My special thanks to Richard Taruskin, who helped edit the dissertation for publication, of- fered corrections and refinements, identified lacunae in the arguments, and was unwavering in his support. ova-Walker for her recommendations concerning the book's organization and to Ange- lina Shapoval, Michael Wachtel, and Leonid Yanovsky for their assistance with the Russian-language translations.My thanks, finally, to Mary Fran- cis and Mary Severance of University of California Press for shepherding the manuscript to publication. Petersburg, and London in 19 with the support of a Charlotte Elizabeth Proctor Honorary Fellowship and an American Musicological Society Dissertation Fellowship.
e- Q1A-C2Q97-IHT 4/30/02 AM Page 1 e Introduction 1 his book concerns the efforts of Russian composers to create Symbolist operas, efforts that were evaluated in their own time as successes, as fail- ures, and, perhaps most frequently, as successful failures.
cm, — (California studies in 20th-century music ; 2) Includes bibliographical references, ISBN" 0-520-22943-6 (alk, paper) 1, Opera — Russia (Federation) — 20th century, 2, Symbolism (Literary movement) — Russia (Federation) — History — 20th century, L Title, [ [, Series, m6j 200a 782,1 '092 '247 — dc2i 10987654 321 The paper used in this publication meets the minimum requirements of ANSI /niso Z39.4S-1992 (r 1 997) (Permanence of Paper).
© 2001 003293 Manufactured in the United States of America 11 10 09 o S 07 06 05 04 03 02 00-C2097-FM 4/30/02 AM Page v For Melanie e- 00-C2097-FM 4/30/02 AM Page vi e- 00-C2097-FM 4/30/02 AM Page vii e Contents Acknowledgments ix Note on Dating and Transliteration xi INTRODUCTION 1 CHAPTER i: CHA1KOV5KY AND DECADENCE 45 CHAPTER 2: R1M5KY-KOR5AKOV AND RELIGIOUS SYNCRETISM "5 CHAPTER 3 : SCR1AB1N AND THEURGY 184 CHAPTER 4 : PROKOFIEV AND MIMESIS 242 CONCLUSION 308 Appendix: The Libretto of the Preparatory Act 313 Index 349 e 00-C2097-FM 4/30/02 AM Page viii e- 00-C2097-FM 4/30/02 AM Page ix e Acknowledgments T am deeply grateful to Carolyn Abbate for her essential guidance in devel- oping and improving the dissertation on which this book is based.
T am also indebted to Caryl Emerson, who gave the dissertation a critical reading and directed me to crucial primary and secondary sources.
For indulging my obsession with the Russian Symbolists and strengthening my work on them, T could not have asked for more inspiring advisors.