The fifteen operas of Russian composer César Antonovich Cui (1835-1918) heretofore have never bee... more The fifteen operas of Russian composer César Antonovich Cui (1835-1918) heretofore have never been addressed in a comprehensive fashion. For the first time this study analyzes together Cui's six full-length operas (Prisoner of the Caucasus, William Ratcliff, Angelo, Le Flibustier, The Saracen, and The Captain's Daughter) and his shorter stage works (a comedy, one-act tragedies, and children's operas). Using evidence in printed sources, it examines their musico-dramatic features within the context of the conditions under which they were composed and performed. These conditions include the reception accorded them and their relation to the works of Cui's contemporaries and to his own operatic ideals. Several indications of likely influences from other models or genres have been posited or identified in such figures ranging from Meyerbeer to Balakirev, as have likely exchanges of musical ideas between Cui and other composers, especially Rimsky-Korsakov. This study shows that Cui and his operas maintained a persistent, if not pervasive, position in the musical life of the era, and that to a certain extent his works bore relation to contemporaneous historical events and political circumstances. His position is both enriched and complicated by his intense and polemical activity in music journalism, wherein among other things he promoted the esthetic ideals of his circle and advocated for the works of Russian composers. The study uncovers, and at times reinterprets, the problematic and interesting aspects of Cui's musico-dramatic style — which incorporated certain stylistic features characteristic of Russian art music — in recognition of his avoidance of Russian subjects (except primarily Pushkin). These factors are intertwined with the shifting tastes of his Russian audience, for whom most of the operas were composed. As this study demonstrates, Cui's primary operatic achievements lie in being the first member of the "mighty handful" to have an opera performed (William Ratcliff); being the first of them to have an opera performed in the West (Prisoner of the Caucasus) and the first Russian to premiere an opera in Paris (Le Flibustier); completion of Dargomyzhsky's Stone Guest (with Rimsky-Korsakov) and Musorgsky's Fair at Sorochintsy; and his considerable contribution to the repertory of children's opera in Russia.
A brief examination of some aspects of the libretti of the operas of Russian composer Nikolai Rim... more A brief examination of some aspects of the libretti of the operas of Russian composer Nikolai Rimsky-Korsakov.
An article about Russian composer Nikolai Rimsky-Korsakov's opera-fairytale "The Tale of Tsar Sal... more An article about Russian composer Nikolai Rimsky-Korsakov's opera-fairytale "The Tale of Tsar Saltan."
An annotated bilingual presentation of the libretto of Russian composer César Antonovich Cui's on... more An annotated bilingual presentation of the libretto of Russian composer César Antonovich Cui's one-act opera "Пир во время чумы," with introductory remarks.
(Please download the PDF to be sure to see the Cyrillic text.) An English translation, parallel ... more (Please download the PDF to be sure to see the Cyrillic text.) An English translation, parallel with the original Russian text (in modern orthography), of a newspaper article from 1876 by Russian composer and music critic Cesar Cui, about his visit to Franz Liszt at the latter's home in Weimar. Cui, as a music critic for the "St. Petersburg Gazette," was on his way to Bayreuth to cover the premiere production of Richard Wagner's "Ring of the Nibelung," which Liszt was to attend as well.
[In case you cannot see the Cyrillic online, please download the PDF.] The article presents the ... more [In case you cannot see the Cyrillic online, please download the PDF.] The article presents the text of a parody by Russian author Viktor Petrovich Burenin (1846-1926) of Alexander Pushkin's short play "Mozart and Salieri." The title of Burenin's work refers to two of his contemporaries, the composers Cesar Antonovich Cui (1835-1918) and Modest Petrovich Musorgsky (1839-1881). The Russian text, from an edition of 1889, is presented with a parallel English translation, and with annotations, by Lyle K. Neff.
The fifteen operas of Russian composer César Antonovich Cui (1835-1918) heretofore have never bee... more The fifteen operas of Russian composer César Antonovich Cui (1835-1918) heretofore have never been addressed in a comprehensive fashion. For the first time this study analyzes together Cui's six full-length operas (Prisoner of the Caucasus, William Ratcliff, Angelo, Le Flibustier, The Saracen, and The Captain's Daughter) and his shorter stage works (a comedy, one-act tragedies, and children's operas). Using evidence in printed sources, it examines their musico-dramatic features within the context of the conditions under which they were composed and performed. These conditions include the reception accorded them and their relation to the works of Cui's contemporaries and to his own operatic ideals. Several indications of likely influences from other models or genres have been posited or identified in such figures ranging from Meyerbeer to Balakirev, as have likely exchanges of musical ideas between Cui and other composers, especially Rimsky-Korsakov. This study shows that Cui and his operas maintained a persistent, if not pervasive, position in the musical life of the era, and that to a certain extent his works bore relation to contemporaneous historical events and political circumstances. His position is both enriched and complicated by his intense and polemical activity in music journalism, wherein among other things he promoted the esthetic ideals of his circle and advocated for the works of Russian composers. The study uncovers, and at times reinterprets, the problematic and interesting aspects of Cui's musico-dramatic style — which incorporated certain stylistic features characteristic of Russian art music — in recognition of his avoidance of Russian subjects (except primarily Pushkin). These factors are intertwined with the shifting tastes of his Russian audience, for whom most of the operas were composed. As this study demonstrates, Cui's primary operatic achievements lie in being the first member of the "mighty handful" to have an opera performed (William Ratcliff); being the first of them to have an opera performed in the West (Prisoner of the Caucasus) and the first Russian to premiere an opera in Paris (Le Flibustier); completion of Dargomyzhsky's Stone Guest (with Rimsky-Korsakov) and Musorgsky's Fair at Sorochintsy; and his considerable contribution to the repertory of children's opera in Russia.
A brief examination of some aspects of the libretti of the operas of Russian composer Nikolai Rim... more A brief examination of some aspects of the libretti of the operas of Russian composer Nikolai Rimsky-Korsakov.
An article about Russian composer Nikolai Rimsky-Korsakov's opera-fairytale "The Tale of Tsar Sal... more An article about Russian composer Nikolai Rimsky-Korsakov's opera-fairytale "The Tale of Tsar Saltan."
An annotated bilingual presentation of the libretto of Russian composer César Antonovich Cui's on... more An annotated bilingual presentation of the libretto of Russian composer César Antonovich Cui's one-act opera "Пир во время чумы," with introductory remarks.
(Please download the PDF to be sure to see the Cyrillic text.) An English translation, parallel ... more (Please download the PDF to be sure to see the Cyrillic text.) An English translation, parallel with the original Russian text (in modern orthography), of a newspaper article from 1876 by Russian composer and music critic Cesar Cui, about his visit to Franz Liszt at the latter's home in Weimar. Cui, as a music critic for the "St. Petersburg Gazette," was on his way to Bayreuth to cover the premiere production of Richard Wagner's "Ring of the Nibelung," which Liszt was to attend as well.
[In case you cannot see the Cyrillic online, please download the PDF.] The article presents the ... more [In case you cannot see the Cyrillic online, please download the PDF.] The article presents the text of a parody by Russian author Viktor Petrovich Burenin (1846-1926) of Alexander Pushkin's short play "Mozart and Salieri." The title of Burenin's work refers to two of his contemporaries, the composers Cesar Antonovich Cui (1835-1918) and Modest Petrovich Musorgsky (1839-1881). The Russian text, from an edition of 1889, is presented with a parallel English translation, and with annotations, by Lyle K. Neff.
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