[48] Impressions Musicales et Littéraires, par Camille Bellaigue.
[49] There are no less than ten true folk-themes contained in the opera of Tsar Saltan. The theme of the Elder Sisters, in the Introduction, may be found in Rimsky-Korsakov’s collection of National Songs, No. 24, communicated by Balakirev. The theme of the Tale of the Old Grand-father is a street cry (“Any fruit or greens”); a theme used by the Prince Gvidon is taken from a child’s song, No. 66, in Korsakov’s collection; others may be found in the same volume; also in the collections of Stakhovich and Prach.
[50] Citizens of the Lower-town would be a more literal translation of the title, but would convey nothing to foreigners.
[51] This composer must not be confused with his nephew A. S. Taneiev, the composer of a rather Frenchified opera entitled “Love’s Revenge.”
[52] Quoted in the article on this composer in the Russian edition of Riemann’s Musical Dictionary, 1904.
[53] Pan is the title of the Polish gentry, Sotnik, literally a centurion, a military grade.
[54] For example, the Court ballets of the sixteenth and seventeenth centuries were practically opera-ballets, since they included songs, dances and spoken dialogue.
[55] “A singer’s mind becomes subtler with every mental excursion into history, sacred or profane.”—D. Ffrangcon Davies. “The Singing of the Future.” John Lane, The Bodley Head.
[56] Communicated at my request by my friend, Mr. Herbert Heyner, who has made a special study of Shaliapin’s art both at the opera and from gramophone records.