Una notte sul monte calvo-modest mussorgsky biography

Title St. Period Romantic Piece Style Romantic Instrumentation orchestra piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons 4 horns 2 trumpet, 3 trombones, tuba timpani, bass drum, cymbals, tam-tam, bell Dharp, strings. Symphonic poems ; For orchestra ; Scores featuring the orchestra ; for piccolo, flute, 2 oboes, 2 clarinets, 2 bassoons, 4 horns and double bass arr ; For orchestra arr ; Scores featuring the orchestra arr ; For wind band arr ; Scores featuring wind band arr ; For orchestra without strings arr ; For 6 cellos arr ; Scores featuring the cello arr ; For 6 players arr ; For piano 4 hands arr ; Scores featuring the piano arr ; Scores featuring the piano 4 hands arr ; For 2 players arr ; For piano arr ; For 1 player arr.

Contents 1 Performances 1. Publisher Info. Palo Alto: MusOpen. Source: Internet Archive. Performer Pages Chiara Bertoglio piano. Moody Bascum Osborne Publishing. Performer Pages Quinn Mason electronics. Editor Georgy Kirkor — Moscow: Muzyka Witness to the proceedings: Mily Balakirev. This curious fragment, dated 25 Decemberhas been interpreted as an indication of Mussorgsky's intent to write an opera on the subject of Gogol's short story St.

John's Eve. Gogol's tale contains the elements of witchcraft common to other stories in the Evenings on a Farm near Dikanka collection, but does not feature a Witches' Sabbath. No further plans for this project were mentioned. In Mussorgsky informed Balakirev that he had been commissioned to write one act of an opera on this subject: [ 5 ].

I have also received some very interesting work which must be prepared for the coming summer. This work is: a whole act on The Bald Mountain from Mengden's drama The Witcha witches' sabbath, separate episodes of sorcerers, a ceremonial march of all this rubbish, a finale—glory to the una notte sul monte calvo-modest mussorgsky biography The libretto is very good.

There are already some materials, perhaps a very good thing will come of it. However, as with the previous project, it is unknown whether any materials were written down, and, if so, whether they were transferred to subsequent projects. Rimsky-Korsakov declares in his memoirs Chronicle of My Musical Life that in the early s Mussorgsky, under the influence of Franz Liszt 's Totentanzhad written a version of the Bald Mountain music for piano and orchestra.

However, it is believed that Mussorgsky did not hear Liszt's work untilby which time he was planning the orchestral tone poem St. John's Eve on Bald Mountain see below. No trace of a work for piano and orchestra has survived outside Rimsky-Korsakov's recollections, so it is assumed that the score has been lost, or, more likely, that it never existed.

In Mussorgsky wrote to Balakirev expressing a desire to discuss his plans for The Witcheshis informal name for his Bald Mountain music. The score is inscribed with the following details:. Conceived in Began to write for orchestra 12 Junecompleted work on the eve of St. Modest Mussorgskiy. Mussorgsky described the piece in a letter to Vladimir Nikolsky :.

So far as my memory doesn't deceive me, the witches used to gather on this mountain, On his arrival they, i. When Satan was worked up into a sufficient passion by the witches' praises, he gave the command for the sabbath, in which he chose for himself the witches who caught his fancy. So this is what I've done. At the head of my score I've put its content: 1.

Assembly of the witches, their talk and gossip; 2. Satan's journey; 3. Obscene praises of Satan; and 4. The form and character of the composition are Russian and original I wrote St. John's Eve quickly, straight away in full score, I wrote it in about twelve days, glory to God While at work on St. John's Eve I didn't sleep at night and actually finished the work on the eve of St.

John's Day, it seethed within me so, and I simply didn't know what was happening within me I see in my wicked prank an independent Russian product, free from German profundity and routine, and, like Savishnagrown on our native fields and nurtured on Russian bread. He also stated—incorrectly, as it turned out—that he would never re-model it: "with whatever shortcomings, it is born; and with them it must live if it is to live at all.

The score is peppered with comments such as "the devil knows what [this is]", "what rubbish", and "this might be of use", probably pencilled in by Balakirev. The original tone poem, St. John's Eve on Bald Mountainwas not performed until the 20th century. Musicologist Aleksandra Orlova claims that the original manuscript of this version was discovered in the library of the Leningrad Conservatory by musicologist Georgiy Orlov in the late s, that it was performed once by the Leningrad Philharmonic Societyand that Nikolay Malko brought along a copy of it when he emigrated to the West.

Russian legend tells of a witches' sabbath taking place on St. The first re-modelling of the tone poem took place inwhen Mussorgsky revised and recast it for vocal soloists, chorusand orchestra as part of act 3 that he was assigned to contribute to the collaborative opera-ballet Mlada. Mlada was a project doomed to failure, however, and this "second version" languished along with the first.

The score of Glorification of Chernobog has not survived, and was never published or performed. Mlada is set in the 9th or 10th century city of Retrain the formerly Slavic lands between the Baltic Sea coast and the Elbe River. This would be the land of the pre- Christian Polabian Slavsin the region corresponding to the modern German areas of HolsteinMecklenburgor Vorpommern.

The Mlada scenario is the only Bald Mountain setting that mentions a "Mt. Triglav", where the supernatural events of act 3 take place. Voyslava sells her soul to Morena, an evil goddess, to obtain her aid in making Yaromir forget Mlada so she may have him to herself. In act 3, the shade ghost of Mlada leads Yaromir up the slopes of Mount Triglav to a pine wood in a gorge on top of the mountain.

Una notte sul monte calvo-modest mussorgsky biography

Mlada's shade joins a gathering of the spirits of the dead. She expresses in mime to Yaromir the wish to be reunited with him in the kingdom of dead souls. He is eager to join her. Nel Musorgskij scrisse a Milij Balakirevil leader del Gruppo dei Cinqueesprimendo il desiderio di discutere con lui i suoi piani per Le stregheil nome informale che il compositore dava al lavoro.

La partitura riporta scritto:. Iniziato a scrivere per orchestra il 12 giugnocompletato alla vigilia del giorno di San Giovanni, 23 giugnonel distretto di Luga a Minkino. Modest Musorgskij [ 4 ] ». La strumentazione era la seguente: ottavino, due flauti, due oboi, due clarinetti, due fagotti, quattro corni, due cornette, due trombe, tre tromboni, tuba, timpani, triangolo, tamburello, tamburo, piatti, grancassa, tam-tam, archi.

La partitura riportava anche il programma della composizione:. Il progetto di Mlada tuttavia non ebbe un buon esito, e questa seconda versione fu dimenticata come la prima. Nell'opera si immagina che Gric'ko, il giovane protagonista, la notte prima di riuscire ad ottenere, dopo tante peripezie, la mano della ragazza che ama, si ubriachi, cada addormentato e sogni.

Sogna di assistere al raduno delle streghe e di demoni che si svolge, secondo le credenze popolari, ogni anno nella notte di San Giovanni tra il 23 e il 24 giugno. Trattandosi di maligni esseri soprannaturali, Musorgskij fa loro intonare anche alcune parole senza senso, come facessero parte di un linguaggio sconosciuto. Gric'ko, nascosto dietro ad una roccia, osserva esterrefatto la scena: le streghe e i demoni ingaggiano danze furibonde, in un crescendo demoniaco, fino all'apice, il sabba, durante il quale danno libero sfogo alla loro follia; vengono infine interrotti dal suono delle campane di una chiesa.

In quel momento Gric'ko si risveglia, ancora percorso da tremori per l'incubo appena vissuto. Il giovane paesano dorme ai piedi di una collinetta a poca distanza dalla capanna in cui avrebbe dovuto trovarsi. Sotto la sua guida autorevole Musorgskij decise di diventare musicista. Queste composizioni non avevano nulla di mondano, ma erano schizzi che delineavano in poche note un personaggio o una situazione cogliendone realisticamente i caratteri.

A febbraio ottenne un ultimo ragguardevole successo a un concerto dove Rimskij diresse La distruzione di Sennacherib. Rimskij-Korsakov, che pure gli era amico, lo considerava troppo rozzo nell'orchestrazione e lacunoso nella tecnica di base. Il Boris originale - nelle due versioni del e del - fu un'autentica rivelazione: quelle che in precedenza erano state considerate inesattezze o addirittura errori si rivelarono come geniali anticipazioni di conquiste molto recenti, comprese quelle parti che Rimskij-Korsakov aveva ritenute rozze e armonicamente incoerenti e che aveva addolcite e ovattate.

Altri progetti. Indice sposta nella barra laterale nascondi.