Nadezhda Rimskaya-Korsakova
Russian musician
Nadezhda Rimskaya-Korsakova
Nadezhda Nikolayevna Rimskaya-Korsakova (Russian: Надежда Николаевна Римская-Корсакова née Purgold was a Russian pianist and composer as well as the wife of composer Nikolai Rimsky-Korsakov. She was also the mother of Russian musicologist Andrey Rimsky-Korsakov.
Biography
Nadezhda Rimskaya-Korsakova's personal information overview.
{{personal_detail.supertitle}}
{{personal_detail.title}}
{{personal_detail.title}}
Photo Albums
Popular photos of Nadezhda Rimskaya-Korsakova
Relationships
View family, career and love interests for Nadezhda Rimskaya-Korsakova
Show More Show Less
News
News abour Nadezhda Rimskaya-Korsakova from around the web
Timeline
Learn about memorable moments in the evolution of Nadezhda Rimskaya-Korsakova
    LATE_ADULTHOOD
  • 1908
    Age 60
    Upon Rimsky-Korsakov's death in 1908, Nadezhda became the executrix of his literary and musical estates.
    More Details Hide Details This included the considerable job of editing and publishing his posthumous literary and musical works. These included his autobiography, My Musical Life, collections of articles and notes on music plus a part of his correspondence with friends. She spent the rest of her life preserving his legacy, among other things, protesting Sergei Diaghilev's use of music from Scheherazade and The Golden Cockerel for ballets. She died of smallpox in St. Petersburg (by then renamed Petrograd) at age 70. After her death, her son Andrei continued her efforts, writing a multi-volume study of his father's life and work. Dargomyzhsky taught Rimskaya-Korsakova how to reduce orchestral scores, a task for which she was especially talented and adept and which she would put to good use. Her transcriptions (for piano four-hands) include works by Dargomyzhsky, Rimsky-Korsakov, Tchaikovsky, Borodin and Glazunov. She also arranged the vocal scores for Rimsky-Korsakov's The Maid of Pskov and The Noblewoman Vera Sheloga, along with Borodin's Prince Igor in conjunction with Glazunov and her husband.
  • THIRTIES
  • 1887
    Age 39
    This was not the only time she was not afraid to speak her mind. In matters regarding her husband she was fiercely loyal. When Anton Rubinstein reassumed the directorship of the St. Petersburg Conservatory in 1887 and started replacing Russian professors with foreign ones, Vladimir Stasov was outraged at the thought of Rimsky-Korsakov kowtowing to "the Great Ruler."
    More Details Hide Details Stasov told Balakirev that he had written to Rimsky-Korsakov "that their relations with the Conservatory and Rubinstein is Unitarianism (and, on the part of Cui, unadulterated apostasy)." When Stasov's letter arrived, Rimsky-Korsakov was hard at work completing Borodin's opera Prince Igor. Nadezhda took it upon herself to answer Stasov: All your leonine fulminations are inappropriate and even comical... You ought to study the facts before you write about them. What right do you have in suspecting my husband of base acts, apostasy, and the devil only knows what else? To that person who has been telling you slanderous things about him, you write and tell him off. And I hope that Nikolai Andreyevich does not need anyone's advice in order to act in all circumstances of life in a noble and honorable fashion; for this he has sufficient nobility and intellect of his own.
  • TWENTIES
  • 1871
    Age 23
    She found in him an abundance of warmth and gentleness He proposed to her in December 1871, and they married in July 1872.
    More Details Hide Details Mussorgsky was Rimsky-Korsakov's best man. The Rimsky-Korsakovs would eventually have seven children. Nadezhda was to become a musical as well as domestic partner with her husband, much as Clara Schumann had been with her own husband Robert. Beautiful, capable, strong-willed and far better trained musically than her husband at the time they married, she proved a good and most demanding critic of his work; her influence over him in musical matters was strong enough for Balakirev and Stasov to wonder sometimes whether she was leading him astray from their musical preferences. Although she gradually gave up composition after her marriage, she had a considerable influence on the creation of his first three operas. She travelled with her husband, attended rehearsals and proofread and arranged compositions by him and others. Her enthusiasm for Nikolai Gogol's work became reflected in both her husband's compositions and those of his friends. On the day of their betrothal, she and Rimsky-Korsakov read Gogol's short story "May Night" together. Afterwards, she told him that he should write an opera based on it. A week or two later she wrote him, I've been reading yet another of Gogol's stories today, "The Fair at Sorochyntsi." This is good, too, and would even be suitable for an opera, but not for you; in any case, it's not like 'May Night.' As for that, it's so stuck in my head that nothing will drive it out.
  • 1868
    Age 20
    She met Rimsky-Korsakov at Dargomyzhsky's home in the spring of 1868.
    More Details Hide Details Not long after their first meeting he wrote a song which he dedicated to her. He also started visiting her frequently, both at the Purgold home in St. Petersburg and at the family's summer residence in Lyesnov.
Original Authors of this text are noted here.
All data offered is derived from public sources. Spokeo does not verify or evaluate each piece of data, and makes no warranties or guarantees about any of the information offered. Spokeo does not possess or have access to secure or private financial information. Spokeo is not a consumer reporting agency and does not offer consumer reports. None of the information offered by Spokeo is to be considered for purposes of determining any entity or person's eligibility for credit, insurance, employment, housing, or for any other purposes covered under the Fair Credit Reporting Act (FCRA)