Musorgsky's extremist realism was something that eventually had to be recoiled from because of its literalistic concept of truth—truth to empirical experience, to the conditions of daily life, without possibility of compromise. Art, the composer learned, lives in the compromise. It trades not in verbatim transcripts of existence but in metaphors. The Russian composer who understood this best was Chaikovsky. In Eugene Onegin, an opera based, like Boris Godunov, on a work by Pushkin, Chaikovsky created the other great monument of Russian realism in music.
- Citation (MLA):
- Richard Taruskin. "Chapter 12 Cutting Things Down to Size." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 29 May. 2015. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-012005.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 12 Cutting Things Down to Size. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 29 May. 2015, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-012005.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 12 Cutting Things Down to Size." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 29 May. 2015, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-012005.xml