Download presentation Musorgsky. Mussorgsky Modest Petrovich (1839–1881). composer dates of life birthplace of opera instrumental music vocal music Musorgsky Modest Petrovich. Did Mussorgsky join the “Mighty Handful”?

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Mussorgsky Modest Petrovich

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Modest Petrovich Mussorgsky (March 9, 1839, Karevo village, Toropetsk district of Pskov province - March 16, 1881, St. Petersburg) - Russian composer, member of the “Mighty Handful”. Mussorgsky's father came from an old noble family of Mussorgsky. Until the age of 10, Modest and his older brother Filaret received home education. In 1849, having moved to St. Petersburg, the brothers entered the German school Petrishule. A few years later, without graduating from college, Modest was sent to study at the School of Guards Ensigns, which he graduated in 1856. Then Mussorgsky served briefly in the Life Guards Preobrazhensky Regiment, then in the Main Engineering Directorate, in the Ministry of State Property and in State Control.

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Mussorgsky studied piano with Anton Gehrke and became a good pianist. Naturally possessing a beautiful chamber baritone, he willingly sang at evenings in private musical gatherings. In 1852, the Bernard company in St. Petersburg published a piano piece by Mussorgsky, the composer's first publication. In 1858, Mussorgsky wrote two scherzos, one of which was orchestrated by him for orchestra and in 1860 performed at a concert of the Russian Musical Society, conducted by A. G. Rubinstein.

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A major plan - the opera "Boris Godunov" based on the tragedy of A. S. Pushkin - Mussorgsky brought to the end. The premiere on the stage of the Mariinsky Theater in St. Petersburg in 1874 took place on the material of the second edition of the opera, in the dramaturgy of which the composer was forced to make significant changes, since the repertoire committee of the theater rejected the first edition for being “unstageable.” Over the next 10 years, “Boris Godunov” was performed 15 times and then removed from the repertoire. Only at the end of November 1896 “Boris Godunov” again saw the light - in the edition of N. A. Rimsky-Korsakov, who “corrected” and re-instrumented the entire “Boris Godunov” at his own discretion. In this form, the opera was staged on the stage of the Great Hall of the Musical Society (the new building of the Conservatory) with the participation of members of the “Society of Musical Meetings”. The company Bessel and Co. in St. Petersburg had by this time released a new score of Boris Godunov, in the preface to which Rimsky-Korsakov explains that the reasons that prompted him to undertake this alteration were supposedly “bad texture” and “bad orchestration.” the author's version of Mussorgsky himself. In Moscow, “Boris Godunov” was staged for the first time on the stage of the Bolshoi Theater in 1888. In our time, interest in the author’s editions of “Boris Godunov” has been revived.

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In the 1870s, Mussorgsky was painfully worried about the gradual collapse of the “Mighty Handful” - a trend that he perceived as a concession to musical conformism, cowardice, even a betrayal of the Russian idea. The lack of understanding of his work in the official academic environment, such as, for example, in the Mariinsky Theater, which was then led by foreigners and compatriots sympathizing with Western opera fashion, was painful. But a hundred times more painful was the rejection of his innovation by people whom he considered close friends (Balakirev, Cui, Rimsky-Korsakov, etc.):

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These experiences of misrecognition and “misunderstanding” were expressed in a “nervous fever” that intensified in the 2nd half of the 1870s, and as a result, in an addiction to alcohol. Mussorgsky was not in the habit of making preliminary sketches, sketches and drafts. He thought about everything for a long time, composed and recorded completely finished music. This feature of his creative method, coupled with nervous illness and alcoholism, was the reason for the slowdown in the process of creating music in the last years of his life. Having left the “forestry department,” he lost a permanent (albeit small) source of income and was content with odd jobs and minor financial support from friends. The last bright event was a trip arranged by his friend, singer D. M. Leonova in July-September 1879 in the south of Russia. During Leonova's tour, Mussorgsky acted as her accompanist, including (and often) performing his own innovative compositions. Concerts of Russian musicians, which were given in Poltava, Elizavetgrad, Nikolaev, Kherson, Odessa, Sevastopol, Rostov-on-Don and other cities, were held with constant success, which assured the composer (albeit not for long) that his path was “to new shores” chosen correctly.

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Mussorgsky died in a military hospital, where he was admitted after an attack of delirium tremens. There, a few days before his death, Ilya Repin painted (his only lifetime) portrait of the composer. Mussorgsky was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra.

Russian national traits found a very original and vivid expression in Mussorgsky's musical creativity. This defining feature of his style manifested itself in a variety of ways: in his ability to handle folk songs, in the melodic, harmonic and rhythmic features of the music, and finally, in the choice of subjects, mainly from Russian life. Mussorgsky is a hater of routine; for him there were no authorities in music. He paid little attention to the rules of musical “grammar”, seeing in them not the principles of science, but only a collection of compositional techniques from previous eras. Hence the constant desire of Mussorgsky the composer for novelty in everything. Mussorgsky's specialty is vocal music. On the one hand, he strived for realism, on the other hand, for a colorful and poetic disclosure of the word. In the desire to follow the word, musicologists see continuity with the creative method of A. S. Dargomyzhsky. Love lyrics as such attracted him little.

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An even more skeptical attitude from colleagues and contemporaries affected Mussorgsky’s next opera (its genre is designated by the author himself as “folk musical drama”) “Khovanshchina” - on the theme of historical events in Russia at the end of the 17th century (schism and Streltsy rebellion). “Khovanshchina,” based on Mussorgsky’s own script and text, was written with long interruptions and was not completed by the time of his death. Both the concept of this work and its scale are unusual. Compared to “Boris Godunov,” “Khovanshchina” is not just a drama of one historical person (through which the theme of power, crime, conscience and retribution is revealed), but already a kind of “impersonal” historiosophical drama, in which, in the absence of a clearly defined “central ” of the character (characteristic of the standard operatic dramaturgy of that time), entire layers of people's life are revealed and the theme of the spiritual tragedy of the entire people that occurs with the destruction of its traditional historical and life way is raised.

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Mussorgsky's outstanding work is the cycle of piano pieces “Pictures at an Exhibition,” written in 1874 as musical illustrations-episodes for watercolors by V. A. Hartmann. The contrasting impression plays are permeated with a Russian theme-refrain, reflecting the change of mood when moving from one picture to another. The Russian theme opens the composition and it also ends it (“Bogatyr Gate”), now transforming into the anthem of Russia and its Orthodox faith.

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Modest Petrovich Mussorgsky (1839-1881) Presentation made by
9th grade student
MBOU "Abrikosovskaya School"
Izeeva Niyara

Mussorgsky was born in the Pskov province, on his parents' estate. In his biography, Mussorgsky studied piano with Gerke. Learned anal

Mussorgsky was born in Pskovskaya
province, on the estate of the parents. Game
on the piano in his biography
Mussorgsky studied with Gehrke. Studied
analyze, criticize
works, as well as read
scores in Balakirev's circle.
In 1852, for the first time in biography
Mussorgsky was published by him
play. And the first work
presented to the general public in
1860.

After this, the composer composed several romances. However, he is best known for the opera Boris Godunov. Soon after the show

After this the composer
composed several romances.
However, the most famous
thanks to the opera "Boris"
Godunov." Soon after
opera performances in
Mariinsky Theater, she became
famous. After 22 years the play
was rewritten by Rimsky Korsakov, and then again
presented to the audience,
got a second life.

Since 1875, Mussorgsky has been working on the operas “Khovanshchina” and “Sorochinskaya Fair”. Among other works of Mussorgsky, the most famous are: “To

Since 1875 Mussorgsky
working on operas
"Khovanshchina"
"Sorochinskaya Fair".
Among other works
Mussorgsky most
known: “Kalistrat”,
“Orphan”, “Pictures from
exhibitions", "Children's",
“Without the Sun”, “Songs and
dance of death."

Alcohol abuse in the last decade of Mussorgsky's biography greatly undermined his health. After an exacerbation, an attack of “white

Abuse
drinking alcohol lately
decade
biographies of Mussorgsky
greatly undermined him
health. After
exacerbation, attack
"delirium tremens" was
placed in military
hospital where
died in March
1881.

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

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

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

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

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

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

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

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