diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:00:50 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-14 20:00:50 -0700 |
| commit | 351f7f102e2556139193caefff8784a313b21dca (patch) | |
| tree | 3ff93c4eefd3eae37a47935512c563ec5ce1dc7e /old/rimsky_toc.html | |
Diffstat (limited to 'old/rimsky_toc.html')
| -rw-r--r-- | old/rimsky_toc.html | 307 |
1 files changed, 307 insertions, 0 deletions
diff --git a/old/rimsky_toc.html b/old/rimsky_toc.html new file mode 100644 index 0000000..cb6890d --- /dev/null +++ b/old/rimsky_toc.html @@ -0,0 +1,307 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Style-Type" content="text/css" /> + <title> + The Project Gutenberg eBook of Principles of Orchestration (contents), by Nikolay Rimsky-Korsakov. + </title> + <style type="text/css"> + +body {margin-left: 15%; + margin-right: 15%;} + + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .75em; + text-align: justify; + margin-bottom: .75em; +} + +hr { + width: 65%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +hr.short { + width: 15%; + margin-top: 1em; + margin-bottom: 1em; + margin-left: auto; + margin-right: auto; + clear: both; +} + +table { + margin-left: auto; + margin-right: auto; +} + +.pagenum {position: absolute; left: 92%; + font-size: 75%; text-indent: 0em; + background-color: inherit; font-weight: normal; + font-style: normal; font-variant: normal; + text-decoration: none;} + + +/* Formatting */ +.bbox {border: solid black 1px; margin-left: 10%; + margin-right: 10%;} + +.center {text-align: center;} +.centerbp {text-align: center; padding-bottom: 1em;} + +.right {text-align: right;} + +.ind {text-indent: 2em;} + + +/* Fonts */ +.sm {font-size: 75%;} + + +/* Transcriber Notes */ +.notes {background-color: #eeeeee; color: #000; + padding-top: .5em; padding-bottom: .5em; + padding-left: 1em; padding-right: 1em; + margin-left: 5%; margin-right: 5%;} + +.err {border-bottom: thin dotted red;} + + </style> + </head> +<body> + +<div class="notes"> +<p class="center"><b><i>Transcriber’s Notes</i></b></p> + +<p class="ind"><i>About this e-book:</i> This e-book was prepared from a 1964 +reprint published by Dover Publications, Inc., New York, +which in turn was prepared from the two-volume 1922 English translation +published by <span lang="fr">Édition Russe de Musique</span>, Paris.</p> + +<p class="ind"><a href="rimsky1.html">Volume I</a> contains +the text of the work; <a href="rimsky2.html">Volume II</a> contains the +musical examples referred to in Volume I. In this e-book, each volume +is in a separate HTML document. References in Volume I to the numbered +musical examples are hyperlinked to Volume II. See +<a href="rimsky1.html#Footnote_C_15">this footnote</a> for the editor's +explanation of the musical examples and the boxed rehearsal numbers. +The use of asterisks is explained on <a href="rimsky1.html#Page_xii">page XII</a> of the +<a href="rimsky1.html#Editors_Preface">Editor's Preface</a>.</p> + +<p class="ind">Obvious printer errors have been corrected without note. Other +apparent errors are underlined in red with a popup +<span class="err" title="Transcriber's Note">Transcriber's Note</span>.</p> + +<p class="ind"><i>About the music:</i> Midi or MP3 files have been provided for all music examples (except for +single-note examples, and tables of instrument ranges and chords). Click on the +[Listen] link to hear the music. For the extended music examples in +<a href="rimsky2.html">Volume II</a>, you can also click on the [PDF] link to view an enlarged version of the +original music images; and on the [XML] link to view or download +the notation in MusicXML.</p> + +<p class="ind">All MP3 files were created by the Transcriber using Finale with Garritan Personal +Orchestra, which employs sound samples of actual musical instruments, +except for vocal solos. The MusicXML files were created automatically in Finale and have not +been edited further. They reflect primarily the sound of the music, +not its appearance. Some workarounds were employed to address minor +limitations and bugs in Finale and Garritan that affected the sound (e.g., empty measures at +the beginning and/or end of a piece to avoid abrupt cut-offs; changes in dynamics; +expansion of shared staves where instruments are doubled; instrument substitutions; etc.). +Obvious printer errors have been corrected without note; other questionable +items are noted in the MusicXML file.</p> + +<p class="ind">For each music example in <a href="rimsky2.html">Volume II</a>, a +link has been provided back to the page in <a href="rimsky1.html">Volume I</a> on which the +example is referenced. Page numbers have been omitted from +<a href="rimsky2.html">Volume II</a>, but are available +in the PDF files.</p> +</div> + +<p><br /></p> + +<div class="bbox"> +<h1><span class="sm">NIKOLAY RIMSKY-KORSAKOV</span><br /> +<br /> +<i>Principles<br /> +of Orchestration</i><br /> +</h1> + + +<h2> +<i>with musical examples<br /> +drawn from his own works</i><br /> +</h2> + + +<h3> +Edited by<br /> +MAXIMILIAN STEINBERG<br /> +<br /> +English translation by<br /> +EDWARD AGATE<br /> +</h3> + + +<h3>[VOLUMES I and II]</h3> + +<p class="centerbp">[<span lang="fr">Édition Russe de Musique</span>, Paris, 1922]</p> +</div> + + + + +<hr /> +<p><span class="pagenum"><a name="Page_iii" id="Page_iii">-III-</a></span></p> + +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS<br /> +<br /> +<a href="rimsky1.html">Volume I</a></h2> + +<h3>Text</h3> + +<hr class="short" /> + +<table border="0" cellpadding="2" cellspacing="0" summary="contents"> +<tr><td> </td><td class="right">page</td></tr> +<tr><td><a href="rimsky1.html#Editors_Preface">Editor's Preface</a></td><td class="right"><a href="rimsky1.html#Page_vii">VII—XII</a></td></tr> +<tr><td><a href="rimsky1.html#Extract_from_the_Authors_Preface_1891">Extract from the Author's preface</a> (1891)</td><td class="right"><a href='rimsky1.html#Page_1'>1</a></td></tr> +<tr><td><a href="rimsky1.html#Extract_from_the_Preface_to_the_last_edition">Extract from the Preface to the last edition</a></td><td class="right"><a href='rimsky1.html#Page_5'>5</a></td></tr> +<tr><td colspan="2"> </td></tr> +<tr><td><b><a href="rimsky1.html#Chapter_I">Chapter I.</a>—General review of orchestral groups</b></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 1em;">A. Stringed instruments</span></td><td class="right"><a href='rimsky1.html#Page_6'>6</a></td></tr> +<tr><td><span style="margin-left: 1em;">B. Wind instruments:</span></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 2.5em;">Wood-wind</span></td><td class="right"><a href='rimsky1.html#Page_12'>12</a></td></tr> +<tr><td><span style="margin-left: 2.5em;">Brass</span></td><td class="right"><a href='rimsky1.html#Page_21'>21</a></td></tr> +<tr><td><span style="margin-left: 1em;">C. Instruments of little sustaining power:</span></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 2.5em;">Plucked strings</span></td><td class="right"><a href='rimsky1.html#Page_26'>26</a></td></tr> +<tr><td><span style="margin-left: 3.5em;">Pizzicato</span></td><td class="right"><a href='rimsky1.html#Page_27'>27</a></td></tr> +<tr><td><span style="margin-left: 3.5em;">Harp</span></td><td class="right"><a href='rimsky1.html#Page_27'>27</a></td></tr> +<tr><td><span style="margin-left: 2.5em;">Percussion instruments producing determinate sounds, keyed instruments</span></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 3.5em;">Kettle-drums</span></td><td class="right"><a href='rimsky1.html#Page_29'>29</a></td></tr> +<tr><td><span style="margin-left: 3.5em;">Piano and Celesta</span></td><td class="right"><a href='rimsky1.html#Page_30'>30</a></td></tr> +<tr><td><span style="margin-left: 3.5em;"><i>Glockenspiel</i>, Bells, Xylophone</span></td><td class="right"><a href='rimsky1.html#Page_32'>32</a></td></tr> +<tr><td><span style="margin-left: 2.5em;">Percussion instruments producing indefinite sounds</span></td><td class="right"><a href='rimsky1.html#Page_32'>32</a></td></tr> +<tr><td><span style="margin-left: 2.5em;">Comparison of resonance in orchestral groups, and combination of different tone qualities</span></td><td class="right"><a href='rimsky1.html#Page_33'>33</a></td></tr> +<tr><td colspan="2"> </td></tr> +<tr><td><b><a href="rimsky1.html#Chapter_II">Chapter II.</a>—Melody</b></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 1em;">Melody in stringed instruments</span></td><td class="right"><a href='rimsky1.html#Page_36'>36</a></td></tr> +<tr><td><span style="margin-left: 1em;">Grouping in unison</span></td><td class="right"><a href='rimsky1.html#Page_39'>39</a></td></tr> +<tr><td><span style="margin-left: 2em;">Stringed instruments doubling in octaves</span></td><td class="right"><a href='rimsky1.html#Page_40'>40</a></td></tr> +<tr><td><span style="margin-left: 2em;">Melody in double octaves</span></td><td class="right"><a href='rimsky1.html#Page_44'>44</a></td></tr> +<tr><td><span style="margin-left: 2em;">Doubling in three and four octaves</span></td><td class="right"><a href='rimsky1.html#Page_45'>45</a></td></tr> +<tr><td><span style="margin-left: 2em;">Melody in thirds and sixths</span></td><td class="right"><a href='rimsky1.html#Page_45'>45</a></td></tr> +<tr><td><span style="margin-left: 1em;">Melody in the wood-wind</span></td><td class="right"><a href='rimsky1.html#Page_46'>46</a></td></tr> +<tr><td><span style="margin-left: 2em;">Combination in unison</span></td><td class="right"><a href='rimsky1.html#Page_47'>47</a></td></tr> +<tr><td><span style="margin-left: 2em;">Combination in octaves</span></td><td class="right"><a href='rimsky1.html#Page_49'>49</a></td></tr> +<tr><td><span style="margin-left: 2em;">Doubling in two, three and four octaves</span></td><td class="right"><a href='rimsky1.html#Page_51'>51</a></td></tr> +<tr><td><span style="margin-left: 2em;">Melody in thirds and sixths</span></td><td class="right"><a href='rimsky1.html#Page_52'>52</a></td></tr> +<tr><td><span style="margin-left: 2em;">Thirds and sixths together</span></td><td class="right"><a href='rimsky1.html#Page_53'>53</a></td></tr> +<tr><td><span style="margin-left: 1em;">Melody in the brass</span></td><td class="right"><a href='rimsky1.html#Page_53'>53</a></td></tr> +<tr><td><span style="margin-left: 2em;">Brass in unison, in octaves, thirds and sixths</span></td><td class="right"><a href='rimsky1.html#Page_55'>55</a></td></tr> +<tr><td><span class="pagenum"><a name="Page_iv" id="Page_iv">-IV-</a></span></td></tr> +<tr><td><span style="margin-left: 1em;">Melody in different groups of instruments combined together</span></td><td class="right"><a href='rimsky1.html#Page_56'>56</a></td></tr> +<tr><td><span style="margin-left: 2em;">A. Combination of wind and brass in unison</span></td><td class="right"><a href='rimsky1.html#Page_56'>56</a></td></tr> +<tr><td><span style="margin-left: 2em;">B. Combination of wind and brass in octaves</span></td><td class="right"><a href='rimsky1.html#Page_57'>57</a></td></tr> +<tr><td><span style="margin-left: 2em;">C. Combination of strings and wind</span></td><td class="right"><a href='rimsky1.html#Page_58'>58</a></td></tr> +<tr><td><span style="margin-left: 2em;">D. Combination of strings and brass</span></td><td class="right"><a href='rimsky1.html#Page_61'>61</a></td></tr> +<tr><td><span style="margin-left: 2em;">E. Combination of the three groups</span></td><td class="right"><a href='rimsky1.html#Page_61'>61</a></td></tr> +<tr><td colspan="2"> </td></tr> +<tr><td><b><a href="rimsky1.html#Chapter_III">Chapter III.</a>—Harmony</b></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 1em;">General observations</span></td><td class="right"><a href='rimsky1.html#Page_63'>63</a></td></tr> +<tr><td><span style="margin-left: 2em;">Number of harmonic parts—Duplication</span></td><td class="right"><a href='rimsky1.html#Page_64'>64</a></td></tr> +<tr><td><span style="margin-left: 2em;">Distribution of notes in chords</span></td><td class="right"><a href='rimsky1.html#Page_67'>67</a></td></tr> +<tr><td><span style="margin-left: 1em;">String harmony</span></td><td class="right"><a href='rimsky1.html#Page_69'>69</a></td></tr> +<tr><td><span style="margin-left: 1em;">Wood-wind harmony</span></td><td class="right"><a href='rimsky1.html#Page_71'>71</a></td></tr> +<tr><td><span style="margin-left: 2em;">Four-part and three-part harmony</span></td><td class="right"><a href='rimsky1.html#Page_72'>72</a></td></tr> +<tr><td><span style="margin-left: 2em;">Harmony in several parts</span></td><td class="right"><a href='rimsky1.html#Page_76'>76</a></td></tr> +<tr><td><span style="margin-left: 2em;">Duplication of timbres</span></td><td class="right"><a href='rimsky1.html#Page_77'>77</a></td></tr> +<tr><td><span style="margin-left: 2em;">Remarks</span></td><td class="right"><a href='rimsky1.html#Page_78'>78</a></td></tr> +<tr><td><span style="margin-left: 1em;">Harmony in the brass</span></td><td class="right"><a href='rimsky1.html#Page_82'>82</a></td></tr> +<tr><td><span style="margin-left: 2em;">Four-part writing</span></td><td class="right"><a href='rimsky1.html#Page_82'>82</a></td></tr> +<tr><td><span style="margin-left: 2em;">Three-part writing</span></td><td class="right"><a href='rimsky1.html#Page_84'>84</a></td></tr> +<tr><td><span style="margin-left: 2em;">Writing in several parts</span></td><td class="right"><a href='rimsky1.html#Page_84'>84</a></td></tr> +<tr><td><span style="margin-left: 2em;">Duplication in the brass</span></td><td class="right"><a href='rimsky1.html#Page_85'>85</a></td></tr> +<tr><td><span style="margin-left: 1em;">Harmony in combined groups</span></td><td class="right"><a href='rimsky1.html#Page_88'>88</a></td></tr> +<tr><td><span style="margin-left: 2em;">A. Combination of wind and brass</span></td><td class="right"><a href='rimsky1.html#Page_88'>88</a></td></tr> +<tr><td><span style="margin-left: 3.5em;">1. In unison</span></td><td class="right"><a href='rimsky1.html#Page_88'>88</a></td></tr> +<tr><td><span style="margin-left: 3.5em;">2. Overlaying, crossing, enclosure of parts</span></td><td class="right"><a href='rimsky1.html#Page_90'>90</a></td></tr> +<tr><td><span style="margin-left: 2em;">B. Combination of strings and wind</span></td><td class="right"><a href='rimsky1.html#Page_94'>94</a></td></tr> +<tr><td><span style="margin-left: 2em;">C. Combination of the three groups</span></td><td class="right"><a href='rimsky1.html#Page_95'>95</a></td></tr> +<tr><td colspan="2"> </td></tr> +<tr><td><b><a href="rimsky1.html#Chapter_IV">Chapter IV.</a>—Composition of the orchestra</b></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 1em;">Different ways of orchestrating the same music</span></td><td class="right"><a href='rimsky1.html#Page_97'>97</a></td></tr> +<tr><td><span style="margin-left: 1em;">Full <i>Tutti</i></span></td><td class="right"><a href='rimsky1.html#Page_101'>101</a></td></tr> +<tr><td><span style="margin-left: 1em;"><i>Tutti</i> in the wind</span></td><td class="right"><a href='rimsky1.html#Page_103'>103</a></td></tr> +<tr><td><span style="margin-left: 1em;"><i>Tutti pizzicato</i></span></td><td class="right"><a href='rimsky1.html#Page_103'>103</a></td></tr> +<tr><td><span style="margin-left: 1em;"><i>Tutti</i> in one, two and three parts</span></td><td class="right"><a href='rimsky1.html#Page_104'>104</a></td></tr> +<tr><td><span style="margin-left: 1em;"><i>Soli</i> in the strings</span></td><td class="right"><a href='rimsky1.html#Page_104'>104</a></td></tr> +<tr><td><span style="margin-left: 1em;">Limits of orchestral range</span></td><td class="right"><a href='rimsky1.html#Page_106'>106</a></td></tr> +<tr><td><span style="margin-left: 1em;">Transference of passages and phrases</span></td><td class="right"><a href='rimsky1.html#Page_107'>107</a></td></tr> +<tr><td><span style="margin-left: 1em;">Chords of different tone quality used alternately</span></td><td class="right"><a href='rimsky1.html#Page_108'>108</a></td></tr> +<tr><td><span style="margin-left: 1em;">Amplification and elimination of tone qualities</span></td><td class="right"><a href='rimsky1.html#Page_109'>109</a></td></tr> +<tr><td><span style="margin-left: 1em;">Repetition of phrases, imitation, echo</span></td><td class="right"><a href='rimsky1.html#Page_110'>110</a></td></tr> +<tr><td><span style="margin-left: 1em;"><i>Sforzando-piano</i> and <i>piano-sforzando</i> chords</span></td><td class="right"><a href='rimsky1.html#Page_111'>111</a></td></tr> +<tr><td><span style="margin-left: 1em;">Method of emphasising certain notes and chords</span></td><td class="right"><a href='rimsky1.html#Page_111'>111</a></td></tr> +<tr><td><span style="margin-left: 1em;"><i>Crescendo</i> and <i>diminuendo</i></span></td><td class="right"><a href='rimsky1.html#Page_112'>112</a></td></tr> +<tr><td><span style="margin-left: 1em;">Diverging and converging progressions</span></td><td class="right"><a href='rimsky1.html#Page_113'>113</a></td></tr> +<tr><td><span style="margin-left: 1em;">Tone quality as a harmonic force. Harmonic basis</span></td><td class="right"><a href='rimsky1.html#Page_114'>114</a></td></tr> +<tr><td><span style="margin-left: 1em;">Artificial effects</span></td><td class="right"><a href='rimsky1.html#Page_116'>116</a></td></tr> +<tr><td><span style="margin-left: 1em;">Use of percussion instruments for rhythm and colour</span></td><td class="right"><a href='rimsky1.html#Page_117'>117</a></td></tr> +<tr><td><span style="margin-left: 1em;">Economy in orchestral colour</span></td><td class="right"><a href='rimsky1.html#Page_118'>118</a></td></tr> +<tr><td><span class="pagenum"><a name="Page_v" id="Page_v">-V-</a></span></td></tr> +<tr><td colspan="2"> </td></tr> +<tr><td><b><a href="rimsky1.html#Chapter_V">Chapter V.</a>—Combination of the human voice with orchestra. The Stage band</b></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 1em;">Orchestral accompaniment of solo voices</span></td><td class="right"><a href='rimsky1.html#Page_119'>119</a></td></tr> +<tr><td><span style="margin-left: 2em;">General remarks</span></td><td class="right"><a href='rimsky1.html#Page_119'>119</a></td></tr> +<tr><td><span style="margin-left: 2em;">Transparence of accompaniment. Harmony</span></td><td class="right"><a href='rimsky1.html#Page_120'>120</a></td></tr> +<tr><td><span style="margin-left: 2em;">Doubling voices in the orchestra</span></td><td class="right"><a href='rimsky1.html#Page_122'>122</a></td></tr> +<tr><td><span style="margin-left: 2em;">Recitative and declamation</span></td><td class="right"><a href='rimsky1.html#Page_125'>125</a></td></tr> +<tr><td><span style="margin-left: 1em;">Orchestral accompaniment of the chorus</span></td><td class="right"><a href='rimsky1.html#Page_126'>126</a></td></tr> +<tr><td><span style="margin-left: 2em;">Solo voice with chorus</span></td><td class="right"><a href='rimsky1.html#Page_128'>128</a></td></tr> +<tr><td><span style="margin-left: 1em;">Instruments on the stage and in the wings</span></td><td class="right"><a href='rimsky1.html#Page_129'>129</a></td></tr> +<tr><td colspan="2"> </td></tr> +<tr><td><b><a href="rimsky1.html#Chapter_VI_Supplementary">Chapter VI</a> (Supplementary).—Voices</b></td><td class="right"> </td></tr> +<tr><td><span style="margin-left: 1em;">Technical terms</span></td><td class="right"><a href='rimsky1.html#Page_132'>132</a></td></tr> +<tr><td><span style="margin-left: 1em;">Soloists</span></td><td class="right"><a href='rimsky1.html#Page_133'>133</a></td></tr> +<tr><td><span style="margin-left: 2em;">Range and register</span></td><td class="right"><a href='rimsky1.html#Page_133'>133</a></td></tr> +<tr><td><span style="margin-left: 2em;">Vocalisation</span></td><td class="right"><a href='rimsky1.html#Page_134'>134</a></td></tr> +<tr><td><span style="margin-left: 2em;">Vowels</span></td><td class="right"><a href='rimsky1.html#Page_136'>136</a></td></tr> +<tr><td><span style="margin-left: 2em;">Flexibility</span></td><td class="right"><a href='rimsky1.html#Page_137'>137</a></td></tr> +<tr><td><span style="margin-left: 2em;">Colour and character of voices</span></td><td class="right"><a href='rimsky1.html#Page_137'>137</a></td></tr> +<tr><td><span style="margin-left: 1em;">Voices in combination</span></td><td class="right"><a href='rimsky1.html#Page_139'>139</a></td></tr> +<tr><td><span style="margin-left: 2em;">Duet</span></td><td class="right"><a href='rimsky1.html#Page_139'>139</a></td></tr> +<tr><td><span style="margin-left: 2em;">Trios, quartets etc.</span></td><td class="right"><a href='rimsky1.html#Page_141'>141</a></td></tr> +<tr><td><span style="margin-left: 1em;">Chorus</span></td><td class="right"><a href='rimsky1.html#Page_142'>142</a></td></tr> +<tr><td><span style="margin-left: 2em;">Range and register</span></td><td class="right"><a href='rimsky1.html#Page_142'>142</a></td></tr> +<tr><td><span style="margin-left: 2em;">Melody</span></td><td class="right"><a href='rimsky1.html#Page_144'>144</a></td></tr> +<tr><td><span style="margin-left: 1em;">A. Mixed chorus</span></td><td class="right"><a href='rimsky1.html#Page_145'>145</a></td></tr> +<tr><td><span style="margin-left: 2.5em;">Chorus in unison</span></td><td class="right"><a href='rimsky1.html#Page_145'>145</a></td></tr> +<tr><td><span style="margin-left: 2.5em;">Progression in octaves</span></td><td class="right"><a href='rimsky1.html#Page_145'>145</a></td></tr> +<tr><td><span style="margin-left: 2.5em;">Voices <i>divisi</i>; harmonic use of the mixed chorus</span></td><td class="right"><a href='rimsky1.html#Page_146'>146</a></td></tr> +<tr><td><span style="margin-left: 1em;">B. Men's chorus and Women's chorus</span></td><td class="right"><a href='rimsky1.html#Page_148'>148</a></td></tr> +</table> + +<hr /> + +<h2><a href="rimsky2.html">Volume II</a></h2> + +<h3>Musical Examples</h3> + +<p class="center"><a href="rimsky2.html#LIST">List of Works</a></p> + + + +</body> +</html> |