New-York tribune., 1899-07-23
RUSSIAN MUSIC.
THE FOLKSONGS OF RUSSIA-THEIR Po-
ETC AND MUSICAL CHARACTER-HOW
THEY ARE SUNG - INFLUENCE
UPON THE NATIONAL
SCHOOL OF COM
pOGERS

It should he the duty of the musical ethnol-
ogist to account for the fact that folksong has
remained bound up with the social life OF the
people more intimately in Russia than in any
other one OF the civilized countries of the world
He NAV find hints as to the directions in which
no is TO look for his explanations In the genera
nrinciples which have already been laid down In
these studies and a careful consideration OF the
geographical, climatic, ethnographcal. political
and social conditions which have prevailed IN
the vast empire for centuries will throw an
ample food Of light upon the questions IN
voIved We are here concerned more directly
with the character of the folk music and its in
nuonce upon the Russian school Of composers.
which is asserting its right to be heard through
out th, civilized world more aggressyely to-day
than anv other school This policy Of aggres-
sion IS not n mere chance or the offspring OF
individual whim or vanity 1t is national and
Deliberate OF recent years we have witnessed
q mighty change in Russia's attitude toward
her own people and this has been followed in a
r,arvellously quick time by a change in the
attitude of other nations toward Russlas ar
tistic products In literature, painting and
music Russia now holds the attention of the
world as il By the magic Of an Irresistible
charm. vet \ generation ago It was in its heart
, >
= sealed book not only 20 the outside world, but
also to the majority Of It's own Inhabitants.
Tban the only Russia which open to gen.
eraI inspection was the Russia of the great i'm
narial cities with their veneer and varnish OF
foreign culture; there had been nothing IN the
political system Of the country to encourage true
national EXPRESSION in art SO long as Russia
failed In apDreciaton Of her own possessions, IL
was impossible for the world to place high
value on them To-day all things are different
The Conservatives and cOrCert institutions
which receive governmental support are de-
voted to national Ideals, and ten years ago
when Tschaikowsky appeared In the prlnclpaI
European capitals to conduct concerts OF Rus
sian music. IL was not under the 9gis OF an
ordinary speculative manager, but as repre-
sentative Of the Russian State. Let the Sgnlh-
canoe Of such a fact be pOndered when specula-
ton is INDUCED touching the future influence OF
the Russian school within the Cars dominion,
and also far beyond its boundaries
This inquiry must needs be musical. fully TO
discuss the literary and scientific sides Of the
question would. indeed be interesting but that
has been done to universal Arbitration by Mr..
Ralston in his book, The Songs Of the Russian
People" Nevertheless. stress must be laid upon
the porvasiycness and elOquence of the folksOng
of Russia in order that the character Of It's
artistic music may be understood. All the books
unite in a chorus Of praise touching the musical
utterances Of the Russian peasantry. I'm it,
says Tolstoi is yearning without end without
hope; also power inyincible; also the fateful
stamp of destiny. iron preOrdination-one of the
fundamental principles Of our nationality. with
which it is possible to explain much that in
Russian life seems incomprchensible" and
Ra!ston is not indulging in generalizations but
in exact truth when he sets forth how all the
significant features in the life of the peasant
are accompanied by ceremonies in which song
plays the most important part.
To husband and wife it suggests many form
OF loving words. and teaches them how, with
croons about the evil Tartars' of olden days
20 lul their babies o sleep ana 10 SOOlhe the
rcstlessness Of their elder children SOEg light
ems the toll OF the working hours, whether car
ried on out of doors. amid exposure to sun ana
wind. and rain and frost or within the sitting
hut by the feeble light Of a pinewood splinter
it enlivens the repOse OF the holiday. giving ami
nation To the choral dance by day, and the
social gathering by night. The younger genera
ton grows up ard song escorts the cOnScrlpt
son to the army, the welded daughter to her
new home. and mOurnS over the sorrow OF the
parents Of whom their children have taken what
may be a last farewell Then comes the final
scene Of all and when the tired eyes are closed
forever and the weary hands are crossed in
peace. song hOvers around the silent form and
addresses to its Needless ears passionate words
Of loving entreaty. Nor does its ministering
cease even then for, as each returning spring
brings back the memory Of the past, together
with fresh hopes for the future. song rises again
above the graves of the departed. as. after the
fashion Of their pagan ancestors, the villagers
celebrate their yearly memorial OF the dead
In the character Of these ceremonies and the
illusions frequently found in the song texts
there are relies Of ancient customs and religions
Many of the illusions are meaningless to the
singers to-daY. but this fact only adds 10 their