Nicholas Rubinstein had first approached Serov, who was not unwilling to accept the post.
For me Serov is not dead, says Wagner; for me he still lives actually and palpably.
As I am considering Serov rather as a composer than as a critic, I need not dwell at length upon this side of his work.
This youth—a few years his junior—was Vladimir Stassov, destined to become a greater critic than Serov himself.
The personality of Bakounin made a deep impression upon Serov, as it did later upon Wagner.
Under his influence Serov began to take an interest in modern German philosophy and particularly in the doctrines of Hegel.
The extraordinary popular success of Judith showed Serov the short cut to fame.
It was through journalism that Serov first acquired a much desired footing in the musical world.
In 1858 Serov returned from a visit to Germany literally hypnotised by Wagner.
The work roused my enthusiasm at the time, and Serov seemed to me a genius.