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65-466: In May 1867 the critic Vladimir Stasov wrote an article, titled Mr. Balakirev's Slavic Concert , covering a concert that had been performed for visiting Slav delegations at the "All-Russian Ethnographical Exhibition" in Moscow. The four Russian composers whose works were played at the concert were Mikhail Glinka , Alexander Dargomyzhsky , Mily Balakirev , and Nikolai Rimsky-Korsakov . The article ended with

130-453: A Russian could have composed it, because it lacks the slightest trace of any stagnant Germanness." Orientalism was not confined to using authentic Eastern melodies. What became more important than the melodies themselves were the musical conventions added to them. These conventions allowed orientalism to become an avenue for writing music on subjects considered unmentionable otherwise, such as political themes and erotic fantasies. It also became

195-470: A career in chemistry . Cui was an army engineer who, starting in 1857 and throughout 1860s, taught fortification at military academies. Rimsky-Korsakov was a naval officer (he wrote his First Symphony on a three-year naval voyage circumnavigating the globe). Mussorgsky had been in the prestigious Preobrazhensky Regiment of the Imperial Guard, and then in the civil service before taking up music; even at

260-416: A composer. Balakirev, who had never had any systematic course in harmony and counterpoint and had not even superficially applied himself to them, evidently thought such studies quite unnecessary ... An excellent pianist, a superior sight reader of music, a splendid improviser, endowed by nature with the sense of correct harmony and part-writing, he possessed a technique partly native and partly acquired through

325-458: A distinctly Russian kind of music, writing operas on Russian subjects, but the Mighty Handful represented the first concentrated attempt to develop such a music, with Stasov as their artistic adviser and Dargomyzhsky as an elder statesman to the group, so to speak. The circle began to fall apart during the 1870s, no doubt partially due to the fact that Balakirev withdrew from musical life early in

390-597: A few works [ Romeo and Juliet , The Tempest , Francesca da Rimini , and the String Quartets 2 and 3] are first-rate and highly original; the remainder are mediocre or weak." Nor was he consoling about Modest Mussorgsky , a composer who, as a member of "The Five," he had helped nurture but about whom, for all the public praise of his musical gifts, there was always a note of intellectual condescension. Founder Mily Balakirev confided to Stasov that he thought Mussorgsky "almost an idiot." Stasov replied, "I think he

455-556: A granite canopy over a pedestal with a verse epitaph and bronze bust of the actress by Ivan Vitali and had been transferred along with the actress's remains from the Smolensky Cemetery in 1936. It was destroyed by a direct hit from a bomb in 1943. In 1955 the museum installed a marble replica of the bust made by D.A. Sprishinym. Other monuments were stored in the Lavra's Annunciation Church . Restoration work began immediately after

520-473: A lesser light, and of little promise at that, in spite of his undoubted talent. It seemed to them that there was something missing in him and, in their eyes, he was in need of advice and criticism. Balakirev often said that Mussorgsky had 'no head' or that his 'brains were weak.' ... Balakirev thought that Cui understood little in symphony and musical forms and nothing in orchestration, but was a past master in vocal and operatic music; Cui, in turn, thought Balakirev

585-441: A master in symphony, form, and orchestration, but with little liking for operatic composition and vocal music in general. Thus they complemented each other, but each, in his own way, felt mature and grown up. Borodin, Mussorgsky, and I, however — we were immature and juvenile. Obviously, towards Balakirev and Cui we were in somewhat subordinate relations; their opinions were listened to unconditionally.... Except perhaps for Cui,

650-559: A means of expressing Russian supremacy as the empire expanded under Alexander II . This was often reinforced through misogynist symbolism—the rational, active and moral Western man versus the irrational, passive and immoral Eastern woman. Two major works entirely dominated by orientalism are Rimsky-Korsakov's symphonic suite Antar and Balakirev's symphonic poem Tamara . Antar , set in Arabia, uses two different styles of music, Western (Russian) and Eastern (Arabian). The first theme, Antar's,

715-472: A more overtly misogynistic view of oriental women in Tamara . He had originally planned to write a Caucasan dance called a lezginka , modeled on Glinka, for this work. However, he discovered a poem by Mikhail Lermontov about the beautiful Tamara, who lived in a tower alongside the gorge of Daryal. She lured travelers and allowed them to enjoy a night of sensual delights, only to kill them and throw their bodies into

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780-461: A movement that was more "authentically Russian," in the sense that it was closer to the native soil, than the classic academy. Spurred on by Russian nationalist ideas, the Five “sought to capture elements of rural Russian life, to build national pride, and to prevent western ideals from seeping into their culture.” Before them, Mikhail Glinka and Alexander Dargomyzhsky had gone some way towards producing

845-406: A program, initially for Hector Berlioz , that Tchaikovsky eventually used for his Manfred Symphony . In between those two works, Stasov suggested an opera based on Alfred de Vigny 's historical romance Cinq-Mars . Tchaikovsky was then intent on writing Eugene Onegin , and Charles Gounod had already written an opera based on Cinq-Mars . Beginning in the 1870s, Stasov ardently supported

910-437: A vast musical erudition, with the help of an extraordinary memory, keen and retentive, which means so much in steering a critical course in musical literature ... He instantly felt every technical imperfection or error, he grasped a defect in form at once. Whenever I or other young men, later on, played him our essays at composition, he instantly caught all the defects of form, modulation, and so on, and forthwith seating himself at

975-423: Is a total idiot." But this exchange reportedly occurred before Mussorgsky wrote his greatest songs and any of his operas, starting in the 1860s. He was harsher still with the modernist art magazine Mir iskusstva and its founders, Alexandre Benois , Léon Bakst and Sergei Diaghilev when the magazine appeared in 1898. He called Diaghilev "a decadent cheerleader" in print and Mir iskusstva "the courtyard of

1040-399: Is masculine and Russian in character. The second theme, feminine and oriental in melodic contour, belongs to the queen, Gul Nazar. Rimsky-Korsakov was able to soften the implicit misogyny to some extent. However, female sensuality does exert a paralyzing, ultimately destructive influence. With Gul Nazar extinguishing Antar's life in a final embrace, the woman overcomes the man. Balakirev gives

1105-571: The Grove Dictionary of Music and Musicians that "they never called themselves, nor were they ever called in Russia, 'The Five'" (although today the Russian equivalent "Пятёрка" ("Pyatyorka") is occasionally used to refer to this group). In his memoirs, Rimsky-Korsakov routinely refers to the group as "Balakirev's circle", and occasionally uses "The Mighty Handful", usually with an ironic tone. He also makes

1170-544: The Mitrofanievskoe  [ ru ] , Farforovskoe  [ ru ] , and Vyborg Roman Catholic Cemetery  [ ru ] ; and others from those that were intended to be kept open, such as the Smolensky , Volkovo , Novodevichy , and Nikolskoe cemeteries . The necropolis was created during an ongoing anti-religious campaign , therefore monuments with religious symbols were often replaced by monuments made by

1235-595: The Nikolskoe or Novodevichy Cemetery . This necessitated the transfer of a large number of burials and monuments, which took place in two main periods, from 1936 to 1941 and from 1948 to 1952. During the Second World War and the siege of Leningrad , the museum worked to provide protection and shelter for monuments. Only a single gravestone was damaged, that of the actress Varvara Asenkova . The monument, designed by Ivan Sosnytsky  [ ru ] , consisted of

1300-647: The Pale of Settlement laws for him and his family. Stasov's brother, Dmitry Stasov (1828–1918), was a notable advocate who took part in the foundation of the Russian Music Society. His niece, Elena Stasova (1873–1966), was a prominent Marxist revolutionary and functionary in the Soviet government. Tikhvin Cemetery Tikhvin Cemetery ( Russian : Тихвинское кладбище ) is a historic cemetery in

1365-614: The River Terek. Balakirev uses two specific codes endemic to orientalism in writing Tamara . The first code, based on obsessive rhythms, note repetitions, climactic effects and accelerated tempi, represents Dionysian intoxication. The second code, consisting of unpredictable rhythms, irregular phrasing and based on long passages with many repeat notes, augmented and diminished intervals and extended melismas , depict sensual longing. Not only did Balakirev use these codes extensively, but he also attempted to supercharge them further when he revised

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1430-507: The West both one of the best-known aspects of Russian music and a trait of Russian national character. As leader of "The Five," Balakirev encouraged the use of eastern themes and harmonies to set their "Russian" music apart from the German symphonism of Anton Rubinstein and other Western-oriented composers. Because Rimsky-Korsakov used Russian folk and oriental melodies in his First Symphony , Stasov and

1495-469: The access direct from Alexander Nevsky Square. The organisers were faced with the problem that despite designating the cemetery to be the artists' necropolis, historically the Tikhvin had primarily been the burial ground of statesmen, military leaders, scientists, and composers. There were relatively few graves of writers, who had tended to prefer the Smolensky Cemetery ; or artists, who had traditionally chosen

1560-408: The appearance of parks. Freed from ordinary graves, they will not be of a graveyard nature at all, but will actually represent extensive, architecturally decorated green spaces, sometimes decorated with certain monuments standing on the graves above these wonderful people. The short timeframe allowed for completion of the work led to the hasty and unsystematic demolition of a number of monuments, with

1625-603: The artistic theme of the cemetery were removed or destroyed. Several more burials of particularly important artists took place during the Soviet period, as the cemetery established a role as a kind of national pantheon . The cemetery is located close to Alexander Nevsky Square , to the right of the pathway leading from the Gate Church to the River Monastyrka  [ ru ] . This land had previously been occupied with ornamental and vegetable gardens. The first cemetery in

1690-475: The author Fyodor Dostoevsky was buried in the cemetery, with a similarly large monument. During the 1880s composers Modest Mussorgsky and Alexander Borodin were buried in the northern part of the grounds, with Pyotr Ilyich Tchaikovsky following in 1893. Eventually all the members of the group of composers termed " The Five ", or the "Mighty Handful"; Mussorgsky, Borodin, as well as Mily Balakirev , César Cui and Nikolai Rimsky-Korsakov , were buried in

1755-416: The bulk of the work only being completed by August 1937, with remedial work continuing for many years afterwards. The reconstruction radically altered the nature and appearance of the Tikhvin cemetery. With the intention being to create an "artists' necropolis", graves of those from other sections of society were removed. Fewer than a hundred of the original monuments were preserved. Some were transferred to

1820-575: The cemetery was compiled and work began in 1935, planned for completion on 15 August the following year. A 3 July 1935 resolution from the Presidium of Lensovet set out the vision for the future of the necropolis museums. the Tikhvin cemetery and the Literary Walk [in the Volkovo Cemetery ] ... after the reconstruction will be turned into necropolis parks of a remarkable and revolutionary culture, with

1885-607: The cemetery was initially called the "New Lazarevsky". It acquired its name after the building of its cemetery church, consecrated to the icon of the Tikhvin Mother of God . It soon superseded the Lazarevskoe Cemetery and became a popular and prestigious burial ground. The first literary figure, Nikolay Karamzin , was buried in the cemetery in 1826, followed in 1833 by Nikolay Gnedich , an associate of Alexander Pushkin 's. Several other friends of Pushkin were later buried in

1950-413: The cemetery, and in 1825 the holy fool monk Patermufy was buried there. In 1826 the writer Nikolay Karamzin was buried in the cemetery, followed in 1833 by Nikolay Gnedich , a contemporary of Pushkin's. Gnedich's funeral on 6 February 1833 was attended by many prominent literary figures, including Pushkin, Ivan Krylov , Pyotr Vyazemsky , Pyotr Pletnyov , Fyodor Tolstoy and Alexey Olenin . With

2015-453: The cemetery, it was decided to designate it as the "Necropolis of the Masters of Art". During the 1930s many important Russian composers, painters, sculptors, writers and poets were exhumed from their original resting places across the city, and brought, with or without their monuments, to be reburied in the Tikhvin cemetery. At the same time the monuments of those figures deemed not in keeping with

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2080-463: The cemetery. By the beginning of the 20th century the Tikhvin cemetery contained 1,325 monuments of various designs and sizes, including monumental crosses on pedestals, sarcophagi and steles . There were several family plots with chapels and large crypts of granite and marble. During the early Soviet period a number of monuments were stolen or destroyed. The cemetery was officially closed for burials in 1927, though they continued until 1932, and it

2145-540: The cemetery. Particularly significant interments were those of Mikhail Glinka in 1857, Fyodor Dostoevsky in 1881, Modest Mussorgsky and Alexander Borodin in the 1880s, and Pyotr Ilyich Tchaikovsky in 1893. During the Soviet period the cemetery was earmarked for development into a museum necropolis, envisaged primarily as a landscaped park, with strategically placed memorials to important figures of Russian history. With several notable artists having already been buried in

2210-641: The centre of Saint Petersburg . It is part of the Alexander Nevsky Lavra , and is one of four cemeteries in the complex. Since 1932 it has been part of the State Museum of Urban Sculpture  [ ru ] , which refers to it as the Necropolis of the Masters of Art ( Russian : Некрополь мастеров искусств ). Opened in 1823 after the monastery's first cemetery, the Lazarevskoe , had become overcrowded,

2275-544: The city's chief architect L.A. Ilyin . The Funeral Affair Trust was established to run the necropolis museum, including removing abandoned gravestones for sale as building materials. The Funeral Affair Trust was authorised to acquire and transfer important graves and monuments from other cemeteries and churches across the city. Meanwhile, those existing graves in the cemetery that were not considered particularly artistic or historic were to be demolished to create space for those brought from other locations. A list of graves in

2340-468: The conservatory, the Russian Musical Society, and their press supporters. The group ignored critics and continued operating under the moniker. This loose collection of composers gathered around Balakirev now included Cui, Mussorgsky, Rimsky-Korsakov, and Borodin — the five who have come to be associated with the name "Mighty Handful", or sometimes "The Five". Gerald Abraham stated flatly in

2405-713: The decade for a period of time. All of "The Five" are buried in Tikhvin Cemetery in Saint Petersburg . The musical language The Five developed set them far apart from the Conservatoire. This self-conscious Russian styling was based on two elements: One hallmark of "The Five" was its reliance on orientalism . Many quintessentially "Russian" works were composed in orientalist style, such as Balakirev's Islamey , Borodin's Prince Igor and Rimsky-Korsakov's Scheherazade . Orientalism, in fact, became widely considered in

2470-487: The design of architect N. P. Grebyonki. The church was consecrated on 2 February 1873 in the name of the icon of the Tikhvin Mother of God , which from about 1876 became the common name of the cemetery. Two icons, one of Saint Dimitry of Rostov , and one of Saint Mary of Egypt , were painted by Pavel Pleshanov for the church. In 1825 the church and cemetery were visited by Emperor Alexander I , prior to his journey to Taganrog . The burial vault of Polezhaev family

2535-468: The eastern section, near the cemetery entrance. Some of the older monuments from the removed graves were retained to serve as decorative ornaments, such as columns placed at the intersection of avenues. The decoration of the park-necropolis was to be enhanced by the construction of one large and four small fountains, and the installation of granite benches. The Tikhvin Church was slated for demolition to improve

2600-494: The end of the war, with the necropolis-museum opening in August 1947. The programme of moving and installing monuments resumed after the war and continued until the mid-1950s. There were also several burials of prominent Soviet citizens, as the cemetery gained the status of an urban pantheon . Those buried here included the scientist Sergey Lebedev in 1934, artist Mikhail Avilov in 1954, and actor Nikolay Cherkasov in 1966. In 1972

2665-584: The establishment of the State Museum of Urban Sculpture, the building housed its scientific department, and now houses an exhibition hall as part of the museum. The rate of burials in the Old and New Lazarevskoe cemeteries was about equal during the early years of the latter's existence, though by the 1830s the New Lazarevskoe Cemetery became more popular. Burials initially took place in the eastern part of

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2730-460: The exception of Pushkin, all would eventually be buried in the Lavra's cemeteries; Krylov, Vyazemsky, Pletnyov and Olenin in the Tikhvin, and Tolstoy in the Lazarevskoe. In 1844 another contemporary poet of Pushkin's, Yevgeny Baratynsky , was buried in the cemetery. The cemetery became a popular and prestigious burial ground for those of many areas of society. The wealthy merchant A.I. Kosikovsky

2795-484: The following reference to "The Five": If we leave out of account Lodyzhensky , who accomplished nothing, and Lyadov , who appeared later, Balakirev's circle consisted of Balakirev, Cui, Mussorgsky, Borodin, and me (the French have retained the denomination of " Les Cinq " for us to this day). The Russian word kuchka also spawned the terms "kuchkism" and "kuchkist", which may be applied to artistic aims or works in tune with

2860-438: The following statement: God grant that our Slav guests may never forget today's concert; God grant that they may forever preserve the memory of how much poetry, feeling, talent, and intelligence are possessed by the small handful of Russian musicians. The expression "mighty handful" ( Russian : Могучая кучка , Moguchaya kuchka , "Mighty Bunch") was mocked by enemies of Balakirev and Stasov: Aleksandr Serov , academic circles of

2925-495: The height of his career in the 1870s he was forced by the expense of his drinking habit to hold down a full-time job in the State Forestry Department. In contrast to the élite status and court connections of Conservatory composers such as Pyotr Ilyich Tchaikovsky , The Five were mainly from the minor gentry of the provinces. To some degree their esprit de corps depended on the myth, which they themselves created, of

2990-492: The lepers" (an image borrowed from Victor Hugo 's novel Notre-Dame de Paris ). Stasov's correspondence with leading personalities of Russian art life is invaluable. He is known also for his opposition to music critic and erstwhile friend Alexander Serov regarding the relative merits of Glinka's two operas . He was so impressed by the literary talent of the Jewish schoolboy Samuil Marshak that he arranged an exception from

3055-562: The members of this group influenced or taught many of the great Russian composers who were to follow, including Alexander Glazunov , Mikhail Ippolitov-Ivanov , Sergei Prokofiev , Igor Stravinsky , and Dmitri Shostakovich . They also influenced the two French symbolist composers Maurice Ravel and Claude Debussy through their radical tonal language. Vladimir Stasov Vladimir Vasilievich Stasov (also Stassov ; Russian: Влади́мир Васи́льевич Ста́сов ; 14 January [ O.S. 2 January] 1824 – 23 October [O.S. 10 October] 1906),

3120-507: The monastery, the Lazarevskoe Cemetery , had been established in 1717, and by the early nineteenth century was becoming overcrowded. In March 1823 the monastery authorities proposed the creation of a new burial ground opposite the St. Petersburg Theological Consistory. The new cemetery, initially called the "New Lazarevsky" ( Russian : Ново-Лазаревским ), was established in the eastern part of

3185-484: The museum. The cemetery reconstruction project concentrated the representatives of each type of art together, with even monuments that had been in the Tikhvin originally being moved to fit the new organisational scheme. Composers and musicians were reburied mainly on the "Composer's path", near the northern boundary of the cemetery. Painters and sculptors were placed in the western part, while those who in their lifetimes had been associated with Pushkin were placed close to

3250-723: The neighbouring "Necropolis of the XVIII century", the former Lazarevskoe Cemetery, while others, including those of Aleksandr Gradovsky , Anatoly Koni and Viktor Pashutin , were transferred to the other museum necropolis being established in the Volkov Cemetery . Meanwhile, the remains of prominent artists, sculptors, composers and musicians were reburied in the cemetery. Among them were personal friends of Pushkin, including Konstantin Danzas , Anton Delvig , and Fyodor Matyushkin . Some remains came from cemeteries earmarked for demolition, such as

3315-433: The orchestration of Tamara in 1898. Rimsky-Korsakov provides the following picture of "The Mighty Handful" in his memoirs, Chronicle of My Musical Life (translated by J. A. Joffe): The tastes of the circle leaned towards Glinka, Schumann, and Beethoven's last quartets ... they had little respect for Mendelssohn ... Mozart and Haydn were considered out of date and naive ... J. S. Bach was held to be petrified ... Chopin

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3380-468: The other nationalists dubbed it the "First Russian Symphony," even though Rubinstein had written his Ocean Symphony a dozen years before it. These were themes Balakirev had transcribed in the Caucasus. "The symphony is good," Cui wrote to Rimsky-Korsakov in 1863, while the latter was out on naval deployment. "We played it a few days ago at Balakirev's—to the great pleasure of Stassov. It is really Russian. Only

3445-437: The piano, he would improvise and show how the composition in question should be changed exactly as he indicated, and frequently entire passages in other people's compositions became his and not their putative authors' at all. He was obeyed absolutely, for the spell of his personality was tremendous. ... His influence over those around him was boundless, and resembled some magnetic or mesmeric force. ... he despotically demanded that

3510-409: The plot of land, between the pathway to the monastery, and the consistory building, enclosed with a wooden fence. Over time it expanded to the west, into the areas formerly occupied by monastic gardens, and in the 1870s it was enclosed with a stone wall. The brothers D. M. and N. M. Polezhaev, wealthy merchants, funded the construction of a cemetery church, laid down on 26 September 1869 and built to

3575-517: The realistic painters known as Peredvizhniki as well as Ilya Repin . When artists did not follow his precepts, Stasov could become both intolerant and vocal. Stasov called the finale of Tchaikovsky's Little Russian symphony "one of the most important creations of the whole Russian school." Otherwise, his overall verdict on Tchaikovsky's work was negative: "The Conservatoire, academic training, eclecticism and overworking of musical materials laid its dread, destructive hand on him. Of his total output,

3640-515: The sensibilities of the Mighty Handful. The formation of the group began in 1856 with the first meeting of Balakirev and César Cui . Modest Mussorgsky joined them in 1857, Nikolai Rimsky-Korsakov in 1861, and Alexander Borodin in 1862. All the composers in The Five were young men in 1862. Balakirev was 25, Cui 27, Mussorgsky 23, Borodin the eldest at 28, and Rimsky-Korsakov just 18. They were all self-trained amateurs. Borodin combined composing with

3705-490: The tastes of his pupils should exactly coincide with his own. The slightest deviation from his taste was severely censured by him. By means of raillery, a parody or caricature played by him, whatever did not suit him at the moment was belittled — and the pupil blushed with shame for his expressed opinion and recanted.... Balakirev considered me a symphony specialist ... in the sixties, Balakirev and Cui, though very intimate with Mussorgsky and sincerely fond of him, treated him like

3770-473: The west, he felt, Russian artists could be, at best, second-rate. However, by borrowing from their own native traditions, they might create a truly national art that could match Europe's with its high artistic standards and originality. By "national" Stasov meant an art that would not only portray people's lives but also be meaningful to them and show them how to live. The son of a famous Russian architect Vasily Petrovich Stasov (1769–1848), Vladimir Stasov

3835-441: The years which followed he served as an elder adviser to the group of Russian composers known as " The Mighty Five ". He also warmed to Pyotr Ilyich Tchaikovsky after hearing the composer play the finale of his Little Russian Symphony at a Christmas 1872 gathering at Nikolai Rimsky-Korsakov 's home. Shortly after this gathering, Stasov prompted Tchaikovsky to write a piece based on Shakespeare's The Tempest . He also drafted

3900-539: Was a Russian critic of music and art. Born into a wealthy, noble family, Stasov became a prominent figure in mid-19th-century Russian culture. He discovered a large number of its greatest talents, inspired many of their works and fought their battles in numerous articles and letters to the press. As such, he carried on a lifelong debate with Russian novelist and playwright Ivan Turgenev , who considered Stasov "our great all-Russian critic." He wanted Russian art to liberate itself from what he saw as Europe's hold. By copying

3965-643: Was born in Saint Petersburg on 14 January [ O.S. 2 January] 1824. He graduated from the School of Jurisprudence in 1843, was admitted to the Imperial Academy of Arts in 1859, and was made honorary fellow of the Russian Academy of Sciences in 1900, together with his friend Leo Tolstoy . In 1847, Stasov published a monograph on Mikhail Glinka 's use of folk motifs in his music; from that time, Stasov advocated Russianness over European influence in music. In

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4030-477: Was buried under a monumental sarcophagus on a high pedestal surmounted by a canopy on eight fluted columns. Opposite it stood a similarly grand monument to the statesman Pavel Demidov , which has since been lost. In 1857 the remains of the composer Mikhail Glinka were returned from Berlin and buried in the cemetery, with a grand monument erected two years later to the design of architect I. I. Gornostayev, with sculptures by Nikolay Laveretsky . On 1 February 1881

4095-510: Was decided to turn it into a necropolis museum, displaying historically and artistically significant graves. Alongside this was concept of gathering together the graves of the friends and contemporaries of Alexander Pushkin for the 1937 centenary commemorations of the poet's death. The architectural and planning department of Lensovet , the city administration, was tasked with creating a memorial park project. Plans were drawn up by architects E.N. Sandler and E.K. Reimers, with further input from

4160-554: Was in the crypt of the church, and in 1901 the church underwent renovations. In 1918 archpriest Peter Skipetrov of the Gate Church , who had been shot and killed during an early attempt by the Bolsheviks to requisition the monastery on 19 January 1918, was buried under the church's altar. The church was closed in 1931 and between 1935 and 1937 it was converted into a post office , with the destruction of its facades and interiors. With

4225-418: Was likened by Balakirev to a nervous society lady ... Berlioz was highly esteemed ...Liszt was comparatively unknown ... Little was said of Wagner ... They respected Dargomyzhsky for the recitative portions of Rusalka ... [but] he was not credited with any considerable talent and was treated with a shade of derision. ...Rubinstein had a reputation as a pianist, but was thought to have neither talent nor taste as

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