Modest Mussorgsky His Life And Works

Modest Musorgsky was one of the towering figures of nineteenth-century Russian music. Now, in this new volume in the Master Musicians series, David Brown gives us the first life-and-works study of Musorgsky to appear in English for over a half century. Indeed, this is the largest such study of Musorgsky to have appeared outside Russia. Brown shows how Musorgsky, though essentially an amateur with no systematic training in composition, emerged in his first opera, Boris Godunov, as a supreme musical dramatist. Indeed, in this opera, and in certain of his piano pieces in Pictures at an Exhibition, Musorgsky produced some of the most startlingly novel music of the whole nineteenth century. He was also one of the most original of all song composers, with a prodigious gift for uncovering the emotional content of a text. As Brown illuminates Musorgsky's work, he also paints a detailed portrait of the composer's life. He describes how, unlike the systematic and disciplined Tchaikovsky, Musorgsky was a fitful composer. When the inspiration was upon him, he could apply himself with superhuman intensity, as he did when composing the initial version of Boris Godunov. Sadly, Musorgsky deteriorated in his final years, suffering periods of inner turmoil, when his alcoholism would be out of control. Finally, unemployed and all but destitute, he died at age forty-two. His failure to complete his two remaining operas, Khovanshchina and Sorochintsy Fair, Brown concludes, is one of music's greatest tragedies. Written by one of the leading authorities on nineteenth-century Russian composers, Musorgsky is the finest available biography of this giant of Russian music.

Modest Musorgsky is Russia's greatest musical dramatist. When he died in 1881 in St Petersburg at the age of forty-two, in poverty and relative obscurity, he was known for a single opera, Boris Godunov and a handful of eccentric 'realistic' songs set to prosaic Russian texts. He had no institutional connections, no 'degree', no family of his own, not even a permanent address. Except for Franz Liszt, no composer of stature knew of him outside Russia. Through the loyal (if controversial) intervention of his friends, his works survived in various editings into the early twentieth century, when revivals and evolving musical tastes restored him to new life. This account of his life, first published in 1999, emphasizes the psychological and economic factors that contributed to the composer's remarkable rise and tragic, premature end and is the first brief biography in English to make use of materials published in the new, de-Sovietized Russian academic climate.

Historical Dictionary of Russian Music, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 600 cross-referenced entries for each of Russia’s major performing organizations and performance venues, and on specific genres such as ballet, film music, symphony and church music.

Caryl Emerson and Robert Oldani take a comprehensive look at the most famous Russian opera, Modest Musorgsky's Boris Godunov.

This is the first book of its kind to draw together information on the major events in Russian history from 1695 to 1917 - covering the eventful period from the accession of Peter the Great to the fall of Nicholas II. Not only is a vast amount of material on key events and topics brought together, but the book also contains fascinating background material to convey the reality of life in the period.

This interdisciplinary book examines the nature of spirituality and the role it plays in the search for meaning. Spirituality is a loving tendency towards the sacred. In a secular environment, the sacred is taken to be a power greater than self. In a religious environment, the Sacred refers to God, or Higher Power. The book examines the developments of the s/Sacred in great works of art and literature, as well as in medicine, theology, psychology, philosophy, and religion. Spirituality also functions as an unloving tendency towards disunity, or a force for evil. The first part of the book examines the ways of the spiritual as a force for good and evil. We have just witnessed one of the bloodiest centuries in human history. The experience of two World Wars leaves a legacy of brokenness: “Where Nossack’s reminiscences bore poetic, compassionate, and personal witness to the disaster, Eliot’s poetry reads more like a sacred and religious poem taking contemporary Western European civilization to task—much like the biblical prophets of old—for its spiritual bankruptcy.” Albert Einstein, Edvard Munch’s Madonna, and Carl Jung’s ‘unconscious’ touch the curve of the Sacred in more promising places. The second part examines how the search for meaning works. The distinction between being human and being a person plays a central role in the life of the spiritual; “...the spiritual is manifest in the activities taking place in the central self. The central self is the locus of all thoughts, feelings, acts of reason and judgment, conscious and unconscious processes alike. The central self is the place where social relationships and environmental relationships are processed. The essential feature of the central self is that it does not exist outside these processes.” The same spiritual energies that light up great works of art also light up our destructive side, only the associations’ change.

Nikolay Andreevich Rimsky-Korsakov: A Research and Information Guide, Second Edition is an annotated bibliography of all substantial, relevant published resources relating to the Russian composer. First published in 1988, this revised and expanded volume incorporates new information about the composer appearing over the last two decades, including literary publications, articles and reviews. Other sections provide a brief biographical sketch, selective discography, chronology and list of Rimsky-Korsakov’s works.