César Cui

César Antonovich Cui (Russian: Цезарь Антонович Кюи, romanized: Tsezar Antonovich Kyui; French: Cesarius Benjaminus Cui; 18 January [O.S. 6 January] 1835 – 13 March 1918)[2] was a Russian composer and music critic, member of the Belyayev circle and The Five — a group of composers combined by the idea of creating a specifically Russian type of music. As an officer of the Imperial Russian Army he rose to the rank of Engineer-General (equivalent to full General), taught fortifications in Russian military academies and wrote a number of monographs on the subject.

César Antonovich Cui
Цезарь Антонович Кюи
A portrait of Cui, published in What We Hear in Music, 1913.[1]
Born(1835-01-18)18 January 1835
Vilnius, Vilnius Governorate, Russian Empire
Died13 March 1918(1918-03-13) (aged 83)
Petrograd, Russian SFSR, Soviet Union
Allegiance Russian Empire
Service/branch Imperial Russian Army
Years of service1855-1918?
RankGeneral
Battles/warsRusso-Turkish War

Biography

Upbringing and career

Cesarius-Benjaminus Cui was born in Vilnius, Vilna Governorate of the Russian Empire (now Vilnius, Lithuania) into a Roman Catholic family of French, Polish and Lithuanian descent, the youngest of five children.[3] His French father, Antoine (Anton Leonardovich) Cui, entered Russia with the Napoleon's army; in 1812 he was injured during the battle near Smolensk and following the defeat he settled down in Vilnius. He married a local noble woman Julia Gucewicz.[4] Some sources indicate that her father was the famous Lithuanian architect Laurynas Gucevičius.[5]

The young César grew up learning French, Polish, Russian and Lithuanian.[6] Before finishing gymnasium, in 1850 Cui was sent to Saint Petersburg to prepare to enter the Chief Engineering School, which he did the next year at age 16.[7] In 1855 he was graduated from the Academy, and after advanced studies at the Nikolaevsky Engineering Academy, now Military engineering-technical university, he began his military career in 1857 as an instructor in fortifications.[8] His students over the decades included several members of the Imperial family, most notably Nicholas II.[9] Cui eventually ended up teaching at three of the military academies in Saint Petersburg.[10] Cui's study of fortifications gained from frontline assignment during the Russo-Turkish War of 1877-1878 proved quite important for his career. As an expert on military fortifications, Cui eventually attained the academic status of professor in 1880 and the military rank of general in 1906.[11] His writings on fortifications included textbooks that were widely used, in several successive editions (see bibliography below).

Avocational life in music

Despite his achievements as a professional military academic, Cui is best known in the West for his 'other' life in music. As a boy in Vilnius he received piano lessons, studied Chopin's works, and began composing little pieces at fourteen years of age. In the few months before he was sent to Petersburg, he managed to have some lessons in music theory with the Polish composer Stanisław Moniuszko, who was residing in Vilnius at the time.[12][13] Cui's musical direction changed in 1856, when he met Mily Balakirev and began to be more seriously involved with music.[14]

Even though he was composing music and writing music criticism in his spare time, Cui turned out to be an extremely prolific composer and feuilletonist. His public "debut" as a composer occurred 1859 with the performance of his orchestral Scherzo, Op. 1, under the baton of Anton Rubinstein and the auspices of the Russian Musical Society.[15] In 1869 the first public performance of an opera by Cui took place; this was his William Ratcliff (based on the tragedy by Heinrich Heine); but it did not ultimately have success, partially because of the harshness of his own writings in the music press.[16][17] All but one of his operas were composed to Russian texts; the one exception, Le flibustier (based on a play by Jean Richepin), premiered at the Opéra-Comique in Paris in 1894 (twenty-five years after Ratcliff), but it did not succeed either.[18] Cui's more successful stage works during his lifetime were the one-act comic opera The Mandarin's Son (publicly premiered in 1878), the three-act Prisoner of the Caucasus (1883), based on Pushkin, and the one-act Mademoiselle Fifi (1903), based on Guy de Maupassant.[19] Besides Flibustier, the only other operas by Cui performed in his lifetime outside of the Russian Empire were Prisoner of the Caucasus (in Liège, 1886) and the children's opera Puss in Boots (in Rome, 1915).[20]

Cui among artists of the Moscow Bolshoi Theatre, 1902

Cui's activities in musical life included also membership on the opera selection committee at the Mariinsky Theatre; this stint ended in 1883, when both he and Rimsky-Korsakov left the committee in protest of its rejection of Mussorgsky's Khovanshchina.[21] During 1896–1904 he was director of the Petersburg branch of the Russian Musical Society.[22]

Among the many musicians Cui knew in his life, Franz Liszt looms large. Liszt valued the music of Russian composers quite highly; for Cui's opera William Ratcliff he expressed some of the highest praise.[23] Cui's book La musique en Russie and his Suite pour piano, Op. 21, are dedicated to the elder composer. In addition, Cui's Tarantelle for orchestra, Op. 12, formed the basis for Liszt's last piano transcription.

Two personalities of direct significance for Cui were women who were specially devoted to his music. In Belgium, the Comtesse de Mercy-Argenteau (1837–1890) was most influential in making possible the staging there of Prisoner of the Caucasus in 1885.[24] In Moscow, Mariya Kerzina, with her husband Arkadiy Kerzin, formed in 1896 the Circle of Russian Music Lovers, a performance society, which began in 1898 to give special place to works by Cui, among those of other Russian composers, in its concerts.[25]

In such a long and active musical life as Cui's there were many accolades. In the late 1880s and early 1890s several foreign musical societies honored Cui with memberships. Shortly after the staging of Le flibustier in Paris, Cui was elected as a correspondent member of the Académie française and awarded the cross of the Légion d'honneur. In 1896 the Belgian Royal Academy of Literature and Art made him a member.[26] In 1909 and 1910 events were held in honor of Cui's 50th anniversary as a composer.[27]

Family
Grave of Mal'vina and César Cui at Tikhvin Cemetery in Saint Petersburg

Cui married Mal'vina Rafailovna Bamberg (Мальвина Рафаиловна Бамберг) in 1858. He had met her at the home of Alexander Dargomyzhsky, from whom she was taking singing lessons.[28] Among the musical works Cui dedicated to her is the early Scherzo, Op. 1 (1857), which uses themes based on her maiden name (BAmBErG) and his own initials (C. C.), and the comic opera The Mandarin's Son. César and Mal'vina had two children, Lidiya and Aleksandr. Lidiya, an amateur singer, married and had a son named Yuri Borisovich Amoretti; in the period before the October Revolution Aleksandr was a member of the Russian Senate.[29]

Last years and death

In 1916, the composer went blind, although he was able to compose small pieces by dictation.[30] Cui died on 13 March 1918 from cerebral apoplexy and was buried next to his wife Mal'vina (who had died in 1899) at the Smolensk Lutheran Cemetery in Saint Petersburg. In 1939, his body was reinterred in Tikhvin Cemetery at the Alexander Nevsky Monastery, Saint Petersburg, to lie beside the other members of The Five.[31]

Cui as a music critic
Caricature of Cui by Rayevsky, based on a painting by Jean-Léon Gérôme. The gladiators in the center bear shields inscribed with the titles of Cui's operas William Ratcliff, The Mandarin's Son, and Angelo.

As a writer on music, Cui contributed almost 800 articles between 1864 and 1918 to various newspapers and other publications in Russia and Europe. (He "retired" from regular music criticism in 1900.) His wide coverage included concerts, recitals, musical life, new publications of music, and personalities. A significant number of his articles (ca. 300) dealt with opera.[32] Several of his themed sets of articles were reissued as monographs; these covered topics as varied as the original 1876 production of Wagner's Der Ring des Nibelungen in Bayreuth, the development of the Russian romance (art song), music in Russia, and Anton Rubinstein's seminal lectures on the history of piano music of 1888–1889. (See list of writings below.) In addition, as indicated above as part of his profession, Cui also published many books and articles about military fortifications.

Because of rules related to his status in the Russian military, in the early years his musico-critical articles had to be published under a pseudonym, which consisted of three asterisks (***); in Petersburg musical circles, however, it became clear who was writing the articles.[33][34] His musical reviews began in the St. Petersburg Vedomosti, expressing disdain for music before Beethoven (such as Mozart) and his advocacy of originality in music. Sarcasm was a regular feature of his feuilletons.

Cui's primary goal as a critic was to promote the music of contemporary Russian composers, especially the works of his now better-known co-members of The Five. Even they, however, were not spared negative reactions from him here and there, especially in his blistering review of the first production of Mussorgsky's Boris Godunov in 1874.[35] (Later in life Cui championed the music of this late colleague of his, to the point of making the first completion of Mussorgsky's unfinished opera The Fair at Sorochyntsi.[36])

Russian composers outside of The Five, however, were often more likely to produce a negative reaction. This derived at least partly from distrust of the Western-style conservatory system in favor of the autodidactic approach that The Five had practiced. Cui lambasted Tchaikovsky's second performed opera, The Oprichnik, for instance;[37] and his stinging remarks about Rachmaninoff's Symphony No.1[38] are often cited. (Fortunately for posterity, both works have survived their unfavorable premieres.)

Of Western composers, Cui favored Berlioz and Liszt as progressives.[39] He admired Wagner's aspirations concerning music drama, but did not agree with that composer's methods to achieve them (such as the leitmotif system and the predominance of the orchestra).[40]

Late in life Cui's presumed progressiveness as espoused in the 1860s and '70s faded, and he showed firm hostility towards the younger "modernists" such as Richard Strauss and Vincent d'Indy.[41] Cui's very last published articles (from 1917) constituted merciless parodies, including the little song "Hymn to Futurism" and "Concise Directions on How to Become a Modern Composer of Genius without Being a Musician".[42]

Cui as a composer
Portrait of César Cui by Ilya Repin, 1890
See also: List of compositions by César Cui

Cui composed in almost all genres of his time, with the distinct exceptions of the symphony, symphonic poem and the solo concerto (unlike his compatriots Balakirev, Borodin, Mussorgsky and Rimsky-Korsakov). Art songs, including many children's songs and some vocal duets, have a prominent place in Cui's catalogue. Several of his songs are available also in versions with orchestral accompaniment, including his Bolero, Op. 17, which was dedicated to the singer Marcella Sembrich. Some of his most famous art songs include "The Statue at Tsarskoye Selo" ("Царско-сельская статyя") and "The Burnt Letter," ("Сожжённое письмо"), both based on poems by Cui's most valued poet, Alexander Pushkin.

In addition, Cui wrote many works for piano and for chamber groups (including three string quartets), numerous choruses, and several orchestral works, but his most significant efforts are reflected in the operas, of which he composed fifteen of varying proportions. Besides children's music (which includes four fairytale operas as well as the aforementioned songs), three other special categories of compositions stand out among his works: (1) pieces inspired by and dedicated to the Comtesse de Mercy-Argenteau (whom the composer knew from 1885 to her death in 1890; (2) works associated with the Circle of Russian Music Lovers (the "Kerzin Circle"); and (3) pieces inspired by the Russo-Japanese War and World War I.

As to the current status of Cui the composer, in the last few decades one of his children's operas (of which he composed four) entitled Puss-in-Boots (from Perrault) has had wide appeal in Germany.[43] Nevertheless, despite the fact that more of Cui's music is being made available in recent years in recordings and in new printed editions, his status today in the repertoire is considerably small, based (in the West) primarily on some of his piano and chamber music (such as the violin and piano piece called Orientale (op. 50, No. 9)[44]) and a number of solo songs. The received wisdom that he is not a particularly talented composer, at least for large genres, has been cited as a cause for this state of affairs; his strongest talent is said to lie in the crystallization of mood at an instant as captured in his art songs and instrumental miniatures.[45] Although his abilities as an orchestrator, too, have been disparaged (notably by his compatriot Rimsky-Korsakov[46]), some recent recordings (e.g., of his one-act opera Feast in Time of Plague,[47] from Pushkin) suggest that Cui's dramatic music might be more interesting to pursue with regard to this feature.

Cui's works are not so nationalistic as those of the other members of The Five; with the exception of Pushkin, his operas do not display a strong attraction to Russian sources. In the area of art song, however, the vast majority of Cui's vocal music is based on Russian texts. Overt attempts at Russian "folk" musical style can be detected in passages from his first act of the collaborative Mlada (1872), The Captain's Daughter, a couple of the children's operas, and a few songs; many other passages in his music reflect the stylistic curiosities associated with Russian art music of the 19th century, such as whole tone scales and certain harmonic devices. Nevertheless, his style is more often compared to Robert Schumann[48] and to French composers such as Gounod[49] than to Mikhail Glinka or to Cui's Russian contemporaries.

Literary works

A selected list of Cui's writings on music and military architecture can be found at List of literary works by César Cui.

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References
  1. Oberndorfer, Anne Faulkner (1913). What We Hear in Music: A Laboratory Course of Study in Music History and Appreciation, for Four Years of High School, Academy, College, Music Club Or Home Study ... New Jersey, United States: Victor Talking Machine Company. p. 118. Retrieved 2009-02-20.
  2. Назаров, А.ф. Цезарь Антонович Кюи (Moscow: Muzyka, 1989), p. 221.
  3. As Cui wrote to Felipe Pedrell in 1897: "Bien que russe, je suis d’origine mi-française, mi-lithuanienne." See Norris & Neff n.d.
  4. Назаров, p. 7-8.
  5. Eduardas Budreika. Antoine Cui and his Lithuanian family article from Šiaurės Atėnai, 13 March 2004 (in Lithuanian)
  6. Назаров, p. 14-15.
  7. Назаров, p. 15-16.
  8. Назаров, p. 22, 35.
  9. Ильинский, А.А.; Пахулский, Г. Биографии композиторов с IV-XX век с портретами (Москва: Изд. К.А. Дурново, 1904), p. 518.
  10. Neef 1992, p. 136.
  11. Назаров, p. 106-110, 194.
  12. Кюи, Ц. А., "Первые композиторские шаги Ц. А. Кюи (письмо к редактору)", Избранные статьи, составитель И. Л. Гусин (Ленинград: Гос. муз. изд-во, 1952), editor's notes, pp. 542–543.
  13. Назаров, pp. 12–14.
  14. Назаров, pp. 25–27.
  15. Назаров, p. 46.
  16. Гозенпуд, А. А., Русский оперный театр XIX века, 1857–1872 [Russian Operatic Theater of the 19th Century, 1857–1872] (Ленинград, Музыка, 1971), 228–235.
  17. Назаров, pp. 58–61.
  18. Назаров, pp. 132–135.
  19. Бернандт, Г. Б. Словарь опер впервые поставленных или изданных в дореволюционной России и в СССР, 1836–1959. [Dictionary of Operas First Performed or Published in Pre-Revolutionary Russia and in the USSR, 1836–1959] (Москва: Советский композитор, 1962). pp. 125–126, 288, 170.
  20. Бернандт, Г. Б. Словарь опер, pp. 125, 148.
  21. Кюи, Избранные письма [Selected Letters], p. 112 (also editor’s notes, pp. 571–572).
  22. Назаров, pp. 147, 184.
  23. Кюи, Избранные письма, p. 506.
  24. Назаров, p. 120.
  25. Назаров, pp. 150–157.
  26. Назаров, pp. 35–36.
  27. Назаров, pp. 201–205.
  28. Назаров, p. 42.
  29. Кюи, Избранные письма, editor’s notes, pp. 635, 395, 703, 715–716.
  30. Кюи, Избранные письма, p. 477.
  31. Назаров, p. 155, 221-222.
  32. Кюи, Избранные статьи, Библиографический указатель статей Ц. А. Кюи, 1864–1918 [Bibliographic index of articles by C. A. Cui, 1864–1918], pp. 624–660.
  33. Назаров, pp. 68–69.
  34. Гозенпуд, А. А., Русский оперный театр XIX века, 1857–1872, p. 235.
  35. Кюи, "Театр и музыка. Борис Годунов, опера г. Мусоргского, дважды забракованная водивильным комитетом" ["Theatre and music. Boris Godunov, opera by Mr. Musorgsky, twice rejected by the vaudeville committee"], Санкт-Петербургские ведомости, 6 февр. 1874, No. 37, 1874
  36. Назаров, pp. 214–215.
  37. "Музыкальные заметки. Опричник, опера г. Чайковского" [Musical notes. The Oprichnik, opera by Mr. Tchaikovsky"], Санкт-Петербургские ведомости, 23 апр. 1874, No. 110, 1874.
  38. "Театр и музыка. Третий Русский симфонический концерт" ["Theatre and music. Third Russian Symphony Concert"], Новости и биржевая газета, 17 марта No. 75, 1897.]
  39. Кюи, "Первые композиторские шаги", p. 554.
  40. Кюи, "Несколько слов о современных оперных формах" ["A Few Words about Contemporary Operatic Forms"], Избранные статьи, p. 416.
  41. Кюи, Избранные статьи, pp. 537–550
  42. Кюи, Избранные статьи, pp. 550–552.
  43. Boas, Robert. "Nuremberg." Opera [London], v. 32 (1981), pp. 288-289.
  44. Score available at http://nla.gov.au/nla.mus-an14448987
  45. Norris & Neff n.d.
  46. Ястребцев, В.В., Николай Андреевич Римский-Корсаков: воспоминания В.В. Ястребцева, [в двух томах], [Nikolai Andreevich Rimsky-Korsakov: Reminiscences by V. V. Iastrebtsev, in two volumes] (Ленинград: Гос. муз. изд-во, 1959-1960), т. 1, p. 145, 149.
  47. Cui, César, A Feast in Time of Plague, Russian State Symphony Orchestra under Valery Polyansky, Chandos CD, CHAN 10201, 2004.
  48. Ларош, Герман Августович, "Один из наших шуманистов: Ц.А. Кюи как композитор опер и романсов" ["One of Our Schumannists: C. A. Cui as Composer of Operas and Romances"], Русский вестник, т. 180 (1885), p. 985-1008.
  49. Abraham, Gerald, "Heine, Cui, and William Ratcliff," his Essays on Russian and East European Music (Oxford: Clarendon Press, 1985), p. 61-62.

Sources
  • Назаров, Александр Федорович [Nazarov, Aleksandr Fedorovich]: Цезарь Антонович Кюи. Москва, 1989. «Музыка». ISBN 5714001516
  • Neef, Sigrid (1992). Die Russischen Fünf: Balakirew, Borodin, Cui, Mussorgski, Rimski-Korsakow. Berlin: E. Kuhn.
  • Norris, Geoffrey; Neff, Lyle (n.d.). "Cui, César [Kyui, Tsezar' Antonovich]". In L. Macy (ed.). Grove Music Online.

Further reading
  • Guglielmi, Edoardo. "Cesar Cui e l'Ottocento musicale russo," Chigiana, v. 25, no. 5 (1968), p. 187-195.
  • Mercy-Argenteau, La Comtesse de, César Cui: esquisse critique. Paris: Fischbacher, 1888.
  • Муселак, Анри [Musielak Henri]. "Предки Кюи" ["Cui's Forebears"], Советская Музыка, 1979, no.10, p. 141-142.
  • Neef, Sigrid. Handbuch der russischen und sowjetischen Oper. 1st ed. Kassel: Bärenreiter, 1989, c1985.
  • Neff, Lyle Kevin. Story, style, and structure in the operas of César Cui. Ph.D. dissertation (2002), Indiana University, United States.
  • Stasov, V.V. "Цезарь Антонович Кюи: биографический очерк" [César Antonovich Cui: A Biographical Sketch] Артист [Artist] [Moscow], no. 34 (1894); reprinted and edited in his Избранные сочинение: живопись, скульптура, музыка. В трех томах. Т. 3. [Selected Works: Painting, Sculpture, Music. In three vols. Vol. 3.] Москва: Искусство, 1952, p. 387-408.
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