l sections of the
book, and lastly, the majority of quotations should be those mentioned
by the author. These amount to 214, in the second volume; the
remaining 98 were added by me. They are drawn, as far as possible,
from Rimsky-Korsakov's dramatic music, since operatic full-scores are
less accessible than those of symphonic works.[3]

[Footnote 3: Recently the firm of Belaieff has published
Rimsky-Korsakov's symphonic works in miniature score, pocket-size.]

At the end of Vol. II I have added three tables showing different ways
of scoring full chords; all my additions to the text are marked with
asterisks. I consider that the careful study of the examples contained
in the second volume will be of the greatest use to the student
_without replacing_ the need for the study of other composers' scores.
Broadly speaking, the present work should be studied together with the
reading of full scores in general.

A few words remain to be said regarding Rimsky-Korsakov's intention to
point out the faulty passages in his orchestral works, an intention
expressed in his preface to the last edition. The composer often
referred to the instructional value of such examinations. His purpose
however was never achieved. It is not for me to select these examples,
and I shall only mention two which were pointed out by the composer
himself: 1. _The Legend of Tsar Saltan_ [[220]], 7th bar--the theme
in the brass is not sufficiently prominent the trombones being _tacet_
(a mistake easily rectified); 2. _The Golden Cockerel_ [[233]], bars
10-14, if the marks of expression are observed in the brass, the
counter-melody on the violas and violoncellos doubled by the wood-wind
will hardly be heard. Example 75 may also be mentioned, to which the
note on page 63, in the text, refers. I will confine myself to these
examples.

In conclusion I desire to express my deep gratitude to Madame
Rimsky-Korsakov for having entrusted me with the task of editing this
work, thereby providing me with the opportunity of performing a duty
sacred to the memory of a master, held so deeply in reverence.

_St. Petersburgh_, December 1912.

MAXIMILIAN STEINBERG.

Extract from the Author's Preface (1891).

Our epoch, the post-Wagnerian age, is the age of brilliance and
imaginative quality in orchestral tone colouring. Berlioz, Glinka,
Liszt, Wagner, modern French composers--Delibes, Bizet and others;
those of the new Russian school--Borodin, Balakirev, Glaz