and bloodstained corpses still bearing the curse of hatred on their foreheads.

One corpse they recognize as Bey-Bulat, but no one recognizes the other corpse.

Plan for a Music Academy

The opera had to be ready by the winter of 1852, and Rubinstein began
working on it immediately. When he returned to the capital from Oranienbaum
in mid-October, however, he brought with him not only sketches for the opera
but also a plan for a music academy:
The plan is ready and today I shall give it to the grand duchess who will hand it to
the tsar. This may have great consequences for the future of music in Russia and
also for me. But one must know how to be patient and this is the difcult task. I
wrote the plan in French and everyone who has heard it says that it is very good.
Well see!?44

The plan has only been published in the Russian translation by Dmitry Stasov
which rst appeared in the Russkaya muzkalnaya gazeta in 1909. It was later
republished in the monograph by Boris Asafyev, Anton Grigoryevich Rubinshteyn (1929), and most recently in Barenboyms three-volume A. G. Rubinshteyn: Literaturnoye naslediye.45 In this important document, dated 15/27 October 1852, Rubinstein suggested setting up a music section within the framework
of the Imperial Academy of Arts on the lines of the Academy of Arts in Berlin,
which had been reorganized in 1840 to include a music section. Catherine the
Great had founded the Russian Academy of Arts in the mid-eighteenth century,
but even by the mid-nineteenth century a persons standing in Russian society
was still dened exclusively by his position within the fourteen grades of the
civil service established by Peter the Great 130 years earlier. Painters, sculptors,
and architects who had studied at the academy and received diplomas could
take their rightful place in Russian society as a Free Artist, but the profession
of musician in Russia was not formally recognized. Rubinstein argued that anyone who wished to devote his or her life to music in Russia and earn a living by
it could not do so. He pointed out that only a lifelong dedication to this art could
produce accomplished musicians. Therefore those who felt drawn to it as a vocation ought to be spared the necessity of earning their living by other means
(the army, trading, etc.), for this only robbed them of the time needed to perfect their skills and their knowledge. As servants of the state, artists employed
by the imperial theaters were in a different position, but the theater needed
only performers and technicians (singers, orchestral players, set designers, etc.)
and the Imperial Theater School already existed to train them. Rubinstein was
thinking primarily about the future of composition and the performing arts. In
rudimentary form he set down the minimum requirements for the teaching of
composition. For this, teachers in the following disciplines would be needed:
thorough bass, counterpoint and fugue, orchestration, practical composition,
and musical literature. For the performing arts, teachers were required for each
of the individual instruments. Under the strict authoritarian rule of Nicholas I
38 Anton Rubinstein