In 1871, Nikolai Rimsky-Korsakov received an invitation to teach from the director of the Azanchevsky Conservatory and became a professor at the Saint Petersburg Conservatory, which would later bear his name. He taught practical composition classes, theory of composition, and orchestration, and was the head of the orchestral class (1871–1908); a first-degree professor (1881), and an honored professor (1904–1908). During these years, he also began teaching at the Free Music School, which he became director of in 1874. However, he soon realized that he lacked the knowledge necessary for teaching. Rimsky-Korsakov recalled: “What helped me was that none of my students at first could imagine that I knew nothing, and by the time they could start to figure me out, I had already learned quite a bit.”

To fill the gaps in his knowledge, in the late 1870s Rimsky-Korsakov began studying music theory: he simultaneously taught at the conservatory and attended separate classes with students. Pyotr Tchaikovsky wrote to his acquaintance Nadezhda von Meck: “He fell into deep despair when he saw that so many years had passed without any benefit and that he had been following a path that led nowhere. And he began to study with such zeal that soon the school technique became a necessary atmosphere for him.” The composer improved his knowledge of harmony, counterpoint, and orchestration. As a result, he developed a comprehensive pedagogical system for teaching composition and theoretical subjects, which progressed from simple to complex: from mastering strict style by the method of Fux and Bellermann—to composing accompaniments for melodies in various styles—to constructing fugues and sonata form.

According to the recollections of Rimsky-Korsakov’s students, he influenced them with the charm of his personality and immense mastery. He was very punctual and conscientious in his lessons, demanding the same from his students. A partial summary of Rimsky-Korsakov’s pedagogical experience is found in the “Practical Textbook of Harmony” and “Fundamentals of Orchestration.” He authored articles such as “On Musical Education” and “Project for the Reform of the Curriculum of Music Theory and Practical Composition in Conservatories.” He left literary works, including “Chronicle of My Musical Life.”

During his 37 years at the Conservatory, Rimsky-Korsakov nurtured a brilliant generation of composers from various artistic directions, including Russian, Ukrainian, Armenian, Georgian, Belarusian, Baltic, and Italian composers. All of them inherited from their teacher a high level of professionalism, a passion for enlightenment, and a lively interest in the folk origins of musical creativity.

At the request of folklore researcher Tertiy Filippov, during these years Rimsky-Korsakov created a collection of Russian folk songs with his own musical accompaniment. The composer began studying “the most ancient… and by their nature preserved in the greatest integrity” ritual and game pagan songs. He used them while working on the operas “May Night” and “The Snow Maiden.”

During the 1905 revolution, he spoke out in defense of revolutionary-minded students. As an opponent of the authorities, he was dismissed from the faculty. He returned after the Conservatory was granted partial autonomy from the Saint Petersburg branch of the Imperial Russian Musical Society and after a change in leadership (Glazunov became director of the Conservatory).

Sources:

https://www.culture.ru/persons/8302/nikolai-rimskii-korsakov

https://www.conservatory.ru/esweb/rimskiy-korsakov-nikolay-andreevich-1844-1908