THE "RUSSKAYA MUZYKAL'NAYA GAZETA" [Russian Music Gazette]

Author(s): Gerald Seaman

Source: Fontes Artis Musicae , January-June 2002, Vol. 49, No. 1/2, Special Issue in
memoriam Imogen Fellinger (1928—2001) (January-June 2002), pp. 55-66
Published by: International Association of Music Libraries, Archives, and Documentation
Centres (IAML)
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THE RUSSKAYA
MUZYKAL NAYA GAZETA
[Russian Music Gazette]

Gerald Seaman (University of Oxford)1

Until comparatively recently, Russian music periodicals have been little known
to the general musical world. In recent times, however, there has been in
creasing recognition of the fact that a very large body of material lies largely
untapped in Russian periodicals, most of which are preserved in Russian li
braries and archives. This material is often of immense importance in that it
provides first-hand accounts of performances of the works of many composers,
including Wagner, Schumann and Liszt, who visited Russia from the eigh
teenth century onwards. Huge sums of money were devoted to the perfor
mance of Italian opera and ballet in the Imperial Theatres in St Petersburg and
Moscow, with the result that works were often presented with a brilliance and
splendour that were the envy of Europe.
Music journals did not appear in Russia until the end of the eighteenth cen
tury, and although some information on musical life may be obtained from ex
amination of such newspapers as Moskovskie vedomosti [Moscow News],
founded in 1703, and Sankt-Peterburgskie vedomosti [St Petersburg News], and
from the comments of foreign visitors, the first Russian music periodicals were
insufficiently developed to provide a systematic account of the music of their
period such as is found, for instance, in the case of German music periodicals
and those of some other countries.2 Nor, for that matter, was musical life in
Russia nearly so well developed. Even when the first Russian music journals
did appear, they consisted almost entirely of collections of music and contained
neither articles nor reviews of news from abroad, such as were common in the
Russian literary journals of the time. Curious to relate, some of the most ex
tensive descriptions of musical life in countries outside Russia may be found in
one of the women's journals of the time. This journal, the Magazin Anglinskikh,
Frantsuzskikh i Nemetskikh novykh mod [Magazine of English, French and
German New Fashions], published in St Petersburg in 1791, contains interest
ing material on the winter entertainments in London, including accounts of
comedies, operas, concerts, redoubts and balls. Some of the literary periodi
cals also included music supplements. Like their literary prototypes, however,

1. The material in this article was first presented at a meeting of IAML's Working Group on
Music Periodicals in Edinburgh in August 2000.
2. For a general survey of Russian music periodicals, see my articles "Nineteenth-Century
Russian Periodicals: an Annotated Checklist", Periodica Musica 2 (1984): 14-16; and 4 (1986):
6-11.

55

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56 FONTES ARTIS MUSICAE 49/1-2

the music journals were often short lived, and had sma
over, whereas the literary journals were, for the most part,
the music journals were almost entirely published by fore
significance, on account of the fact that it contained both m
and articles on music, is the Karmannaya kniga dlya lyubitel
god [Pocket-book for Lovers of Music for the Year 1795
Gerstenberg in 1795 with a sequel in 1796.
The coming of the nineteenth century saw substantial chan
and content of Russian music periodicals, and although th
quality, nevertheless a number of periodicals made their
historically important as precursors of the first really si
sic journal—the Russkaya Muzykal'naya Gazeta [Russian
these early nineteenth century periodicals, special mentio
the journal Nuvellist, which underwent a number of transfo
long and varied existence from 1840-1916. Originally a jou
in 1844 it was expanded through the addition of a literary
bination that lasted 30 years. During the years 1874-78
published. Following the appointment of a new editor, ho
was renamed Nuvellist: Muzykal' no-teatral'naya gazeta [
Theatrical Gazette]. In 1906, the name of the journal was c
new title being Muzyka dlya vsekh [Music for All], a name it
demise in 1916. With regard to content, Nuvellist in its ea
mostly musical anecdotes, biographies, and reports from
abroad, much of the material being borrowed from for
course of time, however, more substantial articles writte
such as Ulybyshev, Senkovsky, Kukol'nik, Rappaport and
began to appear. The literary section flourished from 187
nal published articles of a more substantial nature, includ
the state of music in Italy, France, Germany and Sweden, th
gan, music in America, the founding of the St Petersbu
Wagner, the history of the Russian theatre, the philosophy o
and Russian opera abroad. Like the part played by the N
Musik in Germany and The Musical Times in Britain, Nuv
teresting commentary on the development of music in
changes in musical mores over a long period. It is very gratif
able journal is now accessible through R1PM.3
Another important precursor of the Russkaya Muzykal'
periodical Muzyka i teatr [Music and the Theatre], publish
from 1867-68 and edited by the composer and criti
Specifically devoted to criticism, it enjoys the distinction
Russian music journal of serious content. Mention, too, sh
journal Muzykal' ny sezon: Gazeta kriticheskaya [The Mu
Gazette], published, likewise, in St Petersburg from 186

3. Nuvellist: Muzïkal'no-teatrainaya gazeta [Nuvellist: Musical-Theatr

(4 vols).

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THE RUSSIAN MUSIC GAZETTE 57

edited by A. Famintsyn. Thi

such as music aesthetics, the
servatories, together with r
ular interest is a chronicle
things, accounts of the Russ
cluded Serov and Larosh [Lar
memoirs and other historica
monthly periodical Russkaya
ital from 1870-1916; and a
obozrenie [The Musical Revie
are also available through RI
But by far the most outsta
Russkaya Muzykal'naya Ga
1894-1918, appearing month
From 1913-17 it was issued
[Bibliographical Leaflet]. E
Nikolay Findeyzen, the jour
not only in Russia but also a
pect of Russian music, many
Music Gazette [hereafter RM
tion and promotion of Russ
ples and illustrations, the jou
and its bibliographical mater
for scholars during the Sovi
Before examining the conte
be said about its founder and
was born on 23 July 1868 in S
was to spend most of his lif
Aleksandrovich Sokolov (185
the St Petersburg Conserva
kovich, he came under the inf
Stasov. If one takes into con
Sokolov, himself a pupil of R
ardent Slavophile, it is not sur
have become a staunch supp
the study of Russian nationa
source of materials for his m
only in Russian but sometim
Findeyzen produced studies
cal guide to the musical wor
books on the life and work
stein, Rimsky-Korsakov, Tch
hundred articles. His import

4. Muzïkal'noe obozrenie [The Mus

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58 FONTES ARTIS MUSICAE 49/1-2

in the 19th century was published in SIMG:' He also to

European composers, publishing an outline of the life
Grieg in 1908, a book on Norwegian music being publi
in 1910. A major, two-part study of the life and work o
published in St Petersburg the following year, and a boo
von Nürnberg in Moscow in 1914. One of his greatest
writing of his monumental Ocherki po istorii muzyki v
vremën do kontsa XVIII veka [Essays on the History of
the Most Ancient Times up to the End of the Eighteent
in seven parts in 1928-29, and which for the first time
and extent of Russian music prior to the nineteenth ce
also the editor of another well-written journal, Muzyka
Antiquity]. Subtitled Sbornik statey i materialov dlya istori
lection of Articles and Materials on the History of Mus
nal was published in 16 parts in St Petersburg from 1903
with A Ziloti, he founded the St Petersburg Society for Fri
1919-25 he lectured on music archaeology and paleog
ological Institute. He was the founder of the Music His
Petersburg Philharmonic, which in 1920 became the St
History. In 1925 he was appointed head of a commission
music. He also contributed to the Ezhegodniki Imperato
books of the Imperial Theatres] and was editor of the co
etnografiya [Music Ethnography] (1926), in addition to c
the Russian section of the Russian edition of Riemann
[Music Dictionary] (Moscow-Leipzig, 1901,2/1916). He d
1928.
Apart from his literary works, undoubtedly one of Fi
complishments was the establishment in 1894 of the RM
til its termination in 1918. As is clear from the editorial to
the journal, he approached his task as editor of a new jo
conscientious manner. The editorial, entitled "A Few W
Music Journal", is full of interest and, to the best of th
has never previously been translated into English. It rea

The question—Do we really need a music journal?—has been,

most important and interesting questions of the art. The b
musicians and people interested in music in general that to
of our own is, at least at the present time, an impossibility. Suc
part, arises from those attempts at such undertakings, begin
A N. Serov and ending with Bessel', who, up to that point,
aims and were obliged through various circumstances to aban
is difficult to go along with this opinion, since in no way do
tant question as to whether a Russian music organ is desirab

Even 40 years ago Serov was clearly conscious of the public's

one of the main tasks of a music journal is to establish as far

5. "Die Entwickelung [sic] der Tonkunst in Russland in der e

Jahrhunderts", Sammelbände der Internationalen Musikgesellschaft, Jg

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THE RUSSIAN MUSIC GAZETTE 59

FIGURE 1 Title page of the first

attitude of the public and musici

troductory article to the Muzyk
Messenger]: "Why does the sam
teners? Why are opinions so haph
ten in 1856 is just as true even no
last year N. A. Rimsky-Korsakov
time, full of really wonderful co
public, which was obliged to liste
there is much that is new), even
cribed by Serov 40 years before

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60 FONTES ARTIS MUSICAE 49/1-2

score, while others failed to listen, or held it up to rid

made fun of the best pages, recommending that Mlad
archive. Nor was this occurrence either unique or exce
as the most recent example remembered by everyon
pened to the best Russian operas long ago with Rusla
concerts and in the press. But should such happening
of a music journal?

The fiftieth anniversary of the founding of a nationa

brated in Russia. Russian opera, like Russian musical ar
music) now has a history of its own, but it still does no
icle in which might be noted all the outstanding achiev
and Russian art. Glinka and Dargomyzhsky have been f
talented, in many ways brilliant musicians; but, for the
cance and strength of this school and the work of Ru
main uncharted, just as the works themselves are inco

Finally, little by little, a greater need to study Russian

ent. Russian folk songs and also sacred chants are won
await a Karamzin, a Solov'ëv, an Afanas'ev. They await
still-living antiquity.

For the time being, there are hardly any people devotin
to this task. Those who are capable of accomplishing an
thinks of the study of folk music in particular) are, for
musicians. Furthermore, the majority of people writing
have little in common with music. Among the latter,
chosen. So how can one expect publications not devoti
music—papers, literary or scientific journals—to give
tions? Finally, one cannot help but mention a curious fa
are journals devoted to chess, together with various t
even a whole string of publications devoted to animals,
ent time, a single specialist journal devoted solely to mu

With regard to our new Russian music journal, it only r

added by the Editorial Board. The task of publishing
taking, all the more so since there have been so many
many honest and good ones, which have not survived th
God grant that the Russian Music Gazette will not turn
tempt! But this depends as much on musicians and the
lishers. With regard to its programme, this is revealed t
thoughts set out previously and by the subject matter
presenting in this first year of publication.

Our programme is influenced neither by profit nor by

propriate motto of the Russian Music Gazette may we
words of one of the greatest musical figures, Hector
mais devant personne, la vérité, rien que la vérité soit
down to anyone: the truth and nothing but the truth sh

6. RMG no. 1 (January 1894): 1-2.

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THE RUSSIAN MUSIC GAZETTE 61

With such stirring words, Findey

him for the and following 24 years
way, unique. Immediately followi
ment to the Russian Nationalist
"Slav'sya" chorus that marks th
Lyudmila, a musical phrase know
line of music is surrounded by a p
ten the word "Glinka". Such attr
to that found in the beautiful ti
dent throughout the history of
identity. This is followed, in tur
SeroVs letters written to his sis
available to Findeyzen by SeroVs
noted composer and writer. At t
the correspondence will be cont
ceeded by a long descriptive arti
illustrated by a portrait of the c
Dargomyzhsky's opera Don-Zhua
from the autograph score, and a
Aleksandr-Nevsky Monastery in
The space between the article on
is again separated by a short mu
song from Musorgsky's opera B
capture of the town of Kazan'. The
Musical Funeral Feast] is a desc
Tchaikovsky. In it, Findeyzen hims

It rarely occurs for one to be a witn

which the Russian intelligentsia me
dear artists—Pëtr Il'ich Tchaikovsk
inspiration had not faded, when the
ful, powerful compositions ... And,
miration, its indebtedness to the po

Every person has a keen recollection

body of the artist Its very solemnit
presses the general mood of this eve
sense of loss of a dear artist. Finall
rapher will find in it many materia
deceased friend (published in the T
1893) are of importance. But certai
derful was the musical "funeral feas

It is a remarkable fact that the Rus

the Imperial Theatres, which, no
oured the memory of Tchaikovsky
about its obligation and, even on the
French opera was performed in th
in the morning the pediment of

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62 FONTES ARTIS MUSICAE 49/1-2

Mariinsky Theatre took no part in the musical funeral feast a

of the opera chorus at the liturgy in Kazan Cathedral.

As for the Russian Music Society, the Chamber Society, M. Be

"Russian Symphony Concerts", and other organisations of
month and a half was dedicated to the "funeral feast" of Tc

The rest of the article is devoted to a description of th

played in concerts devoted to the composer's memory.
The next section of the RMG is entitled "Musical Chronicle of St Peters
burg", and falls into two main sections, "Russian Opera and the Imperial
Russian Music Society" and "Russian Symphonic Concerts and Russian Quar
tets". Findeyzen commences his survey with a strong attack on the Mariinsky
Theatre:

The work of the Russian opera over the past half year, despite the fact that three op
eras were revived and two given for the first time, must be considered as being ex
tremely unsuccessful and vapid in content. A chronicler, following attentively the de
velopment of the opera theatre in Petersburg, must admit that the decline of Russian
opera is complete! Among the revived operas were: Aida, a luxurious production,
and Tannhäuser, with a sorry décor, and, apart from that, was performed Serov's
Vrazh'ya Sila [The Hostile Power] (a non-subscription opera), which was given a sin
gle performance on 15 September. After that were performed two operettas,
Djamileh and I Pagliaccil All the rest of the repertoire, with the exception of Evgeny
Onegin, and, obligatory on the occasion of a substitute, A Life for the Tsar—was
made up of the most trivial, largely well known and hackneyed operas of Gounod,
Verdi, Meyerbeer and finally Mascagni!.. J

After a detailed discussion of The Hostile Power, Tannhäuser, Djamileh and I

Pagliacci, Findeyzen goes on to lament the manner in which the Imperial
Theatres seem to be overwhelmed by foreign operas, and Russian opera con
signed to oblivion.
In the next section, entitled "The Private Opera", Findeyzen describes the
performances in the Kononov Hall:

Petersburg this season has been rich in the matter of private opera companies. One
of them, situated in the Kononov Hall, then moved into the Panaev Theatre, the or
chestra being conducted by Messrs Beznosikov and Dudyshkin. With regard to the
second opera company with Messrs Tartakov and Massimi at its head—the latter
took up residence in the Maly Theatre.9

He then describes other performances at the Kononov Hall, including Anton

Rubinstein's The Maccabbees, Musorgsky's Khovanshchina, Tchaikovsky's
The Oprichnik and Cui's The Prisoner of the Caucasus. The next part of die
Chronicle deals with the Imperial Russian Music Society (Symphonic
Gatherings I-V), commencing with the following description:

7. RMG no. 1 (1894): 10.

8. RMG no. 1 (1894): 13.
9. RMG no. 1 (1894): 15.

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 THE RUSSIAN MUSIC GAZETTE 63

These concerts opened on 16 O

Sixth (Pathetic) Symphony, per
cert was the final triumph of
Symphony in B Minor (op.74), a
his orchestral fantasies and som
less contains pages full of creat
inspiration. A strong impressio
position of its movements—the
with one—it is really, in its way
from this emerges a feeling of tr

Findeyzen ends his account

greater impression at its sec
beauties were even more stro
Findeyzen now moves on to
Russian music, especially ne
compositions by Russian com
chamber concerts for their pe
sic one often tends to think
but this was clearly not the ca
critics, who shamelessly try
dust, but they are not worthy
Findeyzen concludes this
Glazunov's first string quarte
has introduced a splendid i
are available for purchase at th
listeners".13
The next section of the journal (p. 20) is entitled "Glinkiana", and consists
of two letters of Glinka, the first dated 15 February 1852 to a friend "N. N.", and
the second a letter dated 25 April 1855 to V. V. Stasov. Following these is a
Glinka bibliography, listing nine works containing materials on Glinka and in
cluding several non-Russian publications, among them Albert Soubies' Précis
de l'histoire de la musique russe (published Paris, 1893), and Max Hesse's
Deutscher Musiker-Kalender für das Jahr 1894 (Leipzig, 1893). The bibliogra
phy also includes materials on Glinka published in the Echo de Paris, and in
Ralliemont. The following section, entitled "Bibliography", is a bibliographic
survey of four publications relating to Russian music, comprising D. A. Rovin
sky's Russkiya narodnya kartinki [Russian Folk Pictures] volume 4; a Russian
publication of a volume of Netherlands folk songs by K. K. Ulanbek, the or
ganisation of which Findeyzen criticises in very strong terms; a critical review
of Albert Soubies' Précis de l'histoire de la musique russe (of importance in that
it was one of the first histories of Russian music to be written by a non-Russian,

10. RMG no. 1 (1894): 17.

11. RMG no. 1 (1894): 18.
12. RMG no. 1 (1894): 19.
13. RMG no. 1 (1894): 20.

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64 FONTES ARTIS MUSICAE 49/1-2

but containing many errors); and S. A. BazunoVs biogr

Serov, biografichesky ocherk S. A. Bazunova, which in
more likely to harm the composer's reputation than en
tion deals with three salon pieces by Ladisias Aloiz,
Loewenberg, and leads, in turn, to a paragraph bearing
Music Abroad". The first account is based on Max Hesse's Musiker-Kalender
for 1894, which gives information on works by Anton Rubinstein and
Tchaikovsky, Borodin, Glinka and K. Davydov performed in Berlin, Leipzig,
Aachen, Dortmund, Wiesbaden and other cities. There is a mention of Ziloti's
concert tour in London, of a performance given by Colonne in Paris in mem
ory of Tchaikovsky, of lectures on Russian music given in Paris by Bourgault
Ducoudray, and of concerts of Russian music given by Vincent d'Indy under
the auspices of the "Association artistique".
The final item in this most comprehensive volume is entitled "Khronika"
[Chronicle], announcing a concert by Anton Rubinstein, just returned from
abroad, in the Salle de la Noblesse in St Petersburg. Information is provided
about a forthcoming production of Dargomyzhsky's The Stone Guest in honour
of the 25th anniversary of the composer's death, about the 300th performance
of Glinka's Ruslan and Lyudmila, and about a performance of Cui's opera Le
Flibustier to be given in Paris. A proposed staging of Wagner's operas at Easter
1894 had had to be postponed, and people who had subscribed to the series
could apply for a refund of their money. An announcement was made of a new
music journal in German, Russland's Musik-Zeitung, to be published by Mr
Gabrilovich, the former publisher of Teatral'ny mirok [Theatre World], The fi
nal announcement dealt with the third Russian Symphonic Concert scheduled
for 22 January, to include the première of Glazunov's fourth symphony and two
choral works by Rimsky-Korsakov. The closing pages of the journal are taken
up with announcements of the content of its next number, an advertisement for
Blokk's Bank, a subscription offer to the four-volume edition of Serov's
Kriticheskie stat'i [Critical Articles], and advertisements about various maga
zines, including Bibliograf [Bibliographer], the Odesskiya novosti [Odessa
News], Nuvellist, the weekly satirical magazine Shut [The Jester], the journal
Artist, the Orlovsky vestnik [Orël Messenger], the weekly paper Yug [South],
the Kursky listok [Kursk Leaflet], and finally the opening of the subscription to
the 1894 volume of the RMG.

★ ★ ★ ★ ★

Such then was the 28-page content of the first number

journal. Over the following years its contents were expa
cles on aesthetics, theory, acoustics and physiology, ethn
music abroad, Russian theatre music, sacred music, vocal
copyright, musicians' rights, the music literature of specif
sic education, bibliography, competitions, reports from t
abroad, studies of the work of particular composers and a
rials. It is good news indeed that the contents of this valua
be accessible through the Russian section of RIPM.

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THE RUSSIAN MUSIC GAZETTE 65

To sum up, it is clear from

in Russian musical history,
muzyka [Soviet Music], being
tained the breadth and range
terpart The persistent excel
the welfare of Russian music
a tribute and a lasting monu
musicologist—Nikolay Fëdor

Résumé

Les premières revues consacrées spécifiquement à la musique parurent en

Russie à la fin du XVIIIe siècle. Elles étaient cependant presque entièrement
constituées de musique et ne contenaient pas d'articles ou de comptes rendus.
Cette situation évolua au cours du XIXe siècle. La revue Nuvellist, conçue en
1840 comme un journal de musique de piano, inclut bientôt un supplément lit
téraire et prit le sous-titre de Muzykal' no-teatral' nay a gazeta (Gazette musicale
et théâtrale) à partir de 1878. D'autres revues importantes virent le jour,
comme Muzyka i teatr (Musique et théâtre) et Muzykal'ny sezon: gazeta kritich
eskaya (La saison musicale : gazette critique), toutes deux publiées à Saint
Pétersbourg, et Muzykal'noe obozrenie (La revue musicale), publiée en 1885
1888.
La plus importante revue musicale pré-révolutionnaire russe fut sans aucun
doute la Russkaya muzykal'naya gazeta (Gazette musicale russe), publiée de
1894 à 1918. Elle fut éditée par Nikolay Findeyzen (1868-1928), écrivain et cri
tique qui, outre son travail sur l'histoire de la musique russe, produisit égale
ment une étude fondamentale sur Wagner. Un examen attentif du premier
numéro de la Gazeta met en lumière sa grande diversité de contenu avec des
lettres de A. N. Serov, un article sur Dargomyzhsky, une description de la mort
de Tchaikovsky et des comptes rendus sur la vie musicale à Saint-Pétersbourg.
Par la suite, la revue se développa et inclut des articles sur l'esthétique musi
cale, la théorie, l'acoustique et le droit d'auteur. Elle demeure, ainsi que son
contenu, un hommage à la mémoire de Findeyzen et une mine d'informations
sur la musique en Russie.
Tinwiivtinuo Wni/cfntor
Dominique Hausfater

Zusammenfassung
Zeitschriften, die speziell sich mit Musik befaßten, sind in Rußland erstmals zu
Ende des 18. Jahrhunderts erschienen. Diese Zeitschriften jedoch bestanden
fast ausschließlich aus Musik und enthielten keine Artikel oder
Besprechungen. Die Situation änderte sich während des 19. Jahrhunderts: di
Zeitschrift Nuvellist aus dem Jahre 1840 begriff sich als eine Klaviermusik
zeitschrift, begann bald einen Literaturanhang zu integrieren und fügte 1878
den Untertitel Muzykal'no-teatral'naya gazeta (Musik und Theater Zeitung)
hinzu. Andere wichtige Zeitschriften waren Muzyka i teatr (Musik un

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66 FONTES ARTIS MUSICAE 49/1-2

Theater) und Muzykal'ny sezon: gazeta kriticheska

Kritische Zeitung), beide erschienen in St. Petersbur
obozrenie (Die Musikrevue), erschienen von 1885-88.
Aber die hervorragendste Zeitschrift vor der Revolut
zweifellos die Russkaya muzykal'naya gazeta (Russische M
von 1894 bis 1918 erschien. Sie wurde herausgegeben v
(1868-1928), ein Schriftsteller und Kritiker, der au
Musikgeschichte ebenso ein Hauptwerk zu Wagner
gründliche Untersuchung des ersten Bandes der Gaz
Materialvielfalt, die Briefe von A. N. Serov enthält
Dargomyzhsky, eine Todesbeschreibung von Tchaikovs
die Musikscene von St. Petersburg. Später weitete die Ze
dem sie Material über Musikästhetik, Theorie, Akustik
mit aufnahm. Die Zeitschrift und ihr Inhalt bleiben ein Bei
an Findeyzen und ein Schatzhaus russischer Musikinform
Wolfgang Krueger

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