Aleksandr Ostrovsky - Revision history

Brett at 14:39, 19 August 2023

2023-08-19T14:39:55Z

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	* '''[[Letter 2909]]''' – 8/20 March 1886, from [[Moscow]]		* '''[[Letter 2909]]''' – 8/20 March 1886, from [[Moscow]]

	2 letters from Ostrovsky to the composer have survived, dating from 1867 and 1873, of which one is preserved in the {{RUS-KLč}} at [[Klin]], and one in the {{RUS-Mcl}} in [[Moscow]].		2 letters from Ostrovsky to the composer have survived, dating from 1867 and 1873, of which one is preserved in the {{RUS-KLč}} at [[Klin]] (a{{sup\|4}}, No. 3179), and one is in the {{RUS-Mcl}} in [[Moscow]] (ф. 88, No. 299).

	==Bibliography==		==Bibliography==
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	==External Links==		==External Links==
	* [[wikipedia:Alexandr_Ostrovsky\|Wikipedia]]		* [[wikipedia:Alexandr_Ostrovsky\|Wikipedia]]
	* ~~[http://az.lib.ru/o/ostrowskij_a_n/ Works by Aleksandr Ostrovsky at lib.ru]~~		* {{viaf\|12359459}}

	==Notes and References==		==Notes and References==
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	[[Category:Correspondents\|Ostrovsky, Aleksandr]]		[[Category:Correspondents\|Ostrovsky, Aleksandr]]
	[[Category:Writers\|Ostrovsky, Aleksandr]]		[[Category:Writers\|Ostrovsky, Aleksandr]]
			__NOTOC__

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	* '''[[Letter 2909]]''' – 8/20 March 1886, from [[Moscow]]		* '''[[Letter 2909]]''' – 8/20 March 1886, from [[Moscow]]

	2 letters from Ostrovsky to the composer have survived, dating from 1867 and 1873, of which one is preserved in the {{RUS-KLč}} at [[Klin]], and one in the ~~Russian State Archive of Literature and Art~~ in [[Moscow]].		2 letters from Ostrovsky to the composer have survived, dating from 1867 and 1873, of which one is preserved in the {{RUS-KLč}} at [[Klin]], and one in the {{RUS-Mcl}} in [[Moscow]].

	==Bibliography==		==Bibliography==

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	* '''[[Letter 2909]]''' – 8/20 March 1886, from [[Moscow]]		* '''[[Letter 2909]]''' – 8/20 March 1886, from [[Moscow]]

	2 letters from Ostrovsky to the composer have survived, dating from 1867 and 1873, of which one is preserved in the [[Klin]] ~~House-Museum Archive~~, and one in the Russian State Archive of Literature and Art in [[Moscow]].		2 letters from Ostrovsky to the composer have survived, dating from 1867 and 1873, of which one is preserved in the {{RUS-KLč}} at [[Klin]], and one in the Russian State Archive of Literature and Art in [[Moscow]].

	==Bibliography==		==Bibliography==

Tony: /* Notes and References */

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Notes and References

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	==Notes and References==		==Notes and References==
	<references>		<references>
	<ref name="note1">Letter from the playwright to Fyodor Burdin, 21 April/3 May 1873. Quoted from {{und\|А. Н. Островский. Полное собрание сочинений}} (Moscow, 1949-1953) ; vol. 14, p. 13.</ref>		<ref name="note1">Letter from the playwright to Fyodor Burdin, 21 April/3 May 1873. Quoted from {{und\|А. Н. Островский. Полное собрание сочинений}} (Moscow, 1949-1953); vol. 14, p. 13.</ref>
	<ref name="note2">[[Letter 1352]] to [[Nadezhda von Meck]], 24 November/6 December–25 November/7 December 1879.</ref>		<ref name="note2">[[Letter 1352]] to [[Nadezhda von Meck]], 24 November/6 December–25 November/7 December 1879.</ref>
	<ref name="note3">{{bib\|1934/13\|50 лет русской музыки в моих воспоминаниях}} (1934), chapter XV. Here quoted from {{und\|А. Н. Островский в воспоминаниях современников}} (1966), p. 430.</ref>		<ref name="note3">{{bib\|1934/13\|50 лет русской музыки в моих воспоминаниях}} (1934), chapter XV. Here quoted from {{und\|А. Н. Островский в воспоминаниях современников}} (1966), p. 430.</ref>

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	Their next collaboration was on ''[[The Snow Maiden]]'' (1873), a musical drama commissioned by the Imperial Theatres to be written by Ostrovsky and performed with Tchaikovsky's incidental music. A few weeks before the premiere Ostrovsky wrote to a friend: "Tchaikovsky's music for ''[[The Snow Maiden]]'' is enchanting" <ref name="note1"/>. Six years later, recalling his work on ''[[The Snow Maiden]]'', Tchaikovsky would confess to [[Nadezhda von Meck]]: "This is one of my favourite creations. It was a wonderful spring; I was in good spirits, as was always the case when summer approached, and with it three months of freedom. Ostrovsky's play appealed to me, and in three weeks I wrote the music quite effortlessly. I think that in this music one can notice the joyful spring mood with which I was suffused at the time" <ref name="note2"/>. Although [[Nikolay Rimsky-Korsakov]]'s operatic setting of the same subject (1881) has proved more enduring than the original, it seems that Ostrovsky himself preferred Tchaikovsky's music. According to [[Mikhail Ippolitov-Ivanov]]: "It was with a special heartfelt warmth that Aleksandr Nikolayevich would talk about Tchaikovsky's music for ''[[The Snow Maiden]]'', which evidently hindered him significantly in his appreciation of [[Rimsky-Korsakov]]'s '' The Snow Maiden''. […] No doubt, Tchaikovsky's uncomplicated, sincere music, which lacked the glaring contrapuntal costume of [[Rimsky-Korsakov]], was closer to Ostrovsky's heart, and he did not conceal the fact that as a ''narodnik'' [friend of the people] he felt a greater affinity with it" <ref name="note3"/>.		Their next collaboration was on ''[[The Snow Maiden]]'' (1873), a musical drama commissioned by the Imperial Theatres to be written by Ostrovsky and performed with Tchaikovsky's incidental music. A few weeks before the premiere Ostrovsky wrote to a friend: "Tchaikovsky's music for ''[[The Snow Maiden]]'' is enchanting" <ref name="note1"/>. Six years later, recalling his work on ''[[The Snow Maiden]]'', Tchaikovsky would confess to [[Nadezhda von Meck]]: "This is one of my favourite creations. It was a wonderful spring; I was in good spirits, as was always the case when summer approached, and with it three months of freedom. Ostrovsky's play appealed to me, and in three weeks I wrote the music quite effortlessly. I think that in this music one can notice the joyful spring mood with which I was suffused at the time" <ref name="note2"/>. Although [[Nikolay Rimsky-Korsakov]]'s operatic setting of the same subject (1881) has proved more enduring than the original, it seems that Ostrovsky himself preferred Tchaikovsky's music. According to [[Mikhail Ippolitov-Ivanov]]: "It was with a special heartfelt warmth that Aleksandr Nikolayevich would talk about Tchaikovsky's music for ''[[The Snow Maiden]]'', which evidently hindered him significantly in his appreciation of [[Rimsky-Korsakov]]'s '' The Snow Maiden''. […] No doubt, Tchaikovsky's uncomplicated, sincere music, which lacked the glaring contrapuntal costume of [[Rimsky-Korsakov]], was closer to Ostrovsky's heart, and he did not conceal the fact that as a ''narodnik'' [friend of the people] he felt a greater affinity with it" <ref name="note3"/>.

	In 1874 Ostrovsky became the first president of the Society of Russian Playwrights, and in 1885 he was named artistic director for the [[Moscow]] Imperial Theatres. Shortly after this, in 1886, he communicated a request to Tchaikovsky via an intermediary to provide music to accompany a scene in ''[[The Voyevoda (melodrama)\|The Voyevoda]]'' — not the composer's first opera, but a revised version (1885) of Ostrovsky's original play ''A Dream on the Volga''.		In 1874, Ostrovsky became the first president of the Society of Russian Playwrights, and in 1885 he was named artistic director for the [[Moscow]] Imperial Theatres. Shortly after this, in 1886, he communicated a request to Tchaikovsky via an intermediary to provide music to accompany a scene in ''[[The Voyevoda (melodrama)\|The Voyevoda]]'' — not the composer's first opera, but a revised version (1885) of Ostrovsky's original play ''A Dream on the Volga''.

	==Tchaikovsky's Settings of Works by Ostrovsky==		==Tchaikovsky's Settings of Works by Ostrovsky==
	===Completed===		===Completed===
	* ''The Storm'' (Гроза): a play in five acts (1859) — in 1864 Tchaikovsky first considered [[The Storm (projected opera)\|an opera]] on this subject, before writing an [[The Storm\|overture]] to the drama instead).		* ''The Storm'' (Гроза): a play in five acts (1859) — in 1864, Tchaikovsky first considered [[The Storm (projected opera)\|an opera]] on this subject, before writing an [[The Storm\|overture]] to the drama instead.
	* ''A Dream on the Volga'' (Сон на Волге) (1865): a comedy in five acts, with prologue — this was the subject of Tchaikovsky's first opera ''[[The Voyevoda (opera)\|The Voyevoda]]'', Op. 3, written in 1867–68, with Ostrovsky providing part of the libretto, and the composer supplying the remaining text. Ostrovsky's play was revised in 1886 as ''The Voyevoda'' (see below).		* ''A Dream on the Volga'' (Сон на Волге) (1865): a comedy in five acts, with prologue — this was the subject of Tchaikovsky's first opera ''[[The Voyevoda (opera)\|The Voyevoda]]'', Op. 3, written in 1867–68, with Ostrovsky providing part of the libretto, and the composer supplying the remaining text. Ostrovsky's play was revised in 1886 as ''The Voyevoda'' (see below).
	* ''[[Dmitry the Pretender and Vasily Shuysky]]'' (Дмитрий Самозванец и Василий Шуйский): a dramatic chronicle in two parts (1866) — Tchaikovsky provided an ''Introduction'' and ''Mazurka'' for a stage production of the play in February 1867.		* ''[[Dmitry the Pretender and Vasily Shuysky]]'' (Дмитрий Самозванец и Василий Шуйский): a dramatic chronicle in two parts (1866) — Tchaikovsky provided an ''Introduction'' and ''Mazurka'' for a stage production of the play in February 1867.
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	* ''The Voyevoda ''(Воевода) (1885): scenes from 17th-century folk life in five acts, with prologue — a revised version of ''A Dream on the Volga'' (1865); Tchaikovsky composed a short [[The Voyevoda (melodrama)\|melodrama]] to accompany the Domovoy's monologue in a stage production of the play in January 1886.		* ''The Voyevoda ''(Воевода) (1885): scenes from 17th-century folk life in five acts, with prologue — a revised version of ''A Dream on the Volga'' (1865); Tchaikovsky composed a short [[The Voyevoda (melodrama)\|melodrama]] to accompany the Domovoy's monologue in a stage production of the play in January 1886.
	===Unrealised===		===Unrealised===
	In 1868 Ostrovsky offered to write a libretto for a Tchaikovsky on the subject of ''[[Alexander of Macedon]]'' (Александр Македонский), set in Babylon and in Greece at the time of Alexander the Great, but this idea was never realised.		In 1868, Ostrovsky offered to write a libretto for Tchaikovsky on the subject of ''[[Alexander of Macedon]]'' (Александр Македонский), set in Babylon and in Greece at the time of Alexander the Great, but this idea was never realised.

	==Correspondence with Tchaikovsky==		==Correspondence with Tchaikovsky==

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	==Biography==		==Biography==
	The son of a mercantile lawyer in [[Moscow]], Ostrovsky ~~studded~~ law at the University of [[Moscow]] (1840–1843), and worked for the Commercial Court in [[Moscow]]. However, his theatrical interests were also strong, and extracts from his first play'' A Family Affair'' (Семейная картина) were published in 1847. The publication, in 1850, of his play, '' The Bankrupt'' (Банкрот), under its more well-known title '' Among Friends One Always Comes to Terms'' (Свои люди сочтёмся) resulted in an uproar within the merchant class of [[Moscow]]; it was banned until 1863 and led to his dismissal from the civil service. During the following decade Ostrovsky produced many historical plays which were well-received, and he became closely associated with the Maly Theatre in [[Moscow]], where the majority of his plays were produced under his supervision.		The son of a mercantile lawyer in [[Moscow]], Ostrovsky studied law at the University of [[Moscow]] (1840–1843), and worked for the Commercial Court in [[Moscow]]. However, his theatrical interests were also strong, and extracts from his first play'' A Family Affair'' (Семейная картина) were published in 1847. The publication, in 1850, of his play'' The Bankrupt'' (Банкрот), under its more well-known title'' Among Friends One Always Comes to Terms'' (Свои люди сочтёмся), resulted in an uproar within the merchant class of [[Moscow]]; it was banned until 1863 and led to his dismissal from the civil service. During the following decade Ostrovsky produced many historical plays which were well received, and he became closely associated with the Maly Theatre in [[Moscow]], where the majority of his plays were produced under his supervision.

	==Tchaikovsky and Ostrovsky==		==Tchaikovsky and Ostrovsky==
	In 1864 Tchaikovsky wrote an overture to Ostrovsky's 1859 play ''[[The Storm]]'', which was his first large-scale orchestral piece. Although written as a student summer exercise, according to [[Modest Tchaikovsky]], the composer also considered setting it as the basis for an [[The Storm (projected opera)\|opera]], but this idea was never realised. However, Ostrovsky's 1865 comedy ''A Dream on the Volga ''(Сон на Волге), did serve as the basis for Tchaikovsky's first opera, ''[[The Voyevoda (opera)\|The Voyevoda]]'', Op. 3 (1867–68), with the author himself providing parts of the libretto. By this time Tchaikovsky had already supplied two short numbers of incidental music for Ostrovsky's ''[[Dmitry the Pretender and Vasily Shuysky]]'', which were performed at the premiere of that 'dramatic chronicle' in 1867.		In 1864, Tchaikovsky wrote an overture to Ostrovsky's 1859 play ''[[The Storm]]'', which was his first large-scale orchestral piece. Although written as a student summer exercise, according to [[Modest Tchaikovsky]], the composer also considered setting it as the basis for an [[The Storm (projected opera)\|opera]], but this idea was never realised. However, Ostrovsky's 1865 comedy ''A Dream on the Volga ''(Сон на Волге), did serve as the basis for Tchaikovsky's first opera, ''[[The Voyevoda (opera)\|The Voyevoda]]'', Op. 3 (1867–68), with the author himself providing parts of the libretto. By this time Tchaikovsky had already supplied two short numbers of incidental music for Ostrovsky's ''[[Dmitry the Pretender and Vasily Shuysky]]'', which were performed at the premiere of that 'dramatic chronicle' in 1867.

	Their next collaboration was on ''[[The Snow Maiden]]'' (1873), a musical drama commissioned by the Imperial Theatres to be written by Ostrovsky and performed with Tchaikovsky's incidental music. A few weeks before the premiere Ostrovsky wrote to a friend: "Tchaikovsky's music for ''[[The Snow Maiden]]'' is enchanting" <ref name="note1"/>. Six years later, recalling his work on ''[[The Snow Maiden]]'', Tchaikovsky would confess to [[Nadezhda von Meck]]: "This is one of my favourite creations. It was a wonderful spring; I was in good spirits, as was always the case when summer approached, and with it three months of freedom. Ostrovsky's play appealed to me, and in three weeks I wrote the music quite effortlessly. I think that in this music one can notice the joyful spring mood with which I was suffused at the time" <ref name="note2"/>. Although [[Nikolay Rimsky-Korsakov]]'s operatic setting of the same subject (1881) has proved more enduring than the original, it seems that Ostrovsky himself preferred Tchaikovsky's music. According to [[Mikhail Ippolitov-Ivanov]]: "It was with a special heartfelt warmth that Aleksandr Nikolayevich would talk about Tchaikovsky's music for ''[[The Snow Maiden]]'', which evidently hindered him significantly in his appreciation of [[Rimsky-Korsakov]]'s '' The Snow Maiden''. […] No doubt, Tchaikovsky's uncomplicated, sincere music, which lacked the glaring contrapuntal costume of [[Rimsky-Korsakov]], was closer to Ostrovsky's heart, and he did not conceal the fact that as a ''narodnik'' [friend of the people] he felt a greater affinity with it" <ref name="note3"/>.		Their next collaboration was on ''[[The Snow Maiden]]'' (1873), a musical drama commissioned by the Imperial Theatres to be written by Ostrovsky and performed with Tchaikovsky's incidental music. A few weeks before the premiere Ostrovsky wrote to a friend: "Tchaikovsky's music for ''[[The Snow Maiden]]'' is enchanting" <ref name="note1"/>. Six years later, recalling his work on ''[[The Snow Maiden]]'', Tchaikovsky would confess to [[Nadezhda von Meck]]: "This is one of my favourite creations. It was a wonderful spring; I was in good spirits, as was always the case when summer approached, and with it three months of freedom. Ostrovsky's play appealed to me, and in three weeks I wrote the music quite effortlessly. I think that in this music one can notice the joyful spring mood with which I was suffused at the time" <ref name="note2"/>. Although [[Nikolay Rimsky-Korsakov]]'s operatic setting of the same subject (1881) has proved more enduring than the original, it seems that Ostrovsky himself preferred Tchaikovsky's music. According to [[Mikhail Ippolitov-Ivanov]]: "It was with a special heartfelt warmth that Aleksandr Nikolayevich would talk about Tchaikovsky's music for ''[[The Snow Maiden]]'', which evidently hindered him significantly in his appreciation of [[Rimsky-Korsakov]]'s '' The Snow Maiden''. […] No doubt, Tchaikovsky's uncomplicated, sincere music, which lacked the glaring contrapuntal costume of [[Rimsky-Korsakov]], was closer to Ostrovsky's heart, and he did not conceal the fact that as a ''narodnik'' [friend of the people] he felt a greater affinity with it" <ref name="note3"/>.

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Correspondence with Tchaikovsky

New page

{{picture|file=Aleksandr Ostrovsky.jpg|caption='''Aleksandr Ostrovsky''' (1823-1886), in an 1871 portrait by Vasily Perov}}
One of the leading Russian dramatists of the nineteenth century (b. 31 March/12 April 1823 in [[Moscow]]; d. 2/14 June 1886 in Slykova), born '''''Aleksandr Nikolayevich Ostrovsky''''' (Александр Николаевич Островский).

==Biography==
The son of a mercantile lawyer in [[Moscow]], Ostrovsky studded law at the University of [[Moscow]] (1840–1843), and worked for the Commercial Court in [[Moscow]]. However, his theatrical interests were also strong, and extracts from his first play'' A Family Affair'' (Семейная картина) were published in 1847. The publication, in 1850, of his play, '' The Bankrupt'' (Банкрот), under its more well-known title '' Among Friends One Always Comes to Terms'' (Свои люди сочтёмся) resulted in an uproar within the merchant class of [[Moscow]]; it was banned until 1863 and led to his dismissal from the civil service. During the following decade Ostrovsky produced many historical plays which were well-received, and he became closely associated with the Maly Theatre in [[Moscow]], where the majority of his plays were produced under his supervision.

==Tchaikovsky and Ostrovsky==
In 1864 Tchaikovsky wrote an overture to Ostrovsky's 1859 play ''[[The Storm]]'', which was his first large-scale orchestral piece. Although written as a student summer exercise, according to [[Modest Tchaikovsky]], the composer also considered setting it as the basis for an [[The Storm (projected opera)|opera]], but this idea was never realised. However, Ostrovsky's 1865 comedy ''A Dream on the Volga ''(Сон на Волге), did serve as the basis for Tchaikovsky's first opera, ''[[The Voyevoda (opera)|The Voyevoda]]'', Op. 3 (1867–68), with the author himself providing parts of the libretto. By this time Tchaikovsky had already supplied two short numbers of incidental music for Ostrovsky's ''[[Dmitry the Pretender and Vasily Shuysky]]'', which were performed at the premiere of that 'dramatic chronicle' in 1867.

Their next collaboration was on ''[[The Snow Maiden]]'' (1873), a musical drama commissioned by the Imperial Theatres to be written by Ostrovsky and performed with Tchaikovsky's incidental music. A few weeks before the premiere Ostrovsky wrote to a friend: "Tchaikovsky's music for ''[[The Snow Maiden]]'' is enchanting" <ref name="note1"/>. Six years later, recalling his work on ''[[The Snow Maiden]]'', Tchaikovsky would confess to [[Nadezhda von Meck]]: "This is one of my favourite creations. It was a wonderful spring; I was in good spirits, as was always the case when summer approached, and with it three months of freedom. Ostrovsky's play appealed to me, and in three weeks I wrote the music quite effortlessly. I think that in this music one can notice the joyful spring mood with which I was suffused at the time" <ref name="note2"/>. Although [[Nikolay Rimsky-Korsakov]]'s operatic setting of the same subject (1881) has proved more enduring than the original, it seems that Ostrovsky himself preferred Tchaikovsky's music. According to [[Mikhail Ippolitov-Ivanov]]: "It was with a special heartfelt warmth that Aleksandr Nikolayevich would talk about Tchaikovsky's music for ''[[The Snow Maiden]]'', which evidently hindered him significantly in his appreciation of [[Rimsky-Korsakov]]'s '' The Snow Maiden''. […] No doubt, Tchaikovsky's uncomplicated, sincere music, which lacked the glaring contrapuntal costume of [[Rimsky-Korsakov]], was closer to Ostrovsky's heart, and he did not conceal the fact that as a ''narodnik'' [friend of the people] he felt a greater affinity with it" <ref name="note3"/>.

In 1874 Ostrovsky became the first president of the Society of Russian Playwrights, and in 1885 he was named artistic director for the [[Moscow]] Imperial Theatres. Shortly after this, in 1886, he communicated a request to Tchaikovsky via an intermediary to provide music to accompany a scene in ''[[The Voyevoda (melodrama)|The Voyevoda]]'' — not the composer's first opera, but a revised version (1885) of Ostrovsky's original play ''A Dream on the Volga''.

==Tchaikovsky's Settings of Works by Ostrovsky==
===Completed===
* ''The Storm'' (Гроза): a play in five acts (1859) — in 1864 Tchaikovsky first considered [[The Storm (projected opera)|an opera]] on this subject, before writing an [[The Storm|overture]] to the drama instead).
* ''A Dream on the Volga'' (Сон на Волге) (1865): a comedy in five acts, with prologue — this was the subject of Tchaikovsky's first opera ''[[The Voyevoda (opera)|The Voyevoda]]'', Op. 3, written in 1867–68, with Ostrovsky providing part of the libretto, and the composer supplying the remaining text. Ostrovsky's play was revised in 1886 as ''The Voyevoda'' (see below).
* ''[[Dmitry the Pretender and Vasily Shuysky]]'' (Дмитрий Самозванец и Василий Шуйский): a dramatic chronicle in two parts (1866) — Tchaikovsky provided an ''Introduction'' and ''Mazurka'' for a stage production of the play in February 1867.
* ''[[The Snow Maiden]]'' (Снегурочка) (1873): a spring legend in four acts with prologue — Tchaikovsky provided the substantial incidental music to accompany the first production of the spectacle in May 1873.
* ''The Voyevoda ''(Воевода) (1885): scenes from 17th-century folk life in five acts, with prologue — a revised version of ''A Dream on the Volga'' (1865); Tchaikovsky composed a short [[The Voyevoda (melodrama)|melodrama]] to accompany the Domovoy's monologue in a stage production of the play in January 1886.
===Unrealised===
In 1868 Ostrovsky offered to write a libretto for a Tchaikovsky on the subject of ''[[Alexander of Macedon]]'' (Александр Македонский), set in Babylon and in Greece at the time of Alexander the Great, but this idea was never realised.

==Correspondence with Tchaikovsky==
9 letters from the composer to Aleksandr Ostrovsky have survived, dating from 1867 to 1886, all of which have been translated into English on this website;
* '''[[Letter 99]]''' – 10/22 June 1867, from [[Hapsal]]
* '''[[Letter 103]]''' – by 20 September/2 October 1867, from [[Moscow]]
* '''[[Letter 297]]''' – 6/18 April 1873, from [[Moscow]]
* '''[[Letter 306]]''' – 12/24 May 1873, from [[Moscow]]
* '''[[Letter 2147]]''' – 28 October/9 November 1882, from [[Kamenka]]
* '''[[Letter 2570]]''' – 18/30 October 1884, from [[Saint Petersburg]]
* '''[[Letter 2802]]''' – 30 October/11 November 1885, from [[Kamenka]]
* '''[[Letter 2868]]''' – 24 January/5 February 1886, from [[Maydanovo]]
* '''[[Letter 2909]]''' – 8/20 March 1886, from [[Moscow]]

2 letters from Ostrovsky to the composer have survived, dating from 1867 and 1873, of which one is preserved in the [[Klin]] House-Museum Archive, and one in the Russian State Archive of Literature and Art in [[Moscow]].

==Bibliography==
* {{bib|1923/29}} (1923)
* {{bib|1936/13}} (1936)
* {{bib|1937/43}} (1937)
* {{bib|1971/29}} (1971)
* {{bib|1972/22}} (1972)
* {{bib|1980/12}} (1980)
* {{bib|1985/75}} (1985)
* {{bib|1997/46}} (1997)

==External Links==
* [[wikipedia:Alexandr_Ostrovsky|Wikipedia]]
* [http://az.lib.ru/o/ostrowskij_a_n/ Works by Aleksandr Ostrovsky at lib.ru]

==Notes and References==
<references>
<ref name="note1">Letter from the playwright to Fyodor Burdin, 21 April/3 May 1873. Quoted from {{und|А. Н. Островский. Полное собрание сочинений}} (Moscow, 1949-1953) ; vol. 14, p. 13.</ref>
<ref name="note2">[[Letter 1352]] to [[Nadezhda von Meck]], 24 November/6 December–25 November/7 December 1879.</ref>
<ref name="note3">{{bib|1934/13|50 лет русской музыки в моих воспоминаниях}} (1934), chapter XV. Here quoted from {{und|А. Н. Островский в воспоминаниях современников}} (1966), p. 430.</ref>
</references>
[[Category:People|Ostrovsky, Aleksandr]]
[[Category:Correspondents|Ostrovsky, Aleksandr]]
[[Category:Writers|Ostrovsky, Aleksandr]]