里姆斯基-科萨科夫，N.(Nikolay Rimsky-Korsakov, 1844.3.18~1908.6.21) 俄国作曲家，音乐教育家。6岁学习钢琴。9岁尝试作曲。1856~62年在圣彼得堡海军士官学校学习期间，曾从意大利钢琴家卡尼利学习钢琴、和声与作曲，从巴拉基列夫学习作曲；结识斯塔索夫等人，后加入五人团。1862~73年在海军服役，往南、北美洲巡航，了解到许多国家的风土人情；阅读俄国文学评论家别林斯基、车尔尼雪夫斯基等人著作，深受民主主义思想的影响。1871~1908年任圣彼得堡音乐院教授，先后讲授作曲法、管弦乐法、和声和对位等课；1905年因对俄国第一次资产阶级革命（1905~07）表示同情而被当局开除，引起格拉祖诺夫、利亚多夫等教授纷纷辞职以示抗议。同年12月音乐院获得自治权后又返回该院任教。1874~81年接替巴拉基列夫义务音乐学校校长该校管弦乐乐队指挥，宣扬五人团成员的作品。作为五人团最年轻的成员，1881年起，与巴拉基列夫、利亚多夫共同整理格林卡的遗作，后又整理穆索尔斯基和鲍罗廷的遗作。1907年在巴黎指挥俄罗斯音乐会后，终止出国访问。 里姆斯基-科萨科夫是19世纪俄罗斯民族乐派著名的歌剧和交响音乐作曲家之一。他的创作融汇东方民族音调，运用欧洲19世纪浪漫乐派的技巧，具有鲜明的俄罗斯民族特征。作品取材于俄国历史、民间传说和文学著作，常把现实生活寓于民间幻想境界和自然景色的描绘之中。管弦乐织体细腻、色彩艳丽、音响丰厚；用黑海音阶（即全音音阶）等所产生的新颖和声，对德彪西、拉威尔等人有直接影响。作品全集50卷（1966年~70年）。——摘自缪天瑞主编《音乐百科词典》
Rimsky-Korsakov,Nikolay (Andreyevich)里姆斯基-科萨科夫，尼古拉（安德列维奇）（1844年生于季赫文；1908年卒于柳宾斯克）。俄国作曲家、指挥家。出身于贵族家庭，受过传统的音乐教育。有志成为海员；1856年在圣彼得堡入海军军官候补生队，在该地上过钢琴课，并曾观赏歌剧及听音乐会。格林卡民族色彩甚浓的作品使他深受感动，并与巴拉基列夫交往而受其影响。他虽然不懂什么和弦名称及声部写作规则，却写成了一段交响曲。1862~1865年出海航行。1865年完成的交响曲是这位俄国作曲家写的很重要的第一部作品。1865~1868年写成《萨特阔》（Sadko）及《安塔尔》（Antar），此两首乐曲后来都曾修订。1869年受托续成达尔戈梅斯基（Dargomyzhsky）的歌剧《石客》（The Stone Guest）；1872年完成自作歌剧《普斯科夫女郎》（The Maid of Pskov）。1871年当时仍身任海军中尉，况未学过和声及对位，圣彼得堡音乐院竟聘他任作曲与配器应用课的教授。于是他就私下边自学边进行教课。1873~1884年任海军军乐队督察。作为自学的一部分，他曾在数年中写成若干”学究式的”作品，其中有弦乐四重奏、钢琴五重奏、钢琴赋格曲等。1876~1877年编选《俄罗斯民歌100首》（100 Russian Folk-Songs），从而导致其创作进入一个新的更有魅力的阶段，写成如歌剧《五月之夜》（May Night）及《雪姑娘》（Snegurochka）(The Snow Maiden)。1874~1881年任一所免费音乐学校校长。1882年后的大部分时间用在行政、指挥方面并抽空为穆索尔斯基（Mussorgsky）的《霍万兴那》（Khovanshchina）及其他作品进行修订及配器。1887年鲍罗廷（Borodin）逝世，其遗作《伊戈尔王子》（Prince Igor）又由他和他的学生格拉祖诺夫（Glazunov）来担负完成和配器的任务。但利用此项工作的间隙创作出他自己最富于色彩的两首作品：《西班牙随想曲》（Spanish Caprice）及《舍赫拉查德》（Scheherazade）。此后他受1888~1889年在俄国首次演出瓦格纳的歌剧《指环》（Ring）的影响，转而专心从事歌剧创作。他有一段时间因患神经衰弱而无法工作，但到90年代又恢复创造性的劳动，并在1896年为穆索尔斯基的歌剧《鲍里斯.戈杜诺夫》（Boris Godunov）整理出完整的演出本，虽然今天对这个版本有部分的不信任，但在学者们恢复穆索尔斯基的原作面貌之前，一直依靠里姆斯基-科萨科夫编的本子使这部歌剧得以流传。1905年因同情革命学生，曾一度被解除圣彼得堡音乐学院教授的职务，其作品也遭禁演两个月的处分。与当局这一冲突在他最后一部歌剧《金鸡》（The Golden Cockerel）中有所反映。此剧曾遭政府禁演，待他逝世后方有机会上演。1906年又修订《鲍里斯.戈杜诺夫》，1907年曾在巴黎指挥贾吉列夫（Diaghilev）举办的俄罗斯音乐演奏会。里姆斯基-科萨科夫的天赋不如其民族乐派中的同伴，但在清晰而富于色彩的配器技巧方面却超过了他们，而且今天对我们来说，他的音乐似乎成为沙皇俄国时代煊赫与壮观的集中体现。其歌剧之光彩近来已再次被人们所肯定。他对其最杰出的学生斯特拉文斯基（Stravinsky）的影响，在《火鸟》（The Firebird）中表现得尤为突出。他还撰有供和声及配器用的教科书，并写有自传。——摘自《牛津简明音乐词典》（第四版）
Rimsky-Korsakov，Nikolay Andreyevich 里姆斯基-科萨科夫，尼古拉·安德烈耶维奇(1844—1908) 俄罗斯作曲家。十二岁进圣彼得堡海军士官学校，五年后结识巴拉基列夫、居伊和穆索尔斯基，开始从巴拉基列夫认真学习音乐。1862年作为低级军官出航伦敦和纽约，1865年返国，1871年被任命为圣彼得堡音乐学院作曲教授。1874年出任圣彼得堡义务音乐学校校长，不久成为包括利亚多夫、格拉祖诺夫、阿伦斯基在内的新派作曲家之首。1888年圣彼得堡上演瓦格纳的《尼伯龙根的指环》后，他开始大型乐队的创作，对配器产生了一些想法，发表在《管弦乐法原理》一书(1912年由阿盖特译成英文，1953年瞿希贤的二卷汉译本由上海万叶书店出版)中。1902年遇斯特拉文斯基，后者成为他的学生。因对1905年革命表同情而被音乐学院开除，但后来又被聘回校。最后一部作品——根据普希金的《金鸡》而写的歌剧(1907)，因讽刺政府而遭禁演，直到1910年才上演。和“强力集团”中的其他作曲家一样，他的早期作品受民族主义思想影响极深。通过1871年以后集中锻炼技巧、收集民歌(作为op.24出版)以及编订格林卡的歌剧而取得经验，为后期发展打下坚实基础。1887至1888年间写成最成熟的几部管弦乐曲《西班牙随想曲》、《舍赫拉查达》和《俄罗斯复活节序曲》后，将许多早期作品重行配器，但主要精力仍放在创作歌剧《姆拉达》(1890)、《圣诞夜》(1895)、《萨特阔》(1896)、《萨尔丹沙皇的故事》(1898)、《基捷日》(1904)和《金鸡》上，这些都是他的登峰造极之作。他还编订和改编(今天有些人说是改坏了)其他俄罗斯作曲家的歌剧，包括穆索尔斯基的《鲍里斯·戈杜诺夫》和鲍罗廷的《伊戈尔王子》。他的绚烂明快的配器给斯特拉文斯基显著的影响，并通过斯特拉文斯基而影响许多当代作曲家。著作尚有《和声学实用教程》(1884；张洪岛的汉译本1953年由上海新音乐出版社出版)。所撰回忆录《我的音乐生活》出版于作者死后一年(1909；英译本出版于1924年，吴佩华的汉译本1954年由上海新音乐出版社出版，1988年据俄文版重译本由上海音乐出版社出版)。——摘自上海音乐学院音乐研究所编译《外国音乐辞典》
里姆斯基-科萨科夫 Rimsky-Korsakov，Nikolay (1844．3．18—1908．6．21) 著名俄国作曲家、教育家，俄罗斯乐派创始人之一。继承格林卡传统，所作歌剧和交响曲颇具东方色彩。晚期作品以强烈不和谐与变化音和声而接近现代主义。父为具有民主政治观点的官吏。12岁时全家迁至圣彼得堡，入海军学校。15岁起学钢琴和作曲。1861年结识作曲家巴拉基列夫，在其指导下开始写《第一交响曲》(1861，1884修订)。1862年从海军学校毕业后，随舰航海3年，途经美国、巴西、西班牙、意大利、法国、英国、挪威，对大海的印象反映于以后的许多作品中。其《第一交响曲》于回国后完成(1865)，是俄国人写的第一部成熟的交响曲，时年2l岁。1867年5月24日由巴拉基列夫指挥其又一个重要作品《塞尔维亚主题幻想曲》的演出，具有重要历史意义，评论家斯塔索夫声称：俄国从此有了自己的“强力集团”，此名称就此载入音乐史册。“强力集团”或称“5人团”，成员有里姆斯基-科萨科夫、巴拉基列夫、鲍罗丁、居伊和穆索尔斯基，其目标是使俄国在音乐上独立于西方。5人中以里姆斯基-科萨科夫学识最丰，作品最多，其歌剧尤为突出。1871年起任圣彼得堡音乐学院作曲和配器教授，除1905年因支持学生罢课而被一度解职外，终生任此职。任教之初自感学识不够，遂集中精力自修对位法及赋格写作。并得巴拉基列夫与柴可夫斯基的指点，后者认为他后来所作的赋格曲已无懈可击。1873年正式脱离海军军职，但继续担任军乐队督察与指挥。1874～1881年间兼任圣彼得堡免费音乐学校校长。1883～1894年任宫廷教堂音乐会指挥，1886～1900年任俄罗斯交响音乐会首席指挥等工作。为出版俄国作曲家的作品作出卓越的贡献。尤其对穆索尔斯基的作品，在其死后作了大量修订工作。其最主要的歌剧作品有：《雪姑娘》(1882)、《萨特阔》(1898)、《沙皇的新娘》(1899)、《金鸡》(1909)等。《萨特阔》中的“印度之歌”是人们最喜爱的曲子之一。最著名的管弦乐作品有《西班牙随想曲》(1887)和交响组曲《天方夜谭》(1888)等。著作有《和声学实用教程》、《管弦乐原理》和自传《我的音乐生活》。——摘自《简明不列颠百科全书》中文版
Rimsky-Korsakov, Nikolay (Andreyevich) (b Tikhvin, 1844; d Lyubensk, 1908). Russian composer and conductor. Born into aristocratic family and had conventional musical education. Ambition to be sailor; entered Corps of Naval Cadets 1856 in St Petersburg, where he had pf. lessons and attended opera and concerts. Nationalist works of Glinka deeply impressed him and he met and was influenced by Balakirev. Wrote part of a sym., though ignorant of names of chords and of rules of part-writing. Away at sea 1862–5. Completed sym. 1865, first of importance by Russ. composer. In 1865–8 wrote Sadko and Antar, both later rev. In 1869 was entrusted with completion of Dargomyzhsky's opera The Stone Guest and in 1872 completed his own opera The Maid of Pskov. In 1871, while still a naval lieutenant and still unlearned in harmony and counterpoint, was appointed prof. of practical comp. and instrumentation, St Petersburg Cons. Taught himself in secret. Inspector of Naval Bands, 1873–84. For several years as part of his self-education prod. ‘academic’ comps. incl. str. qt., pf. quintet, pf. fugues, etc. His editing of 100 Russian Folk-Songs, 1876–7, led him to a new, more attractive phase in his own works, incl. the operas May Night and Snegurochka (The Snow Maiden). From 1874–81 was dir. of the Free School of Mus. After 1882 much occupied with administration, cond., and rev. and orchestration of Khovanshchina and other works by Mussorgsky. When Borodin died in 1887, completion and orch. of Prince Igor was undertaken by Rimsky-Korsakov and his pupil Glazunov. Rimsky interrupted this to write 2 of his most colourful works, the Spanish Caprice and Sheherazade. Thereafter, influenced by the first Russ. perfs. in 1888–9 of Wagner's Ring, devoted himself to opera. For a time, neurasthenic illness robbed him of the will to work, but he resumed creative work in the 1890s and in 1896 made his version of Mussorgsky's Boris Godunov which, though it is now partly discredited, preserved this opera until scholars restored the composer's orig. In 1905, having shown sympathy with revolutionary students, was temporarily removed from his professorship at St Petersburg Cons. and a 2-month ban imposed on perf. of his works. This clash with authority is reflected in his last and satirical opera, The Golden Cockerel, which was banned by the govt. and not prod. until after his death. In 1906, rev. Boris Godunov, and in 1907 cond. in Paris at Diaghilev's concerts of Russ. music.
Less talented than his colleagues in the nationalist school, Rimsky-Korsakov excelled them all in the art of clear and colourful orchestration, and to us today his mus. seems to epitomize the brilliance and pageantry of Tsarist Russia. Lately the splendour of his operas has been re-discovered. His influence on his most distinguished pupil, Stravinsky, can be discerned above all in The Firebird. Wrote textbooks on harmony and orchestration, also autobiography. Prin. comps.:
OPERAS: The Maid of Pskov (Ivan the Terrible) (1868–72, rev. 1876–7, rev. 1891–2); May Night (1878–9); Snow Maiden (Snegurochka) (1880–1, rev. c.1895); Mlada (1889–90); Christmas Eve (1894–5); Sadko (1894–6); Mozart and Salieri (1897); Boyarina Vera Sheloga (comp. 1876–7 as prol. to Maid of Pskov, reconstructed as 1-act opera 1898); The Tsar's Bride (1898); The Legend of Tsar Saltan (1899–1900); Servilia (1900–1); Kashchey the Immortal (1901–2, rev. 1906); Pan Voyevoda (1902–3); Legend of the Invisible City of Kitezh and the Maiden Fevronia (1903–5); The Golden Cockerel (1906–7).
ORCH.: syms.: No.1 in E♭ minor (1861–5, rev. in E minor 1884), No.2 (Antar, 1868, rev. 1876 and 1897, symphonic suite 1903), No.3 in C (1866–73, rev. 1885–6); Overture on 3 Russian Themes (1866, rev. 1879–80); Fantasia on Serbian Themes (1867, reorch. 1886–7); Sadko, symphonic picture (1867, rev. 1869, 1891; see also opera); conc., tb., military band (1877); Sinfonietta on Russian Themes, str. qt. (1897; rev. and orch. 1880–4); Skazka (Legend) (1879–80); pf. conc. (1882–3); Fantasia on Russian Themes, vn., orch. (1886); Spanish Caprice (1887); Sheherazade (1888); Russian Easter Festival Overture (1888); Dubinushka (1905).
CHORAL: Alexey the Man of God, ch., orch. (1877); Svitezyanka, cantata (1897); Song of Oleg the Wise, cantata (1899); From Homer (1901).
CHAMBER MUSIC: str. qt. (1875); str. sextet (1876); pf. quintet (pf., wind) (1876); Allegro in B♭, str. qt. (1899)
TRANSCRIPTIONS etc.: BORODIN: Prince Igor, orch. and completed (with Glazunov), prod. 1890; MUSSORGSKY: Boris Godunov, re-orch. 1896, rev. 1906, Khovanshchina, rev. and orch. 1882–5; DARGOMYZHSKY: The Stone Guest, orch. and completed 1870–1, rev. 1902.Also songs, chs., folk-song arrs. and pf. pieces.——摘自《牛津音乐词典》（第六版）Oxford Dictionary of Music(Sixth Edition)
Nikolay Andreyevich Rimsky-Korsakov(Born; Tikhvin, 18 March 1844; Died; Lyubensk, 21 June 1908). Russian composer. Apart from piano lessons, a love for the music of Glinka and a fascination with opera orchestras, he had little preparation for a musical career - he trained as a naval officer - until he met Balakirev (1861), who captivated him, encouraging his attempts at composition, performing his works and introducing him to Borodin, Dargomïzhsky, Cui and Musorgsky. He wrote songs, orchestral works and an opera (The Maid of Pskov, 1873) before becoming professor at the St Petersburg Conservatory (1871) and inspector of naval bands (1873-84), teaching himself harmony and counterpoint, conducting at Balakirev's Free School and collecting folksongs.
His next opera, May Night (1880), engaged his full creative powers with its blend of the fantastic and the comic (the realm in which he was to score most of his greatest successes), while Snow Maiden (1882) evoked a deeper world of nature-mysticism. Official duties at the imperial chapel (1883-91), work on the deceased Musorgsky's and Borodin's MSS and advising for the publisher Belyayev interrupted composition, but he did produce the three colourful orchestral works by which he is best known, Sheherazade, the Spanish Capriccio and the Russian Easter Festival overture, during1887-8, after which he devoted himself to opera; of the 12 dramatic works from Mlada (1892) to The Golden Cockerel (1909), Kitezh (1907) stands out for its mystical and psychological depths.
Rimsky-Korsakov's operas far out-weigh in importance his other compositions, for both their brilliant scoring and fine vocal writing. If they lack dramatic power and strong characterization, they nevertheless set delightful fantastic puppets in the context of musico-scenic fairy tales, using a dual musical language to delineate 'real' from 'unreal'. He transmitted his pellucid style to two generations of Russian composers, from Lyndov and Glazanov to Stravinsky and Prokofiev, all of whom were his pupils.
Operas The Maid of Pskov (1873); May Night (1880) Snow Maiden (1882); Mlada, opera-ballet (1892); Christmas Eve (1895); Sadko (1898); Mozart and Salieri (1898); The Tsar's Bride (1899); Tsar Saltan (1900); Legend of the Invisible City of Kitezh (1907), The Golden Cockerel (1909)
Choral works folksong settings, traditional chants, cantatas
Orchestral and chamber works Sym. no.1 (1884); Sym. no.2 'Antar' (1897); Sym. no.3, C (1886); Overture on Russian Themes (1880); Fantasia on Two Russian Themes, vn/orch (1887); Spanish Capriccio (1887); Sheherazade suite (1888) Russian Easter Festival, ov. (1888); Sadko (1892); 3 str qts, Str Sextet (1876); Trio (1897); wind pieces
Other Circa 20 pf works, incl. variations, fugues, character-pieces, dance movts; 23 sets of songs; 2 folksong collections; orchestrations, revisions, completions of works by Dargomïzhsky, Musorgsky, Borodin, Glinka.——摘自《新诺顿格罗夫简明音乐百科词典》（The Norton/Grove Concise Encyclopedia of Music）
Rimsky-Korsakov,Nikolay Andreyevich (b. Tikhvin,Novgorodgovt., 18 Mar.1844; d. Lyubensk, St. Petersburg govt., 21 June 1908). Composer.Pupil of Balakirev and one of “The Five.” Served in the Russian navy, asInspector of Naval Bands from 1873. From 1871 taught at the St. PetersburgConservatory; dismissed in 1905 for his involvement in the political unrestthat culminated in “Bloody Sunday.” From 1883, assistant musical director ofthe imperial chapel. Composed many operas (incl. The Maid of Pskov, 1868-72;Snegurochka [Snow Maiden], 1881; Mlada, 1889-90; Christmas Eve, 1894-95; Sadko,1894-96; Barber of Baghdad, 1895; Mozart and Salieri, 1897; The Tsar’s Bride,1898; The Tale of Tsar Saltan, 1899-1900; Kaschchey the Immortal, 1901-2;Kitezh, 1903-5; The Golden Cockerel); orchestral works (4 symphonies, incl. no.2, Antar, 1868; Capriccio espagnol; Sheherazade; the overture Russian EasterFestival, 1888); choral works; songs; chamber music. Published a book onorchestration. Completed and orchestrated Mussorgsky’s Boris Godunov andKhovanshchina and Borodin’s Prince Igor. Among his students were Lyadov,Glazunov, Myaskovsky, Stravinsky, Prokofiev, and Respighi.——摘自《哈佛简明音乐与音乐家词典》（The Harvard Concise Dictionary of Music and Musicians）