CHAIKOVSKY’S BALLETS
The hidden subtext to this exchange was the fact that “la Sobiechtchanskaya” (that is, Anna Iosifovna Sobeshchanskaya [1842–1918], lead dancer of the Bolshoi Theater in Moscow) had indeed been dancing of late to the music of Chaikovsky, and that was news. (It was in the wake of Chaikovsky’s balletic successes that the critic had elicited from Rimsky-Korsakov his irritated condemnation of the genre.) Chaikovsky was the one leading Russian composer to be powerfully attracted to ballet; perhaps more to the point, or at least to the point of this book, he was surely the only major composer of the nineteenth century to be equally known for his symphonies and his ballets—oil and water, as far as most musicians (Taneyev, for one) were concerned—and to be adjudged an outstanding producer of both.
- Citation (MLA):
- Richard Taruskin. "Chapter 3 Aristocratic Maximalism." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Sep. 2023. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003004.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 3 Aristocratic Maximalism. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003004.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 3 Aristocratic Maximalism." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Sep. 2023, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-003004.xml
