Charles E. Burchfield (1893-1967)

that the case of “The Five” is unique in music history, or in fact, in any art. Especially did the three I have mentioned seem to be three composers with one musical destiny – they met often, played snatches of compositions, criticized each other – in fact seemed to create in each other’s presence. Borodin & Moussorgsky (sic) the true originals, were slow to create, and had to be goaded and driven by Rimsky, who felt responsible for the fate of their music – so much so that when they procrastinated too long, he begged permission (which was often granted) to finished the work himself. Eventually, due to their premature deaths, much of the final work fell to him.; Carl Van Vechten, in his forward, says that Rimsky was not a good writer, from a literary point of view. Undoubtedly this is so, but I think perhaps his book is all the more interesting for that reason. At least it is not hard to read. It is all fascinating and interesting. Rimsky is so frank and honest, and almost child-like in the way in which he lets the reader see into his “musical life”. I am only half way thru, and I already love him.; I have just reached the point where he tells of the summer he composed Snyeguorotchka (sic)(“The Snow Maiden” Снегурочка–Весенняя сказка, Snegúrochka–Vesennyaya Skazka). In the winter of spring of 1918, I had first, via records, become acquainted with three “numbers” from this opera: “The song of the Shepherd Lehl” “Aller au bois”, (Go to the forest) and Dance of the Tumblers”. Tho at that