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ArcheoBiblioBase: Archives in Russia: G-22Last update of repository: 16 March 2020Tsentral'naia notnaia biblioteka Gosudarstvennogo akademicheskogo Mariinskogo teatraHoldings Total: ca 350,000 units, 18th c.–to present The library holds one of the largest collections of autograph manuscript music scores of Russian and foreign composers of the eighteenth to twentieth centuries, especially of opera and ballet, but also scores for orchestra and piano, and for vaudeville, presented at the imperial theaters—including the Mariinskii (from 1935–1992—the S.M. Kirov State Academic Theater of Opera and Ballet), and also a rich iconographic collection relating to music and musicians. The holdings have been arranged according to major subject categories, rather than the collection from whence they came. Most significant among the library holdings is the fond of the Division of Russian Music, which consists of manuscripts of Russian and foreign composers who worked in St. Petersburg. Among these are manuscript music scores of the first operas staged in Russia, particularly on the St. Petersburg stage, including the score of the opera by Francesco Araia “Power of Love and Hatred” (1734) with the libretto translated by V.K. Trediakovskii. There are more than 100 manuscript scores for orchestra, opera, and ballet. There is also a unique collection of scores of Russian vaudeville composed during the 1812 Napoleonic invasion of Russia, including the very first A.A. Shakhovskoi's “The Cossack Poet” (“Kazak-stikhotvorets”), with music by K.A. Kavos. The Autograph Division includes manuscript scores, letters, and various biographical documents relating to Russian,Soviet, and foreign composers, musicians, and other celebrities of the music stage from the eighteenth through twentieth centuries. These include autograph music scores of P.I. Tchaikovsky's operas “The Queen of Spades,” “The Oprichnik,” and for the ballet “Sleeping Beauty”; N.A. Rimskii-Korsakov's “May Night” and “The Maid of Pskov”; M.P. Musorgskii's “Boris Godunov”; A.S. Dargomyzhskii's “The Stone Guest” and “Bacchic Exultation” (“Torzhestvo Vakkha”); and A.P. Borodin's “Valiant Knights” (“Bogatyri”). Many other musicians are represented–with significant documents relating to A.A. Aliab'ev, CésarCui (Ts.A. Kiui), M.I. Glinka, A.K. Glazunov, A.I. Khachaturian, S.S. Prokofiev, and D.D. Shostakovich, to name only a few. Among other autographs is the unique inscription of A.S. Pushkin addressed to P.A. Viazemskii, written on the reverse side of the music score of the A.N. Verstovskii song “Staryi muzh, groznyi muzh” (Old Husband, Dreadful Husband) (1825). There are also manuscript materials of a number of Western European composers dating from the seventeenth through nineteenth centuries, including Wolfgang Amadeus Mozart, Ludwig van Beethoven, Hector Berlioz, CamilleSaint-Saöns, Riccardo Drigo, Léo Delibes, and Richard Wagner, among many others. The “Foreign Fond” has an extensive collection of music scores, including eighteenth-century Italian operas and French operas and ballets from the eighteenth and nineteenth centuries, some of which represent the only surviving copy. Among these is the opera “Antigone” by the Italian composer Tommazo Traetta, staged in St. Petersburg in 1772. |
