Editing César Cui

{{short description|Russian composer and army officer (1835–1918)}}
{{Use dmy dates|date=January 2021}}
{{family name hatnote|Antonovich |Cui|lang=Eastern Slavic}}
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[[File:Cui CuiIP Frontispiece 600.jpg|thumb|{{center|César Cui, 1910}}]]

'''César Antonovich Cui''' ({{langx|ru|Цезарь Антонович Кюи|Tsezar Antonovich Kyui}};{{efn|The BGN/PCGN [[Romanization of Russian|transliteration of Russian]] is used for his name here. ALA-LC system: T͡sezarʹ Antonovich Ki͡ui, ISO 9 system: Cezarʹ Antonovič Kûi.<ref>{{cite web |title=Russian – BGN/PCGN transliteration system |url=https://www.translitteration.com/transliteration/en/russian/bgn-pcgn/ |website=transliteration.com |access-date=2 December 2020}}</ref> {{langx|la|Caesar Antonii filius Cui}}.}} {{IPA|ru|ˈt͡sjezərʲ ɐnˈtonəvʲɪt͡ɕ kʲʊˈi|IPA|Ru-Tsezar-Antonovich-Kyui.ogg}}; {{langx|fr|Cesarius Benjaminus Cui}}; {{OldStyleDate|18 January|1835|6 January}}{{spaced ndash}}26 March 1918)<ref>Назаров, А.ф. ''Цезарь Антонович Кюи'' (Moscow: Muzyka, 1989), p. 221.</ref> was a [[List of Russian composers|Russian composer]] and [[music journalism|music critic]], member of the [[Belyayev circle]] and [[The Five (composers)|The Five]] – a group of composers combined by the idea of creating a specifically [[Russian folk music|Russian type of music]]. As an [[officer (armed forces)|officer]] of the [[Imperial Russian Army]], he rose to the rank of [[Table of Ranks#Table of Ranks|Engineer-General]] (equivalent to full General), taught [[fortification]]s in Russian military academies and wrote a [[List of literary works by César Cui|number of monographs]] on the subject.

==Biography==
===Upbringing and career===
[[File:Cesar Cui by Makovsky (cropped).jpg|thumb|Portrait of César Cui by [[Konstantin Makovsky]] (detail), {{circa|1880s}}]]

Cesarius-Benjaminus Cui was born in Wilno, [[Vilna Governorate]] of the Russian Empire (now [[Vilnius]], [[Lithuania]]) into a [[Catholic Church|Catholic]] family of [[France|French]] and [[Polish people|Polish]]–[[Lithuanian people|Lithuanian]] descent, the youngest of five children.<ref>As Cui wrote to Felipe Pedrell in 1897:  "Bien que russe, je suis d’origine mi-française, mi-lithuanienne." See {{harvnb|Norris|Neff|n.d.}}</ref> The original French spelling of his surname was "Queuille."<ref>{{Cite web|url=http://opera.stanford.edu/iu/russmus/cui/cuibio.html|title = Cui Bio}}</ref> His French father, Antoine (Anton Leonardovich) Cui, entered Russia with [[French invasion of Russia|Napoleon's army]]; in 1812, he was injured during the battle near [[Smolensk]] and (following the defeat) would settle in Vilnius. He married local [[szlachta|noblewoman]] Julia Gucewicz;<ref>Назаров, p. 7-8.</ref> some sources indicate that her father was the Lithuanian architect [[Laurynas Gucevičius]].<ref>Eduardas Budreika. [http://eia.libis.lt:8080/archyvas/viesas/20110110060412/http://www.culture.lt/satenai/?leid_id=692&kas=straipsnis&st_id=2498 Antoine Cui and his Lithuanian family] {{Webarchive|url=https://web.archive.org/web/20160611044626/http://eia.libis.lt:8080/archyvas/viesas/20110110060412/http://www.culture.lt/satenai/?leid_id=692&kas=straipsnis&st_id=2498 |date=11 June 2016 }} article from [[:lt:Šiaurės Atėnai|Šiaurės Atėnai]], 13 March 2004 (in Lithuanian)</ref>

The young César grew up learning [[French language|French]], [[Polish language|Polish]], [[Russian language|Russian]] and [[Lithuanian language|Lithuanian]].<ref>Назаров, p. 14-15.</ref> As a secondary school ([[gymnasium (school)|gymnasium]]) student in Wilno, he took music lessons with [[Stanisław Moniuszko]] in 1850. Later that year, before completing his gymnasium education, Cui was sent to [[Saint Petersburg]] to prepare to enter the [[Military Engineering-Technical University|Chief Engineering School]], which he did the following year at age 16.<ref>Назаров, p. 15-16.</ref> In 1855, he graduated from the academy; following advanced studies at the Nikolaevsky Engineering Academy (now [[Military Engineering-Technical University]]), he began his military career in 1857 as an instructor in fortifications.<ref>Назаров, p. 22, 35.</ref> His students over the decades included several members of the [[House of Romanov|Imperial family]], most notably [[Nicholas II]].<ref>Ильинский, А.А.; Пахулский, Г. ''Биографии композиторов с IV-XX век с портретами'' (Москва: Изд. К.А. Дурново, 1904), p. 518.</ref> Cui eventually ended up teaching at three of the military academies in Saint Petersburg.{{sfn|Neef|1992|p=136}} Cui's study of fortifications gained from a frontline assignment during the [[Russo-Turkish War of 1877–1878]] proved important to his career. As an expert on military fortifications, Cui eventually attained the academic rank of professor in 1880 and the military rank of [[general]] in 1906.<ref>Назаров, p. 106-110, 194.</ref> His writings on fortifications included textbooks that were widely used, in several successive editions (see bibliography below).

===A vocational life in music===
Despite his achievements as a professional military academic, Cui is best known in the West for his 'other' life in music.  As a boy in Vilnius, he received [[piano]] lessons, studied [[Frédéric Chopin|Chopin]]'s works, and began composing little pieces at fourteen years of age.  In the few months before he was sent to Petersburg, he managed to have some lessons in [[music theory]] with the Polish composer [[Stanisław Moniuszko]], who was residing in Vilnius at the time.<ref>
Кюи, Ц. А., "Первые композиторские шаги Ц. А. Кюи (письмо к редактору)",
''Избранные статьи'', составитель И. Л. Гусин (Ленинград: Гос. муз. изд-во, 1952), editor's notes, pp. 542–543.</ref><ref>Назаров, pp. 12–14.</ref> Cui's musical direction changed in 1856, when he met [[Mily Balakirev]] and began to be more seriously involved with music.<ref>Назаров, pp. 25–27.</ref>

Even though he was composing music and writing music criticism in his spare time, Cui turned out to be an extremely prolific composer and [[feuilleton]]ist.  His public "debut" as a composer occurred in 1859 with the performance of his orchestral Scherzo, Op. 1, under the baton of [[Anton Rubinstein]] and the auspices of the [[Russian Musical Society]].<ref>Назаров, p. 46.</ref> In 1869, the first public performance of an [[opera]] by Cui took place, ''[[William Ratcliff (Cui)|William Ratcliff]]'' (based on the tragedy by [[Heinrich Heine]]); it did not ultimately have success, partially because of the harshness of his own writings in the music press.<ref>Гозенпуд, А. А., ''Русский оперный театр XIX века, 1857–1872'' [''Russian Operatic Theater of the 19th Century, 1857–1872''] (Ленинград, Музыка, 1971), 228–235.</ref><ref>Назаров, pp. 58–61.</ref> All but one of his operas were composed to Russian texts; the one exception, ''[[Le flibustier (opera)|Le flibustier]]'' (based on a play by [[Jean Richepin]]), premiered in 1894 at the [[Opéra-Comique]] in [[Paris]] (twenty-five years after ''Ratcliff''), but it did not succeed either.<ref>Назаров, pp. 132–135.</ref>  Cui's more successful stage works during his lifetime were the one-act [[comic opera]] ''[[The Mandarin's Son]]'' (premiered publicly in 1878), the three-act ''[[The Prisoner of the Caucasus (opera)|The Prisoner of the Caucasus]]'' (1883) (based on [[Alexander Pushkin|Pushkin]]), and the one-act ''[[Mademoiselle Fifi (Cui)|Mademoiselle Fifi]]'' (1903) (based on [[Guy de Maupassant]]).<ref>Бернандт, Г. Б. ''Словарь опер впервые поставленных или изданных в дореволюционной России и в СССР, 1836–1959.'' [''Dictionary of Operas First Performed or Published in Pre-Revolutionary Russia and in the USSR, 1836–1959'']
 (Москва: Советский композитор, 1962). pp. 125–126, 288, 170.</ref> Besides ''Flibustier'', the only other operas by Cui performed in his lifetime outside of the [[Russian Empire]] were ''The Prisoner of the Caucasus'' (in Liège, 1886; the first time any opera by [[The Five (composers)|The Five]] was performed outside Russia, but this was also its sole performance outside Russia) and the children's opera ''[[Puss in Boots (opera)|Puss in Boots]]'' (in Rome, 1915).<ref>Бернандт, Г. Б. ''Словарь опер'', pp. 125, 148.</ref>
[[Image:CuiBolshoiArtists 1902 CuiIP 273 600.jpg|thumb|300px|left|Cui among artists of the Moscow [[Bolshoi Theatre]], 1902]]
Cui's activities in musical life also included membership on the opera selection committee at the [[Mariinsky Theatre]]; this stint ended in 1883, when both he and [[Nikolai Rimsky-Korsakov|Rimsky-Korsakov]] left the committee in protest of its rejection of [[Modest Mussorgsky|Mussorgsky]]'s ''[[Khovanshchina]]''.<ref>Кюи, ''Избранные письма'' [''Selected Letters''], p. 112 (also editor's notes, pp. 571–572).</ref> From 1896 to 1904, he was director of the Petersburg branch of the [[Russian Musical Society]].<ref>Назаров, pp. 147, 184.</ref>

Among the many musicians Cui knew in his life, [[Franz Liszt]] looms large. His book, ''La musique en Russie'', and his ''Suite pour piano'', Op. 21, are dedicated to the elder composer. Cui's ''Tarantelle'' for orchestra, Op. 12, formed the basis for Liszt's last [[Arrangement|piano transcription]]. In addition, Liszt valued the music of Russian composers quite highly; for Cui's opera ''William Ratcliff'', he expressed some of the highest praise.<ref>Кюи, ''Избранные письма'', p. 506.</ref>

Two personalities of direct significance for Cui were women who were specially devoted to his music. In [[Belgium]], the [[Louisa de Mercy-Argenteau|Comtesse de Mercy-Argenteau]] (1837–1890) was most influential in making possible the staging of ''The Prisoner of the Caucasus'' there in 1885.<ref>Назаров, p. 120.</ref> In [[Moscow]], Mariya Kerzina, with her husband Arkadiy Kerzin, formed a performance society in 1896 called the Circle of Russian Music Lovers, which began in 1898 to give special place to works by Cui (among those of other Russian composers) in its concerts.<ref>Назаров, pp. 150–157.</ref>

Throughout his rather long and active musical life, Cui won many accolades. In the late 1880s and early 1890s, several foreign musical societies honored Cui with memberships.  Shortly after the staging of ''Le flibustier'' in Paris, Cui was elected as a correspondent member of the [[Académie Française]] and was awarded the cross of the [[Legion of Honour|Légion d'honneur]]. In 1896, he was made a member of the Belgian Royal Academy of Literature and Art.<ref>Назаров, pp. 35–36.</ref> In 1909 and 1910, events were held in honor of Cui's 50th anniversary as a composer.<ref>Назаров, pp. 201–205.</ref>

===Family===
[[Image:Cui grave.jpg|thumb|right|Grave of Malvina and César Cui, [[Tikhvin Cemetery]], Saint Petersburg|150px]]
Cui married Malvina Rafailovna Bamberg ({{langx|ru|Мальвина Рафаиловна Бамберг}} {{IPA|ru|mɐlʲˈvʲinə rəfɐˈiɫəvnə ˈbam⁽ʲ⁾bʲɪrk|pron}}) in 1858.  He had met her at the home of [[Alexander Dargomyzhsky]], from whom she was taking singing lessons.<ref>Назаров, p. 42.</ref>  Among the musical works Cui dedicated to her is the early Scherzo, Op. 1 (1857), which uses themes based on her maiden name (BAmBErG) and his own initials (C. C.), and the comic opera ''The Mandarin's Son''.  César and Malvina had two children, Lidiya and Aleksandr.  Lidiya, an amateur singer, married and had a son named Yuri Borisovich Amoretti; in the period before the [[October Revolution]], Aleksandr was a member of the Russian Senate.<ref>Кюи, ''Избранные письма'', editor's notes, pp. 635, 395, 703, 715–716.</ref>

===Last years and death===
In 1916, Cui went blind, although he was still able to compose small pieces by means of dictation.<ref>Кюи, ''Избранные письма'', p. 477.</ref> He died on 26 March 1918 from cerebral [[apoplexy]] and was buried next to his wife Mal'vina (who had died in 1899) at the [[Smolensky Lutheran Cemetery]] in Petrograd (now [[Saint Petersburg]]). In 1939, his body was reinterred in [[Tikhvin Cemetery]] at the Alexander Nevsky Monastery, to lie beside the other members of [[The Five (composers)|The Five]].<ref>Назаров, p. 155, 221–222.</ref>

== Cui as a music critic ==
As a writer on music, Cui contributed almost 800 articles to various newspapers and other publications in Russia and Europe between 1864 and 1918 (he "retired" from regular music criticism in 1900). His wide coverage included concerts, recitals, musical life, new publications of music, and personalities. A significant number of his articles (ca. 300) dealt with opera.<ref>Кюи, ''Избранные статьи'', Библиографический указатель статей Ц. А. Кюи, 1864–1918 [Bibliographic index of articles by C. A. Cui, 1864–1918], pp. 624–660.</ref> Several of his themed sets of articles were reissued as monographs; these covered topics as varied as the original 1876 production of [[Richard Wagner|Wagner]]'s ''[[Der Ring des Nibelungen]]'' in [[Bayreuth Festspielhaus|Bayreuth]], the development of the Russian romance ''[[art song]]'', music in Russia, and [[Anton Rubinstein]]'s seminal lectures on the history of [[piano]] music of 1888–1889 (see list of writings below). In addition, as indicated above as part of his profession, Cui also published many books and articles about military fortifications.<ref>{{Cite web|title=César Cui {{!}} Russian composer|url=https://www.britannica.com/biography/Cesar-Cui|access-date=2021-04-19|website=Encyclopedia Britannica|language=en}}</ref>{{citation needed|date=January 2021}}

Because of rules related to his status in the Russian military, in the early years his musico-critical articles had to be published under a pseudonym, which consisted of three asterisks (***); in Petersburg musical circles, however, it became clear who was writing the articles.<ref>Назаров, pp. 68–69.</ref><ref>Гозенпуд, А. А., ''Русский оперный театр XIX века, 1857–1872'', p. 235.</ref> His musical reviews began in the ''[[St. Petersburg Vedomosti]]'', expressing disdain for music before [[Ludwig van Beethoven|Beethoven]] (such as [[Wolfgang Amadeus Mozart|Mozart]]) and his advocacy of originality in music. Sarcasm was a regular feature of his [[feuilleton]]s.{{citation needed|date=January 2021}}

[[Image:AveCesar Raevsky CuiIP 177 600 cap.JPG|thumb|left|250px|Caricature of Cui by Rayevsky, based on a painting by [[Jean-Léon Gérôme]]. The gladiators in the center bear shields inscribed with the titles of Cui's operas ''[[William Ratcliff (Cui)|William Ratcliff]]'', ''[[The Mandarin's Son]]'', and ''[[Angelo (opera)|Angelo]]''.]] Cui's primary goal as a critic was to promote the music of contemporary Russian composers, especially the works of his now better-known co-members of The Five.  Even they, however, were not spared negative reactions from him here and there, especially in his blistering review of the first production of Mussorgsky's ''[[Boris Godunov (opera)|Boris Godunov]]'' in 1874.<ref>Кюи, "Театр и музыка.  ''Борис Годунов'', опера г. Мусоргского, дважды забракованная водивильным комитетом" ["Theatre and music.  ''Boris Godunov'', opera by Mr. Musorgsky, twice rejected by the vaudeville committee"], ''Санкт-Петербургские ведомости'', 6 февр. 1874, No. 37, 1874</ref> Later in life, Cui championed the music of this late colleague of his to the point of making the first completion of Mussorgsky's unfinished opera ''[[The Fair at Sorochyntsi]]''.<ref>Назаров, pp. 214–215.</ref>

Russian composers outside of The Five, however, were often more likely to produce a negative reaction.  This derived at least partly from distrust of the Western-style [[Music school|conservatory]] system in favor of the autodidactic approach that The Five had practiced.  For instance, Cui lambasted Tchaikovsky's second performed opera, ''[[The Oprichnik]]'',<ref>"Музыкальные заметки.  ''Опричник'', опера г. Чайковского" [Musical notes.  ''The Oprichnik'', opera by Mr. Tchaikovsky"], ''Санкт-Петербургские ведомости'', 23 апр. 1874, No. 110, 1874.</ref> and his stinging remarks about [[Symphony No. 1 (Rachmaninoff)|Rachmaninoff's Symphony No.1]]<ref>"Театр и музыка.  Третий Русский симфонический концерт" ["Theatre and music.  Third Russian Symphony Concert"], ''Новости и биржевая газета'', 17 марта No. 75, 1897.]</ref> are often cited; fortunately, both works have survived their unfavorable premieres for posterity.

Of Western composers, Cui favored [[Hector Berlioz|Berlioz]] and [[Franz Liszt|Liszt]] as progressives.<ref>Кюи, "Первые композиторские шаги", p. 554.</ref>  He admired Wagner's aspirations concerning music drama, but did not agree with that composer's methods to achieve them (such as the [[leitmotif]] system and the predominance of the orchestra).<ref>Кюи, "Несколько слов о современных оперных формах"  ["A Few Words about Contemporary Operatic Forms"], ''Избранные статьи,'' p. 416.</ref>

Late in life, Cui's presumed progressiveness (as espoused in the 1860s and '70s) faded, and he showed firm hostility towards the younger "modernists" such as [[Richard Strauss]] and [[Vincent d'Indy]].<ref>Кюи, ''Избранные статьи'', pp. 537–550</ref>  Cui's last published articles (from 1917) constituted merciless parodies, including the little song "Hymn to [[Futurism (art)|Futurism]]" and "Concise Directions on How to Become a Modern Composer of Genius without Being a Musician".<ref>Кюи, ''Избранные статьи'', pp. 550–552.</ref>

== Cui as a composer ==
[[Image:Ilya Repin - Cesar Cui.jpg|thumb|right|upright|Portrait of César Cui by [[Ilya Repin]], 1890, ([[Tretyakov Gallery]])]]
[[File:Cesar Cui by Ilya Repin 1900.jpg|thumb|upright|Portrait of Cesar Cui by Ilya Repin (sketch), 1900]]
{{see also|List of compositions by César Cui}}

Cui composed in almost all genres of his time, with the distinct exceptions of the [[symphony]], [[symphonic poem]] and the [[solo concerto]] (unlike his compatriots Balakirev, Borodin, Mussorgsky and Rimsky-Korsakov). [[Art song]]s, including many [[children's song]]s and some vocal [[duet]]s, have a prominent place in Cui's catalogue. Several of his songs are available also in versions with orchestral accompaniment, including his ''Bolero'', Op. 17, which was dedicated to the singer [[Marcella Sembrich]].  Some of his most famous art songs include "The Statue at [[Tsarskoye Selo]]" ("Царскосельская статyя") and "The Burnt Letter," ("Сожжённое письмо"), both based on poems by Cui's most valued poet, [[Alexander Pushkin]].{{citation needed|date=January 2021}}

In addition, Cui wrote many works for [[piano]] and for [[Chamber music|chamber]] groups (including three [[string quartet]]s), numerous choruses, and several [[Orchestra|orchestral works]], but his most significant efforts are reflected in the operas, of which he composed fifteen of varying proportions.  Besides children's music (which includes four fairytale operas as well as the aforementioned songs), three other special categories of compositions stand out among his works: pieces inspired by and dedicated to the Comtesse de Mercy-Argenteau (whom the composer knew from 1885 to her death in 1890), works associated with the Circle of Russian Music Lovers (the "Kerzin Circle"), and pieces inspired by the [[Russo-Japanese War]] and [[World War I]].{{citation needed|date=January 2021}}

In the last few decades, ''[[Puss in Boots (opera)|Puss in Boots]]'' (from [[Charles Perrault|Perrault]]), one of the four children's operas he composed, has gained wide appeal in Germany.<ref>Boas, Robert. "Nuremberg." Opera [London], v. 32 (1981), pp. 288–289.</ref> Nevertheless, despite the fact that more of Cui's music has been made available in recent years, both in recordings and in new printed editions, his status in today's repertoire is considerably limited, based (in the West) primarily on some of his piano and chamber music (such as the [[violin]] and piano piece ''Orientale'' (op. 50, No. 9)<ref>Score available at [http://nla.gov.au/nla.mus-an14448987 http://nla.gov.au/nla.mus-an14448987]</ref>) and a number of solo songs. His abilities as an orchestrator have been disparaged, notably by his compatriot [[Nikolai Rimsky-Korsakov|Rimsky-Korsakov]].<ref>Ястребцев, В.В., ''Николай Андреевич Римский-Корсаков: воспоминания В.В. Ястребцева, [в двух томах]'', [''Nikolai Andreevich Rimsky-Korsakov: Reminiscences by V. V. Iastrebtsev'', in two volumes] (Ленинград: Гос. муз. изд-во, 1959–1960), т. 1, p. 145, 149.</ref> The received wisdom is that he is not a particularly talented composer, at least for large forms; his strongest talent is said to lie in the crystallization of mood at an instant as captured in his art songs and instrumental miniatures.{{sfn|Norris|Neff|n.d.}}

Cui's works are not so nationalistic as those of the other members of [[The Five (composers)|The Five]]; with the exception of Pushkin, his operas do not display a strong attraction to Russian sources. In the area of [[art song]], however, the vast majority of Cui's vocal music is based on Russian texts.  Overt attempts at Russian "folk" musical style can be detected in passages from his first act of the collaborative ''[[Mlada]]'' (1872), ''[[The Captain's Daughter (opera)|The Captain's Daughter]]'', a couple of his children's operas, and a few songs; many other passages in his music reflect the stylistic curiosities  associated with Russian art music of the 19th century, such as [[whole-tone scale]]s and certain [[harmony|harmonic devices]].  Nevertheless, his style is more often compared to [[Robert Schumann]]<ref>Ларош, Герман Августович, "Один из наших шуманистов:  Ц.А. Кюи как композитор опер и романсов" ["One of Our Schumannists:  C. A. Cui as Composer of Operas and Romances"], ''Русский вестник'', т. 180 (1885), p. 985-1008.</ref> and to [[France|French]] composers such as [[Charles Gounod|Gounod]]<ref>Abraham, Gerald, "Heine, Cui, and William Ratcliff," his Essays on Russian and East European Music (Oxford:  Clarendon Press, 1985), p. 61-62.</ref> than to [[Mikhail Glinka]] or to Cui's Russian contemporaries.{{citation needed|date=January 2021}}

==Literary works==
A selected list of Cui's writings on music and military architecture can be found at [[List of literary works by César Cui]].

==Notes==
{{notelist}}

==References==
{{reflist}}

===Sources===
* Назаров, Александр Федорович [Nazarov, Aleksandr Fedorovich]: ''Цезарь Антонович Кюи''. Москва, 1989. "Музыка". {{ISBN|5714001516}}
* {{cite book|last=Neef|first=Sigrid|author-link=Sigrid Neef|title=Die Russischen Fünf: Balakirew, Borodin, Cui, Mussorgski, Rimski-Korsakow|location=Berlin|publisher=E. Kuhn|year=1992}}
* {{cite book|last1=Norris|first=Geoffrey|last2=Neff|first2=Lyle|chapter=Cui, César [Kyui, Tsezar' Antonovich]|chapter-url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/06938|chapter-url-access=subscription|title=[[Grove Music Online]]|editor=L. Macy|year=n.d.}}

==Further reading==
* Guglielmi, Edoardo. "Cesar Cui e l'Ottocento musicale russo," ''Chigiana'', v. 25, no. 5 (1968), p.&nbsp;187–195.
* [[Marie-Clotilde-Elisabeth Louise de Riquet, comtesse de Mercy-Argenteau|Mercy-Argenteau, La Comtesse de]], ''César Cui: esquisse critique''. Paris: Fischbacher, 1888.
* Муселак, Анри [Musielak Henri]. "Предки Кюи" ["Cui's Forebears"], ''Советская Музыка'', 1979, no.10, p.&nbsp;141–142.
* [[Neef, Sigrid]]. ''Handbuch der russischen und sowjetischen Oper''. 1st ed. Kassel: Bärenreiter, 1989, c1985.
* Neff, Lyle Kevin. [http://hdl.handle.net/2022/24419 ''Story, style, and structure in the operas of César Cui'']. PhD dissertation (2002), Indiana University, United States.
* [[Vladimir Vasilievich Stasov|Stasov, V.V.]] "Цезарь Антонович Кюи: биографический очерк" [César Antonovich Cui: A Biographical Sketch] ''Артист'' [''Artist''] [Moscow], no. 34 (1894); reprinted and edited in his ''Избранные сочинение: живопись, скульптура, музыка''. В трех томах. Т. 3. [''Selected Works: Painting, Sculpture, Music''. In three vols. Vol. 3.] Москва: Искусство, 1952, p.&nbsp;387–408.

==External links==
{{commons category|César Cui}}
* {{IMSLP|id=Cui, César}}
* {{allMusic|id=césar-cui-mn0001205582}}
* {{in lang|ru}} [https://www.classicalmusicnews.ru/tikhomirov/cesar-cui/ "His Musical Excellency" by the composer Andrei Tikhomirov] <small>(with music samples)</small>
{{César Cui}}
{{The Five (composers)}}
{{Musical nationalism}}
{{Authority control}}

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[[Category:Academic staff of Military Engineering-Technical University]]
[[Category:Burials at Tikhvin Cemetery]]
[[Category:Russian untitled nobility]]