César Antonovich Cui (Russian:Цезарь Антонович Кюи,romanized: Tsezar Antonovich Kyui;[a]IPA:[ˈt͡sjezərʲɐnˈtonəvʲɪt͡ɕkʲʊˈi]ⓘ;French:Cesarius Benjaminus Cui; 18 January [O.S. 6 January] 1835 – 26 March 1918)[2] was aRussian composer andmusic critic, member of theBelyayev circle andThe Five – a group of composers gathered by the idea of creating a specificallyRussian type of music. As anofficer of theImperial Russian Army, he rose to the rank ofEngineer-General (equivalent to full General), taughtfortifications in Russian military academies and wrote anumber of monographs on the subject.
Cesarius-Benjaminus Cui was born in Wilno,Vilna Governorate of the Russian Empire (nowVilnius,Lithuania) into aCatholic family ofFrench andPolish–Lithuanian descent, the youngest of five children.[3] The original French spelling of his surname was "Queuille."[4] His French father, Antoine (Anton Leonardovich) Cui, entered Russia withNapoleon's army; in 1812, he was injured during the battle nearSmolensk and (following the defeat) would settle in Vilnius. He married localnoblewoman Julia Gucewicz;[5] some sources indicate that her father was the Lithuanian architectLaurynas Gucevičius.[6]
The young César grew up learningFrench,Polish,Russian andLithuanian.[7] As a secondary school (gymnasium) student in Wilno, he took music lessons withStanisław Moniuszko in 1850. Later that year, before completing his gymnasium education, Cui was sent toSaint Petersburg to prepare to enter theChief Engineering School, which he did the following year at age 16.[8] In 1855, he graduated from the academy; following advanced studies at the Nikolaevsky Engineering Academy (nowMilitary Engineering-Technical University), he began his military career in 1857 as an instructor in fortifications.[9] His students over the decades included several members of theImperial family, most notablyNicholas II.[10] Cui eventually ended up teaching at three of the military academies in Saint Petersburg.[11] Cui's study of fortifications gained from a frontline assignment during theRusso-Turkish War of 1877–1878 proved important to his career. As an expert on military fortifications, Cui eventually attained the academic rank of professor in 1880 and the military rank ofgeneral in 1906.[12] His writings on fortifications included textbooks that were widely used, in several successive editions (see bibliography below).
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 receivedpiano lessons, studiedChopin'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 inmusic theory with the Polish composerStanisław Moniuszko, who was residing in Vilnius at the time.[13][14] Cui's musical direction changed in 1856, when he metMily Balakirev and began to be more seriously involved with music.[15]
Even though he was composing music and writing music criticism in his spare time, Cui turned out to be an extremely prolific composer andfeuilletonist. His public "debut" as a composer occurred in 1859 with the performance of his orchestral Scherzo, Op. 1, under the baton ofAnton Rubinstein and the auspices of theRussian Musical Society.[16] In 1869, the first public performance of anopera by Cui took place,William Ratcliff (based on the tragedy byHeinrich Heine); it did not ultimately have success, partially because of the harshness of his own writings in the music press.[17][18] All but one of his operas were composed to Russian texts; the one exception,Le flibustier (based on a play byJean Richepin), premiered in 1894 at theOpéra-Comique inParis (twenty-five years afterRatcliff), but it did not succeed either.[19] Cui's more successful stage works during his lifetime were the one-actcomic operaThe Mandarin's Son (premiered publicly in 1878), the three-actThe Prisoner of the Caucasus (1883) (based onPushkin), and the one-actMademoiselle Fifi (1903) (based onGuy de Maupassant).[20] BesidesFlibustier, the only other operas by Cui performed in his lifetime outside of theRussian Empire wereThe Prisoner of the Caucasus (in Liège, 1886; the first time any opera byThe Five was performed outside Russia, but this was also its sole performance outside Russia) and the children's operaPuss in Boots (in Rome, 1915).[21]
Cui's activities in musical life also included membership on the opera selection committee at theMariinsky Theatre; this stint ended in 1883, when both he andRimsky-Korsakov left the committee in protest of its rejection ofMussorgsky'sKhovanshchina.[22] From 1896 to 1904, he was director of the Petersburg branch of theRussian Musical Society.[23]
Among the many musicians Cui knew in his life,Franz Liszt looms large. His book,La musique en Russie, and hisSuite pour piano, Op. 21, are dedicated to the elder composer. Cui'sTarantelle for orchestra, Op. 12, formed the basis for Liszt's lastpiano transcription. In addition, Liszt valued the music of Russian composers quite highly; for Cui's operaWilliam Ratcliff, he expressed some of the highest praise.[24]
Two personalities of direct significance for Cui were women who were specially devoted to his music. InBelgium, theComtesse de Mercy-Argenteau (1837–1890) was most influential in making possible the staging ofThe Prisoner of the Caucasus there in 1885.[25] InMoscow, Mariya Kerzina, with her husband Arkadiy Kerzin, formed a performance society in 1896 called the Circle of Russian Music Lovers, which began in 1898 to give special place to works by Cui (among those of other Russian composers) in its concerts.[26]
Throughout his rather long and active musical life, Cui won many accolades. In the late 1880s and early 1890s, several foreign musical societies honored Cui with memberships. Shortly after the staging ofLe flibustier in Paris, Cui was elected as a correspondent member of theAcadémie Française and was awarded the cross of theLégion d'honneur. In 1896, he was made a member of the Belgian Royal Academy of Literature and Art.[27] In 1909 and 1910, events were held in honor of Cui's 50th anniversary as a composer.[28]
Cui married Malvina Rafailovna Bamberg (Russian:Мальвина Рафаиловна Бамбергpronounced[mɐlʲˈvʲinərəfɐˈiɫəvnəˈbam⁽ʲ⁾bʲɪrk]) in 1858. He had met her at the home ofAlexander Dargomyzhsky, from whom she was taking singing lessons.[29] 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 operaThe Mandarin's Son. César and Malvina had two children, Lidiya and Aleksandr. Lidiya, an amateur singer, married and had a son named Yuri Borisovich Amoretti; in the period before theOctober Revolution, Aleksandr was a member of the Russian Senate.[30]
In 1916, Cui went blind, although he was still able to compose small pieces by means of dictation.[31] He died on 26 March 1918 from cerebralapoplexy and was buried next to his wife Mal'vina (who had died in 1899) at theSmolensky Lutheran Cemetery in Petrograd (nowSaint Petersburg). In 1939, his body was reinterred inTikhvin Cemetery at the Alexander Nevsky Monastery, to lie beside the other members ofThe Five.[32]
As a writer on music, Cui contributed almost 800 articles to various newspapers and other publications in Russia and Europe between 1864 and 1918 (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.[33] Several of his themed sets of articles were reissued as monographs; these covered topics as varied as the original 1876 production ofWagner'sDer Ring des Nibelungen inBayreuth, the development of the Russian romanceart song, music in Russia, andAnton Rubinstein's seminal lectures on the history ofpiano 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.[34][citation needed]
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.[35][36] His musical reviews began in theSt. Petersburg Vedomosti, expressing disdain for music beforeBeethoven (such asMozart) and his advocacy of originality in music. Sarcasm was a regular feature of hisfeuilletons.[citation needed]
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'sBoris Godunov in 1874.[37] 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 operaThe Fair at Sorochyntsi.[38]
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-styleconservatory system in favor of the autodidactic approach that The Five had practiced. For instance, Cui lambasted Tchaikovsky's second performed opera,The Oprichnik,[39] and his stinging remarks aboutRachmaninoff's Symphony No.1[40] are often cited; fortunately, both works have survived their unfavorable premieres for posterity.
Of Western composers, Cui favoredBerlioz andLiszt as progressives.[41] He admired Wagner's aspirations concerning music drama, but did not agree with that composer's methods to achieve them (such as theleitmotif system and the predominance of the orchestra).[42]
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 asRichard Strauss andVincent d'Indy.[43] Cui's last published articles (from 1917) constituted merciless parodies, including the little song "Hymn toFuturism" and "Concise Directions on How to Become a Modern Composer of Genius without Being a Musician".[44]
Cui composed in almost all genres of his time, with the distinct exceptions of thesymphony,symphonic poem and thesolo concerto (unlike his compatriots Balakirev, Borodin, Mussorgsky and Rimsky-Korsakov).Art songs, including manychildren's songs and some vocalduets, have a prominent place in Cui's catalogue. Several of his songs are available also in versions with orchestral accompaniment, including hisBolero, Op. 17, which was dedicated to the singerMarcella Sembrich. Some of his most famous art songs include "The Statue atTsarskoye Selo" ("Царскосельская статyя") and "The Burnt Letter," ("Сожжённое письмо"), both based on poems by Cui's most valued poet,Alexander Pushkin.[citation needed]
In addition, Cui wrote many works forpiano and forchamber groups (including threestring quartets), numerous choruses, and severalorchestral 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: pieces inspired by and dedicated to the Comtesse de Mercy-Argenteau (whom the composer knew from 1885 to her death in 1890), works associated with the Circle of Russian Music Lovers (the "Kerzin Circle"), and pieces inspired by theRusso-Japanese War andWorld War I.[citation needed]
In the last few decades,Puss in Boots (fromPerrault), one of the four children's operas he composed, has gained wide appeal in Germany.[45] Nevertheless, despite the fact that more of Cui's music has been made available in recent years, both in recordings and in new printed editions, his status in today's repertoire is considerably limited, based (in the West) primarily on some of his piano and chamber music (such as theviolin and piano pieceOrientale (op. 50, No. 9)[46]) and a number of solo songs. His abilities as an orchestrator have been disparaged, notably by his compatriotRimsky-Korsakov.[47] The received wisdom is that he is not a particularly talented composer, at least for large forms; his strongest talent is said to lie in the crystallization of mood at an instant as captured in his art songs and instrumental miniatures.[48]
Cui's works are not so nationalistic as those of the other members ofThe Five; with the exception of Pushkin, his operas do not display a strong attraction to Russian sources. In the area ofart 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 collaborativeMlada (1872),The Captain's Daughter, a couple of his 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 aswhole-tone scales and certainharmonic devices. Nevertheless, his style is more often compared toRobert Schumann[49] and toFrench composers such asGounod[50] than toMikhail Glinka or to Cui's Russian contemporaries.[citation needed]
A selected list of Cui's writings on music and military architecture can be found atList of literary works by César Cui.
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