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diff --git a/old/51993-0.txt b/old/51993-0.txt deleted file mode 100644 index b3beca4..0000000 --- a/old/51993-0.txt +++ /dev/null @@ -1,1777 +0,0 @@ -The Project Gutenberg EBook of The Mentor: Russian Music, Vol. 4, Num. 18, -Serial No. 118, November 1, 1916, by Henry T. Finck - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Mentor: Russian Music, Vol. 4, Num. 18, Serial No. 118, November 1, 1916 - -Author: Henry T. Finck - -Release Date: May 3, 2016 [EBook #51993] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: RUSSIAN MUSIC *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - - - - - THE MENTOR 1916.11.01, No. 118, - Russian Music - - - - - LEARN ONE THING - EVERY DAY - - NOVEMBER 1 1916 SERIAL NO. 118 - - THE - MENTOR - - RUSSIAN MUSIC - - By HENRY T. FINCK - Author and Music Critic - - DEPARTMENT OF VOLUME 4 - FINE ARTS NUMBER 18 - - FIFTEEN CENTS A COPY - - - - -Several Natural Questions - - -Q.--How big is Russia, and what is its population? - -A.--The area of Russia exceeds 8,660,000 square miles, or one-sixth -of the whole land surface of the earth. Its population is over -150,000,000--or at least it was so before the war. - -Q.--How many famous Russian composers are there? - -A.--Less than a dozen. - -Q.--How old is Russian music? - -A.--Less than 150 years. Catherine the Great (1761-1796) was one of the -first to encourage national music in Russia. Before her time the music -performed in Russia was imported, and was largely Italian. Catherine -caused productions of music by Russian composers. She supplied the -libretto for one opera. - -Q.--What is the origin of Russian music? - -A.--Both the music and literature of Russia had a common -origin--popular inspiration. The form and spirit of the music and -literature were drawn from the legends and primitive songs of the -people. - -Q.--When did music in Russia become, in a real sense, national? - -A.--Not until the first part of the nineteenth century. Composers had -been trying for fifty years to establish a national movement in music, -but it was not until the advent of Glinka and his opera, “A Life for -the Czar,” in 1836, that the Russian school of music can be said to -have been inaugurated. - -Q.--Why were music and literature so late in coming to this great -nation? - -A.--On account of physical and human conditions. Russia is and has -been a vast and absolute monarchy, consisting of millions of people -held in subjection and ignorance, and with only a few great centers -of civilization. Petrograd has been for years a city of brilliant -cultivation, but in contrast to that there are countless towns, -villages, and farms in which dwell millions of poor and ignorant -people. It is only within the last century that Russia has wakened -to a national consciousness and begun to shake off the grim, feudal -conditions of the Middle Ages. In this new era the voice of music is -first heard as a national expression. - - - - -[Illustration: MICHAL IVANOVICH GLINKA] - - - - -_RUSSIAN MUSIC_ - -_Michal Ivanovich Glinka_ - -ONE - - -Michal Ivanovich Glinka at an early age showed that he possessed two -characteristics that were to have a very important bearing on his -whole life--an extremely nervous disposition and a lively aptitude for -music. His grandmother, who was responsible for his early upbringing -and who was an invalid herself, encouraged the first; while his father -stimulated in the boy the second. Glinka, mollycoddled from childhood, -never wholly succeeded in throwing off an inherited brooding tendency; -but he became a wonderful composer and musician. - -Glinka was born on June 2, 1803, at Novospassky, a little village in -Russia. His father was a retired army officer and not particularly well -off, but his mother’s brother was fairly wealthy, and often when the -Glinkas had an entertainment this brother lent them a small private -band which he kept up. It was to this early association with music of -the best class that young Glinka owed the development of his taste. - -He spent his earliest years at home, but when he was thirteen he went -to a boarding school in Petrograd, where he remained for five years, -carefully studying music. It was in 1822, when he was only seventeen, -that he composed his first music--one of his five waltzes for the -piano. During these school years he paid attention to the other -branches of education also, learning Latin, French, German, English and -Persian, and working hard at the study of geography and zoölogy. - -Glinka had a nervous breakdown in 1823, and he made a tour of the -Caucasus, taking a cure in the waters there. On his return home he -worked hard at his music, although as he had not then decided to devote -his life to a musical career, his studies were somewhat intermittent. -He went to Petrograd and took a position in the government department; -but in 1828 his family gave him an allowance and he decided to devote -himself to music alone. While at Petrograd he made many friends. -However, he saw that a round of pleasure did not aid him in his music, -so in 1830 he began his thorough musical education, leaving Russia for -Italy, where he stayed for three years studying the works of old and -modern Italian masters. His training as a composer was finally finished -in Berlin. - -Glinka returned to Russia in 1833, and was soon the center of an -intellectual circle at Petrograd. It was one of these friends, -Joukovsky, the poet, who suggested that Glinka compose an opera on -the subject of the heroic patriotic deeds of the Russian hero, Ivan -Soussanin. Baron de Rosen wrote the libretto for this work, which was -called “A Life for the Czar,” and which was first performed on November -27, 1836. - -The plot of this opera was based on the following story: In 1613 the -Poles invaded Russia and attempted to assassinate the newly elected -Czar, Michael Romanoff. The Polish leaders, however, did not know where -to find the Czar. Without letting him know who they were, they asked a -peasant, Ivan Soussanin, to guide them to the monarch. Ivan, however, -suspecting their designs, sent his adopted son to warn the Czar, and -himself led the Poles to the depths of a forest from which they could -not possibly find their way. The Poles, when they saw that they had -been deceived, killed Soussanin. - -This opera was the turning point in Glinka’s life. It was a great -success, and in a way became the basis of a Russian school of national -music. The opera enjoyed extraordinary popularity. In December, 1879, -it reached its 500th performance, and in November, 1886, a special -production was given, not only at Petrograd, but in every Russian town -that had a theater, in celebration of the 50th anniversary of its first -performance. It was presented at two theaters in Moscow at the same -time. - -Glinka had married in 1835, but misunderstandings arose which finally -ended in a separation some time afterward. - -His second opera, “Ruslan and Ludmilla,” did not appear until 1842. -It did not appeal to the popular taste and was a dismal failure. -Glinka thought that it was superior to his first, and he was bitterly -disappointed at its failure. - -In 1845 he made his first visit to Paris, and later he went to Spain. -After two years in that country he returned to Russia, where he spent -the winter at his home, and then went to Warsaw, remaining there for -three years. In 1852 Glinka started for France, paying another visit -to Berlin on the way. When, however, war broke out in the Crimea in -1854, he returned to Petrograd. While there he became interested in -church music. In order to study this type of music he went to Berlin in -1856. This was his last journey. Early in January, 1857, the composer -Meyerbeer arranged a special concert devoted to Glinka’s works. On -leaving the hall the Russian contracted a chill. He died on February -15, 1857. Glinka was buried in Berlin. Three months later, however, his -body was taken to its present resting place in Petrograd. A monument -was erected to his memory there in 1906. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 18, SERIAL No. 118 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: ANTON RUBINSTEIN] - - - - -_RUSSIAN MUSIC_ - -_Anton Rubinstein_ - -TWO - - -There has been a curious uncertainty as to the date of Anton -Rubinstein’s birth. He was born on November 28, 1829, but due to -a lapse of memory on the part of his mother, he always celebrated -his birthday on the 30th of November. He was the son of a Jewish -pencil manufacturer at Wechwotynetz, Russia, who later went to -Moscow. In his autobiography Rubinstein tells of this migration: “My -earliest recollections are of a journey to Moscow in a roomy covered -wagon, undertaken by the three families, with all the children and -servants,--nothing less than a tribal migration. We reached the city -and crossed the Pokròvski bridge. Here we hired a large house belonging -to a certain Madame Pozniakòv; it was surrounded by trees and stood -near a pond beyond the river Iowza. This was in 1834 and 1835.” - -The mother of Rubinstein was an excellent musician, and she gave the -young boy his first music lessons. In addition he had as a teacher a -master of the piano named Alexander Villoing. To the end of his life -Rubinstein declared that he had never met a better master. - -When he was only ten years old Rubinstein made his first public -appearance as a performer, playing in a theater at Moscow. Two years -later he went to Paris, and roused the admiration of Liszt and Chopin -by his playing. - -After this Rubinstein traveled for some time in Holland, Germany and -Scandinavia. In 1842 he reached England, where he made his first -appearance, on May 20th. He made a brief visit to Moscow in 1843, and -two years later went with his family to Berlin, in order to finish his -musical education. There he made friends with Mendelssohn. - -Then Rubinstein’s father died suddenly. His mother and brother were -forced to return to Moscow. Anton went to Vienna to earn a living. -For nearly two years more he studied hard there, and then went on two -concert tours through Hungary. The Revolution broke out in Vienna and -prevented his return to that city, so he went to Petrograd, where he -studied, composed and lived pleasantly for the next few years. - -About this time he came near being exiled to Siberia through an -unfortunate error of the police. He was saved from this by his -patroness, the Grand Duchess Helene. - -He composed several operas during the next few years; and he visited -Hamburg and Leipzig and then went on to London, arriving there for the -second time in 1857. He remained there for a short time and reappeared -the following year, in the meantime having been appointed concert -director of the Royal Russian Musical Society. In 1862 he helped to -found the Conservatory at Petrograd. Of this he was director until 1867. - -Rubinstein then traveled for some years, visiting America in 1872--a -tour which brought him $40,000. So popular was his playing that he -was afterward offered $125,000 for fifty concerts; but he could not -overcome his dread of the sea voyage. He returned to Russia from -America, and after a short rest continued his concert tours. For the -remaining years of his life he lived in turn at Petrograd, Berlin, and -Dresden, devoting his time to concerts, teaching, and to composition. -In 1885 he began a series of historical recitals, which he gave in -most of the chief European capitals. Rubinstein died near Petrograd on -November 20, 1894. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 18, SERIAL No. 118 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: MODESTE PETROVICH MOUSSORGSKY] - - - - -_RUSSIAN MUSIC_ - -_Modeste Petrovich Moussorgsky_ - -THREE - - -Moussorgsky’s artistic creed might be summed up in one sentence--he -was devoted absolutely to the principle of “art for _life’s_ sake.” -This is quite the opposite of “Art for art’s sake.” Moussorgsky looked -on musical art not as an end in itself, but as a means of vital -expression. He was a full-blooded realist, and his music throbs with -life. - -Modeste Petrovich Moussorgsky was born on the estate of his father at -Karevo on March 28, 1839. His father was a man of moderate means, and -the boy spent his first ten years in the country and in close touch -with the peasants. This early environment inspired his later feelings -of sympathy with the land and its people. Long before he could play the -piano he tried to reproduce songs that he heard among the peasants. His -mother was pleased at this, and began to give him lessons on the piano -when he was still a young child. At the age of seven he was able to -play some of the smaller pieces of Liszt. Sometimes he even improvised -musical settings for the fairy tales that his nurse told him. - -In 1849 Moussorgsky and his brother were taken to Petrograd, where they -were entered in the military cadet school, for the boy was intended for -the army. At the same time, however, his parents allowed him to pursue -his musical education. Moussorgsky’s father died in 1853, and three -years later the youth entered his regiment. It was in 1857 that he -began to have a distaste for his military duties, and two years later -he resigned from the army. During the summer following his resignation, -however, he was unable to do any work with his music, as he was taken -sick with nervous trouble. Also from the time he left the army he was -never free from financial embarrassments. - -Moussorgsky went to Petrograd, and he and five friends formed -themselves into an intellectual circle. He soon, however, began to feel -the pinch of poverty and was obliged to do some work of translation. -Later he even took a small government position. His mother died in -1865, and he wrote a song at the time which is now regarded as one -of his finest works. Toward the middle of this year he was once more -attacked by his nervous trouble. It was necessary for him to give up -his position and to go to live in the country. He improved gradually, -and during the next two years he wrote some songs which later attracted -some attention. Most of the year 1868 was spent in the country. In -the fall of this year he returned to Petrograd. He secured another -position, this one in the Ministry of the Interior. This left him with -some leisure, which he employed with his music. About this time he -began to work on the music of his opera, “Boris Godounov,” based on the -work of the dramatist Pushkin. This was first produced in Petrograd on -January 24, 1874. Shortly after he began to work on “Khovantchina,” -another opera, which had its first complete public performance in 1885 -at Petrograd. - -Shortly after the production of “Boris Godounov,” Moussorgsky began to -devote himself to the composition of songs, among which was the song, -“Without Sunlight,” and the “Songs and Dances of Death.” - -Then Moussorgsky began to enter into a mental and physical decline. -He was low in funds, for the small salary derived from his -government position was insufficient for his needs. He began to play -accompaniments at concerts, but very little work of this kind was -obtainable. In 1879 he made a long concert tour in South Russia with -Madam Leonoff, a singer of repute. This was very successful. He did -very little work during the following winter; his health grew worse, -and he was forced to give up his government appointment. He lived for -a time in the country. At last it was necessary for him to enter the -military hospital at Petrograd, where he died on March 28, 1881. He was -buried in the Alexander Nevsky cemetery. Some years later a few friends -and admirers erected a monument over his grave. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 18, SERIAL No. 118 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: PETER ILICH TCHAIKOVSKY] - - - - -_RUSSIAN MUSIC_ - -_Peter Ilich Tchaikovsky_ - -FOUR - - -Peter Ilich Tchaikovsky in the first part of his life held an office in -the Ministry of Justice at Petrograd. While he was an excellent amateur -performer, he did not think seriously enough of his musical ability to -consider music as a career. It was Anton Rubinstein who induced him to -take up music as a profession. - -Tchaikovsky was born at Votkinsk, Russia, on May 7, 1840. He was the -son of a mining engineer, who shortly after Peter was born removed -to Petrograd. The boy picked up a smattering of musical knowledge -as a law student. Then when he was twenty-two, Rubinstein, the -director of the conservatory at Petrograd, persuaded him to enter -it as a pupil. Tchaikovsky, therefore, resigned his position in the -Ministry of Justice and took up the study of composition, harmony, and -counterpoint. Four years later, on leaving the conservatory, he won the -prize, a silver medal, for his cantata on Schiller’s “Ode to Joy.” - -In 1866 Tchaikovsky became professor of the history and theory of -music at the Moscow Conservatory, which had just then been founded by -Nicholas Rubinstein, a brother of Anton. For the next twelve years he -was practically first chief of this conservatory, since Serov, whom -he succeeded, never took up his appointment. While serving in that -capacity he wrote text books and made translations of others into -Russian. - -At Moscow Tchaikovsky met Ostrovsky, who wrote for him his first -operatic libretto, “The Voyevoda.” The Russian Musical Society -rejected a concert overture by Tchaikovsky, written at the suggestion -of Rubinstein. In 1867 Tchaikovsky made an unsuccessful début as a -conductor. His star was not yet in the ascendant, for in 1869 his -opera, “The Voyevoda,” lived for only ten performances. Tchaikovsky -later destroyed the score of this work. The following year his operatic -production, “Undine,” was rejected. In 1873, at Moscow, his incidental -music to the “Snow Queen” proved a failure. During all this time the -composer was busy on a cantata, an opera and a text book of harmony, -the last of which was adopted by the authorities of the Moscow -Conservatory. He was also music critic for two journals. - -Tchaikovsky competed for the best musical setting for Polovsky’s -“Wakula the Smith” in a competition, and won the first two prizes. -On the production of this in Petrograd, in November, 1876, however, -only a small measure of success was gained. A greater success came to -the composer with the production of the “Oprischnik.” From 1878 on he -devoted himself exclusively to composition. - -On July 6, 1877, Tchaikovsky married. It was a most unfortunate match -and rapidly developed into a catastrophe. Tchaikovsky had too much -temperament--result, many stormy scenes. A separation occurred in -October. Tchaikovsky became morose, and finally left Moscow to make his -home in Petrograd. He fell ill there and attempted to commit suicide by -standing up to his chin in the river during a cold period. He had hoped -to die from exposure, but his brother’s tender care saved his life. - -Tchaikovsky had begun work on the opera, “Eugen Onegin,” in 1877. This -work was produced at the Moscow Conservatory in March, 1879, and it was -then that real success first came to him. - -In the meanwhile, however, Tchaikovsky went to Clarens to recuperate -from his illness. He remained abroad for several months, visiting Italy -and Switzerland, and moving restlessly from one place to another. - -In 1878 he accepted the post of director of the Russian Musical -Department at the Paris Exhibition. He resigned this later on. In 1879 -he wrote his “Maid of Orleans,” which was produced in 1880. During -the next five years he continued his travels, working all the time -at composition. For some time he lived in retirement at Klin, where -his generosity to the poor made him much loved. In 1888 and 1889 he -appeared at the London Philharmonic concerts. He also visited America, -conducting his own compositions in New York City at the opening of -Carnegie Hall in 1891. In 1893 Cambridge University made him a doctor -of music. In the same year he died from an attack of cholera at -Petrograd, on November 6. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 18, SERIAL No. 118 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: NICHOLAS ANDREIEVICH RIMSKY-KORSAKOV] - - - - -_RUSSIAN MUSIC_ - -_Nicholas Andreievich Rimsky-Korsakov_ - -FIVE - - -Rimsky-Korsakov was one of the many Russian composers who took up a -musical career after a future had been planned along the line of some -other work. In his case the Navy lost where music gained. Nicholas -Andreievich Rimsky-Korsakov was born March 18, 1844, at Tikhvin, -Russia. He had the good fortune to spend his early life in the country, -and at the same time to hear from infancy the best music. On the estate -of his father were four Jews, who formed a little band. This band -supplied music at all social functions that took place at the Korsakov -home. He began to study the piano when he was six years old, and three -years later he was improvising. - -The boy’s parents, although they were glad to have him study music, -planned a naval career for him. When he was twelve years old, in 1856, -he was sent to the Petrograd Naval College. While studying there, -however, he continued his music. In 1861 he began to take his musical -studies very seriously. The following year, however, he had to conclude -his naval education with a three years’ cruise in foreign waters. When -this cruise was over, in 1865, a symphony that he had composed had its -first performance. This symphony bears the distinction of being the -first musical work in that form by a Russian composer. - -In 1866 began Korsakov’s friendship with Moussorgsky, which lasted -until the latter’s death in 1881. From then on, for the next few years, -he worked hard at musical composition. It was during this time that he -first began to turn his attention to opera, of which “Pskovitianka,” -begun in 1870, was the first. In 1871 Rimsky-Korsakov was appointed a -professor in the Conservatory at Petrograd. Two years later he decided -to sever his connection with the Navy altogether. This year also saw -the beginning of his collection of folk songs, which were published in -1877. The year before this, Korsakov had married. His wife was Nadejda -Pourgold, the talented Russian pianist. - -In 1874 the composer was made director of the Free School of Music at -Petrograd, which position he filled until 1881. His second opera, “A -Night in May,” was finished in 1878. He began another opera, “The Snow -Maiden,” two years later. His operas, however, always attracted less -attention abroad than his symphonies. - -In 1883 he was appointed assistant director of the Imperial Chapel -at Petrograd. This post was held by him for eleven years. Two years -later he was offered the directorship of the Conservatory in Moscow, -but he declined it. In 1886 he became director of the Russian symphony -concerts. Three years later he appeared in Paris and conducted two -concerts. He was enthusiastically received, and entertained at a -banquet. - -In 1894 Rimsky-Korsakov gave up the assistant directorship of the -Imperial Chapel. He was now at work upon an opera in which the -element of humor predominated. This was “Christmas Eve Revels.” It -was produced at the Maryinsky Theater in Petrograd in 1895. Korsakov -continued to work at opera, producing, among others, “Sadko,” “The -Czar’s Betrothed,” “The Tale of Czar Saltan,” “Servilia,” “Kostchei -the Deathless,” “Pan Voyvoda,” and “Kitej.” His last opera, “The -Golden Cock,” was censored during the interval between its composition -and the composer’s death. It was not until May, 1910, that it was -produced at Moscow. It is supposed that chagrin at the fate of this -opera contributed to the suddenness of Rimsky-Korsakov’s death, which -occurred on June 20, 1908. - -“In him we see,” says one writer, “the Russian who, though not by any -means satisfied with Russia as he finds it, does not set himself to -hurl a series of passionate but ineffective indictments against things -as they are, but who raises an ideal and does his utmost to show how -best that ideal may be attained.” - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 18, SERIAL No. 118 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: IGOR STRAVINSKY] - - - - -_RUSSIAN MUSIC_ - -_Igor Stravinsky_ - -SIX - - -Igor Stravinsky was a pupil of Rimsky-Korsakov. One day the young -composer played for his teacher a few bars of the music of one of his -ballets. The older man halted him suddenly: “Look here,” said he. -“Stop playing that horrid thing; otherwise I might begin to enjoy it!” -This ballet was one of the works that made Stravinsky famous. Igor -Stravinsky was born on June 17, 1882, at Oranienbaum, near Petrograd, -Russia. The date of his birth has been disputed, but this date is the -one given by Stravinsky himself. He was the son of Fedor Ignatievich -Stravinsky, the celebrated singer who was associated with the Imperial -(Maryinsky) Theater in Petrograd. Igor was destined to study law, but -at the age of nine he was already giving proofs of a natural musical -bent; and in particular he showed an aptitude for piano playing. To the -study of this instrument he devoted a great deal of time, under the -instruction of a pupil of Rubinstein. - -In 1902, when Stravinsky was twenty years old, he met Rimsky-Korsakov -at Heidelberg--a meeting which marked an epoch in his life. The older -composer had much influence on the career of Stravinsky. Their views on -music differed greatly, however. - -Stravinsky worked hard. He attended concerts, visited museums and read -widely. Rimsky-Korsakov, though alarmed at the revolutionary tendencies -of his pupil, predicted for him great success. During the years 1905 -and 1906 Stravinsky worked at orchestration. At this time his friends -were members of the group surrounding Rimsky-Korsakov, including -Glazounov and César-Cui. - -On January 11, 1906, Stravinsky married. Soon after his marriage he -finished a symphony which was performed in 1907 and was published -later. Following this, in 1908, came his “Scherzo Fantastique,” which -was inspired by a reading of Maeterlinck’s “Life of the Bee.” - -When Rimsky-Korsakov’s daughter was married in 1908 Stravinsky sent his -composition, “Fire Works,” a symphonic fantasia, which, curiously, had -been submitted for the approval of an English manufacturer of Chinese -crackers. However, before the gift arrived by mail Rimsky-Korsakov -died. As a tribute to his master’s memory Stravinsky composed the Chant -Funèbre. - -In 1909 Stravinsky wrote “The Nightingale,” a combination of opera and -ballet, based on Hans Christian Andersen’s fairy tale of the same name. -This was produced in 1914. - -Then came the discovery of Stravinsky by the director of the Russian -ballet, Serge de Diaghileff. The young composer was commissioned -to write a ballet on a Russian folk story, the scenario of which -was furnished by Michel Fokine. Leon Bakst and Golovine, the scene -painters, collaborated with him. This ballet, “The Fire Bird,” was -finished on May 18, 1910, and produced three weeks later. This -production established Stravinsky’s reputation in Paris. - -The second of his ballets, “Petrouschka,” was completed on May 26, -1911. It was first produced in Paris in the same year. The scene of -Petrouschka is a carnival. One of the characters is a showman, and in -his booth are three animated dolls. In the center is one with pink -cheeks and a glassy stare. On one side of this is a fierce negro, and -on the other the simple Petrouschka. These three play out a tragedy of -love and jealousy, which ends with the shedding of Petrouschka’s vital -sawdust. One critic has said: “This ballet is, properly speaking, a -travesty of human passion, expressed in terms of puppet gestures and -illumined by music as expositor. The carnival music is a sheer joy, -and the incidents making a demand upon music as a depictive medium -have been treated not merely with marvelous skill, but with unfailing -instinct for the true satirical touch. ‘Petrouschka’ is, in fact, -the musical presentment of Russian fantastic humor in the second -generation.” - -“The Crowning of Spring” was composed during the winter of 1912 and -1913, and was produced both in Paris and London during the following -spring and summer. - -Recently Stravinsky has composed several songs which are done in -the same spirit as that in which he wrote his compositions for the -orchestra. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 18, SERIAL No. 118 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -THE MENTOR · DEPARTMENT OF FINE ARTS · NOV. 1, 1916. - -RUSSIAN MUSIC - -By HENRY T. FINCK - -_Author and Music Critic_ - -[Illustration: I. TCHAIKOVSKY] - -[Illustration: ANTON RUBINSTEIN] - - _MENTOR GRAVURES_ - - RUBINSTEIN - MOUSSORGSKY - TCHAIKOVSKY - RIMSKY-KORSAKOV - GLINKA - STRAVINSKY - -Entered as second-class matter March 10, 1913, at the postoffice at New -York, N. Y., under the act of March 3, 1879. Copyright, 1916, by The -Mentor Association, Inc. - - -So far as the world at large is concerned, Russian music--which has -come so much to the fore in recent years--began with Rubinstein, -who lived till 1894. There was, indeed, one other composer of note -before him--Glinka--but Glinka’s music, though very popular in Russia, -remained almost unknown in other countries, whereas Rubinstein, and, -after him, Tchaikovsky (also spelled Tschaikowsky), conquered the whole -world. - -Folk music, it is needless to say, flourished many centuries before -Glinka. Folk tunes are like wild flowers, and in all countries the -composers have heard the “call of the wild” and tried to woo these -flowers and bring them to their gardens. This is particularly true of -Russia, which has an abundance of folk songs that are unsurpassed in -beauty and emotional appeal; indeed, Rubinstein and another eminent -composer, César Cui (kwee), claim absolute supremacy for their country -in the matter of national melodies. The tremendous size of the Empire, -including, as it does, one-sixth of all the land on this globe, gives -scope for an unparalleled variety of local color in songs, suggesting -the great difference in costumes and customs. Asiatic traits are -mingled with the European. Many of the songs are sad, as is to be -expected in a populace often subjected to barbarian invasions, as -well as to domestic tyranny; but perhaps an equal number are merry, -with a gaiety as extravagant as the melancholy of the songs that are -in the minor mode. As a rule, Russian peasants seem to prefer singing -in groups to solo singing. There are many singing games; some of the -current songs are of gypsy origin; and we find in the collections of -Russian folk music (the best of which have been made by Balakiref -and Rimsky-Korsakov) an endless variety, devoted to love, flattery, -grief, war, religion, etc. Eugenie Lineff’s “Peasant Songs of Great -Russia” (transcribed from phonograms) gives interesting samples and -descriptions. Lineff’s choir has been heard in America. - -[Illustration: SINGING AT AN OUTDOOR SHRINE] - -[Illustration: RUSSIAN PRIEST CHANTING] - - -_Russian Choirs and Basses_ - -Church music is another branch of the divine art that flourished in -Russia before the advent of the great composers. Five centuries ago the -court at Moscow already had its church choir, and some of the Czars, -including Ivan the Terrible, took a special interest in the musical -service. Peter the Great had a private choir which he even took along -on his travels. - -In 1840, the French composer, Adolphe Charles Adam, on a visit to St. -Petersburg (now Petrograd) found that church music was superior to any -other kind in Russia. The choir of the Imperial Chapel sang without a -conductor and without instrumental support, yet “with a justness of -intonation of which one can have no idea.” - -A specialty of this choir, which gave it a “sense of peculiar -strangeness,” was the presence of bass voices that produced a marvelous -effect by doubling the ordinary basses at the interval of an octave -below them. These voices, Adam continues, “if heard separately, would -be intolerably heavy; when they are heard in the mass the effect is -admirable.” He was moved to tears by this choir, “stirred by such -emotion as I had never felt before … the most tremendous orchestra in -the world could never give rise to this curious sensation, which was -entirely different from any that I had supposed it possible for music -to convey.” - -[Illustration: RUSSIAN ORGAN GRINDER] - -Similarly impressed was another French composer, Berlioz, when he heard -the Imperial Choir sing a motet for eight voices: “Out of the web of -harmonies formed by the incredibly intricate interlacing of the parts -rose sighs and vague murmurs, such as one sometimes hears in dreams. -From time to time came sounds so intense that they resembled human -cries, which tortured the mind with the weight of sudden oppression and -almost made the heart stop beating. Then the whole thing quieted down, -diminishing with divinely slow graduations to a mere breath, as though -a choir of angels was leaving the earth and gradually losing itself in -the uttermost heights of heaven.” - - -_Italian and French Influences_ - -Like all other European countries, Russia more than a century ago -succumbed to the spell of Italian music. Young men were sent to Italy -to study the art of song, while famous Italian singers and composers -visited Russia and made the public familiar with their tuneful art. It -was under the patronage of the Empress Anna that an Italian opera was -for the first time performed in the Russian capital, in 1737. She was -one of several rulers who deliberately fostered a love of art in the -minds of their subjects. Under the Empress Elizabeth music became “a -fashionable craze,” and “every great landowner started his private band -or choir.” Russia became what it still is--the place where (except in -America) traveling artists could reap their richest harvests. - -[Illustration: PLAYER OF REED PIPE] - -The high salaries paid tempted some of the leading Italian composers, -such as Cimarosa (Cheemahrosah), Sarti, and Paisiello (Paheeseello), to -make their home for years in Russia, where they composed and produced -their operas. Near the end of the eighteenth century French influences -also asserted themselves, but the Italians continued to predominate, -so that when the Russians themselves--in the reign of Catherine the -Great (1761-1796)--took courage and began to compose operas, Italian -tunefulness and methods were conspicuous features of them. - - -_Glinka, the Pioneer_ - -The operas of Glinka, as well as those of Rubinstein and Tchaikovsky, -betrayed the influence of Italy on Russian music. Though not the -first Russian opera composer, Michal Ivanovich Glinka is the first of -historic note. Rubinstein goes so far as to claim for him a place among -the greatest five of all composers (the others being, in his opinion, -Bach, Beethoven, Schubert and Chopin), but this is a ludicrously -patriotic exaggeration. His master work is “A Life for the Czar,” -which created a new epoch in Russian music. The hero of the plot is a -peasant, Soussanin, who, during a war between Poland and Russia, is -pressed into service as a guide by a Polish army corps. He saves the -Czar by misleading the Poles, and falls a victim to their vengeance. -In his autobiography Glinka says: “The scene where Soussanin leads the -Poles astray in the forest I read aloud while composing, and entered -so completely into the situation of my hero that I used to feel my -hair standing on end and cold shivers down my back.” It is under such -conditions that master works are created. - -[Illustration: ROMANTIC DANCE] - -[Illustration: A MOUJIK (PEASANT) DANCE] - -Although following the conventional Italian forms, “A Life for the -Czar” is in most respects thoroughly Slavic--partly Russian, partly -Polish. While composing the score he followed the plan of using the -national music of Poland and Russia to contrast the two countries. -In some cases he used actual folk tunes, including one he overheard -a cab driver sing. In other instances he invented his own melodies, -but dyed them in the national colors. As the eminent French composer, -Alfred Bruneau (bree´-no), remarked, “by means of a harmony or a simple -orchestral touch,” Glinka “could give an air which is apparently as -Italian as possiblea penetrating perfume of Russian nationality.” By -his utilizing of folk tunes in building up works of art--he did the -same thing in his next opera, “Ruslan and Ludmilla”--Glinka entered a -path on which most of the Russian composers of his time, and later on, -followed his lead; but his influence did not stop there. He was also -the pioneer who opened up the road into the dense jungle of discords, -unusual scales, and odd rhythms, which have made much of the music by -later Russian composers seem as if written according to a new grammar. -Furthermore, Rosa Newmarch, who is the best historian in English of -Russian opera, writes that “it is impossible not to realize that the -fantastic Russian ballets of the present day owe much to Glinka’s first -introduction of Eastern dances into ‘Ruslan and Ludmilla’.” - -[Illustration: MICHAL GLINKA] - -Clearly, Glinka was the father of Russian opera. He wrote some good -concert pieces, too. - - -_Rubinstein, the Russian Mendelssohn_ - -Anton Rubinstein is considered to have been, next to Franz Liszt, the -greatest pianist the world has ever heard. His technical execution -was not flawless, but no one paid any attention to that, because of -the overwhelming grandeur and emotional sweep of his playing. Like -Liszt, however, he tired of the laurels of a performer, his ambition -being to become the Russian Beethoven. He got no higher, however, -than the level of Mendelssohn. Both Mendelssohn and Rubinstein were -for years extremely popular. If they are less so today, that is owing -to the superficial character of much of their music. Yet both were -great geniuses; in their master works they reached the high water mark -of musical creativeness. Rubinstein is at his best in his “Ocean” -symphony, his Persian songs, some of his chamber works for stringed -instruments, alone or with piano, two of his concertos for piano and -orchestra, and his pieces for piano alone, the number of which is 238. -Among these there are gems of the first water. - -[Illustration: PEASANT WITH ACCORDION] - -A Rubinstein revival is much to be desired in these days, when so few -composers are able to create new melodies. When it comes, in response -to the demands of audiences, which are very partial to this composer, -at least three of his nineteen operas will be revived: “The Demon,” -“Nero,” and “The Maccabees.” Opera goers love, above all things, -melody, and Rubinstein’s operas, like his concert pieces, are full of -it. He was himself to blame for the failure of most of his operas, for -he stubbornly refused to swim with the Wagnerian current, which swept -everything before it. He hated Wagner intensely, yet he might have -learned from him the art of writing music dramas of permanent value. - -Five of his operas are on Biblical subjects. They are really oratorios -with scenery, action and costumes. He dreamed of erecting a special -theater somewhere for the production of these “sacred operas,” as -Wagner did for his music dramas at Bayreuth; but nothing came of this -plan, and he became more and more embittered as he grew older, because -so many of his schemes failed. - -Apart from their abundant melody there is nothing in Rubinstein’s best -works that fascinates us more than the exhibits of glowing Oriental and -Hebrew “coloring”--as we call it for want of a better word. He also -made excellent use of national Russian melodies, though not nearly to -the same extent as Glinka and his followers, the “nationalists.” Before -considering them it will be advisable to speak of the greatest of all -the Russian composers. - -[Illustration: MUSIC AMONG THE LOWLY] - - -_Tchaikovsky, the Melancholy_ - -It is commonly believed that in music the public wants something -“quick and devilish”; but this is far from the truth. For social, -political, and especially climatic reasons, the Russians, with their -long and dreary winters, are supposed to be a melancholy nation. The -most melancholy of their composers is Peter Ilich Tchaikovsky, and -of his works the most popular by far, throughout the world, is the -most lugubrious of them all, the heart rending “Pathetic Symphony,” -which is today second in popularity to no other orchestral work of -any country. “All hope abandon, ye who enter here,” might well be its -motto. More than any funeral march ever composed, it embodies, in the -_adagio lamentoso_, which ends it, the concentrated quintessence of -despair, “the luxury of woe.” It was Tchaikovsky’s symphonic swan song. -At the time of his death there was a rumor that he had written it -deliberately as his own dirge before committing suicide; but it is now -known that he died of cholera. - -What endears the “Pathetic Symphony” to such a multitude of music -lovers is, furthermore, its abundance of soulful melody. This abundance -characterizes many of his other compositions. Indeed, so conspicuous, -so ingratiating, is the flow of melody in his works, that one might -think he was one of those Italian masters who made their home in -Russia. It must be borne in mind, however, that the Italians have -not a monopoly of melodists--think of the Austrians, Haydn, Mozart -(who was the idol of Tchaikovsky’s youth) and Schubert; the Germans, -Bach, Beethoven, Schumann, Wagner; the Frenchmen, Bizet and Gounod; -the Norwegian, Grieg; the Pole, Chopin. With them as a melodist ranks -Tchaikovsky, and this is the highest praise that could be bestowed on -him. The charm of original melody gives distinction to his songs, the -best of which are the “Spanish Serenade,” “None but a Lonely Heart,” -and “Why So Pale Are the Roses?” - -[Illustration: STREET MUSICIANS] - -[Illustration: THE MUSIC LESSON] - -There is less of it in his piano pieces, but his first concerto for -piano and orchestra, and his violin concerto, have an abundance of it -and are therefore popular favorites--as much as his “Slavic March,” -his “1812” overture, and his “Nut Cracker Suite,” which is also full -of quaint humor, and which had the distinction of introducing a new -instrument now much used in orchestras--the “celesta”--a small keyboard -instrument, the hammers of which strike thin plates of steel, producing -silvery bell-like tones. This suite consists of pieces taken from his -ballet of the same name. - -Among his stage works are eight operas, only two of which, “Eugene -Onegin” and “The Queen of Spades,” have, however, been successful -outside of Russia; but in Russia the first named has long been second -in popularity only to “A Life for the Czar.” - - -_Moussorgsky and Musical Nihilism_ - -[Illustration: MODESTE PETROVICH MOUSSORGSKY] - -One of the works most frequently performed at the Metropolitan Opera -House in New York during the last three seasons has been the “Boris -Godounov” of Modeste Petrovich Moussorgsky. It is concerned with -one of the most tragic incidents in the history of Russia. Boris -Godounov usurps the imperial crown after assassinating the Czar’s -younger brother, Dimitri. After he has ruled some years, he is driven -to insanity by the appearance of a young monk who pretends to be -Dimitri, rescued at the last moment and brought up in a monastery. -In setting this plot to music Moussorgsky adopted the principles of -musical “nihilism,” which consisted in deliberately disregarding the -established operatic order of things. The musical interest centers -chiefly in the choruses, leaving little for the soloists, apart -from dramatic action. Moussorgsky not only liked what was “coarse, -unpolished and ugly,” as Tchaikovsky put it, but he refused to submit -to the necessary discipline of musical training, the result being that -not only “Boris Godounov,” but his next opera, “Kovanstchina,” could -not be staged successfully until Rimsky-Korsakov had thoroughly revised -them, especially in regard to harmonic treatment and orchestration. The -charm of “Boris” lies in the pictures it presents of Russian life, and -its echoes of folk music. - -[Illustration: PEASANTS IN MOSCOW - -Listening to public band concert] - -Of the songs by its composer few have become known outside of Russia. -Some are satirical--he has been called the “Juvenal of musicians”--and -it has been said of his lyrics in general that “had the realistic -schools of painting and fiction never come into being we might still -construct from Moussorgsky’s songs the whole psychology of Russian -life.” - - -_Rimsky-Korsakov and the Nationalists_ - -Moussorgsky and the man who helped to make his inspired but -ungrammatical works presentable to the world--Nicholas Andreievich -Rimsky-Korsakov--belonged to a coterie of composers known as the -nationalists. The other three were Balakiref, whose output as a -composer was small, but whose two collections of Russian folk tunes -are considered the best in existence; Borodin, who is best known in -this country through an orchestral piece called “In the Steppes of -Central Asia” and his “Prince Igor,” which has been produced at the -Metropolitan Opera House, and César Cui, who is more interesting as -a writer than as a composer. He has well set forth the tenets of the -“nationalists,” chief of which is that a composer cannot be a truly -patriotic Russian master unless he uses folk tunes as the bricks for -building up his works. - -[Illustration: MILI BALAKIREF] - -[Illustration: RIMSKY-KORSAKOV] - -[Illustration: ALEXANDER P. BORODIN] - -Because Rubinstein and Tchaikovsky did not do this to any extent -these nationalists looked down on them, and decried them as -cosmopolitans--belonging to the world rather than to Russia. -Rubinstein, who had a caustic pen, retorted by declaring that -the nationalists borrowed folk tunes because they were unable to -invent good melodies of their own. To a certain extent this was -true, but it does not apply to Rimsky-Korsakov, who is, next to -Rubinstein and Tchaikovsky, the greatest of the Russian melodists -and composers. Theodore Thomas considered him the greatest of them -all. With this opinion few will agree, but no one can fail to admire -the glowing colors of his orchestral works, the greatest of which -is “Scheherazade,” which is based on “The Arabian Nights,” and is -concerned with Sinbad’s vessel and Bagdad. Of his dozen or more operas -none has become acclimated outside of Russia. As a teacher he might -be called the Russian Liszt, because not a few of his pupils acquired -national and international fame; among them Glazounov, Liadov, Arensky, -Ippolitov-Ivanov, Gretchaninov, Taneiev (tah-nay-ev) and Stravinsky. - - -_Stravinsky and the Russian Ballet_ - -Four of the most prominent Russian composers have visited America: -Rubinstein, Tchaikovsky, Rachmaninov and Scriabin. Rachmaninov, -the only one of the four still living, owed the beginning of his -international fame to the great charm of his preludes for piano. -Scriabin was one of the musical “anarchists” who now abound in -Europe--composers who try to be “different” at any cost of law, order, -tradition and beauty. One of his quaint conceits was an attempt to -combine perfume and colored lights with orchestral sounds. Musical -frightfulness is rampant in some of his symphonies, in which horrible -dissonances clash fiercely and “without warning.” - -[Illustration: ALEXANDER GLAZOUNOV] - -[Illustration: ALEXANDER SCRIABIN] - -The latest of the Russians who has come to the fore--Igor -Stravinsky--also revels in dissonances, but in his case they are not -only excusable but even fascinating, because there is a reason behind -them. He uses them to illustrate and emphasize humorous, grotesque or -fantastic plots and details, such as are presented in his pantomimic -ballets, “Petrouschka,” and “The Fire Bird.” There is an entirely new -musical “atmosphere” in these two works, and the public, as well as the -critics, have taken to them as ducks do to water. If the Diaghileff -Ballet Russe which toured the United States last season had done -nothing but produce these two entertainments, it would have been worth -their while to cross the Atlantic. They have made the world acquainted -with a Russian who may appeal, in his way, as strongly as Rubinstein -and Tchaikovsky. His latest efforts are reported to be in the direction -of the cult of ugliness for its own sake. But perhaps he will get over -that--or, maybe some of us will come to like ugliness in music as we -do in bulldogs. Opinions as to what is ugly or beautiful in music have -changed frequently. - -[Illustration: CÉSAR A. CUI] - -[Illustration: SERGEI RACHMANINOV] - - -_The Character of Russian Music_ - -The musical character of the great masters is unmistakable. When an -expert hears a piece by a famous composer for the first time he can -usually guess who wrote it. But when it comes to judging the _national_ -source of an unfamiliar piece, the problem is puzzling. It is true that -Italian music usually betrays its country. Widely as Verdi and Puccini -differ from Rossini and Donizetti, they have unmistakable traits in -common. The same cannot be said of the French masters, or the German. -Gounod and Berlioz, both French composers, are as widely apart as the -poles. Flotow, who composed “Martha,” was a German, but his opera is as -utterly unlike Wagner’s “Tristan and Isolde” as two things can be. - -The question, “What are the characteristics of Russian music?” is, for -similar reasons, difficult to answer. As in other countries, there -are as many styles of music as there are great composers. Moreover, -Rubinstein is less like any other Russian than he is like the German -Mendelssohn. If a “composite portrait” could be made of the works of -prominent Russian composers, it might, nevertheless, give some idea -of their general characteristics. Tchaikovsky’s passionate melody, -reinforced by inspired passages from Rimsky-Korsakov and by the tuneful -strains of Rubinstein, would give prominence to what is best in Russian -music. A more distinct race trait is the partiality of Russian masters -for deeply despondent strains, alternating with fierce outbursts of -unrestrained hilarity, clothed in garish, barbaric orchestral colors. -In startling contrast with the alluring charms of Rubinstein’s Oriental -and Semitic traits are the harsh dissonances of Moussorgsky, Scriabin, -and Stravinsky. Blending all these traits in our composite musical -portrait, with a rich infusion of folk-songs of diverse types, both -Asiatic and European, we glimpse the main characteristics of Russian -music. - -[Illustration: MAKERS OF THE RUSSIAN BALLET - -From left to right--Leonide Massine, dancer; Leon Bakst, costume and -scene designer, and Igor Stravinsky, composer] - - -_SUPPLEMENTARY READING_ - - A SHORT HISTORY OF RUSSIAN MUSIC _By Arthur Pougin_ - - THE RUSSIAN OPERA _By Rosa Newmarch_ - - THE LIFE AND LETTERS OF TCHAIKOVSKY _By Modeste Tchaikovsky_ - - ANTON RUBINSTEIN’S AUTOBIOGRAPHY - - PEASANT SONGS OF GREAT RUSSIA _By Eugenie Lineff_ - - A HISTORY OF RUSSIAN MUSIC _By M. Montagu-Nathan_ - - - - -_THE OPEN LETTER_ - - -[Illustration: RUSSIAN BALLET - -A scene from “Soleil de Nuit,” one of Serge de Diaghileff’s ballets. -The ballet was arranged by Massine, who occupies the center of the -group. The music is by Rimsky-Korsakov, and the scenery and costumes -were designed by Leon Bakst’s favorite pupil, M. Larionoff] - -Russian composers of our time are in luck. A wealthy timber merchant -named Balaiev (bah-lah-ee-ev) appointed himself their special patron a -number of years ago. In 1885 he founded a publishing house at Leipzig, -and spent large sums of money printing the works of Russian composers -and financing productions of Russian music all over the world. - - * * * * * - -In America the missionary work has been carried on in a number of -ways. Rubinstein toured the States in 1872, and gave 215 concerts, -which created a tremendous sensation and drew attention to Russian -compositions. Tchaikovsky visited America as the special guest of -the festival given in celebration of the opening of Carnegie Music -Hall in 1891, and during his visit, many pieces of Russian music -were performed. Slivinsky, the pianist, made a tour of America, and -Chaliapin, the celebrated Russian bass, appeared for one season at -the Metropolitan Opera House. For several years the oldest orchestra -of America, the New York Philharmonic, had for its conductor one -of Russia’s leading musicians, Wassilly Safonoff, who frequently -introduced novelties from Russia into his programs. On a larger scale, -Russian standard works have been performed in New York City and on tour -in America, by the Russian Symphony Orchestra, which was founded in -1893 and conducted by Modest Altschuler. - - * * * * * - -During the 90’s, Mme. Lineff brought over the large Russian choir that -made Americans acquainted with their peasant songs and their unique -way of singing them. Then came the Balalaika Orchestra. The Balalaika -is the Czar’s favorite instrument, and the Imperial Balalaika Band, -which came to the United States by the Czar’s permission, devoted -itself largely to Russian folk music. Several of the numbers played, -especially the “Song of the Volga Bargemen,” made a sensational success -in concert. The Balalaika is used to accompany folk songs in the manner -of a guitar, but the Balalaika has a triangular body and only three -strings, which are made to vibrate like those of a mandolin. - -And now we have the Russian Ballet, made familiar to the American -public by the famous dancer Pavlowa, and, within the last year, by the -Diaghileff Ballet Company, of which the leading spirits are Stravinsky, -the composer; Leon Bakst, the master designer, and Massine, the -accomplished actor-dancer. Surely the day of Russian music has come. - -[Illustration: W. D. Moffat - -EDITOR] - - - - -THE MENTOR ASSOCIATION - - -ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, -LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL - -THE MENTOR IS PUBLISHED TWICE A MONTH - -BY THE MENTOR ASSOCIATION, INC., AT 52 EAST NINETEENTH STREET, NEW -YORK, N. Y. SUBSCRIPTION, THREE DOLLARS A YEAR. FOREIGN POSTAGE 75 -CENTS EXTRA. CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES FIFTEEN -CENTS. PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN -EYCK; SECRETARY, W. D. MOFFAT; TREASURER, ROBERT M. DONALDSON; ASST. -TREASURER AND ASST. SECRETARY, J. S. CAMPBELL - - * * * * * - -COMPLETE YOUR MENTOR LIBRARY - -Subscriptions always begin with the current issue. The following -numbers of The Mentor Course, already issued, will be sent postpaid at -the rate of fifteen cents each. - - Serial - No. - 1. Beautiful Children in Art - 2. Makers of American Poetry - 3. Washington, the Capital - 4. Beautiful Women in Art - 5. Romantic Ireland - 6. Masters of Music - 7. Natural Wonders of America - 8. Pictures We Love to Live With - 9. The Conquest of the Peaks - 10. Scotland, the Land of Song and Scenery - 11. Cherubs in Art - 12. Statues With a Story - 13. The Discoverers - 14. London - 15. The Story of Panama - 16. American Birds of Beauty - 17. Dutch Masterpieces - 18. Paris, the Incomparable - 19. Flowers of Decoration - 20. Makers of American Humor - 21. American Sea Painters - 22. The Explorers - 23. Sporting Vacations - 24. Switzerland: The Land of Scenic Splendors - 25. American Novelists - 26. American Landscape Painters - 27. Venice, the Island City - 28. The Wife in Art - 29. Great American Inventors - 30. Furniture and Its Makers - 31. Spain and Gibraltar - 32. Historic Spots of America - 33. Beautiful Buildings of the World - 34. Game Birds of America - 35. The Contest for North America - 36. Famous American Sculptors - 37. The Conquest of the Poles - 38. Napoleon - 39. The Mediterranean - 40. Angels in Art - 41. Famous Composers - 42. Egypt, the Land of Mystery - 43. The Revolution - 44. Famous English Poets - 45. Makers of American Art - 46. The Ruins of Rome - 47. Makers of Modern Opera - 48. Dürer and Holbein - 49. Vienna, the Queen City - 50. Ancient Athens - 51. The Barbizon Painters - 52. 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The Philippines - 90. The Louvre - 91. William M. Thackeray - 92. Grand Canyon of Arizona - 93. Architecture in American Country Homes - 94. The Story of The Danube - 95. Animals in Art - 96. The Holy Land - 97. John Milton - 98. Joan of Arc - 99. Furniture of the Revolutionary Period - 100. The Ring of the Nibelung - 101. The Golden Age of Greece - 102. Chinese Rugs - 103. The War of 1812 - 104. The National Gallery, London - 105. Masters of the Violin - 106. American Pioneer Prose Writers - 107. Old Silver - 108. Shakespeare’s Country - 109. Historic Gardens of New England - 110. The Weather - 111. American Poets of the Soil - 112. Argentina - 113. Game Animals of America - 114. Raphael - 115. Walter Scott - 116. The Yosemite Valley - 117. John Paul Jones - - * * * * * - -NUMBERS TO FOLLOW - -November 15. CHILE. _By E. M. Newman, Lecturer and Traveler._ - -December 1. REMBRANDT. _By John C. Van Dyke, Professor of the History -of Art, Rutgers College._ - - * * * * * - -THE MENTOR ASSOCIATION, Inc., 52 East Nineteenth Street, New York, N. Y. - -Statement of the ownership, management, circulation, etc., required -by the Act of Congress of August 24, 1912, of The Mentor, published -semi-monthly at New York, N. Y., for October 1, 1916, State of New -York, County of New York, ss. Before me, a Notary Public in and for -the State and county aforesaid, personally appeared Thomas H. Beck, -who, having been duly sworn according to law, deposes and says that -he is the Publisher of The Mentor, and that the following is, to the -best of his knowledge and belief, a true statement of the ownership, -management, etc., of the aforesaid publication for the date shown in -the above caption, required by the Act of August 24, 1912, embodied in -section 443, Postal Laws and Regulations, to wit: (1) That the names -and addresses of the publisher, editor, managing editor, and business -manager are: Publisher, Thomas H. Beck, 52 East 19th Street, New -York; Editor, W. D. Moffat, 52 East 19th Street, New York; Managing -Editor, W. D. Moffat, 52 East 19th Street, New York; Business Manager, -Thomas H. Beck, 52 East 19th Street, New York. (2) That the owners -are: American Lithographic Company, 52 East 19th Street, New York; C. -Eddy, L. Ettlinger, J. P. Knapp, C. K. Mills, 52 East 19th Street, -New York; M. C. Herczog, 28 West 10th Street, New York; William T. -Harris, Villa Nova, Pa.; Mrs. M. E. Heppenheimer, 51 East 58th Street, -New York; Emillie Schumacher, Executrix for Luise E. Schumacher and -Walter L. Schumacher, Mount Vernon, N. Y., Samuel Untermyer, 37 Wall -Street, New York. (3) That the known bondholders, mortgagees, and other -security holders owning or holding 1 per cent or more of total amount -of bonds, mortgages, or other securities, are: None. (4) That the two -paragraphs next above, giving the names of the owners, stockholders, -and security holders, if any, contain not only the list of stockholders -and security holders as they appear upon the books of the Company, but -also, in cases where the stockholder or security holder appears upon -the books of the Company as trustee or in any other fiduciary relation, -the name of the person or corporation for whom such trustee is acting, -is given; also that the said two paragraphs contain statements -embracing affiant’s full knowledge and belief as to the circumstances -and conditions under which stockholders and security holders who do -not appear upon the books of the Company as trustees, hold stock and -securities in a capacity other than that of a bona fide owner; and this -affiant has no reason to believe that any other person, association, -or corporation has any interest direct or indirect in the said stock, -bonds, or other securities than as so stated by him. Thomas H. Beck, -Publisher. Sworn to and subscribed before me this twenty-first day -of September, 1916; J. S. Campbell, Notary Public, Queens County. -Certificate filed in New York County. My commission expires March 30, -1917. - -THE MENTOR ASSOCIATION, INC. - -52 EAST 19th STREET, NEW YORK, N. Y. - - - - -THE MENTOR - -_TO ALL MEMBERS_: - -The Editor’s lot is not always a happy one. There are, however, many -pleasures in the task that warm the heart. - -Whenever I help you--help any of our members--it pleases me -tremendously--more, indeed, than anything else I do. - -I am pleased now because I have secured for you a special concession. I -have succeeded in arranging with our Directors to permit you to enroll -your friends at special rates. - -_Here is the Special Holiday Offer_: - - 1 Yearly subscription $3.00 - 2 One-year subscriptions 5.00 - OR - 1 Two-year subscription 5.00 - -BY THIS PLAN YOU SAVE $1.00 - -I assured our Directors that if we made this concession it would double -the number of Christmas sales. Therefore I ask your co-operation--I beg -you to send your gift subscriptions in at once. - -W. D. MOFFAT, _Editor_ - -THE MENTOR ASSOCIATION, INC. - -52 EAST NINETEENTH STREET--NEW YORK, N. Y. - -MAKE THE SPARE MOMENT COUNT - - - - - -End of the Project Gutenberg EBook of The Mentor: Russian Music, Vol. 4, -Num. 18, Serial No. 118, November , by Henry T. 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