“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.
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.