpis : czasopismo teologiczne Katedry Teologii Prawosławnej Uniwersytetu w Białymstoku, no. 27 (2013): 153–57. http://dx.doi.org/10.15290/elpis.2013.27.20.

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Stepanova, Ekaterina, and Nikita Miroshnikov. "THE REASONABLENESS OF THE DELETION OF THREE SOLO SCENES (WERE REMOVED BY E. NAPRAVNIK) FROM THE PREMIERE OF OPERA "THE SNOW MAIDEN" BY RIMSKY-KORSAKOV." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 11 (2021): 36–50. http://dx.doi.org/10.17223/26188929/11/7.

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The article considers the reasonableness of removal of three solo scenes from the premiere of "The Snow Maiden" by Rimsky-Korsakov. Often, the directorate of the theater does not really follow artistic aims. Main goals are increasing the popularity of the performance and the sales of tickets. Therefore, it is inevitable to use many kinds of cutting the play. Unfortunately, one way or another, this path has negative sides – the perception of the work is distorted, since not all scenes can be easily removed from the performance without damaging it.

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Ader, Lidia. "MICROTONAL STORM AND STRESS: GEORGY RIMSKY-KORSAKOV AND QUARTER-TONE MUSIC IN 1920S SOVIET RUSSIA." Tempo 63, no. 250 (October 2009): 27–44. http://dx.doi.org/10.1017/s0040298209000345.

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‘Passed by the political censor’ – Commissar LunacharskyThe new Russian generation of composers in 1920s Russia is widely known as the ‘musical avant-garde’. Maximilian Shteinberg, the professor of the Petrograd-Leningrad Conservatoire, who studied under Nikolay Rimsky-Korsakov, called his pupils more simply: ‘musical lefties’. The older generation tried to define this new trend that was evolving as the younger generation' explorations in the fields of musical systems, sounds, subjects, etc. Among the radical musical events in 1920s Soviet Russia, the quarter-tone system of temperament takes first place.

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Ivanov, A. I. "FROM THE LEGACY OF N. A. RIMSKY-KORSAKOV: CONCERTO FOR TROMBONE AND BRASS BAND." Arts education and science 2, no. 31 (2022): 85–90. http://dx.doi.org/10.36871/hon.202202011.

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The article deals with the Concerto for Trombone and Brass Orchestra by N. A. Rimsky-Korsakov (1877) as one of the first compositions of this genre in Russia. The context of the work is created by the composer's own concert works and early scores for trombone and orchestra by European masters (G. Wagenseil, L. Mozart, F. David). A brief digression into history allowed us to mention the authors who have included trombones in opera scores (D. Meyerbeer, R. Wagner) and to name J. Raff, who was one of the first to use trombones in his violin, cello and piano concerts. It is emphasized that Rimsky-Korsakov's Concerto displays some important properties of F. Liszt's and M. Glinka's writing principles, there is a tangible reliance on the traditions of his contemporaries — M. Balakirev and P. Tchaikovsky. The result is an original, colourful concert composition, which shows the different possibilities of a solo instrument, including its virtuoso and cantilena, capable of revealing the lyrical content of the images. The Concerto's cadences are highlighted with a clear reminder of opera recitative scenes. A detailed analysis of the musical text is given, the specificity of its musical language is identified.

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Дискин, Кирилл Владимирович, and Тобиас ван дер Пальс. "By Pen and Baton: Nikolai van Gilse van der Pals Presents Rimsky-Korsakov in Europe." Музыкальная академия, no. 3(775) (September 27, 2021): 106–19. http://dx.doi.org/10.34690/181.

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Николай ван Гильзе ван дер Пальс (1891-1969) был одним из немногих популяризаторов творчества Н. А. Римского-Корсакова в Западной Европе в период между двумя мировыми войнами, когда его музыка была там еще мало известна, особенно в немецкоязычных странах. Николай ван Гильзе ван дер Пальс написал первую монографию об операх Римского-Корсакова (опубликована в 1929 году в Лейпциге), регулярно включал его музыку в свои программы, исполняя ее как дирижер в разных странах. В статье на основе архивных документов, крайне скупых сведений в научной литературе и мемуаристике реконструируется биография ван Гильзе ван дер Пальса, освещаются его разнообразные связи с музыкальным миром Санкт-Петербурга на рубеже XIX-XX веков. Показан его путь к музыке Римского-Корсакова, а также осмыслена его культурная миссия по популяризации творчества русского композитора. Nikolai van GiLse van der Pals (1891-1969) was one of a few persistent popuLarizers of Nikolay Rimsky-Korsakov's works in the Western Europe in the period between the two Wars, when the composer's music had been little known, especially in German-speaking countries. NikoLai van GiLse van der PaLs had not onLy written the first ever monography on Rimsky-Korsakov's operas (pubLished in 1929, Leipzig), but aLso reguLarLy incLuded Korsakov's music in his programs, performing as a conductor in different countries. In this paper, basing on the archival documents and on utmostly scanty mentions in scientific and memoire Literature, the biography of Gilse van der Pals is being reconstructed, as well as his varied connections to the musical worLd of St. Petersburg at the turn of the 19 and 20 centuries. Through the prism of the biography, his way to Rimsky-Korsakov's music is shown, and aLso his cuLturaL mission for popuLarization of the Russian composer's work is comprehended.

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Tokareva, Polina. "Development of Students’ Multiculturalism on the Basis of Understanding Works of the Opera Genre with Variety of National Colorites." Man and Education, no. 1 (2021): 44. http://dx.doi.org/10.54884/s181570410020332-0.

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The article reveals the relevance of the development of the basics of multiculturalism among schoolchildren as a tool for overcoming the large-scale crisis associated with modern spiritual and moral problems and the education of Russian citizens. The paper considers the development of understanding of musical works as one of the possible ways to the formation of spiritual and moral principles and multiculturalism among the younger generation by the example of images of foreign guests in N. A. Rimsky-Korsakov's opera "Sadko", which is included in all general education programs of the subject "Music".

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Иванова, Татьяна Григорьевна. "The Folklore Tradition of the Svir River District in a New Edition." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (August 14, 2021): 178–83. http://dx.doi.org/10.26158/tk.2021.22.2.016.

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Рецензия на: Фольклорно-этнографические материалы по Подпорожскому рай- ону Ленинградской области: Из фондов Фольклорно-этнографического центра име- ни А. М. Мехнецова Санкт-Петербургской государственной консерватории имени Н. А. Римского-Корсакова. С аудиоприложением (DVD) / Ред.-сост. Г. В. Лобкова, К. А. Мехнецова. - СПб.: Композитор, 2019. - 560 с.: ноты; [16] ил. Review of: Folklore and Ethnographic Materials on the Podporozhsky District of the Leningrad Region: From the Funds of the A. M. Mekhnetsov Folklore and Ethnographic Center of the St. Petersburg State Rimsky-Korsakov Conservatory. With an audio application (DVD). Ed. and comp. by G. V. Lobkova, K. A. Mekhnetsova. St. Petersburg: Kompozitor, 2019. 560 p.: notes; [16] ill.

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Ovechkin, E. G. "Prominent Russian maxillofacial surgeon, professor A.A. Kyandsky." Stomatology for All / International Dental review, no. 2020 1 (90) (March 2020): 56–61. http://dx.doi.org/10.35556/idr-2020-1(90)56-61.

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The study is dedicated to the life path of the Russian maxillofacial surgeon A.A. Kyandsky. The paper analyzes hard-to-reach literary and archival sources. Identified previously unknown biographical details confirming the deep spiritual connection of A.A. Kyandsky with prominent figures in Russian medicine (N.I. Pirogov, S.P. Botkin) and musical culture (M.A. Balakirev, N.A. Rimsky-Korsakov). The contribution of A.A. Kyandsky in the establishment and development of maxillofacial surgery in St. Petersburg, his work during the Great Patriotic War of 1941-1945, when he served as chief dentist of the Leningrad Front, actively participated in the treatment of soldiers who were injured in the maxillofacial region, the defenders of the besieged Leningrad.

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Belonenko, Alexander S. "The Electronic Music School Studio at the Rimsky-Korsakov State Conservatory of St. Petersburg." Leonardo Music Journal 6 (1996): 61. http://dx.doi.org/10.2307/1513308.

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SARGEANT, LYNN. "Kashchei the Immortal: Liberal Politics, Cultural Memory, and the Rimsky-Korsakov Scandal of 1905." Russian Review 64, no. 1 (January 2005): 22–43. http://dx.doi.org/10.1111/j.1467-9434.2005.00345.x.

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Fetisova, Lidiya Evgen’evna. "China through the Eyes of Russian Navigators: Forgotten Notes by V. A. Rimsky-Korsakov." Filologičeskie nauki. Voprosy teorii i praktiki, no. 12 (December 2022): 3755–60. http://dx.doi.org/10.30853/phil20220680.

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Konashev, M. B. "“As long as we are alive, we must keep our heads and… live”. Letters of soviet geneticists to F.G. Dobrzhansky." Вестник Российской академии наук 89, no. 1 (January 15, 2019): 89–98. http://dx.doi.org/10.31857/s0869-587389189-98.

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This study presents a small part of the epistolary heritage of an outstanding biologist, geneticist, and evolutionist, F.G. Dobrzhansky, which is of interest for not only geneticists but also anyone interested in the history of our country. In the correspondence of Feodosiy Grigorievich with B.L. Astaurov, D.K. Belyaev, R.L. Berg, N.N. Vorontsov, G.F. Gauze, B.M. Zavadovsky, N.P. Dubinin, G.D. Karpechenko, Yu.Ya. Kerkis, G.A. Levitsky, Zh.A. Medvedev, N.N. Medvedev, N.I. Vavilov, S.Ya. Paramonov, M.N. Rimsky-Korsakov, A.S Serebrovsky, V.N. Soifer, Yu. A. Filipchenko, I.I. Shmalgauzen, A.V. Yablokov, and other scientists, significant events have been discussed, which took place in Russian and foreign academic and university science of the 1960s and 1970s, as well as the fate of Russian immigrants in the United States.

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CADDY, DAVINIA. "Variations on the Dance of the Seven Veils." Cambridge Opera Journal 17, no. 1 (March 2005): 37–58. http://dx.doi.org/10.1017/s095458670500193x.

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Early twentieth-century Paris saw an embarrassment of half-naked women dancing with seven veils and papier-mâché heads: ‘Salomania’ had gripped the capital. By 1913 Salome was a regular feature on music hall show-bills, besides the balletic and operatic stage. This study focuses on three variations on Salome's notorious Dance of the Seven Veils, performed by Loie Fuller (1907), Ida Rubinstein (1909) and Maud Allan (from 1906) on music by Florent Schmitt, Nikolay Rimsky-Korsakov and Richard Strauss respectively. Such an investigation provides a peculiar line through the cultural and aesthetic determinants of early twentieth-century theatrical dance. In this context music takes on new narrative significance, offering ways of configuring the Dance above and beyond its mere visual surface.

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Rudenko, Tatyana Evgenevna. "Personages of Folk Laughing Culture in the Opera “Christmas Eve” by N. A. Rimsky-Korsakov." Manuskript, no. 11 (November 2020): 201–7. http://dx.doi.org/10.30853/mns200521.

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Wakeling, Dennis W. "The Legend of the Invisible City of Kitezh and the Maiden Fevronia. Nikolai Rimsky-Korsakov." Opera Quarterly 8, no. 1 (1991): 154–55. http://dx.doi.org/10.1093/oq/8.1.154.

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Свиридовская, Н. Д. "Nikolay Evreinov and Opera Theater: Strokes to His Artistic Biography." Музыкальная академия, no. 1(769) (March 29, 2020): 122–39. http://dx.doi.org/10.34690/40.

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В статье рассматривается трансформация взглядов Н. Евреинова относительно оперного театра: от нигилизма и пародирования в ранних представлениях - к созданию классических спектаклей в более поздние годы. Материалом исследования послужили язвительные шаржи режиссера периода сотрудничества с кабаре и театрами малых форм 1910-х годов, а также неоконченные проекты и осуществленные постановки опер Моцарта, Глинки и Римского-Корсакова 1920-х - начала 1930-х годов. The article deals with the transformation of N. Evreinov’s views on the opera: from nihilism and parody in the early representations—to the creation of classical performances in later years. The research material were caricatures of the stage director of the period of his collaboration with cabaret and small theaters in the 1910s, as well as unfinished projects and completed productions of operas by Mozart, Glinka and Rimsky-Korsakov in the 1920s аnd early 1930s.

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Tkachenko*, Konstantin S., and Alexey V. Zhirmunsky. "Distribution of Sessile Invertebrates in a Rocky Sublittoral Community off Rimsky-Korsakov Islands (Sea of Japan)." Marine Ecology 23, no. 3 (September 2002): 253–67. http://dx.doi.org/10.1046/j.1439-0485.2002.02806.x.

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Jiang, Qin. "The image of Oksana in the opera by N. Rimsky Korsakov “Christmas Eve”: a composer plan and a performing embodiment." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 57–72. http://dx.doi.org/10.34064/khnum2-18.04.

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Background. The modern science reconsiders various conceptions, which were influencing the theory and practice of musical art over the centuries. Particularly, there is much talk today about the fact that marking of female opera roles as “coloratura” according to the principle of their technical complexity and diapason wideness is quite nominal and not connected directly with singing voices’ gradation. Gradually entrenched tendency of denial of the female voice’s definition as “coloratura” has developed, and it is based on the argument that this characteristic reflects parameters of composer’s objectives rather than the voice’s nature. Probably, that’s why there are works in repertoire of certain female vocalists (for instance, Maria Callas and contemporary Canadian singer Natalie Choquette), which are usually performed by owners of “different” voices. However one cannot deny the fact that certain opera roles are composed specifically for coloratura soprano, despite the fact that indications of it are missing in manuscripts. N. Rimsky-Korsakov’s opera heritage is exponential in this connection; the destination of particular female roles for coloratura soprano is unquestionable – Snow Maiden, Marfa, Volkhova, Tsaritsa of Shemakha, etc. And though this roles are performed by female vocalists of various voices in today’s theatrical practice, it seems to us that voice’s characteristics have principal significant for appropriate implementation of author’s conception. Objectives. Thus, the purpose of the study is to identify the significance of the voice’s particularity factor as a carrier of a certain imagery in the composer’s conception and in the performer embodiments of opera parts (separated opera arias). Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The Gogol’s plot became the basis of several operas, the most famous of which are “Cherevichki” (“The Little Shoes”) by P. Tchaikovsky and “Noch’ pered Rozhdestvom” (“Christmas Eve”) by N. Rimsky Korsakov. The comparison of this two works clearly shows the fundamental difference in composers’ conceptions. In P. Tchaikovsky’s interpretation the lyrical line is extracted from the literary primary source. But for N. Rimsky Korsakov the comparison of the real and fantastic world becomes the main thing in this opera. Therefore the role of Vakula is written quite schematically, but Oksana’s image is interesting developed, it is presented in progress – from carefree girl to loving woman. This progress is obvious when comparing Oksana’s Arias from Act I and Act IV. The Aria from Act I is a peculiar synthesis of national and Italian singing traditions, a prime example of entrance aria (di sortita), which presents the character’s portrayal and comprises such basic components as slow introduction and episodes demonstrating technical possibilities of the voice. Oriental intonations, which are specific for composer’s vocal works, coupled with coloraturas, give the impression that Oksana is “not from this world”. According to lots of researchers, the whole N. Rimsky Korsakov’s opera “metacycle” is an artistic integrity united by a generic idea that defined the unity of approach to implementing of “type” (including female) characters. The intonational canvas of every particular role (the choice of so-called intonational complexes – “a cold” or “a warm”) is determined by character’s affiliation with natural or fairy-tale locus. Oksana’s portrayal for N. Rimsky Korsakov has been ambivalent. On the one hand, she doesn’t relate to “another world” like Snow Maiden or Volkhova; on the other hand – Oksana is a fairy-tale character. Therefore composer uses partly the same strokes in the development of the portrayal as for female fairy-tale characters. However, the formation of this character’s personality is revealed through the transformation of “cold” (fairy-tail) intonational complex to “warm” (“alive”). Two performances of the first Oksana’s Aria are briefly reviewed as an example: the concert performance by Gohar Gasparyan, an Armenian lyrical coloratura soprano (1924–2007), and a recording from the Inessa Prosalovskaya’s CD “Arias from operas”, the Russian lyrical dramatic soprano (born in 1947). G. Gasparyan’s idea was to present the portrayal of a young girl of the people. Therefore the singer levels virtuosic components of music material as much as possible, and a coloring of her voice, for which it was easy to sing the second A sharp above middle C, emphasizes lyrical hints of Oksana’s Aria. Also the significant textual cuts becomes one of important parameters of creation of a “gentle” young girl’s portrayal; they not only transform the expanded aria into the form, which is close to a song in scale, but also significantly reduce specifically those snippets, in which technical difficulties are concentrated. Version by I. Prosalovskaya presents another interpretation, original sound of which is largely due to the singer’s timbre of voice. Its deepness, expressivity and completion absolutely modify personal characteristics of the N. Rimsky-Korsakov’s character. Therefore we observe not a young girl already, but a woman – passionate and confident. Thus, it could be concluded that timbre color’s specificity of the voice of female opera singer has a significant impact on features of the character that she embodies. It is obvious that this specificity determines all the parameters of the performer’s version of the composer’s work (both a separate aria and the opera as a whole). A more detailed study of the relationship between the voice timbre and the semantic and compositional decisions characterizing an individual performer style seems to us a promising direction for further research.

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Nunokawa, Yumiko. "M. K. Čiurlionis and St. Petersburg: New Facts Concerning His Painting Black Sun." Art History & Criticism 13, no. 1 (December 1, 2017): 5–17. http://dx.doi.org/10.1515/mik-2017-0001.

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Summary It is a well-known fact among Lithuanian scholars of studies on Mikalojus Konstantinas Čiurlionis (1875–1911) that Igor Stravinsky (1882–1971) once owned Čiurlionis’ painting Black Sun (or Ballad). However, it is known only by a reproduction printed in a Russian art magazine Аполлон [Apollon]1, with a title Conte fantastique and Сказка [Fairy Tale] and Stravinsky was specified as an owner of the painting and other details have not been well-researched. Even though some researchers visited St. Petersburg to find the painting several years ago, yet no trace was ever found. In this article, first we would like to look back at Čiurlionis’ visits to St. Petersburg and then, reveal new facts on concerts in which Čiurlionis’ music was performed and more over concerning Čiurlionis’ painting Black Sun how Stravinsky became interested in the painting by introducing letters exchanged between Stravinsky, Alexandre Benois and Andrey Rimsky-Korsakov.

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Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (September 30, 2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.

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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.

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Aleksandrova, V. A. "To the History of the Production of Musorgsky’s Opera Khovanshchina in Vittorio Gui’s Stage Version (La Scala, 1933)." Art & Culture Studies, no. 1 (February 2022): 316–39. http://dx.doi.org/10.51678/2226-0072-2022-1-316-339.

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The 1933 production of Khovanshchina at La Scala conducted by Vittorio Gui (1885–1975) was chronologically the second one on the Italian opera stage, the first being the 1926 premiere. In studying the Italian productions of Khovanshchina, the 1933 stage version is usually overshadowed by the premiere; however, the performance under V. Gui’s direction was not a remake, but an independent work of artistic expression. The period of seven years between the first and second Italian productions marked a significant shift in academic and artistic attitudes to studying and performing author’s versions of M.P. Mussorgsky’s legacy in the Soviet Union, as opposed to the creative arrangements by N.A. Rimsky-Korsakov, which up to that time had been considered the standard versions. Thus, P.A. Lamm, with the support of B.V. Asafyev, initiated the publication of Mussorgsky’s Complete Works based on the composer’s autographs. The first volumes of this collection were published, including the piano-vocal score and the full score of the opera Boris Godunov and the piano-vocal score of the opera Khovanshchina. Additionally, there were several productions and concert performances of Boris Godunov based on sheet music as revised by Lamm. V. Gui was aware of the work carried out by Soviet scholars but did not have access to the manuscript of the orchestral score of Khovanshchina created by Asafyev. For this reason, he created his own stage version of the opera, having built it upon Rimsky-Korsakov’s score but changed its structure and, in individual fragments — the orchestration and the tonal plan.

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Katin, I. O., and V. A. Nesterenko. "Remote account of spotted seals on haulout sites of Rimsky-Korsakov Archipelago (Peter the Great Bay) using drones." Biodiversity and Environment of Protected Areas, no. 1 (2021): 72–81. http://dx.doi.org/10.37102/2782-1978_2021_1_6.

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Mangilev, Petr Ivanovich, and Ivan Aleksandrovich Nikulin. "The Seventeenth-Century Russian Hierarch Travelling through his Diocese: The Case of Ignatius (Rimsky-Korsakov), Metropolitan of Siberia." Христианское чтение, no. 2 (2021): 216–27. http://dx.doi.org/10.47132/1814-5574_2021_2_216.

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Sweeney-Turner, Steve, Geoffrey Tozer, Bergen Philharmonic Orchestra, and Dmitri Kitajenko. "Rimsky-Korsakov: Sadko; Russian Easter Overture; Piano Concerto in C Sharp Minor; Symphony No.3 in C Major." Musical Times 135, no. 1821 (November 1994): 720. http://dx.doi.org/10.2307/1003209.

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Ravandi-Fadai, Lana M. "Art, Love and Jewels. Treasure of the Iranian Shahs in the “Shahrazad” Ballet." Oriental Courier, no. 3-4 (2021): 209. http://dx.doi.org/10.18254/s268684310018019-8.

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Using the framework of the plot and staging peculiarities of the recent ballet sensation — “Scheherazade” to the music of Nikolai A. Rimsky-Korsakov, the author gives detailed characteristics and provides the history of the most significant treasures of the Iranian crown. The author researches the origin and the location of two parts of the famous pink ‘table’ diamond — the Big Diamond Tablet, divided into two parts (Darya-i-Nur and Nur-al-Ain), the history and stages of making the wedding tiara and the coronation headdress of Farah Pahlavi are traced. The article provides information on the origin and storage of the most iconic treasures of the Iranian crown after the Islamic Revolution — starting from the throne on which Mohammed Reza Pahlavi was the last to sit, to the two most famous shah’s crowns — the Kiani crown and the crown of the last Shah. The author especially notes the importance of the interpretation of precious artifacts in the ballet, staged by Alexei Miroshnichenko, to awaken the interest of the Russian public in the culture and art of Iran.

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Journal articles on the topic 'Rimsky-Korsakov'

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