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Wagner in Russia, Poland
and the Czech Lands
This page has been left blank intentionally
Wagner in Russia, Poland
and the Czech Lands
Musical, Literary and Cultural Perspectives

Edited by
Stephen Muir
University of Leeds, UK
Anastasia Belina-Johnson
Leeds College of Music, UK
© Stephen Muir and Anastasia Belina-Johnson 2013

All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system or transmitted in any form or by any means, electronic, mechanical, photocopying,
recording or otherwise without the prior permission of the publisher.

Stephen Muir and Anastasia Belina-Johnson have asserted their right under the Copyright,
Designs and Patents Act, 1988, to be identified as the editors of this work.

Bach musicological font © Yo Tomita

Published by
Ashgate Publishing Limited Ashgate Publishing Company
Wey Court East 110 Cherry Street
Union Road Suite 3-1
Farnham Burlington, VT 05401-3818
Surrey, GU9 7PT USA
England

www.ashgate.com

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

The Library of Congress has cataloged the printed edition as follows:

Wagner in Russia, Poland and the Czech lands : musical, literary, and cultural
perspectives/edited by Stephen Muir and Anastasia Belina-Johnson.
pages cm
Includes bibliographical references and index.
ISBN 978-1-4094-6226-2 (hardcover) – ISBN 978-1-4094-6227-9 (ebook) –
ISBN 978-1-4094-6228-6 (epub) 1. Wagner, Richard, 1813-1883 – Appreciation –
Russia. 2. Wagner, Richard, 1813-1883 – Appreciation – Poland. 3. Wagner, Richard,
1813-1883 – Appreciation – Czechoslovakia. 4. Wagner, Richard, 1813-1883 – Influence.
5. Opera – Russia. 6. Opera – Poland. 7. Opera – Czechoslovakia. I. Muir, Stephen
(Stephen P. K.) II. Belina-Johnson, Anastasia.

ML410.W13W124 2013
782.1092–dc23
2013013625
ISBN 9781409462262 (hbk)
ISBN 9781409462279 (ebk – PDF)
ISBN 9781409462286 (ebk – ePUB)

V
 Contents

List of Music Examples   vii

Dates, Transliteration, and Original Language Quotations   ix
Notes on Contributors   xi
Foreword: So Much More than a Composer by Richard Taruskin   xv
Preface: From the Editors   xxxiii

1 ‘One can learn a lot from Wagner, including how not to write
operas’: Sergey Taneyev and his Road to Wagner   1
Anastasia Belina-Johnson

2 ‘The end of opera itself’: Rimsky-Korsakov and Wagner   23

Stephen Muir

3 How Russian was Wagner? Russian Campaigns to Defend or

Destroy the German Composer during the Great War (1914–1918)  49
Rebecca Mitchell

4 Prophecy of a Revolution: Aleksey Losev on Wagner’s

Aesthetic Outlook   71
Vladimir Marchenkov

5 ‘The great little man’: Dvořák and Wagner   93

Jan Smaczny

6 Wagnerism in Moravia: Janáček’s First Opera, Šárka   119

Michael Ewans

7 ‘Where the King Spirit becomes manifest’: Stanisław Wyspiański

in Search of the Polish Bayreuth   137
Radosław Okulicz-Kozaryn

8 The Reception of Wagner’s Music and Ideas in Poland during the

Communist Years (1945–1989)   159
Magdalena Dziadek

Bibliography   185
Index   207
 List of Music Examples

1.1 Taneyev, Oresteia, Prelude, opening: ‘Wrongdoing’ motif 17

1.2 Taneyev, Oresteia (Act I, scene 6), entry of Agamemnon 18
1.3 Taneyev, Oresteia (Act II, scene 19), Orestes as a wanderer 19

2.1 Rimsky-Korsakov, Iz Gomera, introduction (fig. 1), trombone entry 36

2.2a Rimsky-Korsakov, Kashchey bessmertnïy, scene i (bar 1), themes of
Kashchey and the Princess 39
2.2b Rimsky-Korsakov, Kashchey bessmertnïy, scene iii (4 bars before
fig. 93), theme of Ivan Korolevich 40
2.3 Rimsky-Korsakov, Kashchey bessmertnïy, scene I (fig. 32), tritone
sustained throughout snow-storm episode 40
2.4 Rimsky-Korsakov, Kitezh, Act III (24 bars after fig. 246), sustained
tritone at end of Act III 41
2.5 Rimsky-Korsakov, Kitezh, Prelude (bars 5–13), ‘Hymn to the
wilderness’41
2.6 Rimsky-Korsakov, Sadko, end of Tableau II, ‘the red sun rises’ 44

5.1 Dvořák, Cello Concerto in A major (B 10), mvt I, bb. 119–27 98

5.2 Dvořák, Alfred (B 16), Act I, scene 3, Harald’s ‘Schlachtlied’,
opening99
5.3a Dvořák, Král a uhlíř (B 21), hunters’ theme 102
5.3b Dvořák, Král a uhlíř (B 21), hunters’ theme developed texturally 102
5.4 Dvořák, Stabat Mater (B 71), ‘Inflammatus’, bb. 66–9 105
5.5 Dvořák, Svatební košile (B 135), ‘Maria panno, při mnĕ stůj’,
opening 110
5.6 Dvořák, Requiem Mass (Op. 89, B 165), start of ‘Tuba Mirum’ 112
5.7a Dvořák Dimitrij, first version, 1881–82 (B 127), Act IV prelude,
opening113
5.7b Dvořák Dimitrij, second version, 1894 (B 186), Act IV prelude,
opening113

6.1 Janáček, Šárka, Act I, fig. 11, b. 9, the nightingale sings 127
6.2 Janáček, Šárka, Act I, fig. 2, bb. 11–15 127
6.3 Janáček, Šárka, Act II, fig. 18, bb. 2–3 128
6.4a Janáček, Šárka, Act I, fig. 31, bb. 9–11 130
6.4b Wagner, Die Walküre, Act III, scene 3, p. 973 130
6.5a Janáček, Šárka, Act II, fig. 20, bb. 10–12, awakening love 131
viii Wagner in Russia, Poland and the Czech Lands

6.5b Wagner, Die Walküre, Act I, scene 1, pp. 25–6, awakening love 131
6.6 Janáček, Šárka, Act I, fig. 2, bb 19–24, Romantic style turns to
a repeated ostinato 131
6.7 Janáček, Šárka, Act I, fig. 12, bb. 9–11, approach of the warrior
maidens132
6.8 Janáček, Šárka, Act II, fig. 2, bb. 10–12, speech-melody generates
orchestral ostinato 132
6.9 Janáček, Šárka, Act II, fig. 5, bb. 16–18, Tristanesque harmony 135
 Dates, Transliteration, and Original
Language Quotations

Dates

All dates in this book before 1 February 1918 are given according to the Old Style
(Julian) calendar. All other dates are given according to the New Style (Gregorian)
calendar. Occasionally, where appropriate, both dates are given to add clarity.

Transliteration

We have adopted the New Grove system of Russian transliteration in this book:
see The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 6th edn
(20 vols, London: Macmillan, 1980), vol. 1, pp. xvi–xvii. In line with common
practice, certain modifications have been made within the main body of the
text, primarily to aid pronunciation: (i) common words, especially names, retain
the form most often encountered in British English (for example, Tchaikovsky
instead of Chaykovskiy); (ii) the Russian adjectival ending ‘-ий’ at the end of
names is given simply as ‘y’ instead of the rather inelegant ‘iy’. In footnotes
and bibliography, however, sources are cited in strict transliteration, or as they
appear on book covers. Whilst this policy may give rise to inconsistencies between
the main text and footnotes, and sometimes within individual footnotes, it is
nevertheless a compromise accepted by most writers on Russian subjects.

Original Language Quotations

Wherever possible, quotations from foreign-language sources are given both in

translation and in their original form. The original language of short quotations (a
few words or a short sentence) is generally given within the main text; otherwise,
original sources are provided in the footnotes. Verse originals are always given
in the text, immediately after the translation. Occasionally, where providing the
original language is not germane to the full understanding of the topic in hand, it
is not provided at all.
This page has been left blank intentionally
 Notes on Contributors

Anastasia Belina-Johnson is Head of Classical Music at Leeds College of

Music and a member of LUCOS (Leeds University Centre for Opera Studies).
She is a musicologist, writer, presenter, and opera director. Her research
interests include nineteenth-century music, opera, Wagner and his influences on
Russian composers, modern operas written on Greek dramas, and twentieth-
century British music. She is the author of André Tchaikowsky: Die tägliche
Mühe ein Mensche zu sein (Wolke Verlag, 2013), and A Musician Divided:
André Tchaikowsky in his own Words (Toccata Classics, 2013). She is currently
working on Tchaikowsky’s authorised biography, and is editing a collection
of essays Business in Opera with Derek Scott. As opera director, she focuses
on rarely staged works; her recent productions include Taneyev’s Oresteia
(2009), Salieri’s Les Danaides (2010), and Vaughan Williams’ The Poisoned
Kiss (2012). She is an International Artistic Director of Koncerty Urodzinowe
Chopina (Chopin Music Festival), Warsaw.

Magdalena Dziadek is a music critic and Assistant Professor at the Jagiellonian

University in Kraków, Poland. She studied theory of music at the Karol
Szymanowski Academy of Music in Katowice, and received her PhD in 1991
from the Institute of Arts of the Polish Academy of Sciences in Warsaw for a
monograph on Warsaw music criticism, 1810–90. In 2004 she was awarded a post-
doctorate degree at the same institution after publishing the monograph Polish
Musical Criticism in the Years 1890–1914. She works on the history of Polish
musical culture of the nineteenth and twentieth centuries.

Michael Ewans (MA Oxford, PhD Cambridge) is Conjoint Professor in the

School of Humanities and Social Science at the University of Newcastle,
Australia. Before retiring from the Chair of Drama in 2011 he specialised in
directing plays and chamber operas, translating Greek tragedy and comedy, and
writing books and articles which explore how operas and dramas work in the
theatre. He is the author of Janáček’s Tragic Operas (Faber and Faber, 1997),
Georg Büchner’s Woyzeck (Lang, 1989), Wagner and Aeschylus: The ‘Ring’ and
the ‘Oresteia’ (Faber and Faber, 1982), and Opera from the Greek: Studies in the
Poetics of Appropriation (Ashgate, 2007). He has also published a complete set
of accurate and actable translations of Aeschylus and Sophocles in four volumes,
with theatrical commentaries based on his own productions. More recently he
has published two volumes of comedies by Aristophanes, also in his own new
translations with theatrical commentaries. He has just completed a substantial new
xii Wagner in Russia, Poland and the Czech Lands

book whose working title is Text, Music and Performance in Opera. In 2005 Prof.
Ewans was elected as a Fellow of the Australian Academy of the Humanities.

Vladimir L. Marchenkov is Professor of Aesthetics and Theory at the Ohio

University School of Interdisciplinary Arts in Athens, Ohio, USA. His research
interests include philosophy of music, theory of myth, Russian philosophy, and
Asian aesthetic thought. He is the author of The Orpheus Myth and the Powers of
Music (Pendragon, 2009) and translator of Aleksey Losev’s renowned 1930 work
The Dialectics of Myth (Routledge, 2003). His essays on the philosophy of music,
literature, and painting have appeared in Philosophy in the Contemporary World,
Muzïkal’naya akademiya [Musical academy], Analecta Husserliana: The Yearbook
of Phenomenological Research, Hera’s Peacock: An International Thematic
Interdisciplinary Journal, Studies in East European Thought, and other publications.
He served as the consulting editor on Russian philosophy for the Macmillan 2005
award-wining Encyclopedia of Philosophy. He is currently working on his second
book, Ontology, Reality, and Play: Art as Transfigurative Praxis.

Rebecca Mitchell is a Visiting Assistant Professor in the Department of History

at Oberlin College, Ohio. Her research interests include Russian and European
cultural/intellectual history and the historic interconnections between music,
social, and political power structures. Her current book project, Nietzsche’s
Orphans: Music and the Search for Unity in Revolutionary Russia, 1905–1921,
examines the interrelationship between nationalist tensions, philosophical ideals,
and musical life in the final years of the Russian Empire. In her research, Dr
Mitchell seeks to combine both her scholarly and practical musical interests,
offering lecture-recitals as well as academic papers based upon her findings.

Stephen Muir is a Senior Lecturer in Music at the University of Leeds, UK. His
research focuses on the music of Russia and Eastern Europe (particularly Rimsky-
Korsakov and Dvořák) and Jewish liturgical music. Recent publications include
a chapter on Rimsky-Korsakov’s opera Pan Voyevoda in a collection of essays in
honour of Julian Rushton (Boydell and Brewer, 2010), an article on the British
reception of Rimsky-Korsakov up to 1900 (Music and Letters, November 2012),
studies of the musical source material for Dvořák’s opera Tvrdé palice in preparation
for a scholarly edition of the opera in Bärenreiter’s New Dvořák Edition, and a
chapter on South Africa’s Jewish choral tradition for the volume The Globalization
of Musics in Transit: Music Migration and Tourism, edited by Simone Krüger and
Ruxandra Trandafoiu (Routledge Studies in Ethnomusicology, 2013).

Radosław Okulicz-Kozaryn lectures at the Faculty of Polish and Classical

Philology in Adam Mickiewicz University, Poznań, Poland. He is the author
of Mała historia dandyzmu [A concise history of Dandism] (Poznań, 1995);
Żagary (Warsaw, 1997), Gest pięknoducha. Roman Jaworski i jego estetyka
brzydoty [Gesture of the ‘Schöngeist’. Roman Jaworski and his aesthetic of
 Notes on Contributors xiii

ugliness] (Warsaw, 2004); Litwin wśród spadkobierców Króla-Ducha. Twórczość

Čiurlionisa wobec Młodej Polski [A Lithuanian among the heirs of the King-
Spirit. Čiurlionis’ works and the Young Poland] (UAM Wydawnictwo Naukowe,
2007; Lithuanian translation 2009); Rok 1894 oras inne szkice o Młodej Polsce
[The Year 1894 and other sketches about Young Poland] (UAM Wydawnictwo
Naukowe, 2013); and a number of articles published in collections of works,
proceedings, and exhibition catalogues, and in Polish, Lithuanian, Latvian, and
American journals. He was editor of ‘Eurodialogue’ (Internet service produced
under the auspices of UNESCO, 1997–98) and ‘Czas Kultury’ (1989–98); in
the latter he published reviews and articles on current literary themes as well as
appendices which brought back to life works by the writers Tadeusz Nalepiński,
Roman Jaworski, and Piotr Dunin-Borkowski.

Jan Smaczny was educated at Oxford University and the Charles University,
Prague. He is a well-known scholar of Czech music, in particular opera in the
national revival and the life and music of Dvořák and Martinů. His publications
include studies of Dvořák’s and Martinů’s operas, Dvořák’s B minor cello concerto,
the Czech symphony and eighteenth-century Czech music. Diversions from the
main body of research comprise studies of Mozart and the twentieth century,
Mozart and Prague, and a jointly edited volume (with Michael Murphy) entitled
Music in Nineteenth-Century Ireland (Four Courts Press, 2007). Smaczny’s career
as a university teacher was based, as lecturer and senior lecturer, variously at St
Peter’s College, Oxford, and the University of Birmingham. Since 1996 he has
been Sir Hamilton Harty Professor of Music at Queen’s University Belfast. He
was president of the Society for Musicology in Ireland for two terms, and is a vice-
president of the Royal Musical Association.

Richard Taruskin is Class of 1955 Chair of Music at the University of California,

Berkeley. He is the author of a number of influential books and journal articles on
Russian music, including Stravinsky and the Russian Traditions (University of
California Press, 1996), Defining Russia Musically: Historical and Hermeneutical
Essays (Princeton University Press, 1997), and On Russian Music (University
of California Press, 2009). Among many other honours, his Oxford History of
Western Music (Oxford University Press, 2005) was named ‘One of the Best
Books of 2005’ by The Sunday San Francisco Chronicle and was awarded the
Otto Kinkeldey Award of the American Musicological Society in 2006, an honour
he also received in 1997 for Stravinsky and the Russian Traditions.
This page has been left blank intentionally
 Foreword: So Much More than a Composer
Richard Taruskin

The reviver of pure drama, the discoverer of the place of art in true human society,
the poetic exponent of bygone views of life, Wagner the philosopher, the historian,
the aesthete and the critic, the master of language, the student and creator of myths
[Mytholog und Mythopoet]
Friedrich Nietzsche, ‘Richard Wagner in Bayreuth’1

Is Wagner reception even a subject for musicologists? From Nietzsche’s description

in the epigraph above, identified in Chapter 7 of this book as the view of Wagner
that inspired his Polish adepts, one would never know he was a composer. Literary
scholars and social historians have always been in the forefront of Wagner reception
studies. Most previous research on Wagner’s reception on Slavic territory has
been the work of literary historians, and Rosamund Bartlett’s Wagner and Russia
appears in a series called ‘Cambridge Studies in Russian Literature.’2 This volume
is perhaps unusual in its distribution, with half the contents devoted to musical
matters—that is, reception of Wagner by composers. But, very much as usual, the
musical contents of this volume are the coolest and the literary-philosophical the
most heated. What might that tell us about Wagner? about music? about literature
or philosophy?
With few exceptions, composers were never among Wagner’s most faithful
adepts. Even the best-disposed tended to resist. Think of poor Debussy, trying—
and failing—to expunge ‘the ghost of old Klingsor’ from Pelléas.3 Or think of
Schoenberg, often assumed by music historians (and not without reason) to count
among the adepts, and his famous essay ‘Brahms the Progressive,’ which could

1
‘Der Erneuerer des einfachen Dramas, der Entdecker der Stellung der Künste
in der wahren menschlichen Gesellschaft, der dichtende Erklärer vergangener
Lebensbetrachtungen, der Philosoph, der Historiker, der Ästhetiker und Kritiker Wagner,
der Meister der Sprache, der Mytholog und Mythopoet.’ Friedrich Nietzsche, ‘Richard
Wagner in Bayreuth’, in Karl Schlechta (ed.), Friedrich Nietzsche: Werke in drei Bänden
[Friedrich Nietzsche: Works, in three volumes], vol. 1, Unzeitgemäße Betrachtungen
[Untimely meditations] (Munich, 1954), p. 376.
2
Rosamund Bartlett, Wagner and Russia (Cambridge, 1995).
3
Letter to Ernest Chausson, 2 October 1893, in Claude Debussy, Lettres 1884–1918,
ed. F. Lesure (Paris, 1980), p. 55; for an interpretation see Carolyn Abbate, ‘Tristan in
the Composition of Pelléas,’ 19th Century Music, 5 (1981–82), 117–40, the best study of
‘anxiety of influence’ in music.
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