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These sites included not only the court, the aristocratic salon, the opera theater, and the public or private concert, but also the home, the intelligentsia kruzhok or circle, and the social organization. It is worth remembering that the street, the urban courtyard, and the tavern were also important sites in Russian musical life during this period, as well as later in the century. The boundaries between these different cultural spaces were not fixed, but highly porous. Musicians, music lovers, and the music itself moved between private and public settings, grand and modest, with surprising ease.
60 More prosaically, for audiences grown weary of an endless diet of Rossini and Meyerbeer, the Russian concert promised relief. Although the repertoire was unusual, much of the coverage of the event focused more on its charitable intent than on its artistic presentation. 61 Despite the focus on philanthropy, the repertoire for the evening did excite comment. The day before the concert, Sankt-Peterburgskie vedomosti advertised the importance of an event that featured both Russian composers and a number of new and unknown works.
The anticipation of fine performances attracted substantial crowds. For these prestigious events, high ticket prices failed to discourage concertgoers, often prompting especially philanthropic—or publicity seeking—individuals to pay two, three, ten, even twenty times the face value of a ticket. 43 This concert was one of the most spectacular events of the season. It generated funds for the support of wounded officers and soldiers by presenting St. Petersburg society with a splendid opportunity to display their patriotism, their wealth, and their appreciation for culture all at the same time.
MiG-15
by Donald
4.5