Nadezhda Rimskaya-Korsakova

Nadezhda Nikolayevna Rimskaya-Korsakova (Russian: Надежда Николаевна Римская-Корсакова, IPA: [nɐˈdʲeʐdə nʲɪkɐˈlajɪvnə ˈrʲimskəjə ˈkorsəkəvə] ⓘ; née Purgold; October 19 [O.S.

"[1] Among the works she played with the kuchka were Mussorgsky's operas Zhenitba (Marriage)[4] and Boris Godunov, plus Nikolai Rimsky-Korsakov's The Maid of Pskov.

[12] Years later, Nikolai Rimsky-Korsakov wrote: "The overture [from The Maid of Pskov], from the first note to the last one, belongs to a no-good girl whom I love very, very much.

[17] Like her husband in his later years, Nadezhda's musical tastes became less progressive; she rated her son-in-law Maximilian Steinberg a greater composer than Igor Stravinsky.

Stravinsky later wrote about one such incident that occurred at Rimsky-Korsakov's funeral: I will remember Rimsky in his coffin as long as memory is.

When Anton Rubinstein reassumed the directorship of the St. Petersburg Conservatory in 1887 and started replacing Russian professors with foreign ones, Stasov was outraged at the thought of Rimsky-Korsakov kowtowing to "the Great Ruler."

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.

[2] She spent the rest of her life preserving his legacy,[2] among other things, protesting Sergei Diaghilev's use of music from Scheherazade and The Golden Cockerel for ballets.

[2] 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,[1] a task for which she was especially talented and adept and which she would put to good use.

[1] She also arranged the vocal scores for Rimsky-Korsakov's The Maid of Pskov and The Noblewoman Vera Sheloga,[1] along with Borodin's Prince Igor in conjunction with Glazunov and her husband.

[22] Autograph manuscripts survive of a symphonic tableau after Gogol, "The Bewitched Place" (Zakoldovannoye mesto), an opera Midsummer Night in piano-vocal score, piano pieces and songs.