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Compositions
Rimsky-Korsakov followed the musical ideals espoused by The Five. He employed Orthodox liturgical themes in the Russian Easter Festival Overture, folk song in Capriccio Espagnol and orientalism in Scheherazade, possibly his best known work. He proved a prolific composer but also a perpetually self-critical one. He revised every orchestral work up to and including his Third Symphony&mdash;some, like Antar and Sadko, more than once. These revisions range from minor changes of tempo, phrasing and instrumental detail to wholesale transposition and complete recomposition.

Rimsky-Korsakov was open about the influences in his music, telling Vasily Yastrebtsev, "Study Liszt and Balakirev more closely, and you'll see that a great deal in me is not mine". He followed Balakirev in his use of the whole tone scale, treatment of folk songs and musical orientalism and Liszt for harmonic adventurousness. (The violin melody used to portray Scheherazade is very closely related to its counterpart in Balakirev's symphonic poem Tamara, while the Russian Easter Overtures follows the design and plan of Balakirev's Second Overture on Russian Themes.) Nevertheless, while he took Glinka and Liszt as his harmonic models, his use of whole tone and octatonic scales do demonstrate his originality. He developed both these compositional devices for the "fantastic" sections of his operas, which depicted magical or supernatural characters and events.

Rimsky-Korsakov maintained an interest in harmonic experiments and continues exploring new idioms throughout his career. However, he tempered this interest with an abhorrence of excess and kept his tendency to experiment under constant control. The more radical his harmonies became, the more he attempted to control them with strict rules&mdash;applying his "musical conscience", as he called it. In this sense, he was both a progressive and a conservative composer. The whole tone and octatonic scales were both considered adventurous in the Western classical tradition, and Rimsky-Korsakov's use of them made his harmonies seem radical. Conversely, his care about how or when in a composition he used these scales made him seem conservative compared with later composers like Igor Stravinsky, though they were often building on Rimsky-Korsakov's work.

Operas
While Rimsky-Korsakov is best known in the West for his orchestral works, his operas are more complex, offering a wider variety of orchestral effects than in his instrumental works and fine vocal writing. Excerpts and suites from them have proved as popular in the West as the purely orchestral works. The best-known of these excerpts is probably "The Flight of the Bumblebee" from The Tale of Tsar Saltan, which has often been heard by itself in orchestral programs, and in countless arrangements and transcriptions, most famously in a piano version made by Russian composer Sergei Rachmaninoff. Other selections familiar to listeners in the West are "Dance of the Tumblers" from The Snow Maiden, "Procession of the Nobles" from Mlada, and "Song of the Indian Guest" (or, less accurately, "Song of India") from Sadko, as well as suites from The Golden Cockerel and The Legend of the Invisible City of Kitezh and the Maiden Fevroniya.

The Operas fall into several categories:


 * Historical drama. (The Tsar's Bride)


 * Gogol operas.


 * Epics.


 * Folk operas. (May Night),


 * Fairy tales and legends (The Snow Maiden, Kashchey the Immortal and The Tale of Tsar Saltan).


 * Stylistic experiments.

Of this range Rimsky-Korsakov wrote in 1902, "In every new work of mine I am trying to do something that is new for me. On the one hand, I am pushed on by the thought that in this way, [my music] will retain freshness and interest, but at the same time I am prompted by my pride to think that many facets, devices, moods and styles, if not all, should be with my reach."

Harold C. Schonberg wrote that the operas "open up a delightful new world, the world of the Russian East, the world of supernaturalism and the exotic, the world of Slavic pantheism and vanished races. Genuine poetry suffuses them, and they are scored with brilliance and resource." Nevdertheless, Rimsky-Korsakov's music in these works often lacks dramatic power, a seemingly fatal flaw in an operatic composer. This may have been consciously done, as he repeatedly stated in his scores that he felt operas were first and foremost musical works rather than mainly dramatic ones. Ironically, the operas succeed in most cases by being deliberately non-dramatic.

Orchestral works
The purely orchestral works fall into two categories. The best-known ones in the West and perhaps the finest in overall quality are mainly programmatic in nature&mdash;in other words, the musical content and how it is handled in the piece is determined by the plot or characters in a story, the action in a painting or events reported through another non-musical source. The second category of works are more academic, such as his First and Third Symphonies and his Sinfonette. In these, Rimsky-Korsakov still employed folk themes; however, he subjected these them to abstract rules of musical composition.

Program music came naturally to Rimsky-Korsakov. To him, "even a folk theme has a program of sorts." He composed the majority of his orchestral works in this genre at two periods of his career&mdash;at the beginning, with Sadko and Antar, and in the 1880s, with Scheherezade, Capriccio Espagnol and the Russian Easter Overture. Despite the gap between these two periods, the composer's overall approach and the way he used his musical themes remained consistent. Both Antar and Scheherezade use a robust "Russian" theme to portray the male progagonists (the title character in Antar; the sultan in Scheherezade) and a more sinuous "Eastern" theme for the female ones (the peri Gul-Nazar in Antar and the title character in Scheherezade).

Where Rimsky-Korsakov changed between these two sets of works was in orchestration. While his pieces were always celebrated for their imaginative use of instrumental forces, the sparer textures of Sadko and Antar pale compared to the luxuriance of the more popular works of the 1880s. While a principle of highlighting "primary hues" of instrumental color remained in place, it was augmented in the later works by a sophisticated cachet of orchestral effects, some gleaned from other composers including Wagner, but many invented by himself. As a result, these works resemble brightly colored mosaics, striking in their own right and often scored with a juxtaposition of pure orchestral groups. The final tutti of Scheherazade is a prime example of this scoring. The theme is assigned to trombones playing in unison, and is accompanied by a combination of string patterns. Meanwhile, another pattern alternates with chromatic scales in the woodwinds and a third pattern of rhythms is played by percussion.

Rimsky-Korsakov's non-programmic music, though well-crafted, do not come up to the same level of inspiration; he needed fantasy to bring out the best in him. The First Symphony follows the outlines of Schumann's Fourth extremely closely and is slighter in its thematic material than what he would compose later. The Third Symphony and Sinfonette each contains a series of variations on less-than-best music that lead to tedium.

Smaller-scale works
Rimsky-Korsakov composed dozens of art songs, arrangements of folk songs, chamber and piano music. While the piano music is relatively inimportant, many of the art songs possess a delicate beauty. While they yield in overy lyricism to Tchaikovsky and Rachmaninoff, otherwise they reserve their place in the standard repertory of Russian singers.

Rimsky-Korsakov also wrote a body of choral works, both secular and for Russian Orthodox Church service. The latter include settings of portions of the Liturgy of St. John Chrysostom (despite his staunch atheism).

Students
Rimsky-Korsakov taught theory and composition to 250 students over his 35-year tenure at the Saint Petersburg Conservatory, "enough to people a whole 'school' of composers." This does not include pupils at the two other schools where he taught, including Glazunov, or those he taught privately at his home, such as Igor Stravinsky. Apart from Glazunov and Stravinsky, students who later found fame included Anatoly Lyadov, Alexander Spendiaryan, Sergei Prokofiev, Ottorino Respighi, Witold Maliszewski, Mykola Lysenko, Artur Kapp, and Konstanty Gorski. Other students included the music critic and musicologist Alexander Ossovsky, and the composer Lazare Saminsky.

Rimsky-Korsakov felt talented students needed little formal dictated instruction. His teaching method included distinct steps: show the students everything needed in harmony and counterpoint; direct them in understanding the forms of composition; give them a year or two of systematic study in the development of technique, exercises in free composition and orchestration; instill a good knowledge of the piano. Once these were properly completed, studies would be over. He carried this attitude into his conservatory classes. Conductor Nikolai Malko remembered that Rimsky-Korsakov began the first class of the term by saying, "I will speak, and you will listen. Then I will speak less, and you will start to work. And finally I will not speak at all, and you will work." Malko added that his class followed exactly this pattern. "Rimsky-Korsakov explained everything so clearly and simply that all we had to do was to do our work well."

Editing the work of The Five
Rimsky-Korsakov's editing of works by The Five are significant. It was a practical extension of the collaborative atmosphere of The Five during the 1860s and 1870s, when they heard each other's compositions in progress and worked on them together, and was an effort to save works that would otherwise either have languished unheard or become lost entirely. This work included the completion of Alexander Borodin's opera Prince Igor, which Rimsky-Korsakov undertook with the help of Glazunov after Borodin's death, and the orchestration of passages from César Cui's William Ratcliff for its first production in 1869. He also completely orchestrated the opera The Stone Guest by Alexander Dargomyzhsky three times—in 1869–70, 1892 and 1902. While not a member of The Five himself, Dargomyzhsky was closely associated with the group and shared their musical philosophy.



Musicologist Francis Maes wrote that while Rimsky-Korsakov's efforts are laudable, they are also controversial. It was generally assumed that with Prince Igor, Rimsky-Korsakov edited and orchestrated the existing fragments of the opera while Glazunov composed and added missing parts, including most of the third act and the overture. This was exactly what Rimsky-Korsakov stated in his memoirs. However, both Maes and Richard Taruskin cite an analysis of Borodin's manuscripts by musicologist Pavel Lamm, which showed that Rimsky-Korsakov and Glazunov discarded nearly 20 percent of Borodin's score. According to Maes, the result is more a collaborative effort by all three composers than a true representation of Borodin's intent. Lamm stated that because of the extremely chaotic state of Borodin's manuscripts, a modern alternative to Rimsky-Korsakov and Glazunov's edition would be extremely difficult to complete.

More debatable, according to Maes, is Rimsky-Korsakov's editing of Mussorgsky's works. After Mussorgsky's death in 1881, Rimsky-Korsakov revised and completed several of Mussorgsky's works for publication and performance, helping to spread Mussorgsky's works throughout Russia and to the West. However Maes, in reviewing Mussorgsky's scores, wrote that Rimsky-Korsakov allowed his "musical conscience" to dictate his editing, and he changed or removed what he considered musical over-experimentation or poor form. Because of this, Rimsky-Korsakov has been accused of pedantry in "correcting", among other things, matters of harmony. Rimsky-Korsakov may have foreseen questions over his efforts when he wrote,

"If Mussorgsky's compositions are destined to live unfaded for fifty years after their author's death (when all his works will become the property of any and every publisher), such an archeologically accurate edition will always be possible, as the manuscripts went to the Public Library on leaving me. For the present, though, there was need of an edition for performances, for practical artistic purposes, for making his colossal talent known, and not for the mere studying of his personality and artistic sins."

Maes stated that time proved Rimsky-Korsakov correct when it came to posterity's re-evaluation of Mussorgsky's work. Mussorgsky's musical style, once considered unpolished, is now admired for its originality. While Rimsky-Korsakov's arrangement of Night on Bald Mountain is still the version generally performed, Rimsky-Korsakov's other revisions, like his version of Boris Godunov, have been replaced by Mussorgsky's original.

Folklore and pantheism
Rimsky-Korsakov may have saved the most personal side of his creativity for his approach to Russian folklore. Folklorism as practiced by Balakirev and the other members of The Five had been based largely on the protyazhnaya dance song. Protyazhnaya literally meant "drawn-out song", or melismatically elaborated lyric song. The characteristics of this song exhibit extreme rhythmic flexibility, an asymmetrical phrase structure and tonal ambiguity. After composing May Night, however, Rimsky-Korsakov was increasingly drawn to "calendar songs", which were written for specific ritual occasions. The ties to folk culture was what interested him most in folk music, even in his days with The Five; these songs formed a part of rural customs, echoed old Slavic paganism, and the pantheistic world of folk rites. Rimsky-Korsakov wrote that his interest in these songs was heightened by his study of them while compiling his folk song collections. He wrote that he "was captivated by the poetic side of the cult of sun-worship, and sought its survivals and echoes in both the tunes and the words of the songs. The pictures of the ancient pagan period and spirit loomed before me, as it then seemed, with great clarity, luring me on with the charm of antiquity. These occupations subsequently had a great influence in the direction of my own activity as a composer".

Rimsky-Korsakov's interest in pantheism was whetted by the folkloristic studies of Alexander Afanasyev. That author's standard work, The Poetic Outlook on Nature by the Slavs, became Rimsky-Korsakov's pantheistic bible. The composer first applied Afanasyev's ideas in May Night, in which he helped fill out Gogol's story by using folk dances and calendar songs. He went further down this path in The Snow Maiden, where he made extensive use of seasonal calendar songs and khorovodi (ceremonial dances) in the folk tradition.