- Title Pages
- Introduction Taking it Personally
- 1 Some Thoughts on the History and Historiography of Russian Music
- 2 For Ukraine, He's a Native Son, Regardless
- 3 “Classicism” à la Russe
- 4 A Wonderful Beginning
- 5 Dargomïzhsky and His <i>Stone Guest</i>
- 6 Pathetic Symphonist
- 7 Chaikovsky and the Literary Folk
- 8 The Great Symbolist Opera
- 9 Chaikovsky as Symphonist
- 10 Russian Originals, De- and Re-Edited
- 11 A New, New <i>Boris</i>?
- 12 Christian Themes in Russian Opera
- 13 The Case for Rimsky-Korsakov
- 14 Kitezh
- 15 Sex and Race, Russian Style
- 16 <i>Yevreyi</i> and <i>Zhidy</i>
- 17 The Antiliterary Man
- 18 From Fairy Tale to Opera in Four Moves
- 19 To Cross that Sacred Edge
- 20 Prokofieff's Return
- 21 Tone, Style, and Form in Prokofieff's Soviet Operas
- 22 Great Artists Serving Stalin Like a Dog
- 23 Stalin Lives On in the Concert Hall, but Why?
- 24 The Last Symphony?
- 25 For Russian Music Mavens, a Fabled Beast Is Bagged
- 26 Restoring Comrade Roslavets
- 27 When Serious Music Mattered
- 28 Casting a Great Composer as a Fictional Hero
- 29 Shostakovich's Bach
- 30 Five Operas and a Symphony
- 31 Hearing Cycles
- 32 Of Mice and Mendelssohn
- 33 Current Chronicle
- 34 The Rising Soviet Mists Yield Up Another Voice
- 35 Where is Russia's New Music?
- 36 North (Europe) by Northwest (America)
Religious Art of an Atheist
- (p.179) 14 Kitezh
- On Russian Music
- University of California Press
Rimsky's positivistic and materialistic worldview was well known to his contemporaries, and thoroughly formed his artistic beliefs and teaching. Rimsky curiously asserted that art is nothing more than technical know-how, an enhancement in which it corresponds with enhanced expression. This chapter appraises the paradoxical reflections that religious arts, generated from a non-religious source, emitted, and seeks to identify the causes behind this apparent discontinuity between Rimsky's belief and expression. Rimsky was not above churning out church choruses for performance by the Imperial Court Chapel Choir, at whose school he taught part-time exactly until he qualified for a pension. He quoted Orthodox Church chants in a couple of works, including one of his most popular orchestral showpieces, the Russian Easter Overture. Kitezh, in this context, is one of the best instances that qualify as a subject for this inquiry.
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