What Women Have Done For Music In
Russia
written by Ellen von Tidebohl
In the eighteenth century, while the
cultured nations produced works by great composers, such as Bach, Gluck,
Handel, Haydn, Mozart and many others, the recognition of music as an art,
in Russia, had scarcely dawned, and its right to occupy an important place
as a means of educating and raising the nation was hardly recognized.
The initial step in creating a
scientific basis for music was taken by a highly gifted woman, the Empress
Catherine (1762-1788). Although she herself did not care much for it,
still she recognized its power, and invited illustrious musical men from
abroad to educate the Russians. The most talented young men were sent to
Germany and Italy, at the public expense, for their musical education.
Bortnianski, the first Russian composer with contrapuntal knowledge in the
realm of church music, was one of these. He regulated the liturgy chants
according to the rules of harmony.
The court of the Empress hastened to
show interest in music. The nobility having their serfs, whom they could
treat as slaves, ordered several of them to study music and play different
instruments, in order to have their own orchestra. Teachers for them were
brought from abroad.
We can scarcely believe that these
rude laborers from the fields and forests could play symphonies and other
orchestral compositions. At the present time, in noblemen's country
houses, there are sometimes to be found copies of very serious musical
works, which were once played by the orchestras of their serfs. The
programs of the performances, which have by chance come down to us in this
way, include compositions of great composers.
Catherine
II and Musical Education
The Empress Catherine II went
further in her desire for musical educations; she established girls'
schools, called "Institutes", for the daughters of the nobility,
where the study of music was obligatory. Therefore, it was the
aristocratic ladies who were really the first to introduce the art of
music in the country by performing standard works, both in the family
circle and in society, and singing nursery songs with their children.
Many of the well-known native
composers and musicians had as their first music teachers their own
mothers. With her receptive soul the Russian woman thought deeply,
cultivated the higher senses, penetrated into the mighty depths of the
composers' mind and, no doubt, had a great share in the work of evolving
local music and developing the national artistic tastes by the interest
she evoked in her hearers, thus swelling the members of lovers of music.
John
Field (1782-1837) came to Russia (1822) and lived, until 1837, in
Moscow, where he died and was buried. This well-known composer of the
lovely and charming nocturnes, and a pianist of great expression, had the
daughters of the highest families in Moscow as pupils. There is no doubt
that he knew well how to develop and form out the latent talent in his
pupils by his strict instruction, but, as it was not the thing for a lady
of good family to appear on the stage, his pupils could not become
professionals, so all we know is that several of them charmed Moscow
society by their playing.
Adolphe Henselt (1814-1896), a
composer of great musical value, and a distinguished pianist himself,
settled in Petersburg in 1838. He became the examiner of music of the
"Institutes" for the daughters of the nobility throughout
Russia. It was a position of great responsibility, but he fulfilled his
task with scrupulous conscientiousness and perseverance. He tried to
impart to pupils the fundamental principles for the correct performance of
music, wishing, above all, to lead them to a right comprehension of art.
Every year a great number of pupils
at these "Institutes" on finishing their education, went to
different parts of the extensive provinces of Russia, thus scattering
broadcast melodies and songs. "And the men?" you ask. There were
some of great distinction at that time; but they were exceptions, for the
boys were not forced to study music, and they only picked it up when their
exceptional gifts inclined them in this direction.
The Father of Russian National
Music
The greatest of these composers was
Michael Glinka (1804-1857), called the father of the national Russian
music, who took subjects for his operas from Russian life, Russian
melodies for his songs, basing them all on contrapuntal rules, on which
later was built up a music of an entirely Russian character. His
successors followed in his footsteps with Balakireff and Dargomyjeski at
their head;they were Borodin, Cesar Cui, Moossorgski, Rimski-Korsakoff and
many others, a circle of broad-minded, liberal men, who had their own
aesthetic ideals and chose realistic subjects employing the melodies of
their national songs.
The interest in music increased with
the appearance of these composers. Nevertheless, this art still remained a
kind of luxury, a thing of joy for rich and fashionable society. The task
of giving to music its high significance and right value as a means of
culture and progress was undertaken by the two brothers Anton
Rubinstein and Nikolai Rubinstein.
With their large souls, their wide
outlook on life, they knew what the people wanted, and all their energy
was concentrated on organizing societies for musical performances,
conservatories and music schools throughout Russia, thus affording an
opportunity to every one of acquiring musical instruction. Nevertheless,
they would never have attained the desired result if they had not been
helped by a woman!
The
Grand Duchess Pavlovna
The Grand Duchess Ellena Pavlovna,
with her influence at the Court in 1859, obtained permission to found the
Imperial Musical Society and the Conservatories with a subsidy from teh
Government. This was just half a century ago (1859). That was a time when
the bureaucracy was even stricter than at present. No private schools,
scientific societies, etc, etc, were allowed without the special
permission of the Government, and all kinds of difficulties were put in
the way of obtaining permission for any enterprise. And even when
permission was granted the Government reserved the right of controlling
them and repressing anything that they found liberal or advanced in such
enterprises.
The Grand Duchess Ellena Pavlovna,
by birth a princess of Wurtemberg (1814-1882), was married to the Grand
Duke Michael in Petersburg, 1834. This cultured woman, with great
largeness of heart, was always striving to do noble things in the noblest
way, patronizing every kind of scientific and artistic institution. With
her help the brothers Rubinstein achieved great results. The Imperial
Russian Society was established in 1859, and began its activity by giving
large symphonic concerts.
Anton
and Nikolai Rubinstein
The Conservatory of Petersburg was
inaugurated in 1862, and was managed by Anton Rubinstein; that of Moscow,
in 1865, by Nikolai Rubinstein. He was as great as his elder brother, but
the world knew him little, as he gave up all his time to Moscow, bringing
music there to a high state of development. Let us give a glance at the
mother of the Rubinsteins, who also had her musical duties to perform.
Although they were modest ones, yet the required courage! She was the
first music teacher of her sons, and, recognizing their eminent talent,
did her best to develop them properly. She herself had passed her youth
surrounded by wealth, but on the death of her husband had to suffer want
and was obliged to gain her living by giving music lessons. It was not an
easy task to bring up and educate such talented boys properly.
Death came to Nikolai Rubinstein
just at the period of his gretest strength and activity. He was a man who
stood quite apart, both in his artistic ideals and social life, but who,
unfortunately, never lived to finish the task he had set himself in life.
But one of his ends was attained when Moscow became the center of the
musical movement in Russia.
Ruskin says: "It is a duty of
people who continue to live after the death of a great man to accept his
work with thanks and remembrance, not thrusting is aside, but by every
means keeping it for generations yet to come." After the death of
Nikolai Rubinstein two women did this in the noblest way. In his memory
Mrs. Zadouskaia gave a donation of about 100,000 roubles (about
$50,000.00) as a fund for the Moscow Conservatory, the interest on which
sum was to be devoted to helping poor students. The widow, Countess
Odoewskaia, whose husband was a friend of Pooshkin's and Glinkas', made a
magnificent present to the same institution by giving it in Nikolai
Rubinsteins' memory her husband's large library and a rich collection of
stringed instruments of great value. Here, again, it was Russian women who
did so much for the art locally!
From the very first the Moscow
Conservatory was in a flourishing state. Even in the first years, 1865, it
had good, experienced professors, with Nikolai Rubinstein himself at their
head. This latter never spared himself in his work. Who were the first
pupils in it? Only female students! Four of them were the first to finish
their musical education in 1870, and at their examinations obtained the
golden medal of distinction.
If we look over the first years of
study at the Conservatory, we see that the number of female students was
larger than that of men. Later on they were about equally balanced, and
this state of things has continued to the present time. In pursuing our
inquiry we shall divide the women who have helped towards the development
of music into four classes: (1) Teacher, (2) Pianists, (3) Composers, (4)
Singers.
The Russian Center of Music
Moscow has become the center of
musical evolution in Russia. The majority of the Conservatory students, on
finishing their education, take up teaching as a profession. In all
institutes, schools and private houses their numbers exceeds that of the
men teachers. Women are even professors at the Conservatoire and
Philharmonic School. About fifteen private musical schools have been
established in Moscow, and are managed by women.
Music teaching by women in Russia is
often a work of love. By its means she gets a deeper understanding into
the inner life of the child in whom she wishes to develop a love of the
art, and the results are sometimes wonderful. People are beginning to
appreciate her work, to believe in her, not always preferring the master
at a higher salary, whose musical attainments are but the same. The
woman's reputation as an intelligent active teacher in the sphere of
musical advancement is fully established in Russia.
Russian Women at the Keyboard
The Russian women at the piano is
most wonderful! Perhaps the impression she produces when playing lies in
her Slavonian expansiveness of nature, in her lively temperament - the
little girl even introduces into her playing something which touches the
heart! Anne Essipow went all over the world producing great effect and
boundless admiration by her poetical playing. She stands at the head of a
countless number of women pianists pupils of the brothers Rubinstein,
Safonoff, Leschetizky and many others. All the women pianists had more or
less the same knack of producing passion and deep feeling from the
instrument beneath their touch. This faculty doubtless takes its origin in
the sensitiveness of soul and the richness of fancy which characterize the
Russian woman.
Women Composers in Russia
It has been often said that a woman
can never compose music! Nowadays this statement scarcely requires
contradiction, as the contrary is so evident. Since serious musical
education is within the reach of women, we see female composers appearing
in the cultured nations - in France, Germany, Sweden, England, etc. It was
Russia who led the way! You will find about fifty names of native female
composers in Russian catalogs of music. Several of them belong to the time
of Glinka, others to the second half of the nineteenth century, and to our
own days. There is a certain dilettantism in their compositions, in their
romances, cantatas and piano pieces of sentimental, romantic character.
The song of the Countess Kotshubey, with the line: "If he only could
know!" had in its time a great run, was performed at concerts and was
turned into a piano piece with variations by Ad. Henselt, which was proof
enough of its musical value.
The poet Lermontow, who passes for a
Rusian Byron, was read and enjoyed by Russian women. One of his poems,
"An Angel Flew Across the Midnight Sky", was set to music by
Olga Suchorukowskaia. Another, "I Pass Along the Road Alone", by
Elisabeth Shashina; both of deep melancholy. They were sung and known all
over Russia. Adelina Patti, during her stay in Russia, often performed at
her concerts the song of Elisabeth Tarnowski, "I Remember". Mme.
Serow composed an opera, "Uriel Acosta", with large choruses and
orchestral setting.
These few examples of women
composers at a time when Russian women had not yet received any serious
musical education is proof enough of their productive gift in composing.
Time will show what she will achieve in the future in this sphere!
Russian Women Vocalists
Dramatic gifts in conjunction with
vocal art and musical talent make of the Russian woman a real born opera
singer. There was a time in Russia when only Italian singers were admitted
to the Imperial opera houses, when Italian music alone was listened to.
Then Glinka appeared (1805-1857), the father of Russian music, of real
national melodies. He composed operas, which necessitated employing
Russian artists for their true interpretation. The number of Russian
singers increased considerably at that time. Daria Leonowa was one of the
first who excited great interest. She was the daughter of a serf, who was
fortunate enough to escape from his autocratic master and started in
business in Petersburg, which brought him in a moderate income. The
artistic talents of his daughter were apparent from her earliest years.
With the help of powerful protectors she entered the Imperial Art School,
where she was heard by Glinka, who immediately made her a pupil of his.
She had to sing the first roles in his operas. Her part in the development
of Russian music lay in her showing the world that the Russian woman could
be an artist in the full sense of the word. She went through Siberia to
China and Japan, where she was the first European artist to win an
audience. She made concert tours through Russia, with her friend, Modest
Moussorgski (the composer of the opera "Boris Godounow"),
introducing into the most remote spots of her country a fresh stream of
art and melody. She died in 1892. Her "Memoires" are full of
interest, as she relates all her experiences and give a brilliant and
witty account of her time.
The limits of this article do not
permit the enumeration and description of the great wealth of talented
people we have had on the stage. I need only add that several of these
great women singers were happy enough to be the source of inspiration to
great composers, who wrote and dedicated their works to them.
At the present time the opera houses
have many women singers of great talent. The Conservatories in Russia
produce every year a considerable number of well-trained singers. Russian
women, like the men, have won for themselves an assured position in the
art world, and can now make free use of their gifts.
The Etude
Magazine August 1910