Mussorgsky Pictures at An Exhibition

 

 

Mussorgsky’s Pictures Mussorgsky’s  Pictures at an Exhibition: Exhibition: Identifying the Expressive Narrative through Comparisons with Vocal Literature

A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of

Doctor of Musical Arts

in the Keyboard Studies Division of the College-Conservatory of Music  by

Matthew G. Quick

BM, Vanderbilt University, 2007 MM, University of Cincinnati, 2009 July 2014

Committee Chair: Christopher Segall, Ph.D.

i

 

  Abstract

This document reveals connections between Mussorgsky’s Pictures Mussorgsky’s Pictures at an Exhibition and Exhibition and his vocal literature in order to provide a new n ew perspective on the expressive narrative of the piano cycle. Scholars often treat Pictures treat Pictures at an Exhibition as Exhibition as an isolated monument apart from Mussorgsky’s typical endeavors, and this insulated approach has resulted in somewhat dubious and poorly substantiated assertions about the cycle’s expr essive essive content. In order to craft a more more reliable and penetrating view of the cycle, this document incorporates evidence from Mussorgsky’s vocal works as well as Russian folk, chant, and choral cho ral music in order to clarify and challenge long-held beliefs about the work while providing new and alternative meanings for the musical text. There has yet to be a study stud y which systematically examines the relationships between  Pictures and the composer’s vocal literature. What vocal vocal music provides, however, is an intrinsically direct correlation between music and text, binding the musical devices with more concretely descriptive meaning from the composer. This relationship serves serves as a basis for identifying the expressive roles associated with specific musical textures, which can then be connected back to the piano cycle. Through exploring parallels between Pictures between Pictures and corresponding textures in vocal repertoire, this document by association reveals rev eals and validates expressive concepts in Pictures in Pictures that  that would otherwise not have textual grounding in the piano cycle alone.

ii

 

 

Copyright © 2014 Matthew G. Quick All Rights Reserved iii

 

  Acknowledgements

I would like to extend my deepest thanks than ks to those involved in making this document  possible. My advisor Christopher Segall was invaluable to this project. His patience, knowledge, and insight allowed me to solidify solidify a topic, focus focus my research, and take it to new heights heights.. I would also like to thank my readers bruce mcclung and Michael Chertock for their meticulous an and d discerning revisions. Credit should be extended to my wonderful piano teachers Eugene and Elizabeth Pridonoff, who taught me piano performance from a vocal and orchestral perspective, consequently shaping my perceptions of this this topic. Lastly, I would like to acknowledge my incredibly supportive wife wife and family. Their unwavering encouragement has kept me going through the many challenges of my scholastic career.

iv

 

  Table of Contents

cture es at at an E xhib xhi bi tion, Introduction: Mussorgsky’s Mussorgsky’s P i ctur Vocal Literature, and the Music/Text Relationship

1

Chapter 1: Youth

7

1.1 “Tuileries (Dispute d’enfants après jeux)”  jeux)”  1.2 “Ballet of the Unhatched Chicks”  Chicks” 

Chapter 2: Satire 

22

2.1 “Samuel Goldenberg und Schmuÿ l e” 2.2 “Limoges: The Market Square (The Square (The Big News)” News)” 

Chapter 3: Burden 

41

3.1 “Gnomus” “Gnomus”   3.2 “Bydło” “Bydło”  

Chapter 4: Death 

61

4.1 “Il vecchio castello”  castello”  4.2 “Catcombae” / “Con mortuis in lingua mortua”  mortua”  4.3 “The Hut on Hen’s Legs (Baba(Baba-Yaga)” Yaga)”  

Chapter 5: Transcendence  5.1 “Promenade” “Promenade”   5.2 “The Bogatyr Gate (At Gate (At Kiev, the Ancient Capital) Cap ital)”” 

95

Conclusion: Significance of Mussorgsky’s Narrative 

113

Bibliography  

115

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  List of Musical Examples

Example 1.1.1

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures 2. Exhibition, “Tuileries,” mm. 1– 2.

p. 9

Example 1.1.2

Mussorgsky, The Nursery, Nursery, “Evening Prayer,” mm. 1– 4. 4.

p. 10

Example 1.1.3

Mussorgsky, The Nursery, Nursery, “Evening Prayer,” mm. 28– 29. 29.

p. 10

Example 1.1.4

Mussorgsky, The Nursery, Nursery, “The Beetle,” mm. 1– 4. 4.

p. 11

Example 1.1.5

Mussorgsky, The Nursery, Nursery, “The Beetle,” mm. 25– 28. 28.

p. 12

Example 1.1.6

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Tuileries,” m. 13.  13. 

p. 12

Example 1.1.7

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Tuileries,” m. 26.  26. 

p. 12

Example 1.1.8

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Tuileries,” mm. 14– 15. 15.

p. 13

Example 1.1.9

Mussorgsky, The Nursery, Nursery, “The Beetle,” mm. 55– 57. 57.

p. 13

Example 1.2.1

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “Ballet of the Unhatched Chicks,” mm. Chicks,”  mm. 1 – 4 4..

 p. 17

Example 1.2.2

Mussorgsky, The Nursery, Nursery, “‘Sailor’ the Cat,” mm. 23– 24. 24.

p. 17

Example 1.2.3

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “Ballet of the Unhatched Chicks,” mm. Chicks,”  mm. 13 – 22. 22.

 p. 18

Example 1.2.4

Mussorgsky, The Nursery, Nursery, “‘Sailor’ the Cat,” mm. 39– 45. 45.

p. 19

Example 1.2.5

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Ballet of the Unhatched

 p. 20

Chicks,” mm. Chicks,”  mm. 23 – 26. 26. Example 2.1.1

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Limoges,” mm. 1– 4. 4.

p. 23

Example 2.1.2

Mussorgsky, “You Drunken Sot,” mm. 1– 6. 6.

p. 25

Example 2.1.3

Mussorgsky, “You Drunken Sot,” m. 6.  6. 

p. 26

Example 2.1.4

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Limoges,” m. 3.  3. 

p. 26

Example 2.1.5

Mussorgsky, “You Drunken Sot,” mm. 16– 18. 18.

p. 27

Example 2.1.6

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Limoges,” m. m. 13.

p. 27

vi

 

  Example 2.1.7

Mussorgsky, “You Drunken Sot,” mm. 20– 21. 21.

p. 28

Example 2.1.8

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Limoges,” m. 5.  5. 

p. 28

Example 2.1.9

Mussorgsky, “You Drunken Sot,” mm. 34– 39. 39.

p. 29

Example 2.1.10

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Limoges,” mm. 23– 26. 26.

p. 30

Example 2.1.11

Mussorgsky, “You Drunken Sot,” mm. 87– 88. 88.

p. 30

Example 2.1.12

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Limoges,” m. 37.  37. 

p. 31

Example 2.2.1

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmulÿ e,’” mm. 1– 4 4..

 p. 35

Example 2.2.2

Mussorgsky, Marriage Mussorgsky,  Marriage,, Act I, Scene I, mm. 7 – 14. 14.

p. 36

Example 2.2.3

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “‘Samuel’ Goldenberg  Goldenberg  und ‘Schmuÿ ‘Schmulÿ e,’” mm. 9– 10. 10.

p. 37

Example 2.2.4

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “‘Samuel’ Goldenberg  Goldenberg  und ‘Schmuÿ ‘Schmulÿ e,’” m. 17.  17. 

p. 38

Example 2.2.5

Mussorgsky, Marriage Mussorgsky,  Marriage,, Act I, Scene I, mm. 172 – 73. 73.

p. 38

Example 2.2.6

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “‘Samuel’ Goldenberg  Goldenberg  und ‘Schmuÿ ‘Schmulÿ e,’” mm. 19– 20. 20. 

p. 39

Example 2.2.7

Mussorgsky, Marriage Mussorgsky,  Marriage,, Act I, Scene I, mm. 22 – 28. 28.

p. 39

Example 2.2.8

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “‘Samuel’ Goldenberg  Goldenberg  und ‘Schmuÿ ‘Schmulÿ e,’” mm. 27– 29. 29.

p. 40

Example 3.1.1

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Motive of Guilt.

p. 43

Example 3.1.2

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 60– 63. 63.

p. 43

Example 3.1.3

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Act II, Hallucination Scene, p. 222.

p. 44

Example 3.1.4

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. mm. 1 – 3. 3.

p. 45

Example 3.1.5

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “Gnomus,” R eduction eduction of Primary Motive.

p. 45

Example 3.1.6

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Act II, Hallucination Scene, p. 223.

p. 46

vii

 

  Example 3.1.7

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 19– 21. 21.

p. 47

Example 3.1.8

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 72– 76. 76.

p. 47

Example 3.1.9

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 87– 90. 90.

p. 47

Example 3.1.10

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Act II, Hallucination Scene, p. 223.

p. 48

Example 3.1.11

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Act II, Hallucination Scene, p. 226.

p. 48

Example 3.1.12

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 38– 41. 41.

p. 49

Example 3.2.1

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Bydło,”  “Bydło,” mm. 1 – 10. 10.

p. 54

Example 3.2.2

“Song of the Volga Boatmen.”  Boatmen.”  

p. 55  55 

Example 3.2.3

Brown’s Reduction of Khovansky’s Dignity Theme.

p. 56

Example 3.2.4

Mussorgsky, Khovanshchina Mussorgsky,  Khovanshchina,, Act I, p. 35.

p. 56

Example 3.2.5

Brown’s Excerpt from Mussorgsky, Mussorgsky, Khovanshchina  Khovanshchina,, Act I.

p. 57

Example 3.2.6

Mussorgsky, Khovanshchina Mussorgsky,  Khovanshchina,, Act V, p. 370.

p. 58

Example 3.2.7

Mussorgsky, “On the Dnieper,” mm. 58– 65. 65.

p. 59

Example 4.1.1

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “Il vecchio castello,” mm. 6 – 15. 15.

 p. 63

Example 4.1.2

Mussorgsky, Songs and Dances of Death, Death, “Serenade,” mm. 34 – 41. 41.

p. 66

Example 4.1.3

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Il vecchio castello,”

 p. 67

mm. 61 – 68. 68. Example 4.1.4

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “Il vecchio castello,” mm. 29 – 31. 31.

 p. 67

Example 4.1.5

Mussorgsky, Songs and Dances of Death, Death, “Serenade,” mm. “Serenade,” mm. 72 – 74. 74.

p. 68

Example 4.1.6

Mussorgsky, Songs and Dances of Death, Death, “Serenade,” mm. 98– 100. 100. p. 68

Example 4.1.7

Mussorgsky, Songs and Dances of Death, Death, “Serenade,” mm. “Serenade,” mm. 106 – 11. 11. p. 69

Example 4.1.8

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “Il vecchio castello,” mm. 102 – 7 7..

viii

 p. 69

 

  Example 4.2.1

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Catacombae,” mm. 1 – 11. 11.

p. 74

Example 4.2.2

Mussorgsky, Sunless Sunless,, “The Idle, Noisy Day Is Over,” mm. 1– 7. 7.

p. 75

Example 4.2.3

Mussorgsky, Sunless Sunless,, “The Idle, Noisy Day is Over,” mm. 12– 14. 14.

p. 76

Example 4.2.4

Mussorgsky, Sunless Sunless,, “The Idle, Noisy Day is Over,” mm. 36– 40. 40.

p. 77

Example 4.2.5

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Catacombae,” mm. 21– 24. 24. p. 77

Example 4.2.6

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “Con mortuis in lingua mortua,” mm. 1– 4 4..

 p. 78

Example 4.2.7

Mussorgsky, “Softly the Spirit Flew up to Heaven,” mm. 1– 3. 3.

p. 80

Example 4.2.8

Mussorgsky, Sunless Sunless,, “Elegy,” mm. 44– 48. 48.

p. 81

Example 4.2.9

Mussorgsky, Sunless Sunless,, “Elegy,” mm. 49– 52. 52.

p. 82

Example 4.2.10

Mussorgsky, Sunless Sunless,, “Elegy,” mm. 57– 61. 61.

p. 82

Example 4.2.11

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “Con mortuis  mortuis in lingua mortua,” mm. mortua,”  mm. 16 – 20. 20.

p. 83

Example 4.3.1

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Baba Yaga,” mm. 21– 28. 28.

p. 86

Example 4.3.2

Mussorgsky, Songs and Dances of Death, Death, “Trepak,” mm. 38– 54. 54.

p. 88

Example 4.3.3

Mussorgsky, Songs and Dances of Death, Death, “Trepak,” mm. 72– 73. 73.

p. 88

Example 4.3.4

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Baba Yaga,” mm. 75– 78. 78.

p. 89

Example 4.3.5

Mussorgsky, Songs and Dances of Death, Death, “The Field Marshal,” mm. 10 – 15. 15.

 p. 90

Example 4.3.6

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Baba Yaga,” mm. 95– 100. 100. p. 91

Example 4.3.7

Mussorgsky, Songs and Dances of Death, Death, “Lullaby,” mm. 28– 30. 30.

p. 92

Example 4.3.8

Mussorgsky, Songs and Dances of Death, Death, “Lullaby,” mm. 36– 37. 37.

p. 92

Example 4.3.9

Mussorgsky, Songs and Dances of Death, Death, “Lullaby,” mm. 43– 45. 45.

p. 93

Example 4.3.10

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Baba Yaga,” mm. 108– 9. 9.

p. 93

Example 5.1.1

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Promenade”  “Promenade” I, mm. 1 – 8. 8.

p. 97

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  Example 5.1.2

“Da svaty moi.”  moi.” 

p. 98

Example 5.1.3

Russ’s Comparison Russ’s Comparison of “Promenade” and Boris and Boris Coronation Scene Melodies.

p. 99

Example 5.1.4

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Prologue, Coronation Scene, p. 37.

p. 100

Example 5.1.5

Mussorgsky, Pictures Mussorgsky,  Pictures at an Exhibition, Exhibition, “Promenade” I, mm. 9– 10. 10. p. 100

Example 5.1.6

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Coronation Scene, p. 42.

p. 101

Example 5.2.1

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “The Bogatyr Gate,”  Gate,”  mm. 1 – 6 6.  . 

 p. 104  104 

Example 5.2.2

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “The Bogatyr Gate,”  Gate,”  mm. 30 – 46. 46. 

 p. 105  105 

Example 5.2.3

“As You Are Baptized in Christ.”  Christ.”  

p. 105

Example 5.2.4

“Memory Eternal.”  Eternal.” 

p. 107

Example 5.2.5

Morosan’s Excerpt from Mussorgsky, Mussorgsky, Boris  Boris Godunov, Godunov, Act IV, Scene 1A.

p. 108

Example 5.2.6

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “The Bogatyr Gate,” mm. 47 – 50. 50.

 p. 108

Example 5.2.7

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Prologue, pp. 1-2.

p. 109

Example 5.2.8

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “The Bogatyr Gate,” mm. 81 – 84. 84.

 p. 109

Example 5.2.9

Wagner, Tristan und Isolde, Isolde, Act I, Prelude, mm. 1 – 3. 3.

p. 110

Example 5.2.10

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Coronation Scene, p. 32.

p. 110

Example 5.2.11

Mussorgsky, Boris Mussorgsky,  Boris Godunov, Godunov, Coronation Scene, p.33.

p. 111

Example 5.2.12

Mussorgsky, Pictures at an Exhibition, Mussorgsky, Pictures Exhibition, “The Bogatyr Gate,” mm. 97 – 102. 102.

 p. 111

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  List of Figures

Figure 1.2.1

Victor Hartmann, Sketch of Theatre Costumes for the Ballet Trilbi.  p. 15

Figure 2.2.1

Victor Hartmann, “Head of a Jew.”

 p. 32

Figure 2.2.2 

Victor Hartmann, “Poor Jew.”  Jew.” 

p. 32

Figure 3.1.1

“Gnomus,” Graphic Representation of the Primary Motive.

p. 45

Figure 4.1.1

Victor Hartmann, “Scene in Périgueux.”  Périgueux.” 

p. 62  62 

Figure 4.2.1

Victor Hartmann, “Paris Catacombs.”  Catacombs.” 

p. 71  71 

Figure 4.3.1

Victor Hartmann, “Baba“Baba-Yaga’s Hut on Hen’s Legs.”  Legs.”  

p. 85  85 

Figure 5.2.1

Victor Hartmann, “Design for Kiev City Gate: Main Façade.”  Façade.”  

xi

p. 103

 

  Introduction: Mussorgsky’s P i ctur cture es at at an E xhi bi tion, Vocal Literature, and the Music/Text Relationship

Compared to Mussorgsky’s operatic and song literature, piano music m usic represents a relatively small percentage of his compositional output, and Pictures and  Pictures at an Exhibition is his only extant large-scale solo piano work. As such, the cycle  cycle is often treated as an isolated monument monu ment apart from his more typical endeavors, and this insulated approach has resulted in somewhat dubious and poorly substantiated assertions about the cycle’s expressive content. In order to craft a more reliable and penetrating view of o f the cycle, this document incorporates evidence from Mussorgsky’s vocal music to clarify and challenge long-held beliefs about the work while  providing new and alternative meanings for the musical text. There are a substantial number of literary sources which discuss various aspects of 1

2

 Pictures,, including examinations of theory,  performance,  the relation to the artwork of Victor  Pictures 3

4

Hartmann,  and its role as an orchestrated work.   Many other sources sources provide broad surveys surveys of Mussorgsky’s background  background and compositions, but generally do not involve a thorough exploration

1

 Gordon D. McQuere, “Analyzing Musorgsky’s Gnome,” Indiana Gnome,”  Indiana Theory Review 13, no. 1 (1992): 21 – 40; 40; Simon Perry, “Mussorgsky’s ‘Gnomus: ‘Gnomus:’’ Composer’s Score as Analytical Text.” Context: A Journal of Music  Research,, no. 15 – 16  Research 16 (1998): 5 – 20; 20; Derrick Puffett, “A Graphic Analysis of Musorgsky’s ‘Catacombs,’” Music ‘Catacombs,’”  Music  Analysis 9, no.1 (1990): 67 – 7 77. 7. 2

 Chen-Tien Lee, “Mussorgsky’s Pictures  Chen-Tien “Mussorgsky’s  Pictures at an Exhibition: Exhibition : An Analytical and Performance Study” Study ” (DMA thesis, Ohio State University, 1993); David Sutanto, “ Pictures at an Exhibition: Exhibition : A Performer’s Guide Comparing Recorded Performances by Pianists Vladimir Horowitz and Evgeny Kissin” Kissin ” (DMA thesis, University of Cincinnati, 2007). 3

 Gerald Abraham, “The Artist of Pictures from an Exhibition,” Exhibition,” in  in Mussorgsky:  Mussorgsky: In Memoriam 1881 – 1981, 1981, ed. Malcolm Brown (Ann Arbor: UMI  UMI  Research Press, 1982), 229 –36; Alfred Frankenstein, “Victor Hartmann Hartman n and Modeste Musorgsky,” Musical Musorgsky,” Musical Quarterly 25 (1939): 268 – 91. 91. 4

 Jason Klein, Klein, “Mussorgsky’s ‘Pictures at an Exhibition’: A Comparative Analysis of  Several of  Several

Orchestrations” (DMA thesis, Stanford University, 1980).

1

 

  5

of of Pictures  Pictures..   The most comprehensive sources dedicated specifically to the cycle  cycle are Michael 6

Russ’s Musorgsky: Russ’s  Musorgsky: Pictures at an Exhibition  and Svetlana Nagachevskaya’s Svetlana Nagachevskaya’s “ Pictures at an 7

 Exhibition:: A Reconciliation of Divergent Perceptions about Mussorgsky’s Renowned Cycle.”    Exhibition Russ covers pertinent background information, provides a summary of each piece in their respective order, includes chapters on cultural influences and theory th eory analysis, and briefly 8

mentions some connections to folk, church, and operatic music.   Nagachevskaya also examines each movement in order, presenting the various perceptions of Western and Russian scholars on this work. The concept of examining various interpretations interpretations is also utilized in this document, as I, too, will survey survey scholarly opinions and research on each movement. My purpose here, however, is to confirm, clarify, or challenge these perceptions with internal evidence found through comparison with vocal scores. There has yet to be a study stud y which systematically examines the relationships between  Pictures and the composer’s vocal literature. What vocal music provides, provides, however, is an intrinsically direct correlation between music and text, binding the musical devices with more concretely descriptive meaning from the composer. This relationship serves serves as a basis for identifying the expressive roles associated with specific musical textures, which can then be connected back to the piano cycle. Through exploring parallels between Pictures between Pictures and

5

 David Brown, Musorgsky: Brown, Musorgsky: His Life and Works (Oxford: Works  (Oxford: Oxford University Press, 2002); M. D. Calvocoressi, Musorgsky: Calvocoressi,  Musorgsky: The Russian Musical Nationalist , trans. A. Eaglefield Hull (New York: E. P. Dutton & Co., 1919); M. Montagu-Nathan, M. Montagu-Nathan, M. Moussorgsky (New Moussorgsky (New York: Duffield and Company, 1917); Oskar von Riesemann, Moussorgsky Riesemann,  Moussorgsky,, trans. Paul England (New York: Tudor Publishing Co., 1935); Victor Seroff, Modeste Seroff, Modeste  Musorgsky (New York: Funk & Wagnalls, 1968). 6

 Michael Russ, Musorgsky: Russ, Musorgsky: Pictures at an Exhibition (Cambridge: Exhibition  (Cambridge: Cambridge University Press, 1992).

7

 Svetlana Nagachevskaya, “ Pictures at an Exhibition: A  Svetlana Nagachevskaya, Exhibition:  A Reconciliation of Divergent Perceptions about Mussorgsky’s Renowned Cycle” (DMA thesis, University of Arizona, 2009).  2009).   8 Russ,  Russ, Musorgsky  Musorgsky,,

50 – 56. 56.

2

 

  corresponding textures in vocal repertoire, this document by association reveals and validates expressive concepts in Pictures in Pictures that  that would otherwise not have textual grounding in the piano cycle alone. Mussorgsky composed Pictures composed Pictures in 1874 in memory of his close friend Victor Hartmann, a talented artist and architect architect who died suddenly and unexpectedly the year before. before. Mussorgsky  purportedly drew inspiration for his piano cycle of programmatic miniatures miniatures from an exhibition of Hartmann’s artwork organized by Vladimir Stasov, the Russian critic and ideological advisor to “The Mighty Handful.” Stasov was also instrumental in the the initial publication of Pictures of Pictures in 1886, five years after the composer’s composer’s death. Since Mussorgsky left behind little little more than the the titles and a few notes in the holograph of Pictures of Pictures,, Stasov notated his own thoughts thou ghts in the score about its programmatic content. He also included scattered scattered comments in letters to to Rimsky9

Korsakov and Arkady Kerzin, as well as in his biography of Mussorgsky.   Scholars often rely on these presumptive descriptions, using them as the basis for their own conjecture about Mussor gsky’s gsky’s expressive meaning. One of the more controversial examples of reliance on Stasov can be found with the opening “Promenade” movement, which whic h is commonly interpreted as a manifestation of Mussorgsky physically walking through Hartmann’s 10

gallery.   According According to Stasov, it is Mussorgsky “himself there as he strolled through the 11

exhibition; joyfully or sadly recalling the talented deceased artist.” a rtist.”   The sscholar cholar Michael Russ writes that it is “a portrait of Musorgsky, now of considerable bulk, shambling through through the 12

gallery.”   The biographer David Brown provides even more detail explaining that “there is an

9

 Ibid., 29.

10

 Seroff, Modeste  Seroff,  Modeste Musorgsky, Musorgsky, 143; Riesemann, Moussorgsky Riesemann, Moussorgsky,, 291.

11

 Russ, Musorgsky  Russ,  Musorgsky,, 35.

12

 Ibid.

3

 

  13

ebb and flow in the phrasing ph rasing that indicates his gait is subject to constant slight irregularities.”   As I will establish in this study, there are potent influences from Russian choral ch oral heterophony and folk song which inform the texture, as well as strong ties to his operatic repertoire such as the Coronation Scene in Boris in Boris Godunov. Godunov. Moreover, I will examine how the relationship relationship with the following movement movement “Gnomus” exemplified by the attacca in the holograph allows for further comparison with Boris with Boris,, ultimately reflecting the descent from celebration into anxiety anx iety and fear. There are also assertions from Stasov and subsequent scholars that may indeed prove suitable, but the problem lies with a lack of substantial substantial evidence for these interpretations. interpretations. A good example can be seen with the movement “Tuileries “Tuileries (  (Dispute Dispute d’enfants après jeux) jeux).” In line In line with Stasov’s description, many agree that “Tuileries” depicts the playful pla yful antics of children in a 14

garden, specifically their taunts of “Nyanya.”   None of them, however, substantiate this claim with musical evidence, which is particularly important since Hartmann’s drawing associated with this movement movement is no longer extant. extant. This document will contextualize Mussorgsky’s Mussorgsky’s use of children’s themes and the overall expressive role of “Tuileries” by b y illustrating specific correlations with excerpts from his song cycle The Nursery.  Nursery.  While this research serves to clarify key expressive moments in individual movements, the primary goal is to precisely expose the overarching narrative of of Pictures  Pictures.. Each movement of the cycle embodies very distinct qualities of emotion, ultimately expressing a broad yet  penetrating amalgamation of life experience. Mussorgsky wrote to the painter Ilya Repin about his expressive ideals while working on Khovanshchina on  Khovanshchina two years prior to composing Pictures composing Pictures:: “Here’s the point: I want to create the people: I sleep and see them, eat and think th ink about them,

13

 Brown, Musorgsky  Brown,  Musorgsky,, 233.

14 Russ,  Russ, Musorgsky  Musorgsky,, 38;

Riesemann, Moussorgsky,, 291; Brown, Musorgsky Riesemann, Moussorgsky Brown, Musorgsky,, 237.

4

 

  15

drink and they haunt me — an an organic unity, immense, not all painted-up and sugar-coated.” sugar-coated.”   In this light, the inclusion of his song and operatic op eratic literature becomes an imperative considering that so much of it traces traces this manifold expression of the people. Regarding his song cycles, The  Nursery is an exploration of youth, Sunless deals in loneliness and loss, and Songs and Dances of  Death depicts  Death  depicts various situations in which one is confronted by death. His opera Marriage opera Marriage is  based on Gogol’s comedic text, Boris text, Boris Godunov is inspired by Pushkin’s dramatic story of the troubled tsar, and Khovanshchina and Khovanshchina is a nationalist opera about political struggle amidst the rebellion against Peter the the Great. This vocal literature contains contains a wealth of musical textures, which exhibit a wide variety of expression ex pression and emotion, and allow for ample comparisons with each of the diverse movements in Pictures in Pictures in  in order to clarify their expressive content. In order to highlight this expressive narrative, the chapters of this document are organized into descriptive categories rather than in order of the cycle’s c ycle’s movements, classified under classified under concepts of youth, satire, burden, death, and transcendence. transcendence. The chapter on youth will focus on comparisons with The Nursery. Nursery. Satire refers to the comedic and caricatured elements of adult life, for which I will examine Marriage examine  Marriage and Mussorgsky’s song “You “You Drunken Sot” Sot” from 1866. Burden will incorporate movements involving a heavy heav y and tortured state of mind, concepts that  permeate the operas Boris operas Boris Godunov and Godunov and Khovanshchina  Khovanshchina..  Each movement in the chapter on death will not necessarily involve the explicit exp licit ending of life, but through comparisons with Songs and Dances of Death and Sunless Sunless,, I will draw connections to this topic. As the final commentary on these explorations of human existence, transcendence represents what lies beyond everyday struggles and trivialities. trivialities. This chapter will include include a variety of comparisons, including the Coronation Scene of Boris of Boris and  and the Russian Orthodox chant “Memory Eternal.” 15

 Vladimir Morosan, “Folk and Chant Elements in Musorgsky’s Choral Writing,” in  Mussorgsky: In  Memoriam 1881 – 1981, 1981, ed. Malcolm Hamrick Brown (Ann Arbor: UMI  UMI  Research Press, 1982), 97.

5

 

  Admittedly, the idea that Mussorgsky’s Mussorgsky’s Pictures  Pictures is an exploration of life is not an entirely novel concept. The issue, however, lies in the the fact that the details of its expressive content are often defined solely through Mussorgsky’s titles, Stasov’s descriptions, and the few remaining sketches from Victor Hartmann where a connection is presumed. This document provides a new approach to defining this content by b y cross-relating musical concepts from vocal literature to the texture of Pictures of Pictures,, grounding the interpretations in Mussorgsky’ own compositional comp ositional language. I will shed new light on the musical text tex t of Pictures of Pictures by  by systematically exploring and substantiating the expressive content of the cycle with a more holistic approach than has been previously afforded to this work.

6

 

  Chapter One Youth

There are two movements in Pictures in  Pictures that are infused with images of youth, representing the playful and uninhibited end of Mussorgsky’s expressive spectrum within the cycle. “Tuileries (Dispute d’enfants après jeux)” is jeux)”  is alive with the sounds of spirited children, and “Ballet of the Unhatched Chicks” expresses the newfound life of baby chickens. As we will will see, the interpretations of these movements have largely been based on the inferred meaning of their titles, Stasov’s notes, notes, which merely provide his personal thoughts, thou ghts, and the artwork from the 1874 exhibition in commemoration of Hartmann. Hartmann. This is, of course, problematic as the titles provide limited connotations, Stasov’s notes are inherently unreliable as a source, and there is also debate over aspects of the original original artwork. In order to accurately define the content of “Tuileries” and “Ballet of the Unhatched Chicks, Chicks,” I will turn to The Nursery, Nursery, Mussorgsky’s song cycle  cycle  composed prior to Pictures to Pictures between  between the years of 1868 and 1872.  Not only is The Nursery an Nursery an excellent resource for attaining a sense of how Mussorgsky depicts youth and imitates the sounds of children in his music, but also there are sp specific ecific ties to Hartmann. Mussorgsky dedicated the second song song from The Nursery, Nursery, “In the Corner ,” to Hartmann, who was so taken with the composer’s work that he planned a sta stage ge setting for the 1

entire cycle.   Although this theatrical production did not come to fruiti fruition, on, the cycle itself serves as a window into in to Mussorgsky’s varied expressions of youth in music. I will first first survey the information and research on these two movements move ments from Pictures from Pictures,, then examine specific motives and textures that have garnered debate over their their expressive meaning. By exploring similar

1

 Alfred Frankenstein, “Victor Hartman Hartma nn and Modeste Musorgsky,” Musical Musorgsky,”  Musical Quarterly 25 (1939), 277.

7

 

  motives in The Nursery, Nursery, I will establish their meaning within a texted framework and then infer analogous meaning in the piano cycle.

jeux)”  1.1 “Tuileries (Dispute d’enfants après jeux)” 

In his notes to the 1886 edition of Pictures of  Pictures,, Stasov writes that this movement represents 2

“a walk in the garden of o f the Tuileries with a group of children children  and nurses.”   Alfred Frankenstein identifies the original drawing in the 1874 exhibition catalogue as No. 33, entitled Jardin entitled Jardin des 3

Tuileries..   Oskar von Riesemann claims, “Hartmann’s picture shows a walk in the Tuileries Tuileries Tu ileries 4

gardens in Paris, crowded with playing pl aying children and their nurses.”   On the other hand, Victor Seroff describes the picture as “Hartmann’s pencil drawing of one corner of a garden, deserted, 5

and without children.” children.”   Michael Russ avoids speculation on the the original artwork, simply writing 6

that the Hartmann picture for this movement is now lost.   Despite the uncertainty over the source of inspiration for Mussorgsky’s “Tuileries, “Tuileries,” most scholars agree with Stasov that there are indeed lively children depicted in this movement. Mussorgsky imitates the children’s spirited children’s spirited rollicking through playfully uplifting rhythms and articulations, appropriately marked capriccioso capriccioso (see  (see Example 1.1.1).

2

 Ibid., 282.

3

 Ibid.

4

 Oskar von Riesemann, Moussorgsky Riesemann, Moussorgsky,, trans. Paul England (New York: Tudor Publishing Co., 1935), 291.

5

 Victor Seroff, Modeste Seroff, Modeste Musorgsky (New York: Funk & Wagnalls, 1968), 143.

6

 Michael Russ, Musorgsky: Russ, Musorgsky: Pictures at an Exhibition (Cambridge: Exhibition  (Cambridge: Cambridge University Press, 1992), 38.

8

 

  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Tuileries, Tuileries,”” mm. 1– 2. 2. Example 1.1.1 Mussorgsky,

More specifically, Rosa Newmarch claims that the two-note drooping d rooping figures in the melody 7

represent the children’s children’s taunts of  “Nyanya, Nyanya” (“Nanny, Nanny”). Nanny”).   David Br Brown own writes writes 8

that the sixteenth notes that follow in m. 2 mimic competing appeals for Nan Nanny’s ny’s support,  while 9

Russ believes Russ  believes that they merely “create a generally playful atmosphere.”   Surprisingly, none of these interpretations are accompanied by evidence from Hartmann’s original artwork or specific musical examples from other works. For the most part, these these statements rely on presumptive presumptive interpretations of the title, Stasov’s description, and conjecture about the lost painting. Without a Hartmann picture or compete text from Mussorgsky to describe the scene, we must turn to the composer’s vocal vocal repertoire for a defensible interpretation. In the fifth song of The Nursery, Nursery, “Evening Prayer,” Mussorgsky opens with a piano accompaniment that utilizes a very similar pattern to the beginning of “Tuileries” (see “Tuileries”  (see Example 1.1.2).

7

 Quoted in David Brown, Musorgsky: Brown,  Musorgsky: His Life and Works (Oxford: Works (Oxford: Oxford University Press, 2002), 237.

8

 Ibid.

9

 Russ, Musorgsky  Russ,  Musorgsky,, 39.

9

 

  Nursery, “Evening Prayer,” mm. 1– 4. 4. Example 1.1.2 Mussorgsky, The Nursery,

Mussorgsky evokes a child-like image in both pieces pie ces by constructing their scenes with a similar texture, range, tempo, and rhythm, rh ythm, while utilizing the same common-time meter and and piano  piano dynamic.. As in “Tuileries,” the opening motive of “Evening Prayer” consists of a quarter note dynamic slurred to an eighth note followed by an eighth rest. We also find the same interval of a falling minor third in the piano accompaniment from A-flat4 to F4, which is subsequently imitated by the child’s voice descending from D-flat5 D -flat5 to B-flat4, and E-flat5 to C5. This gesture of falling falling intervals is found throughout the song, such as in mm. 28 and 29 when the child calls out “Nyanya “Ny anya”” (see Example 1.1.3). Example 1.1.3 Mussorgsky, The Nursery, Nursery, “Evening Prayer,” mm. 28– 29. 29.

10

 

  Despite the the striking musical similarities between “Tuileries” and “Evening Prayer ,” the expressive and narrative setting is admittedly differe different. nt. The third song of The Nursery, Nursery, “The Beetle,” provides provides an appropriately energetic context, depicting the child’s excitement over discovering a little black bug while playing outside (see Example 1.1.4). Example 1.1.4 Mussorgsky, The Nursery, Nursery, “The Beetle,” mm. 1– 4. 4.

The enthusiastic piano part ushers in the child shouting “Nanny, Nanny, guess what happened, 10

 Nanny dearest!”   We again see a focus on narrow falling falling intervals to depict tthe he child’s voice, voice, specifically the calls of “Nyanya.” Additionally, the Additionally, the running eighth-note patterns capture the child’s impatient excitement to get Nanny’s Nanny’s attention to tell the story, much like Brown had suggested for the eighth notes in “Tuileries.”  “Tuileries.”   When the child begins to describe the insect, we hear in the piano part a series of twonote slurs in the right hand combined with chromatic runs in the left hand, some in the form of rising four-note motives as well as longer runs stretching up and down the octave (see Example 1.1.5).

10

 Laurence Richter, Mussorgsky’s Richter, Mussorgsky’s Complete Song Texts: Russian Texts of the Complete  Songs of Modest  Petrovich Mussorgsky  Mussorgsky (Geneseo, NY: Leyerle, 2002), 83.

11

 

  Nursery, “The Beetle Beetle,” ,” mm.  mm. 25 – 28. 28. Example 1.1.5 Mussorgsky, The Nursery,

In “Tuileries,” we we can find similar two-note slurs alongside rising four-note chromatic motives, as well as longer runs employing chromaticism (see Examples 1.1.6 and 1.1.7). Example 1.1.6 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Tuileries,” m. 13. 13.

Example 1.1.7 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Tuileries,” m. 26. m. 26.

In “The Beetle” (Example 1.1.4), we see expressive markings and hairpins for both the piano and voice parts, as well as a sforzando a  sforzando in  in m. 27. Although there are no dynamic shapes or accents notated in “Tuileries,” the performer may wish to add them to further depict the excitement of the children. 12

 

  For the B section of “Tuileries, “Tuileries,” some scholars propose that the energy of the children  becomes subdued and physical motion is restrained, perhaps because of the change in rhythmic figuration and compressed range of the left hand (see Example 1.1.8). Russ speculates that “the 11

children adopt an attitude of mock contrition,” contrition,”  and Vladimir Ashkenazy claims that this section  12

sounds best when performed meno mosso, mosso,  although neither provide an explanation nor supporting evidence. Example 1.1.8 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Tuileries,” mm. 14– 15. 15.

In “The Beetle,” the Beetle,” the musical energy decreases when the child explains, “I hid, Nanny, and sat 13

very still, afraid to even budge” budge ”  (see Example 1.1.9). Example 1.1.9 Mussorgsky, The Nursery, Nursery, “The Beetle,” mm. 55– 57. 57.

11

 Russ, Musorgsky  Russ,  Musorgsky,, 39.

12

 Vladimir Ashkenazy, Preface to Bilder to  Bilder einer Ausstellung  by  by Modest Mussorgsky (Vienna: Wiener Urtext,

1984), x. 13

 Richter, Mussorgsky’s  Richter,  Mussorgsky’s Complete Song Texts, Texts, 84.

13

 

  In both examples we find slow rhythmic figuration, chromaticism in the melody and bass, and harmonic thirds employed employed as accompaniment. We also can find find Ashkenazy’s suggested meno mosso in the tempo marking of “The Beetle.” Although Russ states that the B section in 14

“Tuileries” does “Tuileries”  does not inherently provide p rovide a strong contrast to the A material,  the pianist may wish to infuse this passage with similar similar elements from “The Beetle” to Beetle” to show a change of energy, dropping to a lower dynamic, slowing the motion, and perhaps addin adding g similar hairpins to depict the child’s attempts to contain anxiety before bursting out again later in the piece. While there is debate over whether or not Hartmann’s drawing actually contained children, we can see by comparison with The Nursery  Nursery that in “Tuileries” it is important for the  pianist to create the physical excitement of boisterous children as well as evoke their speech  patterns in order to bring this movement to its fullest fullest realization. Although Mussorgsky marks the tempo Allegretto tempo Allegretto non troppo, troppo, it is vital to perform this movement with plenty plent y of energy and excitement in order to communicate the enthusiastic and impish nature of the children. In a letter to Arkady Kerzin, Stasov lists metronome markings for each of the movements in Pictures in  Pictures.. These were  were supposedly given to him by Rimsky-Korsakov who had heard Mussorgsky himself  15

 perform the cycle.   “Tuileries” is marked at 144 to the quarter note, much faster  than  than one might presume for Allegretto. for Allegretto. A pianist would likely choose a somewhat slower tempo to maintain clarity and avoid a frantic sound in this movement, but as Ashkenazy writes, “Children argue when they argue and really run when they run… run ….these passages should be full of energy, 16

descriptive of running children rather than of a prim Sunday school outing.”  

14

 Russ, Musorgsky  Russ,  Musorgsky,, 39.

15

 Quoted  Quoted in Frankenstein, “Victor Hartman Hartma nn and Modeste Musorgsky,” 287.  287. 

16

 Ashkenazy, Preface to Bilder to Bilder einer Ausstellung , x.

14

 

  1.2 “Ballet of the Unhatched Chicks” Chicks ” 

Stasov writes that “Ballet of the Unhatched Chicks”  Chicks”  is based on “a little picture by by 17

Hartmann for the setting of a picturesque scene in the ballet Trilbi. Trilbi.””   In a 1903 letter to Kerzin, he further explains that in “1870 Hartman designed the costumes for the staging of the ballet Trilbi at Trilbi  at the Maryinsky Maryinsky Theatre, St Petersburg. In the cast were a number of boy and girl pupils 18

from the theatre theatre school, arrayed as as canaries. Others were dressed dressed up as eggs.”   Frankenstein tells us that Hartmann’s Hartmann’s sketch  sketch was No. No. 224 in the catalogue, described as “canary-chicks, “canary -chicks, enclosed in eggs as in suits suits of armor. Instead of a head-dress, canary heads, put on like helmets, 19

down to the neck ”  (see Figure 1.2.1). Figure 1.2.1 Victor Hartmann, Sketch of Theatre Costumes for the Ballet Trilbi. Trilbi.  

Regarding the music for this movement of Pictures of  Pictures,, many scholars focus on the  pantomimic and graphic qualities they hear in Mussorgsky’s scene. According to Svetlana  Nagachevskaya, Alfred Schnittke describes the scene as depicting the embryonic life of 17

 Frankenstein, “Victor Hartman Hartmann and Modeste Musorgsky,” 283.

18

 Quoted in Russ, Musorgsky Russ, Musorgsky,, 41.

19

 Frankenstein, “Victor Hartman Hartmann and Modeste Musorgsky,” 283.

15

 

  20

unhatched chicks,  while Feodor Lopouhov interprets inte rprets that the chicks do emerge to p perform erform their 21

 ballet dance.   Brown describes describes the the movement as a “cute scherzino,” displaying d isplaying musical 22

similarity to the trio from Chernomor ’’s  s March in Glinka’s Ruslan Glinka’s Ruslan and Lyudmila. Lyudmila.   Riesemann 23

similarly refers to it as a “‘Scherzino’ of the greatest charm,”  and Montagu-Nathan describes 24

the piece the  piece as “daintiness itself.”   In his biography of Mussorgsky, Mussorgsky, Arsenii GolenishchevKutuzov actually misunderstood this piece to be about a bout kittens, perhaps misled misled by  by its “Scherzino” 25

quality.   The concept of this movement, however, goes beyond the imitation of generalized cuteness or even the ballet the ballet dancing from Hartmann’s drawing. Mussorgsky transports us directly into the newfound life of baby chicks with a number of clever devices.  One feature is that the entire movement is written in the treble register for both hands, placing the music in the appropriate range for tiny birds. In addition, the dynamics are pianissimo are pianissimo and  and pianississimo  pianississimo   throughout most of the movement, with the una corda pedal corda pedal requested at the beginning. The combination of playing so quietly in a high register allows the pianist to create a v very ery light and  playful sound characteristic of squawking newborn chicks. Moreover, Mussorgsky adds to their character by employing an abundance of grace note appoggiaturas throughout (see Example 1.2.1). 20

 Alfred Schnittke, “‘Kartinki s vïstavki’ M. P. Musorgskogo (Opït analiza),” analiza),” Voprosï muzïkoznaniya 1 (1953 – 1954), 1954), 340; quoted in Svetlana Nagachevskaya, Svetlana Nagachevskaya, “ Pictures at an Exhibition: A Exhibition:  A Reconciliation of Divergent Perceptions about about Mussorgsky’s Renowned Cycle” (DMA thesis, University of Arizona, 2009), 117. 2009),  117. 21

 Quoted in Nagachevskaya, “ Pictures at an Exhibition, Exhibition ,” 117.  117. 

22

 Brown, Musorgsky  Brown,  Musorgsky,, 237.

23

 Riesemann, Moussorgsky  Riesemann,  Moussorgsky,, 292.

24

 M. Montagu-Nathan, Moussorgsky Montagu-Nathan, Moussorgsky (New  (New York: Duffield and Company, 1917), 80.

25

 Alexandra Orlova, Musorgsky Orlova, Musorgsky Remembered , trans. Véronique Zaytzeff and Frederick Morrison (Bloomington, IN: Indiana University Press, 1991), 92.

16

 

  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Ballet of the Unhatched Chicks,” Example 1.2.1 Mussorgsky, mm. 1 – 4 4..

Russ proposes that the “percussive high piano sounds imitate the chick s tapping to break their 26

shells,””  and Nagachevskaya relates the alternations between stable F-major tonic chords and shells, 27

unstable German augmented sixth chords to the rocking eggs of the chicks.   In order to obtain a defensible perspective on the expressive purpose of these musical gestures, we may again turn to Mussorgsky’s song Mussorgsky’s  song cycle The Nursery for Nursery for comparison. “‘Sailor’ the Cat,” the the seventh song of the cycle, depicts a child attempting to prevent the cat “Sailor” from catching the family canary. When the chirping of the bird is referenced in the lyrics, it is also reflected in the piano accompaniment with a similar use of grace notes (see Example 1.2.2). Nursery, “‘Sailor’ the Cat,” mm. 23– 24. 24. Example 1.2.2 Mussorgsky, The Nursery,

26

 Russ, Musorgsky  Russ,  Musorgsky,, 42.

27

 Nagachevskaya, “ Pictures at an Exhibition, Exhibition ,” 118.

17

 

  In “‘Sailor’ the Cat” we we find the same type of grace note in the same range, articulated downward from a step above the principal principal note. It follows that the grace notes in “Ballet of the Unhatched Chicks” represent the chirping of the birds after they have come into life, life, rather than the tapping against their shells before emerging. In mm. 13 –22 of “Chicks,” Mussorgsky employs a running eighth-note passage in the left hand with grace notes interjected by the right hand, crescendoing  toward  toward a martellato martellato accent  accent (see Example 1.2.3). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Ballet of the Unhatched Chicks,” Example 1.2.3 Mussorgsky, mm. 13 – 22. 22.

 Nagachevskaya conjectures that the ascending left-hand passages depict a mother hen hurrying 28

to help her hatching chicks.   Consistent with this image, Ashkenazy suggests that a ssmall mall 29

accelerando in these measures can work well for performance.   To clarify this, we can find a similar texture in “‘Sailor’ the Cat” as Cat” as the narrative also builds to its climax. Mussorgsky depicts the child’s defense of the bird by dropping droppin g to a pianissimo a pianissimo dynamic, employing steady eighth

28

 Ibid. 29

 Ashkenazy, Preface to Bilder to Bilder einer Ausstellung , xii.

18

 

  notes in the left hand with grace-note appoggiaturas in the right hand, and gradually crescendoing  into  into a martellato martellato accent,  accent, all of which is scored in the treble register (see Example 1.2.4). Example 1.2.4 Mussorgsky, The Nursery, Nursery, “‘Sailor’ “‘Sailor’ the  the Cat,” Cat,” mm. 39– 45. 45.

In this light, the idea of a protective hen seems plausible for “Ballet of the Unhatched Chicks, Chicks,”  and it would be appropriate to include Ashkenazy’s Ashken azy’s suggested accelerando suggested accelerando as we find in this  passage of “‘Sailor’ the Cat. Cat.”  In addition to the copious use of grace notes throughout throughout “Ballet of the Unhatched Chicks,” Mussorgsky also notates trills in the upper voice of the trio section, a gesture of characterization not found in “‘Sailor’ the Cat” (see Cat” (see Example 1.2.5).

19

 

  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Ballet of the Unhatched Chicks,” Chicks,” Example 1.2.5 Mussorgsky, mm. 23 – 26. 26.

The trills could be interpreted physically from a dance dan ce perspective as the shuffling feet of the  baby chicks, or as Russ suggests, “their tiny fluffy feathers as they totter around.”

 30

As we have

identified with the grace notes, however, it is possible that the trills also represent the vocal characteristics of the the birds rather than just their their physical motions. When approached from a vocal standpoint, the pianist can exploit this device to create a realistic tweeting sound. Although Mussorgsky deems this piece a “ballet,” the expression extends well beyond the dance-like character of his music. In this movement, movement, the pianist must take advantage of Mussorgsky’s various compositional tools and his specific score markings, not merely to recreate cute dancing or attempt to render Hartmann’s image, image, but to bring the chicks to life by giving them a voice in their exciting moment of birth. As we find in The Nursery, Nursery, Mussor gsky’s gsky’s music in both “Tuileries” and “Ballet of the Unhatched Chicks” is not merely atmospheric but contains the visceral elements of youth. We hear the children’s voices, feel their playfulness, and sense their emotions of joy, worry, happiness, and sadness. These are the elements that must also be brought to the iinstrumental nstrumental music of Pictures of Pictures in order for the pianist to communicate the whole story. story. Mussorgsky not only 30

 Russ, Musorgsky  Russ,  Musorgsky,, 42.

20

 

  utilizes this vibrant compositional style to illustrate the early stages of life, but we also see him including amusing textures and spirited spirited rhythms to depict sat satirical irical scenes from adulthood. When viewing the movements in this order, we see a transition from youth into the rather comical side of later life, as if the adults are still still merely grown-up children. I will again examine similarities with Mussorgsky’s vocal literature to gain perspective on o n correlate musical textures.

21

 

  Chapter Two Satire

The first satirical movement in Pictures in Pictures I will examine is “Limoges: The Market Place (The Big News),” News),” which portrays a cacophonous scene of ridiculous gossip and chatter. The other movement is “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmulÿ e,’” e,’” representing a caricature of the interaction between the rich and poor (the figurative bully on the playground pushing around the wimp). To define the specific qualities qualities of satire within these these movements, I will draw draw comparisons with two of Mussorgsky’s comedic vocal works: works : his song “You Drunken Sot” from 1866 and his unfinished opera The Marriage. Marriage. On one hand, it is commonly accepted that the musical texture of “Limoges” chiefly  portrays the laughing and shouting of women. As I will show through comparisons to “You Drunken Sot,” this understanding of the narrative n arrative elements in “Limoges” is is,, in fact, appropriate. But in addition to substantiating the suggested program, my comparison will aid in defining specific moments in the musical text. “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmulÿ e,’” e,’” on  on the other hand, is surrounded by different schools of commentary. There are those who feel that tthis his movement is a sincere drama, and others who view it as a comedy, either positively or negatively. By drawing connections to Mussorgsky’s Mussorgsky’s comedic  comedic opera The Marriage, Marriage, I will highlight the satirical aspects and begin to clarify its content.

22

 

  2.1 “Limoges: The Market Place (The Big News)” News)”

 

 

According to Stasov, “Limoges: The Market Place (The Big News)” depicts “French 1

women furiously disputing in the market place.”   Stasov also writes: “Hartmann spent a fairly long time in the French town [Limoges] in 1866, executing many architectural sketches and genre pictures. The musical version of this sketch [illustrates] the the crowd shrieking, disputing, disputing, 2

chattering and quarrelling in the market place.” p lace.”   Reflecting this this quarrelsome quarrelsome atmosphere, “Limoges” is one of the more pianistically exciting movements of the cycle, full of bustling  staccatos,, sforzandos  staccatos  sforzandos,, and subito and subito dynamic  dynamic shifts, all framed within an unrelenting sixteenth-note motor rhythm (see Example 2.1.1). Example 2.1.1 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Limoges Limoges,” ,” mm. 1– 4. 4.

“Limoges” is “Limoges”  is also one of the rare movements where Mussorgsky notated some of his thoughts in the holograph. holograph. He invented two stories about “The Big News” of Limoges, one depicting conversational chatter about a lost cow c ow and the other describing shallow gossip ove overr disparate topics including the same cow, the women of Limoges, false teeth, and an evidently 1

 Alfred Frankenstein, “Victor Hartman Hartma nn and Modeste Musorgsky,” Musical Musorgsky,”  Musical Quarterly 25 (1939), 285. 2

 Michael Russ, Musorgsky: Russ, Musorgsky: Pictures at an Exhibition (Cambridge: Exhibition  (Cambridge: Cambridge University Press, 1992), 44.

23

 

  inebriated man. Mussorgsky ultimately rejected rejected these stories and crossed them out, but they are a valuable insight into the expressive ex pressive inclinations of this piece: The Big News: Monsieur Pimpant from Panta-Pantaléon has just recovered his cow — the the one that ran away. “Yes, Madame, that was yesterday.—   No, Madame, it was the day  before yesterday. —   — W Well, ell, Madame, the cow was astray in the neighbourhood. —   —   No, Madame, the cow was not astray at all… a ll…..”  The Big News: Monsieur de Puissangeout has found his cow “Runaway.” But the good me women of Limoges will have nothing whatsoever to do with this incident because M  de r  Remboursac has acquired very fine porcelain dentures, while on the other hand M  de 3 Panta-Pantaléon’s Panta-Pantalé on’s obtrusive nose obstinately remains as red as a peony. p eony.   Frankenstein questions Stasov’s original program notes notes for this movement, writing that 4

Mussorgsky’s stories about the women “hardly suggest their ‘furiously disputing.’”   Furthermore, he claims that none of the catalogue’s seventy-five seventy-five drawings from Limoges 5

actually involve a market place or women in the market place.   Brown writes that “such a  precise scenario was meaningless in what is manifestly a crowd picture of lively but generalized 6

 busy-ness,”  busyness,”  and Russ similarly claims that “the story itself is of no consequence….we consequence… .we still 7

depend utterly on the title title to understand it.”   Montagu-Nathan criticizes the the music itself, itself, writing 8

that it is one of the movements that are “somewhat too formal for their purpose.”   Further confusion comes from Seroff, who asserts that Mussorgsky himself wrote to Stasov that this

3

 Vladimir Ashkenazy, Preface to Bilder to  Bilder einer Ausstellung  by  by Modest Mussorgsky (Vienna: Wiener Urtext, 1984), xvii. 4

 Frankenstein, “Victor Hartman Hartmann and Modeste Musorgsky,” 286.

5

 Ibid.

6

 David Brown, Musorgsky: Brown, Musorgsky: His Life and Works (Oxford: Works  (Oxford: Oxford University Press, 2002), 238.

7

 Russ, Musorgsky  Russ,  Musorgsky,, 45.

8

 M. Montagu-Nathan, Moussorgsky Montagu-Nathan, Moussorgsky (New  (New York: Duffield and Company, 1917), 80.

24

 

  9

movement depicts “gossips at the market,” market,”  but this letter was in fact from Stasov to Rimsky10

Korsakov.   Admittedly, it would be difficult, if not impossible, to integrate the literal production of Mussorgsky’s detailed stories into the pianistic delivery of “Limoges.” We can, however, defend Mussorgsky’s musical text and clarify certain expressive moments by turning again to his song literature. In light of his reference to the red-nosed Monseiur de Panta-Pantaléon, it seems appropriate to draw a comparison comparison with Mussorgsky’s song “You Drunken Sot” from 1866. 1866 . Through the use of turbulent rhythms, chaotic harmonies, and wild dynamic shifts and 11

articulations, the song depicts a peasant woman in a tirade against her drunken husband  (see Example 2.1.2). Sot,” mm. 1– 6. 6. Example 2.1.2 Mussorgsky, “You Drunken Sot,

9

 Victor Seroff, Modeste Seroff, Modeste Musorgsky (New York: Funk & Wagnalls, 1968), 148.

10

 Jay Leyda and Sergei Bertensson, The Musorgsky Reader: A Life of Modeste Petrovich Musorgsky in

 Letters and Documents (New Documents (New York: W. W. Norton & Company, 1947), 274.   11

 Brown, Musorgsky  Brown,  Musorgsky,, 80.

25

 

  The major prevailing characteristic shared by both “Limoges” and “You Drunken Sot” is Sot”  is the driving motor rhythm to to establish the relentless relentless commotion of their scenes. scenes. Both introductions consist of repeated chords, beginning in a loud dynamic as if to demand attention and then dropping down as the characters attempt to contain their impatience. In addition, the texture of “You Drunken Sot” frequently involves broken phrasing and discordant harmonies layered with sforzandi with sforzandi,, such as the descending intervals in m. 6 as the wife reprimands her husband. We can hear a comparable texture in m. 3 of “Limoges,” creating crea ting a similar nagging effect (compare Examples 2.1.3 and 2.1.4). Example 2.1.3 Mussorgsky, “You Drunken Sot,” m. 6. 6.

Example 2.1.4 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Limoges,” m. 3. 3.

In comparing the melodies, we also hear he ar that the strong beats outline appo appoggiaturas ggiaturas resolving by step. In this this light, it appears that “Limoges” does, does, in fact, contain elements of people “furiously disputing,” and we may view these sforzandi these sforzandi as  as the shouts of the chattering women from Mussorgsky’s story. story. Nagachevskaya claims that this passage is actually representative of 26

 

  12

laughter, although she does not provide any evidence.   For a defensi defensible ble assessment, there there is a  passage of laughter in “You Drunken Sot” with which we can draw a parallel to “Limoges”  “Limoges”  (compare Examples 2.1.5 and 2.1.6). 18. Example 2.1.5 Mussorgsky, “You Drunken Sot,” mm. 16– 18.

Example 2.1.6 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Limoges,” mm. 13. 13.

Mussorgsky creates the the woman’s laughter in “You Drunken Sot” through a persistent use of driving repetition and the interjection of sforzandi of  sforzandi chords. More specifically, the right-hand right-hand  piano part begins with a repeating harmonic major second and subsequently opens to a minor third. In “Limoges,” we likewise find a repeating major second in the right-hand part opening to a repeating minor third, interrupted by sforzandi by  sforzandi chords.  chords. It is therefore more likely that this  particular passagework in “Limoges” is representative of women’s laughter , than the sforzandi the sforzandi found in m. 3 as Nagachevskaya suggests.

12

 Svetlana Nagachevskaya,  Svetlana  Nagachevskaya, “ Pictures at an Exhibition: A Exhibition:  A Reconciliation of Divergent Perceptions about Mussorgsky’s Renowned Cycle” (DMA thesis, University of Arizona, 2009), 142.

27

 

  We find additional oddly placed sforzandi placed sforzandi throughout both pieces, such as the descending vocal part in “You Drunken Sot” Sot” when the wife demands: “Well, what are you ogling ogling at? Why 13

do you just stand there a like a stump?” stump? ”  (see Example 2.1.7). Sot,” mm. 20 – 21. 21. Example 2.1.7 Mussorgsky, “You Drunken Sot,”

There is a passage in “Limoges Limoges”” with very similar characteristics, perhaps also exhibiting the women’s impatience women’s  impatience for a response (see Example 2.1.8). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Limoges, Limoges,”” m. 5. Example 2.1.8 Mussorgsky,

Both excerpts contain two sforzandi two sforzandi on  on strong beats and two that are placed on weak beats. Additionally, their melodic contours descend in small phrases, including turnarounds, which interrupt the downward motion. Another striking similarity between “Limoges” and “You Drunken Sot” can be heard in heard  in their climaxes. In “You Drunken Sot,” Sot,” the energy peaks as a s the wife promises to get the truth out: 13

 Laurence Richter, Mussorgsky’s Richter,  Mussorgsky’s Complete  Petrovich Mussorgsky  Mussorgsky  (Geneseo, NY: Leyerle, 2002), Song 40. Texts: Russian Texts of the Complete  Songs of Modest

28

 

  “Your wifey will untie your tongue! ...it will tell us u s all about shameless you, about you, the 14

shameless husband, the old good-for-nothing!” good-for-nothing! ”  (see Example 2.1.9). Sot,” mm. 34 – 39. 39. Example 2.1.9 Mussorgsky, “You Drunken Sot,”

Here we find an emphasis on repeated notes and syncopated chords, peaking on a fortissimo a  fortissimo dynamic, and then dropping away with repeated notes in the right hand as the wife cools down and prepares for another bout. The climax of “Limoges Limoges”” also involves syncopated chords and accents, crescendoing  into fortissimo  into fortissimo and  and pulling back down as the right hand executes repeating notes (see Example 2.1.10).

14

 Ibid, 41.

29

 

  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Limoges, Limoges,”” mm. 23 – 26. 26. Example 2.1.10 Mussorgsky,

As in “You Drunken Sot,” Sot,” the climax in “Limoges Limoges”” may, in fact, represent the women’ women’s exasperation in trying to reveal all the juicy juic y details of their gossip. The ending of “Limoge Limoges” s” is  is more ambiguous, taking the form of a coda and transitioning with a subito a subito attacca into attacca into the next movement. To draw on some interpretive interpretive ideas, it is helpful to examine the end of “You Drunken Sot,” Sot,” where the wife is completely fed up and exclaims: 15

“You You’’re sinful, miserable, disgraceful, disgraceful, ridiculous! Get out of my sight, damn you!” you!”  (see Example 2.1.11). Sot,” mm. 87 – 88. 88. Example 2.1.11 Mussorgsky, “You Drunken Sot,”

15

 Ibid., 43.

30

 

  Here Mussorgsky employs cacophonous alternations between the hands of the piano part to create the intensity of the scene. In “Limoges “Limoges,” ,” he he uses a very similar effect of a raucous alternating of hands in the finale, also within a fortissimo  fortissimo dynamic  dynamic (see Example 2.1.12). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Limoges, Limoges,”” m. 37. Example 2.1.12 Mussorgsky,

Instead of viewing the coda of “Limoges” as merely a transition, the pianist may wish to evoke an exasperated effect, using the final attacca into the following movement as a way of “slamming the door ” on everything that has previously transpired in the movement. Although “Limoges “Limoges”” is one of the most technically challenging movements of the set, there is no empty virtuosity. virtuosity. Every note propels the scene forward forward with a variety of articulations and accent placement that illuminates the story. story. One can hear the rising figures figures as the women  bubble with with excitement to break “the big news,” n ews,” biting sforzandi biting sforzandi as they interrupt one another and quibble, and vigorous repeated figures as they laugh at each other’s tales. After establishing these elements of characterization, the pianist will be liberated from approaching this movement as a rapid toccata or show piece and can instead recreate an amusing scene of daily life.

31

 

  und ‘Schmuÿ ’”   2.2 “‘Samuel’ Goldenberg und l e’”

Stasov’s Stasov ’s notes  notes tell us that “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmulÿ e’” e’” depicts  depicts “two Polish 16

Jews, one rich, the other poor.” poor.”   Frankenstein writes that the music was inspired by two of Hartmann’s pencil drawings, listed in the exhibition as No. as  No. 176 (“A (“A rich Jew wearing a fur hat: 17

Sandomir”)) and No. 177 (“A Sandomir” (“A poor Sandomir Jew”). Jew”).   According to the catalogue, these drawings were property of Mussorgsky. Mussorgsky. They were evidently given as a gift from from Hartmann, but 18

the drawings are now lost.   There are, however, two surviving Hartmann Hartmann watercolors of Jewish figures, which are often substituted for the missing originals that inspired Mussorgsky (see Figures 2.2.1 and 2.2.2). Figure 2.2.1 Victor Hartmann, “Head of a Jew.” Jew.” 

Figure 2.2.2 Victor Hartmann, “Poor Jew.” Jew.” 

Regarding the music for this movement, there is significant debate over ov er the expressive  purpose of Mussorgsky’s scene. Nagachevskaya writes: “Western and Russian scholars could be divided in two groups: one group claims that this piece is a caricature or a g grotesquerie. rotesquerie. The other, rather merciful, group states that this piece is about abou t a personal tragedy that reveals a deep 16

 Frankenstein, “Victor Hartmann Hartmann and Modeste Musorgsky,” Musorgsky,” 285.

17

 Ibid. 18

 Ibid.

32

 

  19

social drama.”   Richard Taruskin has offered offered one of the more controversial statements, claiming that it is a blatant example of Mussorgsky’s extreme anti-Semitism. anti-Semitism. Taruskin describes 20

this movement as a “distasteful portrayal of two loathsome Jewish mugs.”   He writes that Mussorgsky distinguished between the proud biblical yevrei biblical  yevrei Jews Jews  and the contemptible zhid  contemptible zhid   in in 21

his music, “who embodied nothing more than  than  petulance, petulance, rootlessness, and greed.”   He emphasizes that the correct transcription of the title contains quotation marks around “Samuel” and “Schmuÿle: “Schmuÿle:”” The use of the quotation marks points up u p the fact that the two two zhidy  zhidy have the same first name: one Germanized and the other Yiddish. Yiddish. They are in fact fact one zhid  one zhid , not two. The  portrayal is a brazen insult: no matter how dignified dignified or sophisticated or Europeanized a 22  zhid ’s ’s exterior, on the inside he is a jabbering, pestering jabbering,  pestering little little ‘Schmuÿle. ‘Schmuÿle.’’   David Brown responds to Taruskin’s analysis, arguing that this interpretation is implausible. He notes that Mussorgsky Mussorgsky maintained very distinct musical musical identities for these characters throughout the movement, and that there is no reason to believe the composer would suddenly take a contemptuous angle when he “so often presented specimens of humanity in its 23

less attractive forms without ever hinting at a moral posture.”   Brown maintains that that the quotations were used merely for “clarifying the very different socio-cultural statuses of his 24

 personae.””    personae.

19

 Nagachevskaya, “ Pictures at an Exhibition, Exhibition ,” 125.

20

 Richard Taruskin, Musorgsky: Taruskin, Musorgsky: Eight Essays and an Epilogue (Princeton: Epilogue (Princeton: Princeton University Press, 1993), 382. 21

 Ibid., 380.

22

 Ibid., 382.

23

 Brown, Musorgsky  Brown,  Musorgsky,, 238.

24

 Ibid.

33

 

  There are indeed instances where one can find anti-Semitism in Mu Mussorgsky’s ssorgsky’s letters as 25

Taruskin cites,  but there is also evidence of o f his genuine interest and respect for the Jewish  people. In a letter to Stasov, Mussorgsky writes writes about his interaction with Jewish music and

culture, both the biblical and the everyday: everyday: “On the steamer from Odessa to Sevastopol…I wrote down Greek and Jewish songs, as sung by some women, and I sang the latter with them myself.…In myself. …In Odessa, I went to holy services at two synagogues, and was in raptures.…I raptures. …I shall 26

never forget these!”   In another letter to Stasov regarding the composition of of Pictures  Pictures,, Mussorgsky makes special note of the Sandomir drawings d rawings for this movement movement:: “I should like to 27

add Vityushka’s [Hartmann’s] Jews.”   According to Stasov, “Mussorgsky was most delighted 28

with the expressiveness of these pictures.”   Mussorgsky’s respect for these drawings, as well as his intention to incorporate more than one Jewish portrait into the music, falls in line with Brown’s argument for the integrity of two separate characters rather than a demeaning conflation of one “loathsome zhid  “loathsome zhid .”  The texture of the opening passage in this movement, commonly understood as a depiction of the rich Goldenberg lecturing the deprived Schmuÿle, exemplifies the distinctive qualities of an operatic recitative. Rather than balanced lyricism, we find a very speech-like texture that is doubled in both parts without accompaniment. It is full full of assertive rhythm rhythm and abundant rests in a declamatory style, laden with a wide var variety iety of articulations. Already in these first four measures we find numerous tenutos tenutos,, staccatos  staccatos,, sforzandos  sforzandos,, and irregular slurs, all of

25

 Taruskin, Musorgsky  Taruskin,  Musorgsky,, 380.

26

 Leyda and Bertensson, The Musorgsky Reader , 394.

27

 Ibid., 272.

28

Orlova, Musorgsky’s Days and Works: A Biography in Documents, Documents, trans. Roy Guenther (Ann  Alexandra Orlova, Musorgsky’s Arbor, MI: UMI Research Press, 1983), 181. 

34

 

  which provide an ample palette for emulating Goldenberg’s Goldenberg’s bold speech patterns (see Example 2.2.1). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmu lÿ e,’” e,’”   Example 2.2.1 Mussorgsky, mm. 1 – 4 4..

We can better establish these qualities of speech imitation by turning to Mussorgsky’s unfinished opera Marriage opera Marriage,, a comedy begun in 1868, six years prior to Pictures to Pictures.. Mussorgsky writes that his work on Marriage on Marriage  is “the exercise of a musician, or rather a nonmusician, 29

desirous of studying and mastering the the flexes of human speech.”   In tthe he opening of the opera, the main character Podkolyosin is lying on a divan, smoking his pipe, and delivering a 30

hypocritical monologue about the importance of getting married  (see Example 2.2.2).

29

 Taruskin, Musorgsky  Taruskin,  Musorgsky,, 81.

30

 Ibid., 82.

35

 

  Mussorgsky, Marriage  Marriage,, Act I, Scene I, mm. 7 – 14. 14. Example 2.2.2 Mussorgsky,

Podkolyosin is wealthy and presumptuous like Goldenberg, and his recitative employs numerous compositional devices that are also utilized in Goldenberg’s speech. In both examples we find abundant rests, reflecting the breath and dramatic pauses of the characters as they take time to clearly articulate their arrogant arrogant moralizing. Like Goldenberg, Podkolyosin speaks with cris crisp p dotted rhythms in mm. 8 and 11, infusing an air of assertiveness into the text. Both speakers even conclude their phrases with the same same interval of a ffalling alling major third. From this comparison, it seems plausible that in Pictures in  Pictures an overconfident Goldenberg is indeed lecturing Schmuÿle, and there is an element of the comical involved. We also find numerous augmented seconds in Goldenberg’s theme, theme, which Taruskin 31

argues is Mussorgsky’s way of representing the unbecoming qualities of the “ zhidy  zhidy..”   Schmuÿle’s Schmuÿ le’s main theme, however, contains no augmented seconds that would identify him in this way (see Example 2.2.3).

31

 Ibid., 382.

36

 

  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmu lÿ e,’” Example 2.2.3 Mussorgsky, mm. 9 – 10. 10.

Although this character supposedly represents the true “loathsome” nature n ature of Goldenberg, the essence of the theme is a slow and simple harmonic rrhythm hythm sinking downward. The right-hand  pattern does create a shaking effect in the sound, which Taruskin describes as “jabbering” and 32

“ pestering,  pestering,””  but this could also be interpreted as the genuine discomfort of the dejected 33

Schmuÿ l e. Russ interprets this motive as “his “his teeth chattering or his body trembling,” trembling, ”  and 34

likewise Ashkenazy refers to it as “the poor man’s trembling. trembling .”   Nagachevskaya takes a more more 35

figurative approach, hearing it as a s “his nervousness and severe emotional discomfort.”   Pierre d’Alheim writes that Schmuÿ Schmuÿle “moves quaintly, tries to catch the other’s eye, 36

 begs,”  and Riesemann explains explains that he does this “without making the slightest impression on

32

 Ibid., 382.

33

 Russ, Musorgsky  Russ,  Musorgsky,, 44.

34

 Ashkenazy, Preface to Bilder to Bilder einer Ausstellung , xii.

35

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 127.  127.

36

 Quoted in M. D. Calvocoressi, Musorgsky: Calvocoressi,  Musorgsky: The Russian Musical Nationalist , trans. A. Eaglefield Hull (New York: E. P. Dutton & Co., 1919), 83.

37

 

  37

his partner.”   There is, however, a passage from from Schmuÿle which hints at the bolder qualities of Goldenberg (see Example 2.2.4). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmu lÿ e,’” Example 2.2.4 Mussorgsky, m. 17.

At first glance, this may appear to be a sign of conflation of the two characters as Schmuÿ l e assimilates some of Goldenberg’s brash nature, showing two sides of the same coin as in Taruskin’s Taruskin ’s analysis. analysis. It could, however, be a candid moment of frustration for Schmuÿle as Goldenberg continues to ignore his appeals. appeals. Indeed, we can find a simi similar lar outburst in Marriage in Marriage   when Podkolyosin’s servant Stepan becomes becomes irritated with his master (see Example 2.2.5). Mussorgsky, Marriage  Marriage,, Act I, Scene I, mm. 172 – 73. 73. Example 2.2.5 Mussorgsky,

After Schmuÿle’s Schmuÿle’s resistant  resistant outcry, Goldenberg engages him in a heated argument, represented by the juxtaposition of their themes (see Example Ex ample 2.2.6).

37

 Oskar von Riesemann, Moussorgsky Riesemann, Moussorgsky,, trans. Paul England (New York: Tudor Publishing Co., 1935), 292.

38

 

  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmu lÿ e,’” Example 2.2.6 Mussorgsky, mm. 19 – 20. 20.

 

The agitation is not only evident in the intensity of the octaves, but the sense of pulse as well. When Goldenberg was speaking by himself, his theme embodied a confident and patient demeanor. When placed alongside against Schmuÿle’s Schmuÿle’s theme, theme, we feel the intensity of every beat, and Goldenberg begins to display additional accents that were not present iin n the beginning. We find a similar development in the beginning of Marriage. of  Marriage.   When Podkolyosin begins Podkolyosin begins to feel “the 38

anxiety that the thought of marriage has aroused in the confirmed old bachelor,” bachelor,”  the accents  become more active compared to the beginning, shifting from larger phrases around half-note  beats to emphasizing more of the quarter beats (see Example 2.2.7). Mussorgsky, Marriage  Marriage,, Act I, Scene I, mm. 22 – 29. 29. Example 2.2.7 Mussorgsky,

38

 Taruskin, Musorgsky  Taruskin,  Musorgsky,, 83.

39

 

  By the end of “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmulÿ e,’” the two characters are given separate melodies once again. Schmuÿle gives his final pleas, and Goldenberg rejects him with  sforzandi interruptions and a haughty fortissimo haughty  fortissimo ending (see Example 2.2.8). Example 2.2.8 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “‘Samuel’ Goldenberg und ‘Schmuÿ ‘Schmu lÿ e,’”

mm. 27 – 29. 29.

As we can hear from Mussorgsky’s exaggeration of various musical elements, as well as comparisons with the comedic setting of Marriage of  Marriage,, this movement indeed contains con tains elements of satire. Although there is disagreement disagreement as to the intent of this caricature, an enduring view of the movement involves one character hectoring the other. In In Marriage  Marriage the  the wealthy and entitled Podkolyosin speaks with an arrogant tone about how one should live life, and based on the similarities to Goldenberg’s musical characteristics, we can infer that Goldenberg is, in fact, a figure of ridiculous pomp. Although Schmuÿle is the poor man on the receiving end of this rrant, ant, we hear that he is not simply a pathetic and weak figure, but he exposes his daring side much like Stepan. It is important that the pianist convey these theatrical theatrical elements of the sce scene, ne, bringing the characters to life by recreating their melodramatic dialogue, expressive interaction, and exaggerated demeanor.

40

 

  Chapter Three Burden

After surveying the more lighthearted sides of life with themes of youth and satire, I will move into the movements of Pictures of Pictures that reflect the hardships of life, embodying heavy heav y struggle and emotional discomfort. With the theme of burden, Mussorgsky shows us that adversities are unavoidable and life can become severe. There are two movements in particular from Pictures from Pictures   that are saturated with with anxiety, encumbrance, and struggle. This chapter will challenge tthe he commonplace assumptions about these movements by probing into their underlying psychology through comparisons with Mussorgsky’s operatic and song literature. The first movement is “Gnomus,” traditionally understood as a representation of a disfigured dwarf, but dwarf, but I will question this assessment through comparisons with Mussorgsky’s opera Boris opera  Boris Godunov. Godunov. The other movement is “Bydło,” which is commonly translated as “Cattle,” “Cattle,” but  but again I will challenge this interpretation by relating it to his opera Khovanshchina opera  Khovanshchina  and his song “On the Dnieper.”  Dnieper.”  

3.1 “Gnomus Gnomus” ” 

In his notes Stasov writes, “A drawing representing a little gnome walking awkwardly on 1

deformed legs.”   In one of his letters, he further explains, “This gnome is a child’s plaything, fashioned after Hartman’s design [for a nutcracker] in wood, for the Christmas tree at the Artists’ 2

Club.”   Frankenstein writes that the design was No. 239 in the cat catalogue, alogue, but both the

1

 Alfred Frankenstein, “Victor Hartmann Hartma nn and Modeste Musorgsky,” Musical Musorgsky,”  Musical Quarterly 25 (1939), 282.

2

 Michael Russ, Musorgsky: Russ, Musorgsky: Pictures at an Exhibition (Cambridge: Exhibition  (Cambridge: Cambridge University Press, 1992), 36.

41

 

  3

nutcracker and the drawing have disappeared.   Without these items, items, Stasov’s description has  been the primary basis for interpreting this movement. Riesemann concurs that it is a representation of “a dwarf who waddles with awkward steps on his short, bandy legs ; the grotesque jumps of the music, and the clumsy, crawling movements with which these are 4

interspersed, are forcibly suggestive.” suggestive. ”   Russ also views the music as “depicting the awkward 5

gait and the frequent stumbles of the gnome,” gnom e,”  and Montagu-Nathan concludes that “the 6

grotesque little goblin’s awkward movements are wonderfully suggested.”   Emelia Fried, in her notes to the holograph facsimile, probes deeper into the character of of the gnome. She writes: writes: “Mussorgsky’s piece is grotesque, with a touch of tragedy, a convincing example of the humanization of o f a ridiculous prototype.…The prototype.…The gnome is related to other characters in Mussorgsky’s works where behind an ugly ugl y outward appearance one senses a living 7

and suffering soul.” soul.”   Nagachevskaya takes this idea a step further, further, suggesting that because  Pictures was  Pictures  was begun soon after the premiere p remiere of Boris of Boris Godunov, Godunov, “some “some of Boris of Boris’’ dramatic facility and intention is extended to the Pictures. the Pictures.… …Consequently, Mussorgsky was perhaps not so much interested in literally drawing a caricature of the Gnome in music, but rather in sharing the 8

emotional suffering and pain of this wretched creature.” creature. ”   Neither Fried nor Nagachevskaya  provides detailed examples of influence from these other works, but I will look to Boris to Boris to find many striking parallels. 3

 Frankenstein, “Victor Hartmann Hartmann and Modeste Musorgsky,” 282. Musorgsky,” 282.

4

 Oskar von Riesemann, Moussorgsky Riesemann, Moussorgsky,, trans. Paul England (New York: Tudor Publishing Co., 1935), 291.

5

 Russ, Musorgsky  Russ,  Musorgsky,, 37.

6

 M. Montagu-Nathan, Moussorgsky Montagu-Nathan, Moussorgsky (New  (New York: Duffield and Company, 1917), 79.

7

 Quoted in Russ, Musorgsky Russ, Musorgsky,, 36.

8

 Svetlana Nagachevskaya,  Svetlana  Nagachevskaya, “ Pictures at an Exhibition: A Exhibition:  A Reconciliation of Divergent Perceptions about Mussorgsky’s Renowned Cycle” (DMA thesis, University of Arizona, 2009), 70.

42

 

  Caryl Emerson and Robert Oldani have identified specific keys ke ys and motives throughout  Boris that signify certain characters characters and emotional states. They have identified the key of e-f e-flat lat 9

minor, the same key of “Gnomus,” as “Gnomus,” as emphasizing a state of guilt.   More specifically, they have associated the use of chromaticism as a representation of Boris’s Boris’ s heavy conscience over killing the child Dmitry (see Example 3.1.1). 10

Mussorgsky, Boris  Boris Godunov, Godunov, Motive of Guilt.   Example 3.1.1 Mussorgsky,

We need only look at m. 60 of “Gnomus” to find a strong connection with Boris’s Boris’s guilt  guilt motive. In Example 3.1.2 we find a similarly constructed passage in the same key, beginning with a low E-flat pedal tone and followed by a two-voice texture where the lower part descends chromatically under dissonant intervals created by the upper upp er part: Example 3.1.2 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 60– 63. 63.

In his article on Mussorgsky’s song cycle Sunless Sunless,, Simon Perry offers a more explicit description of Mussorgsky’s Mussorgsky’s use of chromaticism. He discusses the Russian tradition of using 9

 Caryl Emerson and Robert Oldani, Modest Oldani,  Modest Musorgsky and ‘ Boris  Boris Godunov’ Godunov’ (Cambridge: Cambridge University Press, 1994), 240. 10

 Ibid., 233.

43

 

  symmetrical or “synthetic” chromaticism “to “to signify the world of magic and fairy tale (evil or 11

 benign), opposed to the worldly and human.”   Furthermore, he mentions its use in Boris in Boris Godunov,, where “the Godunov “the signification  signification of evil remained a vital component componen t in the drama, and synthetic chromaticism plays an important role in connoting the complex of ideas of murder, 12

guilt, paranoia, and so on.” on.”   We find chromaticism potently utilized in the final scene of Act II when Boris begins to hallucinate and is haunted by the appearance Dmitry’s Dmitry’s  ghost. Before the  beginning of Boris’s Boris’s monologue, Mussorgsky utilizes sets of chromaticism splitting symmetrically away from a central note (see Example Exa mple 3.1.3). Variations of this motive frequently recur as Boris is tortured by his own conscience. 13

Mussorgsky, Boris  Boris Godunov, Godunov, Act II, Hallucination Scene, p. 222.   Example 3.1.3 Mussorgsky,

Throughout “Gnomus “Gnomus,,” we also find symmetrical tendencies in the use of chromaticism. In the very opening motive, Mussorgsky employs chromaticism balanced around a central point (see Example 3.1.4).

11

 Simon Perry, “A Voice Unknown: Undercurrents in Mussorgsky’s Sunless Sunless,” ,” 19th-Century Music 28, no. 1 (2004): 21. 12

 Ibid.

13

 Because of the complications involved with various editions and edits to both  Boris Godunov and  Khovanshchina, I will refer to the page numbers for these works in the Kalmus editions of the vocal scores edited by  Khovanshchina, Paul Lamm.

44

 

  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. mm. 1 – 3. 3. Example 3.1.4 Mussorgsky,

When reduced, we can see the symmetry which converges onto a single note (see Example 3.1.5). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition , “Gnomus,” R eduction eduction of Primary Motive. Example 3.1.5 Mussorgsky,

 Nagachevskaya provides a graph of this motive, showing a spiral that pulls back in on itself, as if 14

the gnome cannot escape from his own fears  (see Figure 3.1.1). Gnomus,” ,” graphic representation of the primary p rimary motive. motive. Figure 3.1.1 “Gnomus

15

Russ describes this motive as the stumbling of the gnome,  but in light of its structure, one might view this as a representation of the main character’s tortured psyche.  psyche.  

14

 Nagachevskaya, “ Pictures at an Exhibition, Exhibition ,” 74.

15

 Russ, Musorgsky  Russ,  Musorgsky,, 36.

45

 

  Regarding Boris Regarding  Boris,, Perry emphasizes the use of tritones in the opera  opera since they were 16

integral to Mussorgsky’s thinking in symmetrical s ymmetrical structures.   Emerson and Oldani discuss a more specific use of tritones, particularly evident in the Hallucination Scene. They propose that the pitch center of E-flat represents Dmitry, while the pitch center of A signifies the release from 17

Dmitry.   This tritone opposition creates creates a powerful struggle in Boris’ Boris’s mind throughout the 18

opera, something that demands resolution but is only on ly resolved with Boris’ Boris’ss death.   In the Hallucination Scene, this tritone appears most overtly when Boris Bo ris begins to question the integrity of his soul: “Now I know if you are stained, stained, but once are stained, then nothing can preserve you 19

from damnation; your soul will burn” burn ”  (see Example 3.1.6) . Mussorgsky, Boris  Boris Godunov, Godunov, Act II, Hallucination Scene, p. 223. Example 3.1.6 Mussorgsky,

In this excerpt, the bass alternates between A3 and the enharmonic equivalen equivalentt of E-flat3, while the upper notes create a wedge gesture splitting outward amidst a swirling chromatic violin figuration. In “Gnomus,” there there are also numerous instances of an E-flat/A tritone. The first implication of this this interval can be seen in the opening motive of “Gnomus” which is centered on 16

 Perry, “A Voice  Voice Unknown,” 22.  22. 

17

 Emerson and Oldani, Modest Oldani, Modest Musorgsky and ‘ Boris  Boris Godunov, Godunov,’ 242.

18

 Ibid., 245. 19

 Nicholas John, Boris John, Boris Godunov (New Godunov (New York: Riverrun Press, 1982), 80.

46

 

  G-flat, the midpoint between E-flat and A. Shortly thereafter, these two notes appear together in the left-hand part beginning in m. 19 (see Example 3.1.7).  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 19 mm. 19 – 21. 21. Example 3.1.7 Mussorgsky,

Particularly similar to Example 3.1.6 from Boris from Boris is the ending section section of “Gnomus,” where the left-hand part consists of ostinato shifts between E-flat2 and A2, connected connect ed with chromatic runs (see Example 3.1.8). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 72 mm. 72 – 76. 76. Example 3.1.8 Mussorgsky,

This ostinato in “Gnomus” eventually spirals out of control and abruptly ends e nds with both hands  playing jarring chords (see Example 3.1.9). Example 3.1.9 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 87 mm. 87 – 90. 90.

47

 

  We find a comparable moment in the opera when Boris shouts, “Oh conscience of my soul, how 20

savagely you punish!”  (see Example 3.1.10). Mussorgsky, Boris  Boris Godunov, Godunov, Act II, Hallucination Scene, p. 223. Example 3.1.10 Mussorgsky,

Here we also have chromaticism launching abruptly into accented chords, with the upper part rising a half-step like the chords in “Gnomus. “Gnomus.”  Schnittke suggests that the Gnome’s chords are chords are  21

representative of his screams,  which seems plausible given this comparison. In addition to the general angst shared by b y the two characters, it is also possible that the Gnome, like Boris, is facing a second dark presence which haunts him. In the Boris the Boris Hallucination Scene, precisely when when Boris begins to see Dmitry’s ghost in the corner, a low E22

flat pedal appears which underlines his frightened pleas to the apparition  (see Example 3.1.11). Mussorgsky, Boris  Boris Godunov, Godunov, Act II, Hallucination Scene, p. 226. Example 3.1.11 Mussorgsky,

20

 Ibid.

21

 Alfred Schnittke, “‘Kartinki s vïstavki’ M. P. Musorgskogo (Opït analiza),” Voprosï muzïkoznaniya 1

(1953 – 1954), 1954), 330 – 32; 32; quoted in Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 77.  77. 22

 Emerson and Oldani, Modest Oldani, Modest Musorgsky and ‘ Boris  Boris Godunov, Godunov,’ 259.

48

 

  It is possible that the low E-flat pedals E-flat pedals in “Gnomus” also “Gnomus” also signify an ominous presence from which the Gnome is trying trying to escape. This interpretation would coincide with Mussorgsky’s Mussorgsky’s   change of tempo and character marking to Poco to Poco meno mosso, pesante (see pesante (see Example 3.1.12). Example 3.1.12 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Gnomus,” mm. 38 mm. 38 – 41. 41.

Emerson and Oldani recount Boris’s Boris’s powerful underlying emotions: emotions: ““Fears Fears and agonies are half-formed and then abandoned as he races ahead to another thought, perhaps unrelated to its predecessor. Even sleep escapes him, he says, and in the darkness of the night the child Dmitry rises up before him. This devastating image will not leave him; it possesses him, 23

exhausts him, and leaves him crying to God.”   We can infer similar emotional content in “Gnomus” by by examining the numerous musical parallels with Boris with  Boris,, particularly the sensations of fear, anxiety, and burden. Like Boris, the Gnome may be running away from his own mind, either a tortured conscience from a past evil, or merely his own insecurities brought about by b y his inherently outcast nature. Whichever the case, we can conclude that “Gnomus” embodies qualities far beyond portraying the physical encumbrances of o f a dwarf. It is still possible, however, that Har tmann’s tmann’s nutcracker design did play an important role in Mussorgsky’s Mussorgsky’s composition as Stasov as Stasov asserts. asserts. Previously in Act II of Boris of Boris,, a chiming clock is introduced  that delights the children. In the Hallucination Scene, it is this clock that sets Boris’s introduced Boris’s

23

 Ibid., 52.

49

 

  mind on a downward downward spiral. Perhaps Stasov was accurate in saying that the Gnome is is based on “a child’s plaything” since in since in Boris  Boris,, “it is a child’s toy, after all, that unhinges his mind so 24

completely at the scene’s end.”   The pianist is challenged with distinguishing between the hunter hu nter and the hunted, creating sharp contrasts, biting sforzandos biting sforzandos,, and an accelerando accelerando that  that should sound terrifying. terrifying. One must understand these elements of the score for a successful performance, but also bear in mind Mussorgky’s concern with the suffering of the individual as well as his own personal struggles 25

and demons.   The pianist must ultimately delve into the raw emotions of pain, fear, and tragedy in order to bring to life the larger purpose of this piece.

3.2 “Byd Bydłło” 

26

Stasov notated the title of “Bydło” as  as “Polish Cart” in the 1886 edition of Pictures of Pictures,,   27

writing that it depicts “a Polish wagon on enormous wheels drawn by oxen.” oxen. ”   Frankenstein tells 28

us that the exhibition catalogue did not contain a picture of a wagon or oxen,  but Seroff 29

speculates that Mussorgsky probably saw this drawing at Hartmann’s home.   Although no Hartmann original has been identified to link “Bydło” to a Polish wagon, wagon, many still concur with Stasov’s Stasov ’s assertion. assertion. Arsenii Golenishchev-Kutuzov describes describes the piece as a representation of

24

 Emerson and Oldani, Modest Oldani, Modest Musorgsky and ‘ Boris  Boris Godunov, Godunov,’ 49.

25

 Nagachevskaya, “ Pictures at an Exhibition, Exhibition ,” 71.

26

 David Brown, Musorgsky: Brown, Musorgsky: His Life and Works (Oxford: Works (Oxford: Oxford University Press, 2002), 237.

27

 Frankenstein, “Victor Hartmann Hartmann and Modeste Musorgsky,” 282. Musorgsky,” 282.

28

 Ibid.

29

 Victor Seroff, Modeste Seroff, Modeste Musorgsky (New York: Funk & Wagnalls, 1968), 144.

50

 

  30

“rattling carts,”  while Riesemann provides more detail, explaining that “‘Bydło’ is a big Polish 31

dray, drawn by a team of oxen on its high, rumbling wheels.”   Russ agrees that “a huge Polish cart arrives on the scene” scen e” with “thick, ponderous, left-hand left-hand chords, representing the rumbling of 32

the wheels and the tread of the hooves.” hooves.”   Riesemann believes that “the reproduction of this would not n ot be very musical had not Moussorgsky introduced a swinging folk-song in the Aeolian mode, evidently sung by the 33

driver.”   Russ also proposes that the bass “is set against a folk-like melody sung by b y the cart 34

drivers.”   Calvocoressi mentions the worker’s song as well, providing well, providing a rather mundane description of its qualities: The heavy basses which come lumbering along are in themselves characteristic: beneath them comes a theme of a labour song which becomes brighter towards the middle of the  piece; and that is all; but it is moving. Here the emotion results more from the description, and one sees that the mere description of the subject has sufficed for Musorgsky without giving rein to a single moment’s effusion or amplification of his 35  piece by a musically emotional commentary.   Through further examination, however, we will find that tha t there is indeed a level of “emotional commentary “emotional  commentary”” behind this piece. In a letter to Stasov, Mussorgsky refers to this 36

movement as “Sandomirzsko byd łł o   (le télégue),” télégue),”  often translated as Polish Ox-Cart.

30

 Alexandra Orlova, Musorgsky’s Orlova, Musorgsky’s Days and Works: A Biography in Documents Documents,, trans. Roy Guenther (Ann Arbor, MI: UMI Research Press, 1983), 92. 31

 Riesemann, Moussorgsky,, 291.  Riesemann, Moussorgsky

32

 Russ, Musorgsky  Russ,  Musorgsky,, 40.

33

 Ibid., 292.

34

 Russ, Musorgsky  Russ,  Musorgsky,, 40.

35

 M. D. Calvocoressi, Musorgsky: Calvocoressi,  Musorgsky: The Russian Musical Nationalist , trans. A. Eaglefield Hull (New York: E. P. Dutton & Co., 1919), 86. 36

 Jay Leyda and Sergei Bertensson, The Musorgsky Reader: A Life of Modeste Petrovich Musorgsky in  Letters and Documents (New Documents (New York: W. W. Norton & Company, 1947), 272.

51

 

  Mussorgsky, however, alludes to a different meaning behind this title when he writes: wri tes: “it stands 37

to reason that le télégue [the télégue [the cart] isn’t named, but this is between us.”   Brown asserts that “what Musorgsky’s cryptic remark to Stasov concerning ‘le télégue télégue’’ was all about remains a 38

mystery.”   Russ, however, offers one theory: “One might speculate that he is acknowledging some unrecorded discussion with Stasov about the scenario for this piece or even that, given 39

Mussorgsky’s Russophile tendencies, the Sandomir cattle are the Polish people themselves.”   (By “Russophile tendencies,” Russ is referring to Russian anti-Semitism, anti -Semitism, particularly toward 40

Polish Jews.)    Nagachevskaya argues for a sympathetic view of Mussorgsky’s intentions. Her first  point is that as a socially progressive composer, Mussorgsky Mussorgsky longed to reveal social problems 41

through his art (a concept frequently termed “populism”) “po pulism”)  and would be unlikely to attack the 42

 peasants of Sandomir in his music.   Her second point concerns the the meaning of the title. In step with most translations, Frankenstein writes, “the title, as is well known, is i s a Polish word meaning 43

‘cattle.’”   Brown concurs that “the word ‘bydło’ in both Russian and P Polish olish means simply 44

‘cattle.’”   Nagachevskaya, however, claims that the word “ byd  bydłło” can translate from Russian as

37

 Ibid.

38

 Brown, Musorgsky  Brown,  Musorgsky,, 237.

39

 Russ, Musorgsky  Russ,  Musorgsky,, 40.

40

 Ibid., 43.

41

 Ibid., 7.

42

 Nagachevskaya, “ Pictures at an Exhibition, Exhibition ,” 104.

43

 Frankenstein, “Victor Hartmann Hartmann and Modeste Musorgsky,” Musorgsky,” 282.  282.

44

 Brown, Musorgsky  Brown,  Musorgsky,, 237.

52

 

  45

46

“rabble, rabble,””  which according to Feodor Lopouhov is one of the names for the Russian peasantry.   Perhaps Mussorgsky never intended to scrutinize the Poles but was representing the working class of his own Russian countrymen. Indeed, the composer never used tthe he word Sandomir in his manuscript for the final title of this movement. Nagachevskaya also argues that Russ contradicts his own analysis of “Bydło, “Bydło,”” since on the one hand he conjectures about Mussorgsky’s under handed handed representation of Polish Jews, but bu t also writes that this movement is 47

“one of the most melancholic and Russian pieces.”   Russ’ Russ’s argument comes further into question when he cites Fried’s notes to the holograph facsimile, where she explains that “Bydło” 48

contains more Ukranian rather than Polish characteristics.   Nagachevskaya tthus hus asks: “Why would [Mussorgsky] create such a sorrowful and Russian-sounding Picture Russian-sounding  Picture to  to mock the 49

Poles?””   Poles? As we have seen, “Bydło” is often interpreted solely based on the images of the cattle and cart. This was partly due to Stasov’s notations, but it wa wass also exacerbated by Rimsky-Korsakov, Rimsky-Korsakov, the man responsible for editing Pictures editing  Pictures for its initial publication. publication .  He altered Mussorgsky’s  

opening fortissimo opening  fortissimo dynamic  dynamic to piano to piano with  with poco  poco a poco cresc., cresc., creating the effect of a cart 50

gradually approaching from a distance.   This misconception also also found its way into the famous orchestration by Ravel.

45

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 104.  104.

46

 Quoted in Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 104.  104. 

47

 Russ, Musorgsky  Russ,  Musorgsky,, 40.

48

 Ibid.

49

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 105.  105.

50

 Brown, Musorgsky  Brown,  Musorgsky,, 237.

53

 

  Mussorgsky, however, wrote to Stasov that he intended this piece to hit “right bet ween 51

the eyes,”  and indicated as such with the fortissimo the fortissimo present  present in his autograph (see Example 3.2.1). Example 3.2.1 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Byd Bydłło,” o,” mm. 1 – 10. 10.

Over the despairing atmosphere of the left-hand part, the right hand melody of “Byd “Bydłło” is indeed very characteristic of a Russian laborer’s song, distinguished by the natural minor mode (G-sharp minor), a lumbering rhythm, and short, short, disconnected phrases wit with h ample rests. Nagachevskaya  proposes that a possible source of inspiration for this melody is the barge haulers’ “Song “Song of the 52

Volga Boatmen.” Boatmen.”   This seems plausible, not only because it is a traditional Russian folksong,  but also because it was collected and published by Mily Balakirev, a fellow member of the “Mighty Five” (see Example 3.2.2). 3.2.2).

51

 Leyda and Bertensson, The Musorgsky Reader , 272.

52

 Nagachevskaya, “ Pictures at an Exhibition, Exhibition ,” 108.

54

 

  Boatmen.”  Example 3.2.2 “Song of the Volga Boatmen.”

As with the melody of “Bydło,” here here too we find lumbering rhythms and short s hort phrases broken apart by rests. Both melodies are in the bass register, straining higher with rising rising gestures but are inevitably weighed back down. Additionally, the contour of the melody emphasizes a range of a minor sixth like the first four measures of “Bydło.”  “Bydło.”   The powerful exclamations in the “Song of the Volga Boatmen” are reflected in “Bydło” by Mussorgsky’s Mussorgsky’s   fortissimo fortissimo dynamic and abundant tenutos,, effectively conveying a struggle against a heavy burden. Through this texture, tenutos Mussorgsky is able to transcend a mundane portrayal of “cattle” and take us into the lives of working people, weighed down through oppression, hard labor, and unimaginable effort. We may also turn to Mussorgsky’s song literature to glean understanding about the role of the melodies and textures in “Bydło. “Bydło.””  Mussorgsky’s opera Khovanshchina opera Khovanshchina reflects  reflects the struggle against the elite elite during the Moscow Uprising of 1682. It regards the reign reign of Tsar Peter the Great and his conflict with several rebellious fact factions ions in Russia. According to Brown: The main characters on stage represent three of the elements Peter must crush if h hee is to drag an almost medieval Russia into the modern age. The first is the old nobility with its entrenched mores and privileges….The privileges….The second is the Old Believers, a schismatic group of the Orthodox Church….The Church….The third element is the Europeanizing party in Russian 53 society.   Themes of burden permeate the opera, with Tsar Peter’s victory coming with the price of exile, murder, and suicide for the losing parties. Much of the musical content contains characteristics similar to “Bydło” and the “Song of the Volga Boatmen.” Boatmen.”  In Brown’s Brown’s analysis  analysis of 53

 Brown, Musorgsky  Brown,  Musorgsky,, 253 – 54. 54.

55

 

  the opera, he identifies one melody melod y in particular that relates to the dignity of P Prince rince Ivan 54

Khovansky, the personification of the old nobility  (see Example 3.2.3). Example 3.2.3 Brown’s Reduction of Khovansky’s Dignity Theme.

As in “Bydło” and “Song of the Volga Boatmen,” Khovansky’s theme begins in the lower register and reaches higher, always always returning down again. The rhythms are simple and weighty, and the harmonization is not complex, containing octave doublings of the melody which add to the stark intensity. intensity. These melodic traits can be found throughout Khovanshchina throughout Khovanshchina,, with abundant rising and falling perfect fourths and fift fifths. hs. We hear another example of this when the boyar Shaklovity dictates a letter to Peter, informing him of the plot for Ivan Khovansky and his son Andrey to rebel against the Tsar (see Example 3.2.4). Mussorgsky, Khovanshchina  Khovanshchina,, Act I, p. 35. Example 3.2.4 Mussorgsky,

54

 Ibid., 280.

56

 

  Like in “Bydło,” here we see we see the natural minor mode (A minor), square squa re rhythms, stark accompaniment, and a persistent return to the dominant with a rrange ange of a minor sixth. From this example, it appears that a texture such as this for Mussorgsky connotes not only ideas of struggle,  but a sense of defiance as well. Regarding “Bydło,” Nagachevskaya “Bydło,” Nagachevskaya proposes that the higher registers in the B section may be associated with the appearance of female characters, creating the impression of women 55

crying.   Indeed in Khovanshchina in Khovanshchina,, women are also given prominent p rominent roles with similar melodic qualities. When Khovansky sets his sights on the German girl Emma, Andrey threatens to kill 56

her rather than let his father have her. Emma cries out to be saved  (see Example 3.2.5). Mussorgsky, Khovanshchina  Khovanshchina,, Act I. Example 3.2.5 Brown’s Excerpt from Mussorgsky,

Although certainly more agitated than the previous melodies, Emma’s melody exhibits the same fundamental traits of simple rhythms, upward motion, particularly with the opening open ing perfect fourth, and an overall stretch of a minor sixth. Another example occurs at the close of the opera when Andrey’ Andrey’ss mistress, Marfa, speaks of their love, convincing Andrey to accept their fate and die together befor e the arrival of Peter’s troops (see Example 3.2.6).

55 Nagachevskaya,

“ Pictures at an Exhibition, Exhibition ,” 109.

56

 Brown, Musorgsky  Brown,  Musorgsky,, 273.

57

 

  Mussorgsky, Khovanshchina  Khovanshchina,, Act V, p. 370. Example 3.2.6 Mussorgsky,

Here Mussorgsky returns to a weighty texture, accompanied by octaves and a simple but effective bass line in a Lamentoso a Lamentoso context. Yet again, this melody features lumbering rhythms, gestures that strain strain higher, and an emphasis on a minor ssixth ixth span in the opening. In light of the very similar rhythmic, harmonic, and melodic qualities among the melodies, it would be appropriate that the melody of “Bydło” be interpreted as  as more than a cart driver’s song. The  pianist should consider imbuing it with a sense of dignity for the people, defiance against oppression, and perhaps even a nostalgic despair felt by those who can do nothing to help. Although these are sincere emotions, we should not n ot overlook the possibility that “Bydło” contains characteristics that do imply negative connotations for the Polish. Mussorgsky’s song song “On the Dnieper” from Dnieper” from 1867 is a setting of the poem “Yarema’s Song” from Shevchenko’s  Haydamaki,, concerning the subject of the Ukrainian insurrection against the Polish gentry in  Haydamaki 57

1786.   Although the text is not Mussorgsky’s, he chose to set it with a musical texture to match 58

Shevchenko’s “heroic “heroic vision of a free Ukraine.” Ukraine.”   The song boasts a dark text: “Free to the Sea.

57

 Ibid., 84.

58

 Ibid.

58

 

  59

 No Polish landowners, no monks! The Dnieper has borne away their bones bones””  (see Example 3.2.7). ,” mm. 58 mm. 58 – 65. 65. Example 3.2.7 Mussorgsky, “On the Dnieper ,”

Again,, Mussorgsky’s melody Again Mussorgsky’s melody utilizes heavy rhythms in the natural minor mode (D minor), and the plodding chords of the accompaniment are frequently outlined at the octave and filled in with a third, fourth, or fifth, creating a sparse but brutally brutall y direct texture much like the chords in “Bydło. “Bydł o.””  Perhaps this texture is, in fact, fact, representative of dignity for Mussorgsky’s Mussorgsky’s own  own country of Russia above all else. For interpreting “Bydło,” Mussorgsky left us little more than a cryptic note to Stasov and clues in the score itself. itself. Although it is impossible impossible to conclusively define its “musically emotional commentary,” commentary,” we may infer may infer certain expressive qualities with comparisons to the composer’s vocal literature. Certainly, it is unlikely unlikely that “Bydło” is as literal as a Polish wagon

59

 Ibid.

59

 

  and cattle passing by with a tuneful driver atop. From “Song of the Volga Boatmen,” we see that that this type of melody is reminiscent of a Russian rather than Polish worker’s song, and with the comparison to “On the Dnieper,” a Russian sentiment seems even more likely. The similarities in Khovanshchina in Khovanshchina suggest that for Mussorgsky, this style of writing connotes ideas of struggle, burden, defiance, and dignity for those involved. The pianist should convey these sentiments, infusing an otherwise commonplace worker’s song with the weight wei ght and intensity needed to bring these deep emotions to the surface. As if on the other side of the coin from satire, both “Gnomus” and “B “Bydlo” ydlo” are laden with the responsibilities of adult life. These pressures are almost unbearable for the characters, and in the operas Boris operas Boris Godunov and and Khovanshchina  Khovanshchina,, these burdens burdens ultimately lead to death. For Boris, his troubled path brings about his own demise. By the end of Khovanshchina of Khovanshchina,, death surrounds all the characters as an inevitable necessity nec essity for Tsar Peter and Russia itself to progress forward. Accordingly, the topic of death is the next category I will explore.

60

 

  Chapter 4: Death

The movements of Pictures of Pictures that involve death are not all explicitly about murder or sacrificing one’s life, life, but each of them does carry elements of loss in in their musical text. The first movement I will examine, “Il vecchio castello,” is often likened to a troubadour’s song of loneliness or lost love. love. Although death is not inherent to the subject matter, we will see that Mussorgsky uses a very similar texture for Death’s “Serenade” in his song cycle Songs and  Dances of Death, Death, from which we can infer certain expressive qualities. qualities.  “Catacombae (Sepulcrum romanum)” romanum)” and “Con mortuis in lingua mortua” are intrinsically about death, literally based on the image image of catacombs. I will explore, however, the more personal expression for Mussorgsky based on comparisons with songs from his song cycle c ycle Sunless Sunless.. The final movement containing death is “The Hut on Hen’s Legs (Baba Yaga),” which is based is  based on the dark Russian fairy-tale of a murderous witch. Although there are no figures of witches in Mussorgsky’s song literature, we can return to Songs and Dances of Death as a basis for defining its musical characteristics.

4.1 “Il vecchio castello” castello” 

From Stasov’s Stasov’s notes, we have the description of  “a mediaeval castle before which stands 1

a singing troubadour.” troubadour.”   According to Frankenstein: The Italian title suggests the locale, but nothing like this is listed listed in the catalogue. The  picture was obviously one of Hartmann’s architectural watercolors done in Italy. Italy. The closest one can come to it at present is the “Scene in Pé Périgueux,” which typifies Hartmann’s paintings of architectural monuments during his Wanderjahre Wanderjahre.. This picture, unlisted in the catalogue, represents the tower of the cathedral of St. Front at Périgueux, P érigueux, 2 rising above dwelling houses in the foreground.  [see Figure 4.1.1] 1

 Alfred Frankenstein, “Victor Hartman Hartma nn and Modeste Musorgsky,” Musical Musorgsky,”  Musical Quarterly 25 (1939), 282.

61

 

  Périgueux.””  Figure 4.1.1 Victor Hartmann, “Scene in Périgueux.

“Il vecchio castello” is one of the few movements in Pictures in Pictures where the musical characteristics tie it directly to t o Stasov’s description. The piece is often likened to a complex  blend of several forms that reflect the Italian title, title, a medieval setting, and the singing of a troubadour. The musical texture mirrors the traits of an IItalian talian siciliana, such as the 6/8 meter, lilting rhythms, minor key, lyrical melody, slow tempo, and incorporation of Neapolitan 3

harmonies.   It is also also strongly reminiscent reminiscent of a medieval ballade due to the repet repetitive itive nature of the melodies as well as its three-part texture — the the lower part consisting of a sustained pedal point, 4

the middle a “lute” accompaniment, and the upper the melody of a troubadour’s song.   In addition to these features, there are elements elem ents of Russian sound in “Il vecchio castello. castello.”  Russ writes that “this serenade with its guitar accompaniment turns into a Russian ‘song without 5

words’ strongly influenced by the shapes of Russian folk music.”   He claims that “‘Castello’

2

 Ibid.

3

 Svetlana Nagachevskaya,  Svetlana  Nagachevskaya, “ Pictures at an Exhibition: A Exhibition:  A Reconciliation of Divergent Perceptions about Mussorgsky’s Renowned Cycle” (DMA thesis, University of Arizona, 2009), 85. 4

 Ibid., 86.

5

 Michael Russ, Musorgsky: Russ, Musorgsky: Pictures at an Exhibition (Cambridge: Exhibition  (Cambridge: Cambridge University Press, 1992), 37.

62

 

  contains aspects of diatonic melismatic writing, which may reflect the influence of a type of 6

melismatic peasant song known as the protyazhnaya the  protyazhnaya..”   Brown als also o hears these these elements of Russian influence, writing that the musical texture is “a blend of Italian siciliana with with Russian  Russian 7

melancholy.”   As a mixture of vocal genres, “Il “Il vecchio castello” castello” is  is perhaps the most lyrical of all the movements in Pictures. in Pictures. Mussorgsky first establishes the scene in the left-hand part, a pattern that subsequently reveals itself as an accompaniment to the entrance of a melody marked con espressione.. The pedal bass line throughout is comprised solely of a repeated G-s espressione G-sharp2, harp2, which is completely unsubservient to the harmonic changes change s above, often resulting in tense clashes with the overlying chords and melody (see Example 4.1.1) Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Il vecchio castello,” castello,” mm. 6 – 15. 15. Example 4.1.1 Mussorgsky,

There seems to be a divide among scholars’ reactions to the compositional quality of “Il “ Il vecchio castello.” castello.”  Some believe that Mussorgsky’s writing is less than successful, the final  product being ultimately too repetitive and uninventive. Russ describes the movement as beset 6

 Ibid., 51.

7

 David Brown, Musorgsky: Brown, Musorgsky: His Life and Works (Oxford: Works  (Oxford: Oxford University Press, 2002), 235.

63

 

  with “monotony” and “unremarkable harmony,” writing that “the lack lack of contrast between 8

9

sections is a weakness.”   Similarly, Brown writes, “‘Il vecchio castello’ seems almost too safe,”   10

and Calvocoressi claims that the movement is “no more than mere platitudes.”   On the other hand, there are those who appreciate the mysterious and melancholic effects that this movement evokes. Rather than interpret it as a monotonous rendering of a troubadour song or an ordinary castle scene, a pianist could explore ex plore the penetrating depths of exp expression ression made possible by the austere texture. Riesemann writes that the movement creates “a long-drawn, long-drawn, unspeakably 11

melancholy melody…f rom rom which the beholder apparently cannot tear himself away.” away.”    Nagachevskaya also believes that it “creates an atmosphere of melancholic solitude, solitude,” painting a 12

 picture of “mysterious ruins that silently keep their dark secrets.”   In the notes to the the holograph facsimile, Emelia Fried probes even deeper into the expressive qualities of this movement, writing that it reflects Mussorgsky’s “broodings on the perishable perishable nature of our earthly existence 13

that were tormenting him at the time.”   Russ evaluates Fried’s statement as “questionable,” implying that “Il “Il vecchio castello” should be taken more at face value rather value rather than as an 14

outpouring of inner emotion.   After all, all, as Russ claims, “Hartmann added small figures to show 15

the scale of his architectural illustrations and such is the origin of the troubadour here. here.””  

8

 Russ, Musorgsky  Russ,  Musorgsky,, 38.

9

 Brown, Musorgsky  Brown,  Musorgsky,, 235.

10

 M. D. Calvocoressi, Musorgsky: Calvocoressi,  Musorgsky: The Russian Musical Nationalist , trans. A. Eaglefield Hull (New York: E. P. Dutton & Co., 1919), 86. 11

 Oskar von Riesemann, Moussorgsky Riesemann, Moussorgsky,, trans. Paul England (New York: Tudor Publishing Co., 1935), 291.

12

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 84.  84.

13

 Quoted in Russ, Musorgsky Russ, Musorgsky,, 37.

14 Russ,  Russ, Musorgsky  Musorgsky,,

37.

15

 Ibid.

64

 

  In order to defend the expressive qualities within this movement, I will turn to Mussorgsky’s song cycle cycle Songs and Dances of Death, Death, examining in particular the aspects of longing and loss. Mussorgsky composed the ffour our songs in this cycle in 1775 short shortly ly after  Pictures,, setting the poems of Golenishchev-Kutuzov that depict the figure of Death in various  Pictures forms and scenarios. The second song, song, “Serenade,” represents Death wooing a young girl in the 16

guise of a lover.   Russ, in fact, does reference reference this song as having sstrong trong musical similarities to 17

“Il vecchio castello.”   But rather than drawing expressive expressive correlations, he merely wri writes tes that in 18

the song, “Musorgsky employed the idea of a serenade to more powerful effect .”   I will, however, take a closer look at these similarities in order to understand the ex expressive pressive elements in “Il vecchio castello,” castello,” which might otherwise be overlooked. The opening of “Serenade” describes the scene of a gravely ill young girl on a magical spring evening. In the silence of night, Death begins sings a serenade under tthe he dying girl’s window: “In “In the gloom of your bleak and oppressive confinement, your youthfulness withers 19

away. I, a mysterious knight, will free you with my wondrous powers” powers”  (see Example 4.1.2).

16

 Brown, Musorgsky  Brown,  Musorgsky,, 289.

17

 Russ, Musorgsky  Russ,  Musorgsky,, 38.

18

 Ibid.

19

 Laurence Richter, Mussorgsky’s Richter, Mussorgsky’s Complete Song Texts: Russian Texts of the Complete  Songs of Modest  Petrovich Mussorgsky  Mussorgsky (Geneseo, NY: Leyerle, 2002), 125.

65

 

  Death, “Serenade, Serenade,”” mm. 34 – 41. 41. Example 4.1.2 Mussorgsky, Songs and Dances of Death,

Already, the subject of a mysterious m ysterious knight amidst withering youth provides an appropriate thematic complement to “the old castle” from Pictures from  Pictures.. As with “Il “Il vecchio castello,” castello,” we find a 6/8 siciliana rhythm in the bass and dotted patterns in the melody, providing an appropriate rhythmic backdrop for Death’s serenade. Additionally, there is is a  a tendency to utilize lower neighbor tones with the eighth- and sixteenth-note rhythms, which is something also found in “Il vecchio castello” castello” (see Example 4.1.3).

66

 

  Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Il vecchio castello,” mm. 61– 68. 68. Example 4.1.3 Mussorgsky,

Both of these excerpts also exhibit exh ibit a texture that frequently outlines an octave filled in with a single note for harmonization. As mentioned above in regard to the siciliana style, another important trait t o “Il “Il vecchio castello” is the use of Neapolitan harmony (see Example 4.1.4). Example 4.1.4 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Il vecchio castello,” mm. 29– 31. 31.

G-sharp minor:

6

N

6

 N

In “Serenade,” the use of the the Neapolitan  Neapolitan seems to reflect Death’s own feelings of being seduced by the girl’s girl’s presence. The first Neapolitan harmony occurs in the in the melody of m. 74 as 20

Death professes: professes: “Your breath hotter than the midday sun. You have seduced me totally!”  (see Example 4.1.5).

20

 Ibid., 126.

67

 

  Death, “Serenade,” mm.72 – 74. 74. Example 4.1.5 Mussorgsky, Songs and Dances of Death,

6

F-sharp minor:

N

Additional instances of the lowered G-sharp appear as Death is further enticed: “How lovely 21

your body, how intoxicating your trembling…”  (see Example 4.1.6). Example 4.1.6 Mussorgsky, Songs and Dances of Death, Death, “Serenade,” mm. 98 – 100. 100.

Like in “Il vecchio castello,” we hear a pedal tone with the same lilting 6/8 siciliana rhythm overlaid with harmonies independent from from the bass. Perhaps the use of the the lowered second is not merely to satisfy the conditions of a siciliana, resulting in “unremarkable harmony, harmony,” but to signify heightened moments of yearning as it does with Death’s appeals. appeals . Of particular note is the ending to “Serenade,” “Serenade, ” which is very similar to the conclusion of “Il vecchio castello” (compare castello” (compare Examples 4.1.7 and 4.1.8).

21

 Ibid.

68

 

  Death, “Serenade,” mm. 106– 111. 111. Example 4.1.7 Mussorgsky, Songs and Dances of Death,

Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Il vecchio castello,” mm. 102– 107. 107. Example 4.1.8 Mussorgsky,

In “Serenade” the rests reflect death’s seductive pauses seductive  pauses and inflections as he lulls the girl into complacency and then suddenly claims her in the fortissimo ending: “Hark to my entreaties of 22

love… Hush now… You are mine!”   Regarding “Il “Il vecchio castello,” scholars do not agree on the interpretive interpretive meaning. Russ merely addresses the formal aspects, describing the ending as a s “a coda which typically ends the 23

 piece with fragments of the previously heard ideas which gradually fade away.”   Schnittke  proposes a more programmatic scenario, suggesting that the gaps at the end represent the

22

 Ibid.

23

 Russ, Musorgsky  Russ,  Musorgsky,, 38.

69

 

  24

storyteller’s memory loss.   Nagachevskaya takes an emotional tack, claiming that the troubadour is possibly overwhelmed by sad memories from the past, p ast, cannot sing smoothly, and 25

must take several short breaks in order to finish his story.   With this comparison to the ending of “Serenade,” we can infer can infer that there is indeed a greater emotional weight that certainly surpasses memory loss and is perhaps accompanied by b y death itself for the singer or for someone close to the singer’s heart. heart. Although we cannot know exactly what sentiment Mussorgsky intended, from the  parallels to “Serenade,” we can see that there is likely a deeper expression behind this music than the composer abiding by formal requirements. It appears that this this texture for Mussorgsky Mussorgsky carries more implications than “mere platitudes” as Calvocoressi as Calvocoressi suggests and likely connotes conno tes ideas of yearning, aging, and possibly death. Part of the interpretive issues with “Il vecchio castello” result from the fact that the only dynamic marking in the movement is pianissimo is  pianissimo (aside  (aside from the  forte outburst  forte  outburst at the very end) and there are very few expressive ex pressive markings throughout, allowing for relatively bland interpretations. But the pianist must not fall into the trap of rolling through this piece with a gentle one-dimensional andantino andantino.. Mussorgsky does provide a clue in the tempo marking: molto cantabile e con dolore (very dolore (very singing and with sorrow). sorrow). Rather than recreating a droning atmospheric accompaniment to a castle scene, the pianist is charged with crafting a story to fill the musical space as an actual singer would. Throughout “Serenade,” Mussorgsky employs an abundance of hairpins, accents, and dynamic d ynamic shifts to express Death’s yearning. It would seem appropriate, appropriate, then, to utilize more of these expressive tools iin n “Il “Il vecchio castello” to convey convey the sentiment implied by the texture. The “siciliano” rhythm can be 24

 Alfred Schnittke, “‘Kartinki s vïstavki’ M. P. Musorgskogo (Opït analiza),” Voprosï muzïkoznaniya 1 (1953 – 1954), 1954), 336; quoted in Nagachevskaya, Nagachev skaya, “ Pictures at an Exhibition,” Exhibition ,” 88. 88. 25

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 88.

70

 

  transformed into the heavy heartbeat of the singer, and the pianist should no nott shy away from the overlying clashes with the pedal tone, but express their strain to the fullest as an intense yearning. Whether it is a song of loneliness, seduction, love, or death, it is important to transcend the literal image of a troubadour at a castle, and bring and bring the lone singer’s emotional world to the foreground.

mortua”’   4.2. “Catacombae (Sepulcrum romanum)” romanum)” / “Con mortuis in lingua mortua”’ 

Stasov writes, “Hartmann’s picture [of the “Paris Catacombs”] represented the artist 26

himself looking at the catacombs in Paris by the light of a lantern. ”   According to Frankenstein, “the catalogue gives a little more precise information (No. 36): 3 6): ‘Interior of Paris catacombs with figures of Hartmann, the architect Kenel, and the guide holding a lamp’” lamp’”27 (see Figure 4.2.1). “Paris Catacombs.” Catacombs.”  Figure 4.2.1 Victor Hartmann, “Paris

Brown refers to this movement movement as “purely atmospheric, stating that “this “t his first part of 28

‘Catacombae’ is the weirdest piece Musorgsky ever created. created .”   Likewise, Derrick Puffett

26

 Frankenstein, “Victor Hartman Hartmann and Modeste Musorgsky,” 286. Musorgsky,” 286.

27

 Ibid.

28

 Brown, Musorgsky  Brown,  Musorgsky,, 235.

71

 

  29

 believes that it is the “strangest” of all the movements in Pictures in Pictures..   Calvocoressi asserts that ‘Catacombae’ is “only “only moderately expressive in spite of an evident intention of seeking after 30

sonority.”   These comments give the impression impression that Mussorgsky Mussorgsky was attempting to create an atmospheric ambiguity with this movement, without necessarily succeeding at the same level of communicative expressivity found in the rest of Pictures of  Pictures.. Mussorgsky’s music, music, however, certainly embodies a deeper and more personal personal expression than implied here. This is the only movement that directly involves Hartmann himself, and the images of catacombs no doubt stirred Mussorgsky’s emotions over his death as he was composing the movement. Hartmann’s very sudden and unexpected passing affected Mussorgsky Mussorgsky greatly. In a letter to Stasov, the composer reveals his emotions: “My very dear friend, what a terrible terrible blow! ‘Why should a dog, 31

a horse, a rat, live on?’—and on? ’—and creatures like Hartmann must die!”   Also in the same letter, Mussorgsky expressed his shame for not recognizing Hartmann’s poor health during during their last trip together to St. Petersburg: “When you’ve got your wind again, old boy, we’ll go on.”  on.”  That was all I could say, when I knew that his death-warrant had been signed! What clumsy fools we are! …When …When I recall that talk, I feel wretched, because it was fear that made me a 32 coward….II shall not soon forget what happened, it coward…. i t will haunt me.   Mussorgsky felt deep remorse for the loss of his friend, as well as sincere regret for not doing more to help him. These events not only inspired his work on Pictures on Pictures to  to memorialize Hartmann, but he also began work on his song cycle entitled Sunless Sunless.. Mussorgsky chose to to set  poems of Golenishchev-Kutuzov for  the cycle, particularly those which express exp ress elements of

29

 Derrick Puffett, “A Graphic Analysis of Musorgsky’s ‘Catacombs,’”  Music Analysis 9, no.1 (1990), 67.

30

 Calvocoressi, Musorgsky  Calvocoressi,  Musorgsky,, 83 – 84. 84.

31

 Quoted in Riesemann, Moussorgsky Riesemann, Moussorgsky,, 288.

32

 Ibid.

72

 

  loneliness, nostalgia, and loss. Instead of portray portraying ing real-world images, both the poetry and musical texture of Sunless are driven by abstract Romantic ideals of conveying one’s inner life and emotional turmoil. The third song of the t he cycle, “The Idle, Noisy Day Is Over,” evokes a number of images that concern loss and could be paralleled to “Catacombae.”  “Catacombae.”  Golenishchev-Kutuzov’s Golenishchev-Kutuzov’s poem is poem is as follows: The idle, noisy day is over; Human life, fallen silent, is slumbering. All’s quiet. The shadow of a May night  night  Embraces the sleeping city. But sleep flies from my eyes. And, by the dawn of a new day, My imagination turns over The pages of years lost. As if breathing in again the poison Of spring, of passionate dreams, In my soul I resurrect a series Of hopes, impulses, and mistakes…  mistakes…  Alas, they are but ghosts! I’m bored with their deathly crowd,  crowd,   And the noise of their old chatter Has lost its hold on me. But one shadow, of all the shadows, Appeared to me, breathing love, And, faithful friend of days past, Bent quietly towards the bed. And bravely I gave to her alone All my soul in a silent tear, Visible to no one, full of happiness, 33 In a tear, I cherished since long ago! a go!  

33 Quoted in Simon Perry, “A Voice Unknown: Undercurrents in Mussorgsky’s Sunless Sunless,” ,” 19th-Century  Music 28, no. 1 (2004), 38.

73

 

  The poem describes “slumbering” human life in quiet darkness, reminiscent of the catacombs in Hartmann’s drawing. The speaker “turns over the pages of years lost” and resurrects “a series of hopes, impulses, impulses, and mistakes,” not unlike Mussorgsky has done don e with his own regrets concerning Hartmann. According to Perry, this song was originally to have been titled “Shade” 34

or “Shadow,” which he writes “may “may refer  refer to darkness or to beings no longer among the living. living.””   Perhaps the “faithful friend of days past” indeed reminded Mussorgsky of his own loss. As we will see, the musical texture of the song is also comparable to “Catacombae,” which will allow us to infer emotional qualities of remembrance and nostalgia in the piano piece. “Catacombae” consists of a sustained chordal texture which emphasizes vertical sonority, unconventional tonal progressions, and extreme contrast. The numerous fermatas, fermatas, venturous harmony without regard to key signature, and the unexpected use of dynamics all create the sense of something mysterious, ethereal, and void of beginning or end, like eternity itself (see Example 4.2.1). Example 4.2.1 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Catacombae,” mm. 1– 11. 11.

Brown describes the setting as “an experience of irrational terror that subsides with only only painful  painful 35

slowness…dehumanized, disorientated and unpredictable.”   According to Nagachevskaya,

34

 Ibid., 37.

35

 Brown, Musorgsky  Brown,  Musorgsky,, 239 – 40. 40.

74

 

  Schnittke feels that the sudden contrasts represent frightening images of destruction, while 36

Golovinsky and Sabinina suggest that the echoes create an atmosphere of grandeur and space.    Nagachevskaya herself believes that “these extreme changes may indicate the severe mental and emotional state of a person who, being affected and disturbed by ho horrible rrible images, feels 37

disoriented and lost.”   In “The Idle, Noisy Day Is Over,” we see that Golenishchev-Kutuzov’s Golenishchev-Kutuzov’s poem, poem, although replete with poignant emotion, gives a much different impression than experiencing “irrational terror” or being “disturbed “disturbed by horrible images.” Rather, the poem speaks of th thee shadows on a quiet spring night, and the musical setting Mussorgsky composed for it bears many resemblances to “Catacombae.” From the opening of the song, we ssee ee an emphasis on vertical sonority, sonority, dynamic contrast, unexpected harmony, a slow tempo, and an almost rhythmless sense of floating through the piece (see Example 4.2.2). Sunless,, “The Idle, Noisy Day Is Over,” mm. 1– 7. 7. Example 4.2.2 Mussorgsky, Sunless

36 Nagachevskaya, 37

 Ibid.

“ Pictures at an Exhibition,” Exhibition ,” 149.

75

 

  Another salient aspect of the opening of “Catacombae” is the low octave bassline, which makes a brooding, stepwise descent. Nagachevskaya proposes that this creates the effect of 38

literally going underground into the mysterious m ysterious passageways.   There iiss again, however, a similar passage in the song, which creates a different effect. effect. It is the moment when the speaker’s “imagination turns over the pages of years years lost.” Nagachevskaya’s suggestion  suggestion for “Catacombae” seems plausible based on the picture, but perhaps the bassline represents a more figurative concept. This could be Mussorgsky’s way of recalling the past, creating a mental descent into  precious memories (see Example 4.2.3). Example 4.2.3 Mussorgsky, Sunless Sunless,, “The Idle, Noisy Day is Over,” mm. 12– 14. 14.

At the close of the song, we find additional extreme contrast contrastss like in “Catacombae, “Catacombae,” not only in dynamics, but also in range. range. Particularly striking is the sudden move from from pianissimo  pianissimo to  forte as  forte  as the poem speaks speaks of a soul “full of happiness” (see happiness” (see Example 4.2.4).

38

 Ibid., 146.

76

 

  Sunless,, “The Idle, Noisy Day is Over,” mm. 36– 40. 40. Example 4.2.4 Mussorgsky, Sunless

We find a similar gesture towar d the end of “Catacombae,” with a subito a subito accented chord in the treble register, followed by piano by piano (see  (see Example 4.2.5). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Catacombae,” mm. 21– 24. 24. Example 4.2.5 Mussorgsky,

As in the song, perhaps the sforzando the sforzando major  major chord is Mussorgsky recalling positive instead of negative emotion, being flooded with a memory of happiness instead of fear or pain. The next section of this movement, “Con mortuis  mortuis in lingua mortua,” is unusual in that Mussorgsky incorporated the “Promenade” theme into the picture instead of being employed as an interlude between movements. It is in the key of B minor, which which Frankenstein writes “is “is 39

really an extremely sad restatement of the Promenade the  Promenade theme.  theme.””   Calvocoressi does not offer

39

 Frankenstein, “Victor Hartmann Hartmann and Modeste Musorgsky,” 286. Musorgsky,” 286.

77

 

  much more, providing a mundane description of this section as “a rhythmless transformation of 40

the theme of the Promenade the Promenade,, with an ineffective high tremolo tremolo””  (see Example 4.2.6). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Con mortuis in lingua mortua, mortua,” mm. 1 – 4. 4. Example 4.2.6 Mussorgsky,

As we will see, see, there is more to this use of the “Promenade” theme than inducing a sad or rhythmless effect. Many interpret this as Mussorgsky himself becoming part of Hartmann’s Hartmann’s   drawing,, particularly since the “Promenade” theme is thought to represent the composer. Brown drawing writes, “by founding the second part of the latter on the main theme of his Promenades, 41

Musorgsky draws himself into the scene as observer ”  and “now imagines himself their 42

companion.”   Russ also believes that that “here is the very point where the composer is drawn into 43

the pictures themselves.”   For further insight, we can turn to Mussorgsky’s Mussorgsky ’s own notations, notations, as he provided a clue to his expressive intentions with with a note he left in the holograph. Above this section in the margin, margin, 40

 Calvocoressi, Musorgsky  Calvocoressi,  Musorgsky,, 84.

41

 Brown, Musorgsky  Brown,  Musorgsky,, 235.

42

 Ibid., 239.

43

 Russ, Musorgsky  Russ,  Musorgsky,, 46.

78

 

  he wrote: wrote: ““A A Latin text: with the dead in a dead language. It should be a Latin text. text. The creative spirit of the departed Hartmann leads me toward the skulls and invokes them — the the skulls begin 44

to glow faintly.”   This notation seems to set a different scene from Hartmann’s drawing. In the artwork, Hartmann is alive and well, exploring the catacombs with a friend and a guide, neither of whom are Mussorgsky. Mussorgsky. The notation in the holograph, however, implies implies that Mussorgsky is taking his own journey into the catacombs rather than becoming an observer or companion in the drawing, and is, in fact, following the spirit of the already departed Hartmann.  Nagachevskaya suggests that the “Promenade” theme is Mussorgsky speaking to Hartmann, and the lower octaves represent Hartmann’s ominous replies from deep within the 45

catacombs.   Stasov falls in line with this more fi figurative gurative interpretation from his description in a letter to Rimsky-Korsakov: Rimsky-Korsakov: “tremolando “tremolando comes  comes in a minor key the theme of the first  promenades — these these are faint lights glimmering in the skulls, and here suddenly is sounded the 46

magic, poetic appeal of Hartmann to Musorgsky…. Musorgsky….”   In Rimsky-Korsakov’s Rimsky-Korsakov’s reply to reply to Stasov, he seems reluctant to agree that Mussorgsky’s texture contains this spiritual dialogue: “The place from ‘Catacombs’ which you describe is beautiful, but it is taken out of the middle and thus is not very clear to me; how this appeal happens to be made by Hartmann to Musorgsky —I don’t 47

understand this at all.”   On one hand, Russ claims that for Mussorgsky, since “faith and religion featured little in his life, we can assume that he held little hope for an after-life. Life on earth constituted all that

44

 Jay Leyda and Sergei Bertensson, The Musorgsky Reader: A Life of Modeste Petrovich Musorgsky in  Letters and Documents (New Documents (New York: W. W. Norton & Company, 1947), 273. 45

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 147.

46

 Leyda and Bertensson, The Musorgsky Reader , 275.

47

 Ibid., 276.

79

 

  48

wass available, early death was simply a waste.”   He also responds wa responds to Mussorgsky’s notation, writing that “this idea of the skulls glowing probably came c ame to him from the illustration where in 49

the lamplight the skulls themselves seem to light up.”   On the other hand, Seroff claims that “Moussorgsky never lost his interest in spiritualism and quite often attended séances with 50

Stassov’s brother Dmitri and Kutusov.”   Although we cannot presume presume to know the level of Mussorgsky’s spiritual life, life, we can glean insight from his his vocal writing. The first song for comparison is titled “Softly the Spirit Flew Up to Heaven,” a suspiciously religious choice of text for someone who “held little hope for an after -life” -life” (see Example 4.2.7). Example 4.2.7 Mussorgsky, “Softly the Spirit Flew U p to Heaven,” mm. 1– 3. 3.

As with “Con mortuis,” Mussorgsky begins in a 6/4 time signature with sustained tremolos in the treble register, creating an appropriately spiritual setti setting. ng. Additionally, after a measure of introduction, Mussorgsky introduces a Lamentoso a Lamentoso melody  melody in quarter notes underneath. From this comparison, it would seem that Mussorgsky’s delicate tremolos and melodic placement in “Con Mortuis” reach beyond creating an atmosphere of mystery and into the realm of the divine.

48

 Russ, Musorgsky  Russ,  Musorgsky,, 46.

49 Ibid. 50

 Victor Seroff, Modeste Seroff, Modeste Musorgsky (New York: Funk & Wagnalls, 1968), 148.

80

 

  For the next comparison we will turn to the fifth song of Sunless Sunless,, “Elegy.” The title alone bears certain connotations of remembrance for those who have passed, and although Hartmann’s death is likely an influence for this music, Mussorgsky was also deeply d eeply struck by the  passing of his close friend Nadezhda Opochinina. She died in 1874, shortly after Mussorgsky completed Pictures completed  Pictures but  but before he returned to composing the last two songs of Sunless. Sunless.   Mussorgsky had begun a dedication to her entitled “Epitaph” for voice and piano, but he never finished the project. An excerpt from the text gives a sense of the deep sorrow he felt over her death: Cruel death, like a ravenous vulture, vu lture, thrust her talons into your heart and killed you; this executioner, cursed throughout the ages, has carried you, too, away. O, if only all those those for whom I know my maddened cry sounds wild, could comprehend the power of grief! O, if only it could give me tears, bitter and comforting tears — then, then, perhaps, in a luminous thought, I could portray for people your shining image, glowing with the love 51 of truth…. truth….   “Elegy” from Songs and Dances of Death, Death, written around the same time as “Epitaph,” “ Epitaph,” expresses comparable sentiments in its text. text. One striking feature in “Elegy” is the “clang of the  bell of death,” which Brown tells us is not only the dynamic height of the song, but indeed the 52

climax of the entire Sunless cycle  (see Example 4.2.8). Example 4.2.8 Mussorgsky, Sunless Sunless,, “Elegy,” mm. 44– 48. 48.

51 Leyda 52

and Bertensson, The Musorgsky Reader , 276 – 7 77. 7.

 Brown, Musorgsky  Brown,  Musorgsky,, 247.

81

 

  53

Immediately following this texture of “Death’s melancholy tolling,”  there appears a texture in the piano accompaniment that is very similar to “Con mortuis.” The right-hand right-hand part begins with a pianissimo tremolo, tremolo, and the left-hand part enters underneath with a lamenting theme (see Example 4.2.9). Example 4.2.9 Mussorgsky, Sunless Sunless,, “Elegy,” mm. 49– 52. 52.

Also like “Con mortuis, mortuis,” the theme in the treble register is answered with a low bass melody in octaves, and the piece ends on a sustained tremolo (see tremolo (see Example 4.2.10). Example 4.2.10 Mussorgsky, Sunless Sunless,, “Elegy,” mm. 57– 61. 61.

6/4

F minor: i  

53

6

iv  

i

 Richter, Mussorgsky’s  Richter,  Mussorgsky’s Complete Song Texts, Texts, 103.

82

 

  The poem here gives the impression of a disheartened speaker : “A prescient “A prescient star, as if overcome  by shame, conceals its bright countenance in a morose haze, not unlike my future, mute and 54

impenetrable.”   This despondent conclusion is manifested in the song by Mussorgs Mussorgsky ky avoiding any decisive cadence and maintaining the minor harmony to the end. The crucial difference in “Con mortuis” is that Mussorgsky eventually resolves the gloomy harmonies to B major, creating a more uplifting close to the piece (see Example 4.2.11). Example 4.2.11 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Con mortuis in mortuis in lingua mortua,” mortua,”  

mm. 16 – 20. 20.

B Major: V

I

V

I

In “Elegy,” the speaker seems to have lost lost hope in a future without this person they care about so greatly. Perhaps in “Con mortuis,” the rising B-major ending is Mussorgsky’s Mussorgsky’s way  way of providing hope in the midst of tragedy, tragedy, allowing light to penetrate as Hartmann’s spirit ascends to a greater  place after their final exchange. As we have seen with comparisons to Mussorgsky’s vocal literature, “Catacombae” and “Con mortuis” are neither are neither merely atmospheric colorations of mystery or fear nor literal depictions of Mussorgsky joining Hartmann’s entourage e ntourage underground. From “The Idle Noisy Day Is Over,” we can infer that there is likely a figurative journey into past memories. “Softly

54

 Ibid.

83

 

  the Spirit Flew U p to Heaven” shows Heaven” shows us that there are aspects of the spiritual involved, and “Elegy” confirms a sense of loss and deep remorse after death. The pianist should understand that the purpose of these movements in Pictures in Pictures is  is not to simply recreate the image of o f travelling through the catacombs in Hartmann’s drawing drawing,, but to take part in Mussorgsky’s spiritual homage to his close friend. 

Yaga)”  4.3 “The Hut on Hen’s Legs (Baba Yaga)” 

She lives deep in the woods woo ds in a hut whose hen’s legs allow legs  allow it to rotate to face each unfortunate newcomer. There she lures lost children to eat them, crushing their bones in the giant mortar in which she rides through the woods propelling herself with the pestle 55 and covering her tracks with a broomstick.   Such is Russ’s Russ’s description of the dark Russian fairytale of Baba Yaga. Y aga. Hartmann’s drawing, however, depicts a very different different image. Rather than a menacing, ferocious witch, witch, he drew an ornate clock. It is decorated wi with th many elaborate features, but only the hen’s hen’s feet link it to the fairy tale. Frankenstein tells us that “this is described in the catalogue (No. 247) as ‘Baba th

Yaga’s hut on fowl’s legs. Clock, Russian style of the 14  century. Bronze and enamel.’ The carved gables, cock motives, and elaborate ornamentation after textile and rope patterns, are all 56

highly typical of Hartmann’s architectural style”  (see Figure 4.3.1).

55 Russ,  Russ, Musorgsky  Musorgsky,, 56

47.

 Frankenstein, “Victor Hartmann Hartmann and Modeste Musorgsky,” Musorgsky,” 287.  287.

84

 

  “Baba-Yaga’s ’s Hut on Hut on Hen’s Hen’s Legs. Legs.””  Figure 4.3.1 Victor Hartmann, “Baba-Yaga

Although Hartmann’s clock seems outside the realm of Baba Yaga’s savagery, he certainly understood the barbaric aspects aspects of the fairytale. The first time Stasov had seen him, Hartmann evidently made quite a stir at an artist’s ball dressed ball dressed as the witch. While everyone else was in costume according to cliché foreign models, Hartmann appeared there,…along rows of plaster of Paris Greek gods and goddesses, a witch, Baba Yaga, was running her red braids streaming out behind her. A big fuzzy hat was pulled down over her eyes, her feet were wrapped in onuchi onuchi,, bony arms stuck out of the sleeves of her robe, a sparse beard protruded from her chin, ch in, her horrible eyes gleamed maliciously on 57 her painted face, tusks stuck out of her half opened mouth.   One can imagine that this story had been b een told to Mussorgsky, who no dou doubt bt thought of this image when composing “Baba Yaba” in memory of Hartmann. Some scholars, however, still link Mussorgsky’s movement to movement to aspects of a clock. According to the 1886 edition, the 58

metronome marking is set at 120 to the quarter note.   Russ explains that “if the metronome marking is correct, then the indication [quarter note] = 120 leaves each bar b ar with a duration of 59

exactly one second; this, and the mechanical rhythm, gives the impression of a giant clock.”  

57

 Ibid., 275.

58 Russ,  Russ, Musorgsky  Musorgsky,, 59

 Ibid., 47.

46.

85

 

  Similarly, Brown claims, “the witch’s pendulum begins the frantic ticking that determines d etermines the 60

 pace of her ride.”   Although a speed of 120 to the the quarter note would hinder the necessary feverish delivery of a performance, the aspect of a rel relentless entless pulse is certainly certainly appropriate. But  perhaps the idea of a ticking clock is not so inapt, for as we have seen in the Boris the Boris Hallucination Scene, it can be associated with the supernatural as it was with Dmitry Dmitry’s ’s ghost, and even has the  power to drive one insane. The intense outer sections of “Baba Yaga”  Yaga” are often thought to portray the witch’s frenzied ride through the forest. forest. Stasov tells us that “Musorgsky “Musorgsky has added the ride of ride of Baba 61

Yaga in her mortar,”  Seroff writes “Moussorgsky’s picture represents one of BabaBaba-Yaga’s rides 62

on a broomstick,”  and Riesemann concurs that “Moussorgsky has written for this a wild 63

scherzo —a sort of witches’ ride.”   Appropriately, the opening is replete with brutal octaves and  biting chords (see Example 4.3.1). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Baba Yaga,” mm. 21– 28. 28. Example 4.3.1 Mussorgsky,

60

 Brown, Musorgsky  Brown,  Musorgsky,, 240.

61

 Frankenstein, “Victor Hartman Hartmann and Modeste Musorgsky,” 286 Musorgsky,” 286 – 87. 87.

62 Seroff,  Seroff, Modeste  Modeste 63

Moussorgsky, 143. Moussorgsky,

 Riesemann, Moussorgsky  Riesemann,  Moussorgsky,, 293.

86

 

  Mussorgsky utilizes an intense crescendo into into fortissimo  fortissimo,, sforzando accents, chromaticism, and a sense of intervallic opposition opposition with symmetrical tendencies tendencies in the patterns. Although not emphasizing tritones, this passage from “Baba Yaga”  Yaga”  is reminiscent of the texture in “Gnomus,” crafting an atmosphere of angst angst and terror. Nagachevskaya refers to this section section as “takeoff 64

music” for the witch, based on the forcefully rising bassline.   In the context of the the fairy tale, this would make sense. Unfortunately Mussorgsky did not leave behind a vocal composition about Baba Yaga in order to suggest the intentions of each musical pattern. Other than his orchestral work St. John’s Night John’s Night on Bare Mountain, Mountain, the closest reference we have to a terrifying supernatural force like Baba Yaga is Death itself in his Songs and Dances of Death.  Death.  In the song “Trepak,” Death traps a wayward peasant in a dreadful snow storm, feigning to comfort him as his life slips slips away. There is a passage comparable to “Baba Yaga” Yaga” where the poem describes “the “the storm, like a witch, rose up and pushed you from field to forest, 65

drowsy, not knowing she snatched you” you”  (see Example 4.3.2).

64

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 158.

65 Peter

Barton, “Modeste Mussorgsky’s Songs and Dances of Death” Death” (DMA thesis, University of South Carolina, 2011), 33.

87

 

  Death, “Trepak ,” mm. 38– 54. 54. Example 4.3.2 Mussorgsky, Songs and Dances of Death,

Although not bearing the same frantic drive as “Baba Yaga,” Yaga,” “Trepak” has a sense of an ominous presence from the heavy bass b ass octaves crescendoing upward, answered by descending chords with grace notes in the the right hand. A more agitated texture occurs subsequently in the 66

song when Death commands: “Spread “ Spread a fluffy bed my darling storm!”  (see Example 4.3.3). 73. Example 4.3.3 Mussorgsky, Songs and Dances of Death, Death, “Trepak,” mm. 72– 73.

66

 Ibid.

88

 

  The cascading chromatic scales in “Trepak” are comparable to the ending of the A section in “Baba Yaga,” which Yaga,” which also dramatically dramatically descends while emphasizing half steps. steps. Much like the storm that envelops the hapless victim in “Trepak,” this passage  passage  in “Baba Yaga” could be interpreted as the witch swooping down to close in on her prey (see Example 4.3.4). Example 4.3.4 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Baba Yaga,” mm. 75– 78. 78.

Another piece in the Songs and Dances of Death cycle, “The Field Marshal,” also utilizes compositional tools that exhibit many similarities to the A section of “Baba Yaga. Yaga .”  As the poem describes a vicious battle scene ushering in the appearance of Death, we find sforzando find sforzando accents,  accents,  brooding bass octaves, appoggiaturas in the right hand, and rising and falling chromaticism (see Example 4.3.5).

89

 

  Death, “The Field Marshal,” mm. 10– 15. 15. Example 4.3.5 Mussorgsky, Songs and Dances of Death,

From these similarities to the A section of “Baba Yaga” we Yaga” we can get a sense that Mussorgsky’s witch is indeed a figure of terror and destruction far removed from Hartmann’s decorative clock. The B section of “Baba Yaga,” conversely, is a much less active active Andante  Andante mosso.. Calvocoressi argues that this middle section “gives an example of purely musical mosso suggestion, perhaps unique in the instrumental works of the composer.…Everyone composer. …Everyone will feel the 67

mysterious atmosphere of this episode.”   Russ explains, “the central section mixes diminished 68

and augmented harmonies creating tonal ambiguity and an atmosphere of spookiness.”  

67

 Calvocoressi, Musorgsky  Calvocoressi,  Musorgsky,, 83 – 84. 84.

68

 Russ, Musorgsky  Russ,  Musorgsky,, 47.

90

 

  Riesemann also believes that “the “ the strange harmonies and halting melodies produce prod uce a weird effect 69

of unreality” unreality”  (see Example 4.3.6). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Baba Yaga,” mm. 95– 100. 100. Example 4.3.6 Mussorgsky,

Although the texture of the B section se ction indeed suggests a magical atmosphere, a more precise explanation could be that Baba Yaga is actually seducing her victim rather than generating a vague mysticism. Nagachevskaya points out that the leftleft-hand hand melody of the B section begins with the same rhythm as the opening of the piece, indicating that this is likely Baba Yaga 70

speaking to her victim.   Additionally, the non legato marking indicates the imitation of speech71

like patterns.   For comparison, we will again look to Songs and Dances of Death. “Lullaby,”   Death . In the song “Lullaby,” Death promises to ease the suffering of a mother’s sickly child and child and give him peaceful sleep. 69

 Riesemann, Moussorgsky  Riesemann,  Moussorgsky,, 293.

70

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 155.

71

 Nagachevskaya, “ Pictures at an Exhibition,” Exhibition ,” 160.

91

 

  When Death begins to sing, the right hand h and of the accompaniment slips into a triplet pattern like the B section of “Baba Yaga” (see Yaga” (see Example 4.3.7). Death, “Lullaby,” mm. 28 – 30. 30. Example 4.3.7 Mussorgsky, Songs and Dances of Death,

When Death professes “I will quickly quiet him; hush, my m y little one, my own,” 72 we see an emphasis on falling intervals in the melody, much like the leftleft-hand hand part in “Baba Yaga” (compare Examples 4.3.6 and 4.3.8). Example 4.3.8 Mussorgsky, Songs and Dances of Death, Death, “Lullaby,” mm. 36– 37. 37.

These textures serve as a deceitfully seductive entreaty, entreat y, supporting the interpretation that Baba Yaga is attempting a similar ruse with her victim.

72

 Barton, “Modeste Mussorgsky’s Songs and Dances of Death, Death ,” 26.

92

 

  In “Lullaby,” soon soon after these comforting promises from Death, the left-hand part begins leaping up as the mother becomes more agitated, her cries accompanied by tremelando tremelando.. She implores Death to stop: “Have mercy! Cease your ghastly song, I beg you, if only for a moment!”73 (see Example 4.3.9). Example 4.3.9 Mussorgsky, Songs and Dances of Death, Death, “Lullaby,” mm. 43– 45. 45.

In the B section of “Baba Yaga,” there are also agitated interjections alongside tremelando accompaniment. Perhaps these motives are the sshouts houts of the victim as he or she realizes what is actually happening, that this seduction is a ploy to claim the victim’s victim’ s life (see Example 4.3.10). Example 4.3.10 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Baba Yaga,” mm. 108– 109. 109.

73

 Richter, Mussorgsky’s  Richter,  Mussorgsky’s Complete Song Texts, Texts, 124.

93

 

  After the screams subside, Baba Yaga abruptly takes off and resumes her hunt for another victim. From the musical details as well as the comparisons to Mussorgsky’s Songs and Dances of Death, Death, we see that the musical realization of “Baba Yaga” takes the listener into a world far removed from the the decorative clock of Hartmann’s design. Hartmann’s sketch Hartmann’s sketch provides a subject,  but ultimately does very little for the spirit spirit of Mussorgsky’s music. Mussorgsky’s music. Far from ornate, ornate, the music is raw and direct, wild and frantic, frantic, primal and brutal. Although this piece demands a st strong rong technique, it is not a Lisztian bravura that drives Mussorgsky’ Mussorgsky’ss composition, but a need to cut straight to the aggression, aggression, terror, and deceit of Baba Yaga. The pianist should tear the audience from their seats onto the ride of her mortar, become beco me the seductress, and communicate a b brutality rutality that comes from a very diff erent erent spirit than Hartmann’s clock. With the category of death in Pictures in  Pictures,, Mussorgsky has shown us a nuanced nuance d variety of emotions. “Il vecchio castello” embodies qualities of yearning, “Catacombae” and “Con mortuis” represent grief in a spiritual context, contex t, and “Baba Yaga” is driven by terror and seduction. For the cycle as a whole, death represents the last step in a jjourney ourney through the stages of life. life. We have seen the beginning of life, the lighthearted sides of life, the severe sides of life, and the end of life. Mussorgsky, however, does not leave us with an exploration of life within only these  boundaries. He also incorporates movements which transcend these worldly concerns. These are pieces that contextualize the expressive journey of Pictures of Pictures,, providing a measure of triumph and hope amidst topics of frivolity, struggle, and loss.

94

 

  Chapter Five Transcendence

The category of transcendence consists of the bookends of the cycle, the opening “Promenade” and the finale “The Bogatyr  Gate.” “Promenade” sets a celebratory tone for the opening before we are dragged into the turbulent turbulent emotional ride of the cycle. I will examine traits of Russian folk and choral music to better understand the texture, and then draw comparisons with the Coronation Scene in Boris in  Boris Godunov in order to illuminate the exultant qualities in this movement. movement. “The Bogatyr Gate” returns us to a sense of glorious triumph while incorporating elements of the divine. I will again look to Boris to Boris for  for determining expressive and textural meaning, as well as examine the th e Russian Orthodox chant “Memory Eternal” in Eternal”  in order to highlight the connection to spiritual elements.

5.1 “Promenade” “Promenade”  

It is commonly accepted that “Promenade “Promenade”” represents Mussorgsky physically walking through Hartmann’s exhibition. According to Russ, “this is a portrait of Musorgsky, now of 1

considerable bulk, shambling through the gallery.”   Also commenting on his bodily weight, Frankenstein describes this movement as “a kind of o f musical portrait of Musorgsky himsel himselff walking about in the gallery.…The gallery. …The curious rhythm— measures measures of 5/4 alternating with measures 2

of 6/4 — creates creates an awkward waddly eff ect: ect: Musorgsky was no sylph.”   Brown provides even more detail, writing, “Promenade I brilliantly suggests him walking purposefully into the room,

1

 Michael Russ, Musorgsky: Russ, Musorgsky: Pictures at an Exhibition (Cambridge: Exhibition  (Cambridge: Cambridge University Press, 1992), 35.

2

 Alfred Frankenstein, “Victor Hartman Hartma nn and Modeste Musorgsky,” Musical Musorgsky,”  Musical Quarterly 25 (1939), 281 – 82. 82.

95

 

  though there is an ebb and flow in the phrasing that indicates that his gait is subject to constant slight irregularities, perhaps through momentary shifts of direction as he turns to give the 3

 pictures a preliminary survey.”   Curiously, Stasov’s note for this movement does not provide any descriptive imagery, writing only that “the introduction bears the title Promenade title  Promenade.” .”4  In his  biography of Mussorgsky, however, he does offer his thoughts on the “Promenade” interludes: “The composer has shown himself pacing here and there; sometimes loitering, sometimes hastening to get nearer to a picture; sometimes the joyful gait slackens — Musorgsky Musorgsky thinking 5

mournfully of his dead friend.”   In Mussorgsky’s letter to Stasov regarding Pictures regarding Pictures,, he writes writes that his “own  “own   6

 physiognomy peeps out all through the intermezzos.” intermezzos.”   At first glance, it would seem that this explanation validates the aforementioned interpretations. There are, nonetheless, two fundamental assumptions that would have to be imposed on Mussorgsky’s letter to arrive at this conclusion. The first issue concerns the distinction between the “intermezzos” and the “Promenade.” Although the intermezzos are titled “[Promenade]” “[Promenade]” and are thematically thematically linked, they do not have movement numbers and they contain brackets around their headings, whereas the actual “Promenade” movements are labeled. Mussorgsky distinguished between the “Promenade” and the subsequent recurrences of its theme, theme, and thus was not necessarily n ecessarily referring to the opening movement in his letter. letter. The other issue relates to the interpretation of the word “physiognomy.” Although the term the term can be defined define d as a manifestation of bodily features, it ma may y

3

 David Brown, Musorgsky: Brown, Musorgsky: His Life and Works (Oxford: Works  (Oxford: Oxford University Press, 2002), 233.

4

 Frankenstein, “Victor Hartman Hartmann and Modeste Musorgsky,” 281. Musorgsky,”  281.

5

 Quoted in M. D. Calvocoressi, Musorgsky: Calvocoressi,  Musorgsky: The Russian Musical Nationalist , trans. A. Eaglefield Hull (New York: E. P. Dutton & Co., 1919), 81. 6

 Quoted in Oskar von Riesemann, Moussorgsky Riesemann, Moussorgsky,, trans. Paul England (New York: Tudor Publishing Co., 1935), 291.

96

 

  also be understood as a reflection of one’s on e’s character and spirit spirit.. Riesemann touches on this more figurative concept, explaining that “Promenade” reveals “a “a clever and intelligent face ‘nel modo 7

russico,,’ which reflects the objects seen, but in a form transfigured by art.”   russico The musical texture of “Promenade” is comparable comp arable to that of a Russian choir, where a soloist initiates a theme and is then followed by b y alternating choral responses, creating a pattern of 8

antiphonal singing.   There are constant meter fluctuations in the A section section between 5/4 and 6/4, adding to a sense of unrestricted unrestricted chant-like singing. Mussorgsky creates an atmosphere of grandeur with the forte the forte dynamic, tenutos on every note of the main theme, and grand chords with a supportive bassline in octaves (see Example 5.1.1). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Promenade Promenade”” I, mm. 1 – 8. 8. Example 5.1.1 Mussorgsky,

  In order to clarify the associations with Russian folk and choral cho ral music, we must examine some of the salient characteristics of these genres. genres. Russ explains, the “folk -influence -influence may be felt in a variety of ways, most significantly in modal alterations, a lterations, a narrow range, obsessively

7

 Riesemann, Moussorgsky  Riesemann,  Moussorgsky,, 291.

8

 Russ, Musorgsky  Russ,  Musorgsky,, 36.

97

 

  9

reiterated small diatonic collections, collections, heterophony, parallelism and the use of pedals.”   He offers a reproduction of the heterophonic folk song “Da svaty moi” as an an example of the Russian choral 10

style  (see Example 5.1.2). Example 5.1.2 “Da svaty moi. moi.” 

According to the Russian folk fo lk specialist Evgenia Linyova, Russian folk heterophony heterophon y “usually  begins with a solo or unison which then changes into polyphony, periodically returning to unison….Both the lead singer ( zapevalo  zapevalo)) and the supporting singers ( podgoloski  podgoloski or  or  podgolosochniki)) sing essentially the same melody, but the supporting voices constantly deviate  podgolosochniki 11

from it, changing it at will.”   As in “Promenade,” “Da svaty moi” indeed moi” indeed opens with a solo melody answered by polyphony, and the essence of the melody from the opening zapevalo opening  zapevalo is  is reflected in the podgoloski the podgoloski response.  response. In both examples we also find the use of a 6/4 time time signature and a strong bassline in contrary motion. It would thus be appropriate that when interpreting “Promenade,” the the pianist should feel the breath of o f the soloist and choir, the 9

 Ibid., 50.

10

 Ibid.,  54.  Ibid.,

11

 Vladimir Morosan, “Folk and Chant Elements in Musorgsky’s Choral Writing,” in  Mussorgsky: In  Memoriam 1881 – 1981, 1981, ed. Malcolm Hamrick Brown (Ann Arbor: UMI  UMI  Research Press, 1982), 104.

98

 

  antiphonal shadings of color and dynamics, and convey the elements of the Russian folk and choral sound in the music. Russ also discusses a close similarity between the melody of “Promenade” and the chorus chorus in the Coronation Scene of Boris of  Boris Godunov.  Godunov.  He explains that the Coronation melody is the Russian hymn “Glory to God in the Highest” and Highest” and notes several several parallels to “Promenade” that  that  exemplify the Russian style, including the reiterations of motifs based on diatonic seconds and 12

fourths, the distinctive eighth- eighth- quarter-note rhythm, and the changing ch anging metric contexts.   Emerson and Oldani write that the Coronation melody is one of the few genuine folk melodies in 13

 Boris..   Below is Russ’s  Boris Russ’s chart comparing “Promenade” and the Coronation melody of Boris of Boris 14

Godunov  (see Example 5.1.3). and  Boris Coronation Scene Melodies. Example 5.1.3 Russ’ Comparison of “Promenade” and Boris

12

 Russ, Musorgsky  Russ,  Musorgsky,, 53.

13

 Caryl Emerson and Robert Oldani, Modest Oldani,  Modest Musorgsky and ‘ Boris  Boris Godunov’ Godunov’ (Cambridge: Cambridge University Press, 1994), 41. 14

 Russ, Musorgsky  Russ,  Musorgsky,, 52.

99

 

  Comparing (a)(i) with (b)(i), we see that both melodies are comprised of a collection of five notes with an octave range between lower and upper dominant scale degrees. There is also the use of eighth-note dyad patterns, and both openings employ a rising perfect fourth. These melodic similarities are indeed prominent, but we may ma y also look to their textures for resemblances as well. well. When looking at a reduction of the chorus and orchestra in the Coronation Scene of Boris of Boris,, we see chords in the treble partnered with octaves in the bass moving in contrary motion, much lik e the chordal textures in “Promenade” (see Example 5.1.4).  5.1.4).  Mussorgsky, Boris  Boris Godunov, Godunov, Prologue, Coronation Scene, p. 37. Example 5.1.4 Mussorgsky,

There is yet another aspect of “Promenade” that “Promenade” that we can compare with the Coronation Scene in Boris in Boris,, which Russ does not mention. mention. These are the sections which begin as a reflection of the theme, but proceed into steady eighth-note figuration (see Example 5.1.5). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “Promenade” I, mm. 9– 10. 10. Example 5.1.5 Mussorgsky,

A similar transition into eighth notes can be identified in the Coronation Scene as bells begin ringing out over the chorus (see Example 5.1.6).

100

 

  Mussorgsky, Boris  Boris Godunov, Godunov, Coronation Scene, p. 42. Example 5.1.6 Mussorgsky,

While Russ touches on comparisons to Boris to  Boris,, he does not delve into the implications that this type of analysis might have for the expressive purpose of “Promenade.” In this scene, the crowd is singing amidst trumpet fanfares and bellringing in praise of the th e Tsar : “As the beautiful 15

sun is above us in heaven, glory, glory, glory, so Tsar Boris is above us in Russia, glory, glory!”   The music here is momentously uplifting, reflecting a spirit spirit of nobility, pride, pride, and hope. Undeniably, the majority of the opera is, in fact, beset with trepidation, but this scene provides a moment of transcendence beyond the onerous trials that the characters must inevitably face. The overall layout of Pictures of  Pictures reflects this sentiment sentiment as well. At the end of the first first “Promenade, Promenade,”” we come to an issue regarding regarding transitions. When Rimsky-Korsakov edited Mussorgsky’s manuscript, he removed the attacca markings at the end of several movements, including the one at the end of “Promenade” I. Consequently, since Ravel created his orchestration before an edition true to the manuscript was published, his orchestral version is also plagued by this problem. Without the attacca attacca,, we are left with the effect of “Promenade “ Promenade”” I

15

 Emerson and Oldani, Modest Oldani, Modest Musorgsky and  Boris Godunov, Godunov,  41.

101

 

  and “Gnomus “Gnomus”” standing apart as nonintegrated and incoherent incoherent vignettes. With the attacca reinstated, these two movements are linked, and we can feel the inevitable pull into the expressive world of Pictures of Pictures as we are abruptly transported between emotions. In this context, “Promenade” I serves as the glorious and hopeful h opeful celebration not celebration not unlike the Coronation Scene in  Boris,, whereas the following “Gnomus” unveils a truly tortured nature as we saw with  Boris comparisons to the Hallucination Scene later in the opera. Another clue about the function of “Promenade” comes “Promenade” comes from the tempo marking Allegro marking  Allegro  giusto,, which is commonly understood as a “true  giusto true”” or “exact exact”” allegro allegro.. Within the context of this comparison, however, we could interpret giusto interpret  giusto  as embodying a sense of the “just” and “righteous.” In order to create the arc that Mussorgsky intended for the set, the pianist should infuse some of this noble spirit into in to “Promenade” I, I, establishing the appropriate expressive basis for initiating the cycle.

5.2 “The Bogatyr Gate (at Kiev, the Ancient Capital)” Capital) ” 

In this final movement, we return to the triumphant essence that frames the cycle of  Pictures.. “The Bogatyr Gate,” also referred to as “The Great Gate of Kiev,” was inspired by  Pictures Hartmann’s design that was part of a competition to commemorate Emperor Alexander II’s 16

escape from attempted assassination.   Here we have a more extensive description description of Hartmann’s drawing, drawing, no doubt because this sketch was one of his most no notorious torious and respected  pieces:

16

 Victor Seroff, Modeste Seroff, Modeste Musorgsky (New York: Funk & Wagnalls, 1968),  115.

102

 

  Six views and plans of the gate are mentioned in the catalogue (Nos. 263 – 9), 9), of which ours is apparently apparently No. 265: ‘Stone city-gates city-gates for Kiev, Russian style, with a small church inside; the city council had planned to build these in 1869, in place of the wooden gates, to commemorate the event of April April 4, 1866. The archway rests on granite pillars, pillars, three quarters sunk in the ground. ground. Its head is decorated with a huge headpiece of Russian carved designs, with the Russian Russian state eagle above the peak. To the right is a belf belfry ry in three stories with with a cupola in the shape of a Slav helmet. The project was never carried out. A photograph of this drawing drawing may be found in Hartmann’s edition of ‘Illustrations ‘Illustrations of Russian Ornament,’ Moscow, 1873.’ The inscription on the arch of the gateway is in 17 Old Slavonic and says: ‘Blessed is he that cometh co meth in the name of the Lord.’   Stasov writes that the columns “seem sunk into the earth as though weighted down with old age, and as though God knows how many centuries centuries ago they had been built. Above, instead of a copula, is a Slavonic war helmet with a pointed peak. The walls are decorated with a pat pattern tern of 18

coloured brick! How original is this!” this!”  (see Figure 5.2.1). Figure 5.2.1 Victor Hartmann, “Design for Kiev City Gate: Main Façade.” Façade.” 

Stasov was obviously quite taken with Hartmann’s work. His comments on Mussorgsky’s “The Bogatyr Gate, Gate,” however, are somewhat underhanded. In a letter to RimskyKorsakov, Stasov describes this movement as “in the manner of a hymn or a finale a la ‘Slav Slavsiya’—  siya’— of of course a million times worse and weaker, but bu t all the same a lovely, might mighty y and 17

 Frankenstein, “Victor Hartman Hartmann and Modeste Musorgsky,” 287. Musorgsky,” 287. 18

 Quoted in Russ, Musorgsky Russ, Musorgsky,, 48.

103

 

  19

original thing.”   Calvocoressi feels feels that it is “evidently laborious writing” for a “quest after 20

sonority” that is “perhaps more ambitious than successful.”   Riesemann describes it it aass “a 21

somewhat conventionally designed apotheosis,”  and Seroff claims that that it “has nothing  photographically resembling Hartmann’s design for the great Gate of Kiev.”22  We will see, however, that there are in fact links to Hartmann’s Hartmann’s drawing, as well as a sentiment that reaches far beyond a “quest after sonority.” We are reminded of the expressive exp ressive character of “Promenade” as “The “The Bogatyr Gate” opens in a grand and heroic fashion. fashion. Like “Promenade,” it has a chordal texture with an opening melody comprised of similar scale tones involving the first, second, third, and fifth degrees, ultimately spanning an octave dominant to dominant. Aside from these similarities, similarities, the tempo markings of maestoso and con grandezza alone grandezza alone give insight into the expressive qualities of this movement (see Example 5.2.1). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “The Bogatyr Gate,” Gate,” mm. 1 – 6.  6.  Example 5.2.1 Mussorgsky,

19

 Jay Leyda and Sergei Bertensson, The Musorgsky Reader: A Life of Modeste Petrovich Musorgsky in  Letters and Documents (New Documents (New York: W. W. Norton & Company, 1947), 274. 20

 Calvocoressi, Musorgsky  Calvocoressi,  Musorgsky,, 86.

21

 Riesemann, Moussorgsky  Riesemann,  Moussorgsky,, 293.

22

 Seroff, Modeste  Seroff,  Modeste Moussorgsky, Moussorgsky, 143.

104

 

  After this glorious opening, the music suddenly transforms into a texture reminiscent of a four-part church chorale, as if we are transported from the celebration outside the gate to a service inside the chapel above (see Example 5.2.2). Example 5.2.2 Mussorgsky, Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “The Bogatyr Gate,” Gate,” mm. 30 – 46. 46.

A-flat minor: i (F-flat major:

i

i

6

iv V/VI vi V

VI I)

Stasov describes this section to Rimsky-Korsakov Rimsky-Korsakov as “a particularly lovely church motif:  motif:  ‘As you 23

are baptized in Christ’” Christ’”  (see Example 5.2.3). 24

Example 5.2.3 “As You You Are Baptized in Christ.” Christ.”  

23

 Leyda and Bertensson, The Musorgsky Reader , 274. 24

 Russ, Musorgsky  Russ,  Musorgsky,, 55.

105

 

  Brown agrees that “Musorgsky invented, “Musorgsky invented, as human participation, a choir intoning the traditional 25

chant ‘As you are baptized in Christ.’”   Russ concurs as well, but questions its use: Musorgsky’s piece includes a reworking of the Russian hymn identified by b y Stasov above,  but his setting does not reveal a very deep understanding of what ancient Russian Church music was like. This hymn has nothing to do with Musorgsky’s faith, or lack of it, it is there because of associations with Russian history and culture and because b ecause of the chapel 26 in Hartman’s design.   These statements are problematic problematic for two reasons. First, as we have seen seen in the examinations of “Catacombae” and “Con mortuis,” it mortuis,” it would be a mistake to assume that Mussorgsky was not spiritual, spiritual, lacked faith, or preferred not to express it. Second, the assertion that Mussorgsky actually based his chorale on “As you are baptized in Christ” is Christ” is debatable since the two share little little more than the quality of stepwise motion. Not only is the melody quite different, but also Mussorgsky’s sustained rhythms, piano rhythms, piano marking with hairpin dynamics, and description of senza of senza espressione all point to music that transcends the performance of an everyday church hymn. Considering that Mussorgsky composed Pictures composed  Pictures in  in memory of his late friend Victor Hartmann, a more thematically appropriate Russian chorale for comparison is one that he might have known from traditional Russian Russian Orthodox memorial servi services. ces. “Memory Eternal” is an ancient Russian chant, which was reworked in the Obikhod collections disseminated by the 27

Imperial Chapel in the eighteenth and nineteenth centuries  and is traditionally chanted at the end of Russian memorial services services to commemorate the dead. The soloist first intones a prayer: “In a blessed falling asleep, grant, O Lord, eternal rest unto Thy departed servant and make their

25

 Brown, Musorgksy  Brown,  Musorgksy,, 240.

26

 Russ, Musorgsky  Russ,  Musorgsky,, 49.

27

 Morosan, Folk and Chant Elements in Musorgsky s Choral Writing, 115.  115.  

106

 

  memory to be eternal!” eternal! ” The choir humbly responds by echoing tthe he words “memory eternal” (see eternal” (see Example 5.2.4). Eternal.”  Example 5.2.4 “Memory Eternal.

C-sharp minor: i V/III III (E major: vi V I)

The air of reverence in Mussorgsky’s “The Bogatyr Gate” chorale is inherent to the musical texture and message of “Memory Eternal.” In addition to the sustained four-part writing in both examples, there is also a similarity in the harmonic progression pro gression which frequently utilizes vi-V-I  patterns, in this instance creating shifts between C-sharp minor and E major. We may also find instances of Mussorgsky utilizing elements of “Memory Eternal” in Eternal” in his operatic repertoire for funereal funereal connotations. Vladimir Morosan proposes that M Mussorgsky ussorgsky incorporated a derivation of “Memory Eternal” in the fourth act of Boris of  Boris Godunov, Godunov, 28

foreshadowing fores hadowing Boris’ impending death  (see Example 5.2.5).

28

 Ibid., 127 – 2 28. 8.

107

 

  Excerpt from Mussorgsky, Boris Mussorgsky, Boris Godunov, Godunov, Act IV, Scene 1A.  Example 5.2.5 Morosan’s Excerpt

C-sharp minor: i (E Major:

i i V/III III vi V I)

We again find vi-V-I patterns, creating a sense of shifting s hifting between the relative keys of C-sharp minor and E major. major. Looking back to “The “The Bogatyr Gate” Gate” choral, if respelled enharmonically, it also can fit effortlessly into four sharps sharps and promptly shifts into E major. Perhaps there are deeper spiritual reasons for incorporating this chant-like texture into “The Bogatyr Gate.” When viewing the chorale in light of “Memory Eternal, Eternal,” the expressive connotations shift from a generalized Christian reverence to an appropriate app ropriate and powerful moment of commemoration and remembrance. After this moment of spiritual repose in “The Bogatyr Gate, Gate ,” the opening theme suddenly returns in a thundering bass part with rapid octaves cascading from above (see Example 5.2.6). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “The Bogatyr Gate,” mm. 47– 50. 50. Example 5.2.6 Mussorgsky,

This texture is comparable to an excerpt from the opening of of Boris  Boris Godunov, Godunov, where the melody is also accompanied by energetic octaves in a forte a forte dynamic (see Example 5.2.7).

108

 

  Mussorgsky, Boris  Boris Godunov, Godunov, Prologue, pp. 1 – 2. 2. Example 5.2.7 Mussorgsky,

The sixteenth notes in this instance are played pla yed by the violins, giving a sense of sweeping grandeur to the texture. In the correlate correlate passage from “The Bogatry Gate,” the pianist pianist may likewise wish to create a warm, rich sound rather than t han the bell-like stridency to which the piano p iano more immediately lends itself. After a fortissimo a fortissimo reprise of the chorale, however, Mussorgsky does give us chords which indeed inde ed imitate the ringing of bells (see Example 5.2. 5.2.8). 8). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “The Bogatyr  Gate,” mm. 81– 84. 84. Example 5.2.8 Mussorgsky,

 Nagachevskaya explains that the sonority of the first “bell chord” in m. 81 forms the sound of the 29

famous “Tristan chord” of Wagner, setting a tone of doom and hopelessness.   Indeed, we could

29

 Svetlana Nagachevskaya,  Svetlana  Nagachevskaya, “ Pictures at an Exhibition: A Exhibition:  A Reconciliation of Divergent Perceptions about

Mussorgsky’s Renowned Cycle” (DMA thesis, University of Arizona, 2009), 169.  169.  

109

 

  respell Mussorgsky’s F3, F3, A-flat2, C-flat4, E-flat4 to F3, G-sharp4, B3, D-sharp4 as in the second measure below (see Example 5.2.9). Isolde, Act I, Prelude, mm. 1 – 3. 3. Example 5.2.9 Wagner, Tristan und Isolde,

The bell texture in “The Bogatyr Bo gatyr Gate” also Gate” also shares many features with the bells in the Coronation Scene of Boris of Boris.. In this scene of the opera there are actual theater bells on stage, with a similar alternation between high and low bells (see Example 5.2.10). Mussorgsky, Boris  Boris Godunov, Godunov, Coronation Scene, p. 32. Example 5.2.10 Mussorgsky,

We hear a juxtaposition of two major-minor seventh chords with roots a tritone apart (A-flat and D), creating an apprehension in the harmony as well. After these bells are introduced, Mussorgsky employs increasingly energetic rhythmic  patterns, which usher in the uplifting choral celebration (see Example 5.2.11).

110

 

  Mussorgsky, Boris  Boris Godunov, Godunov, Coronation Scene, p. 33. Example 5.2.11 Mussorgsky,

A similar effect happens in “The Bogatyr Bogat yr Gate” as Gate” as the bells continue to build on each other and rhythmic energy also increases. increases. Eventually, the upper bells begin clanging with the resilient  Promenade theme  Promenade  theme as hope dispels the darkness, preparing for the glorious return of the opening theme (see Example 5.2.12). Mussorgsky, Pictures  Pictures at an Exhibition, Exhibition, “The Bogatyr Gate,” mm. 97– 102. 102. Example 5.2.12 Mussorgsky,

111

 

  “The Bogatyr Gate” culminates Gate” culminates in an ending of triumph and exultation as the opening theme returns and carries us to an overwhelmingly powerful close. Nagachevskaya aptly describes this as music that “shifts the listeners’ attention from their daily routine to the eternal”30 in order “to transmit the victorious sentiment of joy and hope ho pe into the world.” 31  From the comparisons to Boris to Boris Godunov and “Memory Eternal,” we can conclude that this interpretation of timeless timeless celebration, faith, and hope is indeed appropriate. As Pictures As Pictures begins  begins in a glorious context with “Promenade “Promenade,,” “The Bogatyr Gate” is truly a grand finale for the cycle, c ycle,  both as a reverent homage to Hartmann, and as a powerful affirmation of overcoming and transcending the trials of life explored previously in the cycle.

30

 Ibid., 167.

31

 Ibid., 171.

112

 

  Conclusion: Significance of Mussorgsky’s Narrative  Narrative  

You are quite correct in characterizing Mussorgsky as hopeless….He hopeless… .He has a narrow nature…and a low nature,  nature, one which loves all that is coarse, crude, rough….He rough….He coquettes with his illiteracy and takes pride in his ignorance….But, ignorance… .But, he has a real, even eve n original 1 talent….Mussorgsky, talent… .Mussorgsky, for all his ugliness, speaks a new language.   Tchaikovsky’s comments to Nadezhda Nadezh da von Meck in 1878 fall in line with much of the criticism against Mussorgsky during his lifetime, but they also touch on a greater message to be found within his music. Through his visceral compositional style, Mussorgsky is able to create a direct association with the life experiences of the characters portrayed in Pictures in Pictures.. This is something that the composer brings to his vocal repertoire as well, enhanced b by y the presence of the human voice. Like the music in Pictures in Pictures,, his vocal literature comes to the forefront of each  particular emotion expressed, achieving candid snapshots of experiences both within life and  beyond. Because of this compositional relationship, the poetry of his vocal music provides invaluable tools for solidifying otherwise elusive concepts in his instrumental writing. As we have seen, there is already a lready a plethora of scholarly opinion regarding the expressive narrative of Pictures of Pictures.. The problem inherent to these opinions, however, however, is that they are either unsubstantiated or rely too heavily on Mussorgsky’s titles, Stasov’s notes, and the presumptions about Hartmann’s artwork. Since we do not have complete descriptions or texts from Mussorgsky for the movements in Pictures in Pictures,, the strongest resources we have are Mussorgsky’s other compositions and the music that his compositions emulate. Through these comparisons, we can uncover expressive meaning throughout the musical text of Pictures of Pictures,, which  which has a crucial effect on the interpretation of the cycle as a whole.

1

 Quoted in Caryl Emerson, The Life of Musorgsky (Cambridge: Musorgsky (Cambridge: Cambridge University Press, 1999), 115.

113

 

  Rather than viewing this set of movements as a collage of disparate topics and characters, the examination of vocal literature allows us to penetrate further into the depths of Mussorgsky’s varied expressions of life. life. From these examinations, we can see that his music is not merely a  pantomime of various scenes, but rather contains the intricate stories behind the characters themselves. In his music about youth, we can hear the children shout and the birds chirp. The satirical movements contain explicit interactions between caricatured subjects from gossiping women to temperamental Jews. The movements involving burden range from struggles of the mind and body to poignant commentary on politics and the nature of man. The movements on death are not merely an ending to life, but they express ex press heartbreak, nostalgia, spirituality, and even fairy-tale magic. To show us the complete picture, Mus Mussorgsky sorgsky provides music to fframe rame these explorations of life, ultimately transcending them with pride and hope. Alexandra Orlova states it well, well, writing that the cycle “is far from being a simple ‘illustration’ of Hartmann’s Hartmann’s drawings. It is a profoundly philosophical work, a meditation on life 2

and death, on history, on the people, and on man in general.”   Through exploring this manifestation of the human experience in Mussorgsky’s music, a deeper expression ex pression of character and spirit is unveiled in his writing, further illuminating this powerful and intricate composition.

2

 Alexandra Orlova, Musorgsky’s Orlova, Musorgsky’s Days and Works: A Biography in Documents Documents,, trans. Roy Guenther (Ann

Arbor, MI: UMI Research Press, 1983), 173 – 74. 74.

114

 

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“A Voice Unknown: Undercurrents in Mussorgsky’s Sunless Sunless.” .” 19th-Century  Music 28, no. 1 (2004): 15 – 49. 49.

Puffett,, Derrick. “A Graphic Analysis of Musorgsky’s ‘Catacombs. Puffett ‘Catacombs.’” ’” Music  Music Analysis 9, no.1 (1990): 67 – 77. 77. Richter, Laurence. Mussorgsky’s Laurence. Mussorgsky’s Complete Song Texts: Russian Texts of the Complete S ongs of  Mussorgsky. Geneseo, NY: Leyerle, 2002.  Modest Petrovich Mussorgsky. Riesemann, Oskar von. Moussorgsky von. Moussorgsky.. Translated by Paul England. New York: Tudor Publishing Co., 1935. Russ, Michael. “‘Be Bored’: Reading a Mussorgsky Song.” 19th-Century Music 20, no. 1 (1996): 27 – 45. 45.  ––––– . Musorgsky: Pictures at an Exhibition. Exhibition. Cambridge: Cambridge University Press, 1992. Schnittke, Schnitt ke, Alfred. “‘Kartinki s vïstavki’ M. P. Musorgskogo (Opït analiza).”  analiza).”  Voprosï muzïkoznaniya 1 (1953 – 1954): 1954): 327 – 57. 57. Seroff, Victor. Modeste Victor. Modeste Moussorgsky. Moussorgsky. New York: Funk & Wagnalls, 1968. Sutanto, David. “ Pictures at an Exhibition: Exhibition: A Performer’s Guide Comparing Recorded Performances by Pianists Vladimir Horowitz Horowitz and Evgeny Kissin.” DMA thesis, DMA  thesis, University of Cincinnati, 2007. Taruskin, Richard. Musorgsky. Richard. Musorgsky. Eight Essays and an Epilogue. Epilogue. Princeton: Princeton University Press, 1993.