Anton Stepanovitch Arensky (Nijni-Novgorod, Russia, 1861-1906) is another of a younger generation, and like Glazounoff, did not limit himself to the style of Russian Folk-music, but aims to be more cosmopolitan. Educated at St. Petersburg, Arensky soon became known by a symphony and a piano concerto, and was called to Moscow as professor of counterpoint. In that city he increased his reputation by a grand opera, “A Dream on the Volga.” “Raphael,” a one-act work, was followed by the ballet, “A Night in Egypt,” but Arensky’s greatest opera is “Nal and Damajanti,” on an East Indian subject. His other works include a second symphony, a fantasie with piano, a violin concerto, and a “Memorial March.” He displays real strength of feeling, and he shows the influence of Schumann and Tchaikovsky, especially in his piano music.

Other Composers.—Taneieff, one of those who held apart from the national movement, has written a symphony, some string quartets, and numerous choruses, but is best known by his “Oresteia,” an orchestral trilogy based on the tragedies of Aeschylus. This is a work of dignity and power, but at times lacking in inspiration. Rachmaninoff, a pupil of Arensky, is one of the younger men who won fame as a pianist and piano composer before attempting larger works. His more ambitious compositions include two concertos, a symphony, a symphonic poem, and the cantata “Spring,” also two operas “The Bohemians” and “The Avaricious Knight.” Another piano composer is Stcherbatcheff, a pupil of Liszt, who displays excessive boldness in his effects, though his “Fairy Scenes” are charming in style, and his “Fantasies Etudes” show the influence of Schumann. Liadoff is another composer of piano works, such as the “Arabesques” and the “Birioulki.” Scriabine is one of the more recent piano writers who has won his spurs in the symphonic field also. Pachulski, too, has become known by his piano compositions. Wihtol has done much valuable work in collecting the Lett Folk-melodies. Solovieff has attempted opera, though not with any remarkable success. Ippolitoff-Ivanoff, active in the musical life of Moscow, has produced operas, suites, and the set of lyric scenes, entitled “Asia.” Michael Ivanoff is another opera composer, whose “Sabawa” has met with some favor. Among many others worthy of mention, Sokoloff has written chamber-works, Alpheraki is noted for his songs, Antipoff and Blumenfeld have produced excellent piano music, while Rebikoff, known for the same reason, has won new laurels with his so-called mimodrame, “Genius and Death.”

Tchaikovsky.—Although the new Russian school does not recognize Peter Iljitsch Tchaikovsky as an exponent of national musical ideas and although he represents a blending of Teutonic and Slavonic methods, yet his music partakes of the latter, rather than of the former temperament, and he is therefore included among the Russian composers in this lesson. He was born May 7, 1840; at ten he went to St. Petersburg. He was intended for the legal profession and was appointed to a place in the Ministry of Justice when only nineteen years old. Shortly after, he entered the harmony classes at the Conservatory, resigned his Government position, and entered the musical profession. In 1866 he became professor of harmony at the Moscow Conservatory; in 1867, brought out his first symphony and his first opera. In 1877 he resigned his post at the Conservatory and gave himself up to composition. In 1891 he visited the United States. He died, October 12, 1893, in St. Petersburg.

His compositions include eight operas, six symphonies, eight overtures and fantasias for orchestra, seven works for special occasions, eight orchestral suites, three string quartets, a trio and sextet, three concertos and two other pieces for piano and orchestra, three works for violin and orchestra, and two for ’cello and orchestra, a large number of piano pieces and vocal works.

An English critic sums up Tchaikovsky’s orchestral works thus: Good points, beauty of melody, brilliancy of workmanship, beauty of color; weak points, undue pursuit of the morbid, extravagance of idea, noisiness of orchestration.

Conclusion.—At the beginning of the 20th century, the chief characteristic of music seems to be a development of national schools. As already explained, in those countries that have worthy Folk-music, composers find the material ready for them to fashion. Such has been the case in Norway, Sweden, and Bohemia, as well as in Russia. Countries that have not this advantage, such as England, the Netherlands, or America, atone for it in part by study and education; but this seldom produces great musical geniuses. Italy, where the common people cared for nothing but the lighter style of tune, has had to build anew, upon foreign foundations. France is making a brave struggle after novelty, but seems to lack the needed inspiration; while Germany, for the moment, seems content with mastering the modern orchestra. The Russian school is today the most spontaneous, the least artificial; and it cannot fail to grow in appreciation during the next few years.

Questions.

What is the character of the Slavonic Folk-music?

Who was the first Russian composer of prominence?