Professional Documents
Culture Documents
I do not share your view about the Conservatory. This institution did not need per-
fecting in order for it to transform itself ¤nally into a national institution, since
through its very inception it was that already (you do not belong, I hope, to that
party which gives preference to national art). In order to become good—more than
that—better than many others (even famous institutions), this institution needed
money and individuality, which would have led it to its aim, to its ideal. But since it
grew up in a country where art is still not understood even in its elementary prereq-
uisites, and, moreover, where it is not encouraged, then all resolutions by a majority
of votes, all committees (since their character is not simply consultative) only hold
back and damage the cause. Independent of this, there is one more circumstance:
scarcely was the Conservatory founded and brought to life than nearby another
institution was founded with the same prerogatives and of the same size11—this
is in all respects a mistake and will not result in anything good. The second basic
mistake consists in the fact that this institution is private. In America, where every-
thing is set up and supported by private associations, establishing a government
institution would be an unnecessary matter, whereas in Russia, where the govern-
ment sets up everything, it would be odd to leave an artistic institution in private
hands.
When I organized the Conservatory with the help of the Russian Music Society
it was done—as I have explained many times and in detail to the grand duchess—
to show, as a counterbalance to the government which was and continues to be ex-
tremely indifferent to questions of art, the initiative and, having achieved the kind
of brilliant results that we have had in the past few years, to force it, the govern-
ment, in the end to take control of the Conservatory. Such has been my opinion
for many years, as proved by the report (it would be a pity were it lost) which I sub-