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Russian Symbolism was an early twentieth-century literary and philosophical movement largely comprised of poets who sought to uncover the religious foundations of human artistic creativity. They understood humanity and the material world to be infused with divine substance which could be expressed (or made manifest) through creative acts. As a part of the broader flourishing of modern religious thought in Russia, Symbolism exceeded the bounds of literature and attracted artists from other disciplines. The composer, Nikolay Medtner (1879-1951), was a prominent figure in the musical, literary, and philosophical circles of pre-Revolutionary Moscow. Friends with several Symbolist figures, most notably Andrey Bely (1880-1934), Medtner cultivated a Symbolist, “theurgic,” aesthetics in his music compositions and writings. His important book, The Muse and the Fashion, written years later in exile (1935), should be understood as the concrete extension of Symbolist religious aesthetics to music. Medtner directly participated in the Muscovite literary sphere by setting poetry in metrical forms that influenced the Symbolists’ own versification experiments, like the dolnik. Additionally, I argue that his approach to song composition was itself cultivated from Symbolist precepts, including the desire to unite music and word and to bring out the hidden “rhythms” of the poetry. Bely considered song to be the “most Symbolic art,” and he praised Medtner’s settings of Goethe’s lyrics as authentically Symbolist artworks (despite the German language). Furthermore, Bely considered Medtner’s music to be a direct expression of the “new religious consciousness” and placed it at the heart of his theological efforts to interpret Russian art as the manifestation of Divine Wisdom (Sophia). Medtner was not only a passive recipient of this praise, but actively pursued Symbolist, theurgic, and Sophianic themes in his music and writings. While Medtner has traditionally been excluded from the canon of Russian music, I demonstrate that he deserves pride of place in the historiography as the quintessential Symbolist composer.