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Glazunov's Writings, Blog 5: A new production of Boris Godunov by Mussorgsky (update)

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This is an updated translation of this text, meant to be published long ago but didn't get around to editing. Should definitely be interesting for Mussorgsky fans, especially those who are Godunov fans!



Mussorgsky's Boris Godunov, presented at the consideration of the Directorate of the Imperial Theaters in 1870, was initially rejected. The motives served allegedly "abundance of choirs, ensembles, solo absence numbers. " The opera was staged only January 26, 1874. Shortly before the premiere went out of the full piano reduction of Boris, this is at the moment to be read with the original edition of the author. The first time Boris was a success, but because of all decreasing levies was subsequently removed from the repertoire.

I attended the recent performances of Boris. Knowing the perfection of his music, which is admired, I gained the impression then that compared with sonorities on the piano in the orchestra more plays: in the orchestra did not feel any force, nor completeness, audio sound rise and, at a known
sense of paints, betrayed a still inexperienced orchestrator hand, manifested in the impracticality and sometimes uncomfortable performance. Rimsky-Korsakov, a hot Mussorgsky admirer and witness the creative conception and growth of Boris, all this taken into account, starting the processing of their valued work. No selfish or other purposes, except the desire to give way to the forgotten product, not only Rimsky-Korsakov was not going to please anyone's taste, but for he dedicated his work as co-author, even I have not received any royalties from the publisher or from the theater.

Rimsky-Korsakov, drew attention to the three sides of the imperfections Mussorgsky letter: 1) a total technical invoice, suffer from a lack of care; 2) on instrumentation that Rimsky-Korsakov re-created the impression of figurative and orchestra-paint performance of the author, first-class pianist Mussorgsky and 3) some retreat libretto by Pushkin's text. Without denying Korsakov edition Boris embedded in her share of individuality, I will show that Mozart did not stop at self-processing oratorio Messiah is such a great master as
Handel, referring to the lack of sonority and the outdated 20-year period instrumentation works, for which he was great complaints. I am convinced that the creation of Handel's only won in the edition of Mozart. In a similar case in the treatment of Boris Godunov Rimsky-Korsakov, he does no one
imposed, is a work of art in every respect intact, true to the traditions of Mussorgsky, and I would have thought that should have greater confidence in the inspiration and expedient work of the artist who created his beloved friend worldwide fame. That is why I insist, to Boris Godunov, as before, it was performed in the version of Rimsky-Korsakov.
Finally, I point out that Boris Godunov put in Akopere [Academic Opera] is not in the original, I said, Mussorgsky editions. A number of episodes released on the other hand, such as the scene of St. Basil, is nothing new musically. It is known that Mussorgsky himself by writing a sketch of the scene, he canceled her, referring to a Kremlin scene.


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History of the creation of this article is as follows. In season 1927-28 academic year at the Leningrad Opera new production of "Boris was carried out Godunov "by Mussorgsky on the materials of the two editions conductor B. Dranishnikov, director S. Radlov). The initiators were her Asafiev B. and P. Lamm. In "Red newspaper" opened the debate between supporters edition by Rimsky-Korsakov and supporters edition P. Lamm, who sought to restore the idea of ​​Mussorgsky. In the evening edition of the newspaper February 28, 1928(№ 58/1728) contained articles under the general heading of "The disputes about Boris Godunov. " In a brief introductory note editorial, describing Glazunov as "the most authoritative opponent recovery" Boris ", expressed their solidarity with the position Glebov as" genuine recovery initiator of "Boris." Then there was an article Glazunov (published in this edition), for her article Glebova. the disputed provisions Glazunov. March I «Krasnaya Gazeta" continued discussion. Professor A. Zhytomyr and M. Steinberg defended version of Rimsky-Korsakov. They objected B. Asaph and B. Dranishnikov. March 9 newspaper reported that the discussion of this part number. It ends, and that the staff has a large number of letters supporting the position of the newspaper. This message was not, however, is said about those letters that the editors received in protest against the method of discussion. In particular, the editors and maintained silence about the letter of Glazunov March 1 in which the composer expressed outrage about the lack of tactful handling of his article. March II Glazunov again sent a letter to the editor, addressed to him this time employee M. Apa. Incidentally, it he wrote: "... I was in a vise and editorial custody Ig. Glebova, placed the right next to its refutation, for me,however, not at all convincing. " Only on March 19, the newspaper was published in small print protest Glazunov ,, but again, with additions from "edition. " In concluding his presentation, the editors cast unjust accusation Glazunov in vkusovschina, believing that continue with it "flavor" pointless controversy. Currently, Opera is placed in the "original" form, and as amended by Rimsky-Korsakov. Bolshoi Theatre the opera "Boris Godunov" in the version of Rimsky-Korsakov, admitting, however, certain derogations from the Opera and Ballet Theatre. SM Kirov in Leningrad -.. In the wording of Lamma, ie on the "true" Mussorgsky (although this revision has not been without some additions or deviations from Mussorgsky). Glazunov, of course, outraged that discussion was clothed in several offensive Rimsky-Korsakov's shape memory. some episodes were produced in this setting the scene in the mansion, associated with the life of the royal court (the scene with chimes, a game of whipping, the story of Fyodor). This enabled Glazunov accuse the authors of the new edition is that and they departed from the spirit of Mussorgsky and failed to fully achieve the objective of restoring "true * Boris." Glazunov, however, is certainly wrong when he says that "the scene At Basil "" musically is nothing new. "
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Updated Apr-23-2018 at 05:34 by Huilunsoittaja

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