Modest Petrovich Mussorgsky 1839 1839

Life story Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsk district, on the estate of his father, a poor landowner Pyotr Alekseevich. He spent his childhood in the Pskov region, in the wilderness, among forests and lakes. He was the youngest, fourth son in the family. The two eldest died one after another in infancy. All the tenderness of the mother, Yulia Ivanovna, was given to the remaining two, and especially to him, the youngest, 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. Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsk district, on the estate of his father, the poor landowner Pyotr Alekseevich. He spent his childhood in the Pskov region, in the wilderness, among forests and lakes. He was the youngest, fourth son in the family. The two eldest died one after another in infancy. All the tenderness of the mother, Yulia Ivanovna, was given to the remaining two, and especially to him, the youngest, 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 predetermined. At the age of ten, he and his older brother came to St. Petersburg. Here he was supposed to enter a privileged military school School of Guards Ensigns. But Mussorgsky's future was predetermined. At the age of ten, he and his older brother came to St. Petersburg. Here he was supposed to enter the 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 onerous. But unexpectedly for everyone, Mussorgsky resigns and turns away from the path he had so successfully begun. After graduating from the School, Mussorgsky was assigned to the Preobrazhensky Guards Regiment. Modest was seventeen years old. His duties were not onerous. But unexpectedly for everyone, Mussorgsky resigns and turns away from the path he had so successfully begun. Not long before, one of the fellow Preobrazhenskys, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with his free improvisations. Dargomyzhsky highly appreciated his outstanding musical abilities and introduced him to Balakirev and Cui. This is how it began for young musician a new life in which Balakirev and the circle took the main place “ Mighty bunch" Not long before, one of the fellow Preobrazhenskys, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with his free improvisations. Dargomyzhsky highly appreciated his extraordinary 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 took the main place.

Creative activity Mussorgsky's creative activity began vigorously. Each work opened up new horizons, even if it was not completed. Thus, the operas Oedipus Rex and Salammbo remained unfinished, where for the first time the composer tried to embody the most complex intertwining of the destinies of the people and a strong, powerful personality. Mussorgsky's creative activity began vigorously. Each work opened up new horizons, even if it was not completed. Thus, the operas Oedipus Rex and Salammbo remained unfinished, where for the first time the composer tried to embody the most complex intertwining of the destinies of the people and a strong, powerful personality. An extremely important role for Mussorgsky’s work was played by the unfinished opera Marriage (Act 1, 1868), in which he used the almost unchanged text of N. Gogol’s play, setting himself the task of musically reproducing human speech in all its subtlest bends. Fascinated by the idea of ​​software, Mussorgsky creates a series symphonic works, among which is Night on Bald Mountain (1867). An extremely important role for Mussorgsky’s work was played by the unfinished opera Marriage (Act 1, 1868), in which he used the almost unchanged text of N. Gogol’s play, setting himself the task of musically reproducing human speech in all its subtlest bends. Fascinated by the idea of ​​programming, Mussorgsky created a number of symphonic works, including Night on Bald Mountain (1867). But the brightest artistic discoveries were implemented in the 60s. V vocal music. Songs appeared where, for the first time in music, a gallery of folk types, humiliated and insulted people appeared: Kalistrat, Gopak, Svetik Savishna, Lullaby to Eremushka, Orphan, Po Mushrooms. Mussorgsky’s ability to accurately and accurately recreate living nature in music, reproduce vividly characteristic speech, and give the plot stage visibility is amazing. And most importantly, the songs are imbued with such a force of compassion for a disadvantaged person that in each of them an ordinary fact rises to the level of tragic generalization, to socially accusatory pathos. It is no coincidence that the song Seminarist was banned by censorship! But the most striking artistic discoveries were made in the 60s. in vocal music. Songs appeared where, for the first time in music, a gallery of folk types, humiliated and insulted people appeared: Kalistrat, Gopak, Svetik Savishna, Lullaby to Eremushka, Orphan, Po Mushrooms. Mussorgsky’s ability to accurately and accurately recreate living nature in music, reproduce vividly characteristic speech, and give the plot stage visibility is amazing. And most importantly, the songs are imbued with such a force of compassion for a disadvantaged person that in each of them an ordinary fact rises to the level of tragic generalization, to socially accusatory pathos. It is no coincidence that the song Seminarist was banned by censorship!

The pinnacle of Mussorgsky's creativity in the 60s. became the opera Boris Godunov. The democratically minded public greeted Mussorgsky's new work with true enthusiasm. The pinnacle of Mussorgsky's creativity in the 60s. became the opera Boris Godunov. The democratically minded public greeted Mussorgsky's new work with true enthusiasm. However, the further fate of the opera was difficult, because this work most decisively destroyed the usual ideas about an 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 revelation of passions and characters, and the psychological complexity of the image of the child-killer king. However, the further fate of the opera was difficult, because this work most decisively destroyed the usual ideas about an 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 revelation of passions and characters, and the psychological complexity of the image of the child-killer king.

Work on Khovanshchina was difficult - Mussorgsky turned to material that went far beyond the scope of opera performance. At this time, Mussorgsky was deeply affected by the collapse of the Balakirev circle, the cooling of relations with Cui and Rimsky-Korsakov, and Balakirev’s withdrawal from musical and social activities. However, despite everything, the creative power of the composer during this period amazes with the strength and richness of artistic ideas. In parallel with the tragic Khovanshchina, since 1875, Mussorgsky has been working on the comic opera Sorochinskaya Fair (based on Gogol). In the summer of 1874, he created one of the outstanding works of piano literature - the cycle Pictures at an Exhibition, dedicated to Stasov, to whom Mussorgsky was eternally grateful for his participation and support. Work on Khovanshchina was difficult - Mussorgsky turned to material that went far beyond the scope of the opera performance. At this time, Mussorgsky was deeply affected by the collapse of the Balakirev circle, the cooling of relations with Cui and Rimsky-Korsakov, and Balakirev’s withdrawal from musical and social activities. However, despite everything, the creative power of the composer during this period amazes with the strength and richness of artistic ideas. In parallel with the tragic Khovanshchina, since 1875, Mussorgsky has been working on the comic opera Sorochinskaya Fair (based on Gogol). In the summer of 1874, he created one of the outstanding works of piano literature - the cycle Pictures at an Exhibition, dedicated to Stasov, to whom Mussorgsky was eternally grateful for his participation and support.

The idea to write the series Pictures at an Exhibition arose under the influence of the posthumous exhibition of works by the artist W. Hartmann in February 1874. He was a close friend of Mussorgsky, and his sudden death deeply shocked the composer. The work proceeded rapidly, intensely: Sounds and thoughts hung in the air, I swallowed and overeat, barely having time to scratch on the paper. And in parallel, one after another, 3 appear vocal cycle: Children's (1872, based on his own poems), Without the Sun (1874) and Songs and Dances of Death (both on the station by A. Golenishchev-Kutuzov). They become the end result of everything chamber-vocal creativity composer. The idea to write the series Pictures at an Exhibition arose under the influence of the posthumous exhibition of works by the artist W. Hartmann in February 1874. He was a close friend of Mussorgsky, and his sudden death deeply shocked the composer. The work proceeded rapidly, intensely: Sounds and thoughts hung in the air, I swallowed and overeat, barely having time to scratch on the paper. And in parallel, one after another, 3 vocal cycles appear: Children’s (1872, based on his own poems), Without the Sun (1874) and Songs and Dances of Death (both on the station by A. Golenishchev-Kutuzov). They become the result of the composer’s entire chamber and vocal work.

Seriously ill, severely suffering from poverty, loneliness, lack of recognition, Mussorgsky stubbornly insists that he will fight to the last drop of blood. Shortly before his death, in the summer of 1879, he, together with the singer D. Leonova, made a large concert tour in the south of Russia and Ukraine, performed the music of Glinka, the Kuchkists, Schubert, Chopin, Liszt, Schumann, excerpts from his opera Sorochinskaya Fair and wrote significant words: Towards a new musical work, broad musical work life is calling... to new shores of boundless art! Seriously ill, severely suffering from poverty, loneliness, lack of recognition, Mussorgsky stubbornly insists that he will fight to the last drop of blood. Shortly before his death, in the summer of 1879, together with the singer D. Leonova, he made a large concert tour in the south of Russia and Ukraine, performed the music of Glinka, the Kuchkists, Schubert, Chopin, Liszt, Schumann, excerpts from his opera Sorochinskaya Fair and wrote significant words: Life calls to new musical work, broad musical work... to new shores of the still boundless art!

Fate decreed otherwise. Mussorgsky's health deteriorated sharply. In February 1881 there was a shock. Mussorgsky was placed in the Nikolaev Military Ground Hospital, where he died without having time to complete the Khovanshchina and the Sorochinsky Fair. Fate decreed otherwise. Mussorgsky's health deteriorated sharply. In February 1881 there was a shock. Mussorgsky was placed in the Nikolaev Military Ground Hospital, where he died without having time to complete the Khovanshchina and the Sorochinsky Fair. The entire archive of the composer after his death came to Rimsky-Korsakov. He finished Khovanshchina, carried out a new edition of Boris Godunov and achieved their production on the imperial opera stage. The Sorochinsky fair was completed by A. Lyadov. After his death, the entire composer’s archive went to Rimsky-Korsakov. He finished Khovanshchina, carried out a new edition of Boris Godunov and achieved their production on the imperial opera stage. The Sorochinsky fair was completed by A. Lyadov.

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Modest Petrovich Mussorgsky (1839-1881) – Russian composer, author famous operas on topics of Russian history was born on March 9, 1839 in the Pskov province. Balakirev’s musical circle had a huge influence on Mussorgsky’s artistic development, revealing to him his true calling and forcing him to pay more serious attention to his musical studies. Under the guidance of Balakirev, Mussorgsky read orchestral scores, became familiar with the analysis of musical works and their critical assessment. Mussorgsky's fame came from the opera "Boris Godunov", staged at the Mariinsky Theater in St. Petersburg in 1874 and recognized in some musical circles as an exemplary work. Mussorgsky M.P.

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From February to March 1874, a posthumous exhibition of about 400 works by the architect and designer Vladimir Aleksandrovich Hartmann, created over 15 years of drawings, watercolors, architectural projects, sketches, was held at the Imperial Academy of Arts theatrical scenery and costumes, sketches of artistic products. Mussorgsky's visit to the exhibition served as an impetus for the creation of a musical “walk” through an imaginary exhibition gallery. The result was a series of musical paintings that only partially resemble the works they had seen; Basically, the plays were the result of the free flight of the composer’s awakened imagination. As the basis for the “exhibition,” Mussorgsky took Hartmann’s “foreign” drawings, as well as two of his sketches on Russian themes.

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The idea to create a piano suite arose during the exhibition, and a month later some “pictures” from the future cycle were improvised by the author. The entire cycle was written on a creative surge in just three weeks from June 2 to June 22, 1874. Mussorgsky put the words “For print” on the manuscript, but during his lifetime “Pictures” were not published or performed, although they received approval from the “Mighty Handful.” Recognition by the general public came only after the famous French composer Maris Ravel created his famous orchestration in 1922, and its first recording was released in 1930.

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Mussorgsky, according to contemporaries, was a wonderful pianist, he literally captivated listeners when he sat down at the instrument, and could portray anything. However instrumental music He composed relatively little; he was most attracted to opera. Operatic thinking has penetrated into “Pictures”, and they are perceived as a musical “one-man theater”. The author gave titles to the plays in one language or another depending on the topic; For each play there are also established Russian names. Let us now dwell in a little more detail on some of Mussorgsky's plays.

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Walk It is reminiscent of Russian folk chants: the melody begins with one voice (“the lead singer”) and is picked up by the “chorus.” In this theme, Mussorgsky simultaneously depicted himself, moving from painting to painting. The gnome was drawn on Hartmann's sketch Christmas tree decoration, depicting a nutcracker (“nutcracker”) in the form of a dwarf on crooked legs. Mussorgsky's initially motionless figure of a gnome comes to life. The dynamic piece conveys the antics of a sneaking gnome with broken rhythms and turns of the melody; the listener “watches” how he runs from place to place and freezes.

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The play is based on a watercolor by Hartmann painted while he was studying architecture in Italy. The drawing depicted an ancient castle, against which a troubadour was drawn. Mussorgsky has a beautiful drawn-out melancholy melody. Old castle

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Tuileries Garden Children's quarrel after playing The drawing depicted an alley in the garden of the Parisian Tuileries Palace “with many children and nannies.” This short play completely different in character from the previous one. A sunny melody sounds, the rhythm of which is reminiscent of children's counting rhymes and teasers.

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Ballet of Unhatched Chicks The prototype for the play was Hartmann's sketches for ballet costumes. The combination of a frivolous theme with strict adherence to the classical form creates an additional comic effect.

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Modest Petrovich Mussorgsky

Life story

Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsk district, on the estate of his father, the poor landowner Pyotr Alekseevich. He spent his childhood in the Pskov region, in the wilderness, among forests and lakes. He was the youngest, fourth son in the family. The two eldest died one after another in infancy. All the tenderness of the mother, Yulia Ivanovna, was given to the remaining two, and especially to him, the youngest, 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 predetermined. 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 onerous. But unexpectedly for everyone, Mussorgsky resigns and turns away from the path he had so successfully begun.

Not long before, one of the fellow Preobrazhenskys, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with his free improvisations. Dargomyzhsky highly appreciated his extraordinary 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 took the main place.

Creative activity

• Mussorgsky's creative activity began vigorously. Each work opened up new horizons, even if it was not completed. Thus, the operas Oedipus Rex and Salammbo remained unfinished, where for the first time the composer tried to embody the most complex intertwining of the destinies of the people and a strong, powerful personality.

An extremely important role for Mussorgsky’s work was played by the unfinished opera Marriage (Act 1, 1868), in which he used the almost unchanged text of N. Gogol’s play, setting himself the task of musically reproducing human speech in all its subtlest bends. Fascinated by the idea of ​​programming, Mussorgsky creates a number of symphonic works, among which is Night on Bald Mountain (1867).

But the most striking artistic discoveries were made in the 60s. in vocal music. Songs appeared where, for the first time in music, a gallery of folk types, humiliated and insulted people appeared: Kalistrat, Gopak, Svetik Savishna, Lullaby to Eremushka, Orphan, Po Mushrooms. Mussorgsky’s ability to accurately and accurately recreate living nature in music, reproduce vividly characteristic speech, and give the plot stage visibility is amazing. And most importantly, the songs are imbued with such a force of compassion for a disadvantaged person that in each of them an ordinary fact rises to the level of tragic generalization, to socially accusatory pathos. It is no coincidence that the song Seminarist was banned by censorship!

• The pinnacle of Mussorgsky's creativity in the 60s. became the opera Boris Godunov. The democratically minded public greeted Mussorgsky's new work with true enthusiasm.

Work on Khovanshchina was difficult - Mussorgsky turned to material that went far beyond the scope of the opera performance. At this time, Mussorgsky was deeply affected by the collapse of the Balakirev circle, the cooling of relations with Cui and Rimsky-Korsakov, and Balakirev’s withdrawal from musical and social activities. However, despite everything, the creative power of the composer during this period amazes with the strength and richness of artistic ideas. In parallel with the tragic Khovanshchina, since 1875, Mussorgsky has been working on the comic opera Sorochinskaya Fair (based on Gogol). In the summer of 1874, he created one of the outstanding works of piano literature - the cycle Pictures at an Exhibition, dedicated to Stasov, to whom Mussorgsky was eternally grateful for his participation and support.

The idea to write the series Pictures at an Exhibition arose under the influence of the posthumous exhibition of works by the artist W. Hartmann in February 1874. He was a close friend of Mussorgsky, and his sudden death deeply shocked the composer. The work proceeded rapidly, intensely: Sounds and thoughts hung in the air, I swallowed and overeat, barely having time to scratch on the paper. And in parallel, one after another, 3 vocal cycles appear: Children's (1872, based on his own poems), Without the Sun (1874) and Songs and Dances of Death (1875-77 - both at the station of A. Golenishchev-Kutuzov). They become the result of the composer’s entire chamber and vocal work.

Seriously ill, severely suffering from poverty, loneliness, lack of recognition, Mussorgsky stubbornly insists that he will fight to the last drop of blood. Shortly before his death, in the summer of 1879, together with the singer D. Leonova, he made a large concert tour in the south of Russia and Ukraine, performed the music of Glinka, the Kuchkists, Schubert, Chopin, Liszt, Schumann, excerpts from his opera Sorochinskaya Fair and wrote significant words: Life calls to new musical work, broad musical work... to new shores of the still boundless art!

• Fate decreed otherwise. Mussorgsky's health deteriorated sharply. In February 1881 there was a shock. Mussorgsky was placed in the Nikolaev Military Ground Hospital, where he died without having time to complete the Khovanshchina and the Sorochinsky Fair.

• After his death, the entire composer’s archive went to Rimsky-Korsakov. He finished Khovanshchina, carried out a new edition of Boris Godunov and achieved their production on the imperial opera stage. The Sorochinsky fair was completed by A. Lyadov.