The Mentor: Russian Music, Vol. 4, Num. 18, Serial No. 118, November 1, 1916Finck, Henry T.
History
The Mentor: Russian Music, Vol. 4, Num. 18, Serial No. 118, November 1, 1916
Finck, Henry T.
Composers -- Russia; Music -- Russia -- History and criticism
[Illustration: RUSSIAN ORGAN GRINDER]
Similarly impressed was another French composer, Berlioz, when he heard
the Imperial Choir sing a motet for eight voices: “Out of the web of
harmonies formed by the incredibly intricate interlacing of the parts
rose sighs and vague murmurs, such as one sometimes hears in dreams.
From time to time came sounds so intense that they resembled human
cries, which tortured the mind with the weight of sudden oppression and
almost made the heart stop beating. Then the whole thing quieted down,
diminishing with divinely slow graduations to a mere breath, as though
a choir of angels was leaving the earth and gradually losing itself in
the uttermost heights of heaven.”
_Italian and French Influences_
Like all other European countries, Russia more than a century ago
succumbed to the spell of Italian music. Young men were sent to Italy
to study the art of song, while famous Italian singers and composers
visited Russia and made the public familiar with their tuneful art. It
was under the patronage of the Empress Anna that an Italian opera was
for the first time performed in the Russian capital, in 1737. She was
one of several rulers who deliberately fostered a love of art in the
minds of their subjects. Under the Empress Elizabeth music became “a
fashionable craze,” and “every great landowner started his private band
or choir.” Russia became what it still is--the place where (except in
America) traveling artists could reap their richest harvests.
[Illustration: PLAYER OF REED PIPE]
The high salaries paid tempted some of the leading Italian composers,
such as Cimarosa (Cheemahrosah), Sarti, and Paisiello (Paheeseello), to
make their home for years in Russia, where they composed and produced
their operas. Near the end of the eighteenth century French influences
also asserted themselves, but the Italians continued to predominate,
so that when the Russians themselves--in the reign of Catherine the
Great (1761-1796)--took courage and began to compose operas, Italian
tunefulness and methods were conspicuous features of them.
_Glinka, the Pioneer_
Public-domain text, read in full here on John Shaqi.
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