Presentation on the topic Musorgsky Modest Petrovich. The life path of M. Mussorgsky (presentation). What distinguished his work of this time
Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsky district, on the estate of his father, a poor landowner Peter Alekseevich. He spent his childhood in the Pskov region, in the wilderness, among forests and lakes. He was the youngest, the fourth son in the family. The two elders died one after the other in infancy. All the tenderness of the mother, Yulia Ivanovna, was given to the two remaining, and especially to him, the favorite, the smaller, Modinka. It was she who first began to teach him to play the old piano that stood in the hall of their wooden manor house. But Mussorgsky's future was sealed. At the age of ten, he and his older brother came to St. Petersburg. Here he was supposed to enter a privileged military school - the School of Guards Ensigns. After graduating from the School, Mussorgsky was assigned to the Preobrazhensky Guards Regiment. Modest was seventeen years old. His duties were not burdensome. But unexpectedly for everyone, Mussorgsky resigns and turns off the path that was so successfully begun. Shortly before that, one of the fellow Transfigurators, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with free improvisations. Dargomyzhsky highly appreciated his outstanding musical abilities and introduced him to Balakirev and Cui. Thus began a new life for the young musician, in which Balakirev and the Mighty Handful circle occupied the main place.
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The subtlest features of human nature and human masses, importunate picking in these
little-known countries and conquering them - this is the real vocation of the artist.
From a letter from M. Mussorgsky to V. Stasov
Modest Petrovich Mussorgsky (slide 1) is one of the most daring innovators of the 19th century, a brilliant composer who anticipated the art of the 20th century and had a huge impact on the development of Russian and European musical art.
His aesthetic views were formed under the influence of democratic and people's liberation ideas of the 60s - a time of high spiritual upsurge and acute social conflicts. The composer saw the purpose of his art in a true reflection of the life of the people, in the psychological authenticity of images, in love and compassion for disadvantaged people, which brought his music closer to many works of modern literature and painting. He embodied his main creative principle - "life, no matter where it is said, the truth, no matter how salty" - he embodied in various compositions.
Opera and chamber vocal music have always been the main genres for Mussorgsky. It was in them that the composer was constantly looking for new means of musical expression. Boldly experimenting, he came to the synthesis of Russian peasant song and characteristic declamation, which absorbed the lively intonations of colloquial speech, and his innovative harmonies, timbre richness, free play of tonalities anticipated many discoveries of Russian and European composers of the 20th century.
Modest Petrovich Mussorgsky (slide 2) was born on March 9, 1839 in the village of Karevo, Pskov province, on the estate of his father, Pyotr Alekseevich, a poor landowner, a representative of the old noble family of Rurikovich. The first ten years of his life passed in the picturesque estate. The beauty and poetry of nature, the simple and unhurried rural life of an old Russian family, peasant labor, folk customs and holidays, songs and legends left a deep imprint on the soul of the future composer. Subsequently, he recalled that, under the direct influence of his nanny, he became acquainted with Russian fairy tales very early.
He was the youngest, the fourth son in the family. The two elders died one after the other in infancy, and Modest was brought up with his brother Philaret. All the tenderness of the mother, Yulia Ivanovna, a kind and gentle woman, was given to the two remaining, and especially to him, the younger favorite, Modinka. It was she who first began to teach him to play the old piano that stood in the hall of their wooden manor house. Under her guidance, the boy made great strides in playing the piano. Already at the age of seven, he played small compositions by Liszt, and at the age of 9 (slide 3) he performed a large concerto by J. Field. On that memorable evening, Mussorgsky's parents heard many enthusiastic compliments from the invitees about the unconditional talent of the boy. We can say that this children's performance predetermined the further biography of Mussorgsky. At the family council, it was decided to make every effort to develop the creative inclinations of Modest. But no one expected that the boy would become a musician. He was preparing a different fate. All the Mussorgskys, who came from a noble family, served in the military, with the exception of the composer's father.
Until 1849, Modest was educated at home, and then (slide 4), together with his brother, he entered the Peter and Paul School in St. Petersburg, which was known for its thoughtful humanitarian program. Here, among other things, he studied German and Latin, and also became seriously interested in literature. His music teacher was the famous St. Petersburg pianist and teacher, a student of the famous John Field Anton Gerke (slide 5). In 1852, with the assistance of a teacher, Mussorgsky's first piano work, the Pole Ensign, was published.
Without graduating from college, the future composer entered (slide 6) at the St. Petersburg School of Guards Ensigns (1852–1856). The spirit of military drill reigned in the school, and the desire for knowledge and work was not particularly welcomed. The spiritual maturation of Mussorgsky in this situation was very contradictory. An inner craving for serious development prompted him to study foreign languages, history, literature, art, take piano lessons, attend opera performances, despite the displeasure of the military authorities. On the one hand, he excelled in the military sciences, for which he was awarded the especially kind attention of the emperor; his skillful playing and improvisation on the piano, as well as singing arias from fashionable Italian operas, attracted everyone's attention and were loved by his comrades. On the other hand, he was a welcome participant in parties with card games, where he played polkas and quadrilles all night long.
After graduating from school in 1856 (slide 7), Mussorgsky was enlisted as an officer in the Life Guards Preobrazhensky Regiment; a brilliant military career opened before him. Then, in 1856, Mussorgsky met A.P. Borodin, who became his close friend.
In the winter of 1857, another important event took place in Mussorgsky's life: he was invited (slide 8) to an evening at A.S. Dargomyzhsky. The owner himself, the atmosphere of the musical meeting, the works of Glinka and Dargomyzhsky played there made an indelible impression on the young musician. He began to visit Dargomyzhsky often, who fell in love with a gifted young man. Under the influence of new Russian music for him, Mussorgsky composes his first romance “Where are you, little star?” (to the words of N. Grekov) in the nature of a Russian drawling song. In the house of Dargomyzhsky in the same year, he met (slide 9) with his future musical friends and associates - Ts. A. Kui and M.A. Balakirev, and art critic V.V. Stasov. Soon Mussorgsky became a member of the Mighty Handful.
Although Balakirev was only twenty years old, he was already a recognized musician - a composer, a concert pianist. Balakirev had the right taste, critical flair and immediately recognized Mussorgsky as an outstanding talent. He began to study composition with him, play together the works of Beethoven, Schubert, Schumann, Berlioz, Liszt and, using their example, explain the features of form, orchestration, texture. Modest Petrovich eagerly studied the work of classical and contemporary authors, attended concerts and performances. He awakened a thirst for creativity, a desire for improvement in the art of music, which became the goal of his life. Mussorgsky reached out to Balakirev from the first meetings. He began to show him his first experiments, despite the fact that Balakirev was harsh and merciless in criticism. He dreamed that Balakirev would give him composition lessons, and he agreed. Young Mussorgsky, musically gifted, but poorly educated, classes with Balakirev, of course, brought great benefits. Sometimes Caesar Antonovich Cui came to music lessons with him, V.V. often visited there. Stasov.
The young officer in the company of Stasov and Balakirev felt like an ignoramus. Coming home, he was in a hurry to “catch up” with them - he spent the whole night sitting over books. And during the day - reviews, divorces, stupid army life. I was drawn to music, books, I wanted to see my friends, but neither the strength nor the time was enough. And then the decision came - to leave the service. Friends were alarmed - is it worth the risk when the musician's career is so bleak and shaky? But the young man was firm in his decision. The result of the struggle between a passionate craving for creativity and the inability to combine his true vocation with military service is a letter of resignation, which took place in the summer of 1858. Music called him.
He started with romances, small orchestral pieces. Whatever he wrote, he saw living people, scenes from folk life, funny, sad, sometimes bitter to tears.
Mussorgsky begins work on music for the tragedy of the ancient playwright Sophocles
After retiring, Mussorgsky seriously reflects on the structure of his fate, does a lot of self-education, studies Russian and European literature, as well as the works of Glinka, Mozart, Beethoven and contemporary composers. He is interested in a variety of problems - philosophical and religious, as well as questions of psychology and even natural science, geology.
Distinguished Mussorgsky and democratic views and actions. This was especially evident after the peasant reform of 1861. For two years after the liberation of the peasants, he was forced to participate in the management of the family estate. In order to save his serfs from redemption payments, Modest Petrovich renounced his share of the inheritance in favor of his brother (slide 10). Due to financial difficulties, he has to constantly work in the public service: in the Main Engineering Directorate, the Forestry Department of the Ministry of State Property, the Ministry of Internal Affairs, the Audit Commission of the State Control. He also made money by performing.
He was fascinated by the ideas of the Russian People's Democrats. At one time (slide 11), Mussorgsky lived in a "commune", of which many appeared among the progressive intelligentsia of the sixties after the publication in 1863 of Chernyshevsky's novel What Is to Be Done? V.V. Stasov, in a biographical sketch of Mussorgsky at that time, said: “... In the autumn of 1863, returning from the village, he settled, together with several young comrades, in a common apartment, which they jokingly called the “commune”, perhaps out of imitation of that the theory of living together, which was preached by the then-famous novel “What is to be done?”. Each of the comrades had his own separate room ... and there was one large common room, where everyone gathered in the evenings, when they were free from their studies, to read, listen to reading, talk, argue, and finally, just talk or listen Mussorgsky playing the piano or singing romances and excerpts from operas. There were many such small comradely "cohabitations" then in St. Petersburg, and perhaps in the rest of Russia. All the comrades in this circle were six ... All of these were very intelligent and educated people; each of them was engaged in some favorite scientific or artistic work, despite the fact that many of them were in the service of the senate or ministries; none of them wanted to be intellectually idle, and each looked with contempt at that life of sybarism, emptiness and doing nothing, which until then the majority of Russian youth had been leading for so long.
Soon, the period of accumulation of knowledge was replaced by a period of active creative activity. The composer decided to write an opera in which his passion for large folk scenes and for depicting a strong-willed personality would be embodied. Mussorgsky's creative activity proceeded stormily. The work went feverishly, each work opened up new horizons, even if it was not brought to the end. So the operas “Oedipus Rex” (Sophocles) remained unfinished (slide 12) and “Salambo” (Flaubert), where for the first time the composer tried to embody the most complex interweaving of the destinies of the people and a strong imperious personality.
In the early 1860s, Mussorgsky often and for a long time lived in the countryside, taking care of the affairs of the estate, which was upset after the death of his father. It was during these years that he, peering intently into the difficult, bitter life of the peasants, noticed in them the peculiarities of character, natural intelligence and talent. It strengthened faith in the wisdom of the people, their steadfastness and kindness, the will to fight against evil and injustice. These observations, the comprehension of peasant images, listening to the intonations of folk speech and songs were then embodied in the best works: “I notice typical women and typical men - both of them can come in handy. And what juicy, glorious ones." Mussorgsky expressed these impressions in the romances of the 60s, (slide 13) in which the most striking artistic discoveries were made: "Svetik Savishna" - which, according to Stasov, is a sketch from nature, "Lullaby of Eremushki" (words by N. Nekrasov), "Gopak" (lyrics by T. Shevchenko), "Seminarian", "Orphan", "Mischievous" (lyrics by M. Mussorgsky). All of them are original “folk pictures”, imbued with compassion for disadvantaged people. Mussorgsky's ability to aptly and accurately recreate living nature in music (“I'll notice some peoples, and then, on occasion, I will emboss them”), to reproduce a vividly characteristic speech, to give the plot visibility on the stage, is amazing. And most importantly, the songs are imbued with such a power of compassion for the destitute person that in each of them an ordinary fact rises to the level of a tragic generalization, to a socially accusatory pathos. It is no coincidence that the song “Seminarian” was banned by censors!
An exceptionally important role for Mussorgsky's work was played (slide 14) by the unfinished opera "The Marriage" (act 1, 1868). In it, under the influence of Dargomyzhsky's opera “ Stone guest” he used the almost unchanged text of N. Gogol's play. The composer set himself the task of musical reproduction of “human speech in all its subtlest bends." The originality of the idea and the boldness of the experiment in creating “musical prose” made “Marriage” a kind of creative laboratory in which the search for “musical truth” was going on and expressive means for “Boris Godunov” and “Khovanshchina” were honed. In the words of the author, having begun the composition of "The Marriage", he planted himself in a "cage of experience". After the end of the first act, the experience ended, enriching the composer with new facets of skill.
The pinnacle of Mussorgsky's work in the 60s. became (slide 15) opera “ Boris Godunov "(on the plot of the drama by A. Pushkin). Mussorgsky began writing it in 1868 and in the summer of 1870 presented the first edition (without the Polish act) to the directorate of the imperial theaters, which rejected the opera, allegedly due to the lack of a female part and the complexity of the recitatives. “The novelty and extraordinary nature of music,” Rimsky-Korsakov recalled in The Chronicle of My Musical Life, “has baffled the venerable committee.” Disappointed and offended, Mussorgsky took his score back, but, on reflection, he decided to subject it to thorough alterations and additions. After revision (one of the results of which was the famous scene near Kromy), in 1873, with the assistance of the singer Y. Platonova, 3 scenes from the opera were staged, and on February 8, 1874, the entire opera (though with large cuts).
All innovations (slide 16) of Mussorgsky met with the warm approval of his comrades - members of the "Mighty Handful". At this time, the composer had the closest relationship (slide 17) with Rimsky-Korsakov - they even lived together for some time: “Our life with Modest,” recalled Rimsky-Korsakov, “was, I believe, the only example of the joint life of two composers. How could we not interfere with each other? That's how. From morning until 12 o'clock Mussorgsky used the piano, and I either rewrote or orchestrated something that had already been fully considered. By 12 o'clock he left for the service in the ministry, and I used the piano. In the evenings, things happened by mutual agreement ... This autumn and winter, we both worked out a lot, constantly exchanging thoughts and intentions.
The support of friends, among whom were (slide 18) and outstanding opera artists - D. Leonova, Yu. Platonova, F. Komissarzhevsky, G. Kondratiev, helped the composer survive the heavy blow of the theater committee's secondary refusal, and then achieve the production of "Boris Godunov" on stage “The Mariinsky Theater - at first only three scenes, and on January 27, 1874 - the entire opera.
The premiere (slide 19) was a great success, according to V. V. Stasov, “it was Mussorgsky’s great triumph.” However, the further fate of the opera was difficult, because this work most decisively destroyed the usual ideas about the opera performance. Everything here was new: the acutely social idea of the irreconcilability of the interests of the people and the royal power, and the depth of the disclosure of passions and characters, and the psychological complexity of the image of the child-killing king. The musical language turned out to be unusual, about which Mussorgsky himself wrote: “Working on the human dialect, I got to the melody created by this dialect, got to the embodiment of recitative in melody.”
The hostility of criticism contrasted with the enthusiasm of the public: Mussorgsky's work was so innovative, so much destroyed the usual ideas about opera and stood out with an unusual musical language, that reviewers reproached the author for ignorance, striving for "originalism", lack of melody, monotony of recitatives, distortion of Pushkin and others " sins."
During the years of work on "Boris Godunov" (1868-1872), the composer became close and really made friends with V. V. Stasov, he often visited his St. Petersburg apartment and in the summer at the dacha. He had sincere love (slide 20) for Stasov's younger brother, Dmitry Vasilyevich, and his children, who responded to “Musoryanin” with delight and adoration.
Warm and tender attitude towards them, towards the poetic world of their feelings, sorrows and joys, Mussorgsky expressed in the vocal cycle "Children's". Friendship with V.V. Stasov meant a lot to him: the composer was in dire need of support and cordiality, since Mussorgsky did not have his own family, and his fellow composers gradually moved away from each other.
Even during the period of work on "Boris Godunov" Mussorgsky hatches the idea " Khovanshchina" (slide 21) and soon begins to collect materials. All this was carried out with the active participation of V. Stasov, who in the 70s. became close to Mussorgsky and was one of the few who truly understood the seriousness of the composer's creative intentions. V. V. Stasov became the inspiration and closest assistant to Mussorgsky in the creation of this opera, on which he worked from 1872 until almost the end of his life. “I dedicate to you the entire period of my life when the Khovanshchina will be created ... you gave it a start,” Mussorgsky wrote to Stasov on July 15, 1872.
The composer was again attracted by the fate of the Russian people at a turning point in Russian history. The rebellious events of the end of the 17th century, the sharp struggle between the old boyar Rus' and the new young Russia of Peter I, the riots of archers and the movement of schismatics gave Mussorgsky the opportunity to create a new folk musical drama. The author dedicated “Khovanshchina” to V. V. Stasov.
Work on " Khovanshchina ” proceeded difficult - Mussorgsky turned to material far beyond the scope of an opera performance. However, he wrote intensively (“ Work is in full swing!”), albeit with long interruptions for a variety of reasons. At this time, Mussorgsky was going through the disintegration of the Balakirev circle, the cooling of relations with Cui and Rimsky-Korsakov, Balakirev's departure from musical and social activities. He felt that each of them had become an independent artist and had already gone his own way. The bureaucratic service left only evening and night hours for composing music, and this led to severe overwork and more and more prolonged depressions. However, in spite of everything, the composer's creative power during this period is striking in its strength and richness of artistic ideas.
In the summer of 1874, he created one of the outstanding works of piano literature - (slide 22) the cycle “Pictures from an Exhibition ” dedicated to Stasov, to whom Mussorgsky was infinitely grateful for his participation and support: “ No one hotter than you warmed me in all respects ... no one showed me the path-path more clearly ...
The idea to write a piano cycle came under the impression (slide 23) of the posthumous exhibition of works by the artist V. Hartmann in February 1874. He was a close friend of Mussorgsky, and his sudden death deeply shocked the composer. The work arose as a warm response and proceeded rapidly, intensively (only 3 weeks): “Sounds and thoughts hung in the air, I swallow and overeat, barely managing to scratch on paper.” The suite consists of ten pieces, the prototype of which was (slide 24) various works of Hartmann: his watercolors (“Catacombs”), drawings (“Hut on chicken legs”), architectural projects (“Heroic Gates”), sketches of toys (“Gnome” ) and costumes for a ballet performance (“The Ballet of Unhatched Chicks”), and finally, pictorial portraits (“Two Jews - rich and poor”) and genre sketches (“Tuileries Garden”). But the pieces in the suite are not just musical illustrations, but free fantasies of the composer's creative thought. They are interconnected by the constant return of the initial theme of the work - “Walks”, which has become a kind of self-portrait of the author himself, moving from one exhibit to another. In Pictures at an Exhibition, all facets of Mussorgsky's brilliant pianism were fully embodied - from spectacular virtuoso figurativeness and timbre brilliance to exquisite sound writing of psychological characteristics (Already in the 20th century, the French composer Maurice Ravel, conquered by the beauty and richness of expressive means of Pictures, made a brilliant suite orchestration).
In parallel with the tragic “Khovanshchina”, since 1875 Mussorgsky has been working (slide 25) on the comic opera “ Sorochinskaya Fair ” (according to Gogol). “ This is good as an economy of creative forces, - wrote Mussorgsky. - Two pudoviki: "Boris" and "Khovanshchina" nearby can crush” ... In subsequent years, the composer from time to time composed separate scenes for her, but the opera remained unfinished.
Another, but already vocal (slide 26) “picture from an exhibition”, the dramatic ballad “Forgotten” - Mussorgsky wrote under the impression of the painting of the same name by V. Vereshchagin to the text by A. Golenishchev-Kutuzov. Composer and poet became friends. As a result of their creative union, the vocal cycles “Without the Sun” and “Songs and Dances of Death” also appeared, reflecting the difficult state of mind of Mussorgsky. If the cycle “Without the Sun” became a lyrical confession of the composer, imbued with deep melancholy and loneliness! then “Songs and Dances of Death” was one of the most tragic works. The vocal cycles "Without the Sun" (1874) and "Songs and Dances of Death" (1875-77) - become the result of the composer's entire chamber-vocal work.
In the last years of his life, Mussorgsky continued to distance himself from his Kuchkist comrades. He was very upset by the cooling of friendship with them, only with Borodin did he maintain warm and cordial relations. Seriously ill, severely suffering from want, loneliness, and non-recognition, Mussorgsky stubbornly insists that "he will fight to the last drop of his blood."
Shortly before his death, in the summer of 1879, he makes (slide 27), together with the famous singer D. Leonova, as an accompanist, a big concert trip to the south of Russia and Ukraine. The tour brought him fresh impressions and artistic success. In concerts, he also performed as a solo pianist, performing his piano pieces and transcriptions of fragments from operas. But upon returning to St. Petersburg (slide 28), life's hardships again washed over Mussorgsky. His health continued to deteriorate; in February 1881 he had a stroke. Through the efforts of Mussorgsky's friends, he was placed in the Nikolaevsky military hospital, where a month later, on March 16, 1881, he died.
After the death (slide 29) of Mussorgsky, Rimsky-Korsakov completed Khovanshchina and, wishing to return Boris Godunov to the stage, made a new edition of the opera. In the 1920s, the Russian musicologist P.A. Lamm did a great job of restoring the author's text of the opera from autographs. The last edition of “Boris Godunov”, concerning the instrumentation, belongs to D. D. Shostakovich. Shostakovich also re-edited Khovanshchina, bringing back the episodes cut by Rimsky-Korsakov, and re-arranged the opera. But it was in Rimsky-Korsakov's edition that Boris Godunov became world-famous; the great Russian singer F.I. Chaliapin. In 1917, Cui completed and orchestrated the Sorochinskaya Fair. Later, another version of the editorial was carried out by the composer V.Ya. Shebalin.
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The great Russian composer M.P. Mussorgsky was born on March 9 (21), 1839, on the estate of his parents in the small village of Karevo-Toropetsky district of the Pskov province. Here he spent his early childhood, here he repeatedly returned. The Mussorgsky family has been known in the Pskov region since ancient times. The ancestor of the family, Roman Vasilyevich Monastyrev, nicknamed Mussorg, came from the princes of Smolensk and considered himself a descendant of Rurik. He was the grandson of Andrey Yuryevich Monastyr, a Rurikovich of the sixteenth generation. However, Mussorgsky's princely dignity was lost as early as the 15th century. 175 years since the birth of the great Russian composer M. P. Mussorgsky "The time for writing at your leisure has passed: give yourself to people - that's what is needed in art now." M. Mussorgsky
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The first teacher of the future composer was his mother, Yulia Ivanovna Mussorgskaya (Chirikova), a smart and well-educated woman. Under her guidance, the boy made great strides in playing the piano. But no one expected that the boy would become a musician. He was preparing a different fate. All Mussorgskys served in the military. The impressions of childhood spent in the countryside determined the direction and nature of Mussorgsky's work. The nanny told him Russian folk tales, and he, under their impression, improvised on the piano. "Nanny," Mussorgsky wrote in his "Autobiographical Note," introduced me closely to Russian fairy tales, and sometimes I did not sleep at night because of them. They were also the main impulse for musical improvisations on the piano at a time when I still had no idea about the most elementary rules of piano playing.
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In 1856, he began serving in the Life Guards Preobrazhensky Regiment. At the same time, he took piano lessons from the pianist A. A. Gerke. Then he met A. S. Dargomyzhsky and M. A. Balakirev, with the help of whom he studied the theory of music and composition. Soon Mussorgsky became a regular participant in the meetings of the Mighty Handful musical group. In 1858 he retired with the rank of ensign to devote himself entirely to music. In 1867, the symphonic painting "Night on Bald Mountain" was painted. By 1868, Mussorgsky created romances based on poems by N. A. Nekrasov and A. N. Ostrovsky, as well as on his own texts. On the advice of the literary critic V. V. Nikolsky, the composer began work on an opera based on the plot of A. S. Pushkin’s poem “Boris Godunov” based on his own libretto.
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In 1874, the premiere of Boris Godunov took place on the stage of the Mariinsky Theater in St. Petersburg; the opera was a great success. This was the triumph of the entire "Mighty Handful", it was in this opera that Mussorgsky especially vividly embodied the main ideas of the members of the circle. The central part of Boris was a favorite in the repertoire of F.I. Chaliapin. In 1872, Mussorgsky wrote his first vocal cycle "Children's", for which he himself composed the text. In 1873, he began work on the "folk musical drama" "Khovanshchina" on the plot proposed by the critic V. V. Stasov. The opera was completed in draft form in the summer of 1880, but only after Mussorgsky's death was it finally completed and instrumented by N. A. Rimsky-Korsakov. In 1874, Mussorgsky wrote ten musical illustrations for watercolor drawings by the artist V. E. Hartman "Pictures at an Exhibition" - virtuoso pieces for piano. A year later, he began work on the vocal cycle Songs and Dances of Death (to lyrics by A. A. Golenishchev-Kutuzov), which he completed in 1877.
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In 1876, Mussorgsky conceived a new lyric-comedy opera, The Sorochinskaya Fair, based on the story of N.V. Gogol. He worked on it until the end of his life, but did not have time to finish it (the opera was completed by Ts. A. Cui). In 1879, the difficult financial situation forced Mussorgsky to re-enter the service of the Audit Commission of the State Control, where he served until his death. He died on March 28, 1881 in St. Petersburg, being in complete poverty.
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THE DEPARTMENT OF LITERATURE ON ART PRESENTS BOOKS ABOUT THE LIFE AND CREATIVITY OF THE COMPOSER
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Orlova A. “Works and days of MP Mussorgsky. Chronicle of life and creativity. - Moscow: State Musical Publishing House, 1963. - 702s.
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ORLOVA A. A. MUSSORGSKY IN PETERSBURG (SERIES "OUTSTANDING PERSONS OF LITERATURE, ART AND SCIENCE IN PETERSBURG - PETROGRAD - LENINGRAD"). L., LENIZDAT, 1974.
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Novikov N. S. At the origins of great music: Searches and finds in the homeland of M. P. Mussorgsky. - L .: Lenizdat, 1989.
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Novikov N.S. Mussorgsky's Prayer: Searches and Finds. Ed. 2nd, add. - Velikiye Luki, 2009.
Municipal budgetary educational institution additional education for children "Peter's Children's School of Arts". Presentation on the topic: "Satiric Songs by M.P. Mussorgsky" The work was completed by Anna Petrosyan, a 5th grade student of the piano department. Head: Mirkina Elena Vasilievna.
S. Petrovskoe
Tambov region.
A little about creativity.
MP Mussorgsky composed chamber vocal music throughout his life.
He created about 70 works, varied in content and form.
These are lyrics, and vivid realistic sketches from folk life - “folk pictures” and musical portraits.
Developing the traditions of Dargomyzhsky, the composer uses the genres of monologue-scene, monologue-story, ballad, dramatic song.
But Mussorgsky's comic talent was most clearly manifested in composing satirical songs.
Kalistrat
In May 1864 a kind of vocal song from peasant life is created to the words of Nekrasov "Kalistrat". Mussorgsky described it as "the first attempt at comedy" in his work. “... you are still laughing at a simpleton, but your laughter is already dissolved by bitterness,” Belinsky wrote.
In the images of the vocal play, irony, a smile shine through, the images shine with tart folk humor, the meaning is tragic. "Kalistratushka" is a song-parable about the bleak fate of the poor, told by himself with a comic that causes a bitter smile.
"Oh, you drunken grouse"
V. Nikolsky
In the autumn of 1866, Mussorgsky wrote a song-sketch "Oh, you drunken grouse!" (from the adventures of Pakhomych), in his own words. This song remained unknown for a long time and was published by Rimsky-Korsakov only in 1906. However, this song was not even intended for publication. This is a kind of "home parody". The play is dedicated to V. Nikolsky, a well-known historian, teacher and linguist in his time. The close friendship between Mussorgsky and Nikolsky played an important role in the composer's work. It was Nikolsky who suggested that Mussorgsky write an opera based on the plot of Pushkin's "Boris Godunov", and participated in the development of the musical drama plan.
Oh you drunk chick
The scene of the hectic speech of the “Pakhomych's wife”, sometimes scolding, sometimes pleading, sometimes reasoning, is conveyed in the music with extraordinary vividness. Pakhomych himself in the scene is a passive person. He marks time, not even trying to justify himself, and after waiting for the right moment, sympathetically joins his wife's lamentations, which completely infuriates her. This failed duet is incomparable in its comic display of the characters in the skit.
Seminarian
Five days after the comic scene “from the adventures of Pakhomych”, the “Seminarian” appeared (September 27, 1866) “I did this in the morning, waking up in 1966, starting only with the rhythm,” reads Mussorgsky’s inscription on the copy donated to Golenishchev- Kutuzov.
The rhythm of the scene is the impulse of figurative movement. The “whining” intonation of a punished seminarian is found in the rhythm; from the rhythm arises the seminarian’s chant-recollection of the ruddy Styosha, the priest’s daughter, and how he “had to accept temptation from a demon in the temple of God”,
For which he is now forced to hammer out hateful Latin words.
The scene is imbued with caustic sarcasm and sad irony. In the ridiculous appearance of an unlucky seminarian, the rude, but ingenuous nature of an uncouth guy peeps through.
mischievous
In December 1867, Mussorgsky wrote 3 more vocal plays "The Mischievous Man", "The Secular Fairy Tale" ("The Goat") in his own words; and “A garden blooms over the Don” to the verses by A. Koltsov.
"Mischievous" is one of those pictures where the comedy is truly tragic. The boy pursues the hunchbacked old woman, mocking her squalor.
“Oh, grandmother, oh, dear, beautiful, turn around! Straight-nosed, silver, goggle-eyed, kiss!...” The old woman beats him, he screams in pain, “Oh, don’t beat!” And teases him more and more wickedly and mercilessly. He excels in mischievous antics, and the funnier they are, the more tragic the scene sounds. The figurative development of musical speech is based on a short theme.
C. Cui said that Mussorgsky's Mischievous Man is a painful scherzo, full of strength and novelty.
"Mischievous" evoked a bitter smile of compassion from the listeners.
If “The Mischievous Man” evoked a bitter smile of compassion from the listeners, then “Goat” is a cheerful laugh. This play, called by the composer a "secular fairy tale", was written in the genre of a fable, the meaning of which is revealed in a funny allegory: a girl was walking, she met a goat - "old, dirty, bearded, scary, evil and all furry, real devil", the girl got scared and ran away alive. So she got married, the young lady met another, high-society Goat - “Old and hunchbacked, bald, angry and bearded, a real devil”, but she was not at all afraid of him - “she caressed her husband, assuring that she was true ... ".
A witty comparison of irony in the characteristics of a secular young lady and a goat, the original piano accompaniment with unflappable humor, commenting on the meaning of the fairy tale - all this led to the huge success of the fable about the goat.
White-sided chirping.
Mussorgsky composed this work on August 26, 1867, when he was in St. Petersburg. This is a vocal scherzo, in which the composer wittily combined two small poems by Pushkin: "White-flanked Chatter" and "Bells Are Ringing". The music sparkles with ingenuous humor and ingenuity.
This incredible humoresque arose, probably impromptu, in a circle of close friends of Alexandra and Nadezhda Opochinins. She is dedicated to them.
The “unprecedented bell” of a frisky magpie-chirring unexpectedly echoes the bells of a dancing gypsy songstress, “a master of fortune-telling”.
At the same time, the lyrical song "For Mushrooms" was written to the words of L. May. Dedicated to V. Nikolsky.
In the summer of 1870, a vocal pamphlet "Rayok" was written. Stasov presents this work as follows: “The story and jokes of a peasant under booths at Shrovetide, showing “honest gentlemen, a sea monster in the round glass of his house”
"Rayok" begins with a cheerful ringing of the raeshnik ("I myself" as Mussorgsky designated.)
The composer puts musical masks on his characters.
“Rayok is a folk theater of pictures, consisting of a small box with two magnifying glasses in front. Inside it, pictures are rearranged or a paper strip with home-grown images of different cities of great people and events is rewound from one rink to another. Rayoshnik moves pictures and tells sayings and jokes for each new story.
Song of Mephistopheles in Auerbach's cellar about a flea.
During the concert trip, Mussorgsky managed to engage in creativity.
In 1879 he composed the song that became famous "The Song of Mephistopheles in Auerbach's cellar about a flea", to the words of Goethe. This is the last satirical song of the composer.
