Biography of Mussorgsky. Some facts

A little from the biography

Modest Petrovich Mussorgsky born in 1839 in the village of Karevo, Toropetsky district, Pskov province. His father came from an ancient noble family. Modest and his older brother were educated at home, and then the future composer graduated from the School of Guards Ensigns, served in the Life Guards Preobrazhensky Regiment, then in the Main Engineering Directorate, in the Ministry of State Property and in State Control.

M. Mussorgsky - officer of the Preobrazhensky Regiment

The young officer Mussorgsky was a very educated man: he knew foreign languages, studied music independently, had a beautiful voice (baritone) and often sang at evenings and in music salons.

When the conservatory was founded in St. Petersburg in 1862, he began studying piano with Professor A. Gerke and became a good pianist. But his life changed dramatically from the moment he met M. Balakirev and joined his circle.

"The Mighty Handful"

In the late 1850s and early 1860s, a community of composers was formed in St. Petersburg, which included: M. Balakirev, A. Borodin, N. Rimsky-Korsakov, Ts. Cui, and which M. Mussorgsky joined, leaving the rank of officer and completely devoting himself to music. The members of the circle set their goal to embody the Russian national idea in music. The ideological inspirer of the circle was the art critic and writer V. Stasov. Musical director in fact, it was M. Balakirev. The members of the circle were different in age and type of activity (the oldest was A. Borodin, by that time already an outstanding chemist).

I. Repin “Portrait of V. Stasov”

The musical circle “The Mighty Handful” arose at a time when in Russia there was an increased interest in everything folk in connection with the revolutionary mood that had gripped the minds of the Russian intelligentsia by that time and which ended with the regicide in 1881. The participants of the “Mighty Handful” recorded and studied Russian folk art(folklore) and Russian church singing, and then implemented their research in their works. This was especially true for operas, where many folklore traditions were used. IN historical stories M. Mussorgsky also looked for answers to modern questions. “The past in the present is my task,” he wrote.

Opera "Salambo"

This is the composer's first opera, on which he worked from 1863 to 1866. The plot of the opera is from Carthaginian history (based on the novel by G. Flaubert “Salammbô”). The opera's libretto was written by Mussorgsky himself. This opera remained unfinished, but the composer used fragments of it in other works, including the opera “Boris Godunov”. Soviet composer V. Shebalin worked on the instrumentation of Mussorgsky’s unfinished opera “Salambo”.

Opera "Marriage"

Scene from the play “Marriage”

Mussorgsky conceived this opera based on the plot of N. Gogol in 1868. But only sketches for the opera were written, and the idea itself was not fully realized. The editions of M. Ippolitov-Ivanov 1931 and G. Rozhdestvensky 1985 are known.

Opera "Boris Godunov"

An opera based on the tragedy of A.S. Mussorgsky began Pushkin's "Boris Godunov" in 1868, independently creating the libretto. In the process of working on the libretto, he also used N. Karamzin’s “History of the Russian State”. But the first edition of the opera was not accepted for production, finding a flaw in it in the form of the absence of a significant female role.

Scene from M. Mussorgsky's opera "Boris Godunov"

In 1869, Mussorgsky created a new edition, introducing the image of Marina Mniszech and a love affair. This edition, which was liked by the entire musical community, was also rejected. And only in 1874 the opera was staged Mariinsky Theater in St. Petersburg. However, the opera, which was enthusiastically received by the public but sharply negative by critics, was removed from the repertoire in 1882.

IN 1896 N.A. Rimsky-Korsakov is trying to revive the opera, creating a new edition, and in 1908. one more. In 1940, the opera was edited by D. Shostakovich.

But nowadays they prefer to use the author's edition of the opera.

Why was the opera, which today has worldwide recognition, so difficult to accept by its contemporaries? The point is the genius of both the author of the text and the author of the music. Mussorgsky's contemporary musical consciousness was unable to appreciate the innovation of music.

The musical dramaturgy of the opera was based on the complete coincidence of music and dramatic action, accurate depiction stage characters and their psychological characteristics. The declamatory nature of the vocal numbers, chanting intonations close to an ancient peasant song and folk dialect - all this was the result of the activities of the “Mighty Handful” and Mussorgsky’s musical quest, but was far from the usual ideas about singing in opera.

It was painful for the composer to realize that his work was not understood and not accepted by the official academic environment. In addition, the collapse of the “Mighty Handful” was outlined, which he perceived as betrayal of the Russian national idea which I believed in. He developed a “nervous fever,” as he called his condition, and then began a craving for alcohol.

Opera "Khovanshchina"

Scene from M. Mussorgsky's opera “Khovanshchina”

The composer worked on this opera simultaneously with the reworking of the opera “Boris Godunov”. It was begun in 1872. He also wrote the libretto himself. The plot of the opera reflects the events of 1682 - a short period of power in Moscow for Prince Ivan Khovansky, whom Princess Sophia appointed head of the Streltsy order after the Streltsy riot. Khovansky was popular with the archers; they even called him “father.” The Old Believers, with the help of Khovansky and Sophia, hoped to return Rus' to “ old faith" But further disagreements between Sophia and Khovansky led to their enmity. She dealt with him by executing him and his son. Subsequently, power passed to Peter (Peter the Great).

Peter could not take part in the events of 1682 due to his youth. But Mussorgsky's libretto mixes the events of 1682 and 1689. Mussorgsky wanted to show the transition of power from Sophia to Peter and at the same time depict forces hostile to Peter: the Streltsy, led by Prince Khovansky; Sophia's favorite Prince Golitsyn; Old Believers led by Dosifei. Prince Khovansky strives for royal power, his position is clear, but the archers are shown as a dark mass used in the interests of others. Old Believers appear as courageous people who commit self-immolation for the sake of faith.

Big The role in the development of action belongs to the people, to a greater extent than in Boris Godunov. Various choirs. The characters of the arrogant Khovansky and the crafty Golitsyn are vividly depicted; the majestic Dositheus; Martha, strong and ready for heroic deeds; weak Andrei Khovansky; patriotic Shaklovity; the cheerful young archer Kuzka; a cowardly and selfish clerk.

Mussorgsky wrote the opera, conceived in 1872, until the very end of his life, never finishing it.

M.P. Mussorgsky

For the first time, N. Rimsky-Korsakov orchestrated the entire opera, calling this work an arrangement. He significantly shortened the opera, added the necessary connections, and changed Mussorgsky's voice and harmony. Rimsky-Korsakov's score was published in 1883. In 1958, D. Shostakovich made a new orchestration based on the author's clavier. I. Stravinsky wrote his own version of the final chorus (in the scene of the self-immolation of schismatics) together with M. Ravel for the production of the opera in 1913 in Paris by S. Diaghilev’s troupe.

During Mussorgsky's lifetime, the opera Khovanshchina was not performed.

Opera "Sorochinskaya Fair"

Scene from M. Mussorgsky's opera “Sorochinskaya Fair”

The plot of the opera is N. Gogol’s story “Sorochinskaya Fair”. Mussorgsky worked on this opera in 1874-1880, but did not finish it. Work on the opera proceeded slowly; the composer was already seriously ill.

Initially, five excerpts from the opera were published, then, based on the composer’s manuscripts, the opera was completed by Ts. Cui and in this version it was performed in 1917. A. Lyadov and V. Shebalin also worked on the opera. This opera is currently being staged in Shebalin's edition.

The last years of M. Mussorgsky's life

The composer had a particularly hard time with the misunderstanding of his former friends, members of the “Mighty Handful,” who could not accept his innovative music.

I. Repin “Portrait of M.P. Mussorgsky"

Mussorgsky died in the Nikolaev military hospital in St. Petersburg in 1881. There, a few days before his death, the artist I. Repin painted the only lifetime portrait composer.

Mussorgsky was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra.

Monument at Mussorgsky's grave

Choirs

“Joshua”, choir for soloists, choir and piano;; cit.: 1866 (1st ed.), 1877 (2nd ed.); dedicated to: Nadezhda Nikolaevna Rimskaya-Korsakova; ed.: 1883 (edited and orchestrated by N. A. Rimsky-Korsakov).

“Shamil’s March”, for tenor, bass, choir and orchestra; cit.: 1859; Dedicated to: Alexander Petrovich Arsenyev.

"The Defeat of Sennacherib" for choir and orchestra to words by J. N. G. Byron from "Hebrew Melodies"; cit.: 1867 (1st ed.), 1874 (2nd ed.; postscript by Mussorgsky: “Second presentation, improved according to the comments of Vladimir Vasilyevich Stasov”); dedicated to: Mily Alekseevich Balakirev (1st ed.); Vladimir Vasilievich Stasov (2nd ed.); ed.; 1871 (1st edition for choir with piano).

“Oh, you drunken grouse” (From the adventures of Pakhomych), song based on the composer’s words; cit.: 1866; dedicated to: Vladimir Vasilyevich Nikolsky; ed.: 1926 (edited by A. N. Rimsky-Korsakov).
“Without the Sun”, vocal cycle based on words by A. A. Golenishchev-Kutuzov (1. “Within four walls”; 2. “You didn’t recognize me in the crowd”; 3. “The idle noisy day is over”; 4. “Bored” ; 5. “Elegy”; 6. “Over the River”); cit.: 1874; dedicated to: A. A. Golenishchev-Kutuzov; ed.: 1874.
“Merry Hour”, drinking song to the words of A. V. Koltsov; cit.: 1858; dedicated<: Василию Васильевичу Захарьину; изд.: 1923.
“Evening Song” to the words of A. N. Pleshcheev; cit.: 1871; dedicated to: Sofia Vladimirovna Serbina (Fortunato); ed.: 1912 (freely edited by V. G. Karatygina), 1929 (edited by author).
“Vision”, romance to the words of A. A. Golenishchev-Kutuzov; cit.: 1877; dedicated: Elizaveta Andreevna Gulevich; ed.: 1882 (edited by N. A. Rimsky-Korsakov), 1934 (ed.).
“Where are you, little star”, song to the words of N. P. Grekov; cit.: 1858; dedicated: I, L. Grunberg; ed.: 1909 (only with French text), 1911 (with Russian and German text, edited by V. G. Karatygin).
“Hopak”, a song based on words from the poem “Haydamaky” by T. G. Shevchenko, translated. L. A. Meya; cit.: 1866; dedicated to: Nikolai Andreevich Rimsky-Korsakov; ed.: 1933.
“The soul quietly flew through the heavens”, romance to the words of A.K. Tolstoy; cit.: 1877; ed.: 1882 (edited by N. A. Rimsky-Korsakov), 1934 (ed.).
“Children’s” (Episodes from a child’s life), vocal cycle to the words of the composer (1. “With a nanny”; op.: 1868; dedicated to: A. S. Dargomyzhsky; 2. “In the corner”, op.: 1870; dedicated .: V. A. Hartman; 3. “Beetle”; dedicated to: V. V. Stasov; 4. “With a doll”, op.: 1870; 5. “For the coming sleep”; op.: 1870; dedicated to Sasha Cui); ed.: 1871 (No. 2, 3, 4), 1872 (entirely) and 1907 (with the addition of the songs “Sailor the Cat” and “Rided on a Stick”).
“Children's Song” to the words of L. A. Mey from “Rusnatsky Songs” (No. 2 “Nana”) op.: 1868; ed.: 1871.
“The winds are blowing, violent winds”, song to the words of A.V. Koltsov; cit.: 1864; dedicated to: Vyacheslav Alekseevich Loginov; ed.: 1909 (Paris; only with French text), 1911 (edited by V. G. Karatygin), 1931 (ed.).
“Jewish Song” to the words of L. A. May (from the “Song of Songs”); cit.: 1867;
dedicated to: Filaret Petrovich and Tatyana Pavlovna Mussorgsky; ed.: 1868

“Desire”, romance to words by G. Heine, trans. M. I. Mikhailova; cit.: 1866; dedicated to: Nadezhda Petrovna Opochinina (“in memory of her trial against me”); ed.: 1911 (edited by V. G. Karatygina), 1933 (ed.).
“Forgotten”, vocal ballad to the words of A. A. Golenishchev-Kutuzov “from Vereshchagin”; cit.: 1874; dedicated to: V.V. Vereshchagin; ed.: 1874 (not authorized for publication) and 1877.
“Evil Death”, funeral letter for voice with f-p. to the words of the composer; op.: 1874 (under the impression of the death of N.P. Opochinina); ed.: 1912 (edited by V. G. Karatygin, who completed the last 12 bars).
“Many have grown from my tears,” romance to the words of G. Heine (translated by M. I. Mikhailov); cit.: 1866; dedicated to: Vladimir Petrovich Opochinin; ed.: 1933.
“Kalistrat”, song with lyrics by N. A. Nekrasov (slightly modified); cit.: 1864; dedicated to: Alexander Petrovich Opochinin; ed.: 1883 (edited by N. A. Rimsky-Korsakov), 1931 (ed.).
"Classic", music. pamphlet on the composer's words; cit.: 1867; dedicated to: Nadezhda Petrovna Opochinina; ed.: 1870.
“The Goat,” a secular fairy tale with lyrics by the composer; cit.: 1867; dedicated to: Alexander Porfirievich Borodin; ed.: 1868.
“Eremushka’s Lullaby”, song to lyrics by N. A. Nekrasov; cit.: 1868; dedicated: “To the great teacher of musical truth, Alexander Sergeevich Dargomyzhsky”; ed.: 1871.

“Cat Sailor”, song based on the composer’s words for the cycle “Children’s” (see), No. 6; cit.: 1872; ed.: 1882 (edited by N. A. Rimsky-Korsakov, together with the song “I went on a stick” under the general title “At the Dacha”) and 1907 (as No. 6 of the “Children’s” cycle).
“The leaves rustled sadly”, music. story based on words by A. N. Pleshcheev; cit.: 1859; dedicated to: Mikhail Osipovich Mikeshin; ed.: 1909 (Paris, with one French text), 1911 (with Russian text, edited by V. G. Karatygin), 1931 (ed.).
“Baby”, romance to the words of A. N. Pleshcheev; cit.: 1866; dedicated to: L. V. Azaryeva, published: 1923.
“I have many towers and gardens,” romance with words by A. V. Koltsov; cit.: 1863; dedicated to: Platon Timofeevich Borispolets; ed.: 1923.

“Prayer”, romance to the words of M. Yu. Lermontov; cit.: 1865; dedicated to: Yulia Ivanovna Mussorgskaya; ed.: 1923.
“Incomprehensible”, a romance with lyrics by the composer; cit.: 1875; dedicated to: Maria Izmailovna Kostyurina; ed.: 1911 (edited by V. G. Karatygina), 1931 (ed.).
“But if I could meet you,” romance with words by V. S. Kurochkin; cit.: 1863; dedicated to: Nadezhda Petrovna Opochinina; ed.: 1923, 1931 (ed.).

“Night”, fantasy based on words by A. S. Pushkin; op.: 1864 (1st ed.), 1871
(2nd ed. with a free presentation of Pushkin’s poem); dedicated to: Nadezhda Petrovna Opochinina; ed.: 1871 (2nd ed.), 1923 (1st ed.), 1931 (ed.). “Mischief”, song based on the composer’s words; cit.: 1867; dedicated to: Vladimir Vasilievich Stasov; ed.: 1871.
“Oh, what an honor it is for a fine fellow to spin flax,” a song based on the words of A.K. Tolstoy;
cit.: 1877; ed.: 1882 (edited by N. A. Rimsky-Korsakov), 1934 (ed.).

“Rejected”, an experience of recitative to the words of Ivan. G.M.; cit.: 1865; ed.: 1923.

“Why, tell me, soul-maiden,” song with lyrics by an unknown author; cit.: 1858; dedicated to: Zinaida Afanasyevna Burtseva; ed.: 1867. “Songs and Dances of Death”, vocal cycle to the words of A. A. Golenishchev-Kutuzov (1. “Lullaby”; op.: 1875; dedicated to: Anna Yakovlevna Petrova-Vorobyova; 2. “Serenade”; com.: 1875; dedicated to: Lyudmila Ivanovna Shestakova; 3. “Trepak”; com.: 1875; dedicated to: Osip Afanasyevich Petrov; 4. “Commander”; com.: 1877; ; ed.: 1882 (edited by I. A. Rimsky-Korsakov), 1928 (ed.).
“Song of the Old Man” to the words of J. V. Goethe (from “Wilhelm Meister”); cit.: 1863; dedicated to: Alexander Petrovich Opochinin; ed.: 1909 (Paris, with one French text), 1911 (with Russian text, edited by V. G. Karatygin), 1931 (ed.). “The Song of Mephistopheles” to the words of I. V. Goethe (from “Faust” translated by A. N. Strugovshikov); cit.: 1879; dedication: Daria Mikhailovna Leonova; ed.: 1883 (edited by I. A. Rimsky-Korsakov), 1934 (ed.). “Feast”, story for voice and piano. to the words of A.V. Koltsov; Op.:
1867; dedicated to: Lyudmila Ivanovna Shestakova; ed.: 1868. “Picking Mushrooms,” a song based on the words of L. A. Mey; cit.: 1867; dedicated to: Vladimir Vasilyevich Nikolsky; ed.: 1868. “Ride on a stick”, song based on the composer’s words for the cycle “Children’s” (see), No. 7; cit.: 1872; dedicated to: Dmitry Vasilyevich and Poliksena Stepanovna Stasov; ed.: 1882 (edited by N. A. Rimsky-Korsakov, together with the song “Cat Sailor” under the general title “At the Dacha”) and 1907 (as No. 7 of the “Children’s” cycle). “The garden is blooming over the Don”, song based on the words of A. V. Koltsov; cit.: 1867;
ed.: 1883 (edited by N. A. Rimsky-Korsakov), 1929 (ed.). “Rayok”, music, joke for voice with f-p. to the words of the composer; Op.:
1870; dedicated to: Vladimir Vasilievich Stasov; ed.: 1871. “Dispersing, parting,” song based on the words of A.K. Tolstoy; cit.: 1877; dedicated to: Olga Andreevna Golenishcheva-Kutuzova; ed.: 1882 (edited by N. A. Rimsky-Korsakov), 1934 (ed.). “Svetik Savishna”, song with lyrics by the composer; cit.: 1866; dedication:
Caesar Antonovich Cui; ed.: 1867. “Seminarist”, song based on the composer’s words; cit.: 1866; dedicated to: Lyudmila Ivanovna Shestakova; ed.: 1870.
“Orphan”, song based on the composer’s words; cit.: 1868; dedicated to: Ekaterina Sergeevna Protopopova; ed.: 1871,
“Arrogance”, song to the words of A.K. Tolstoy; cit.: 1877; dedicated to: Anatoly Evgrafovich Palchikov; ed.: 1882 (edited by N. A. Rimsky-Korsakov).
“Sleep, sleep, peasant son”, lullaby to the words of A. N. Ostrovsky (from the comedy “The Voevoda”); cit.: 1865; dedicated: In memory of Yulia Ivanovna Mussorgskaya; ed.: 1871 (2nd ed.), 1922 (1st ed.).
“The Wanderer”, romance to the words of A. N. Pleshcheev; cit.: 1878; ed.: 1883 (edited by N. A. Rimsky-Korsakov), 1934 (ed.).
“White-sided Chirping”, a joke for a voice with a f-p. to the words of A. S. Pushkin (from the poems “The Chirping White-sided One” and “The Bells Are Ringing” - with minor changes); cit.: 1867; dedicated to: Alexander Petrovich and Nadezhda Petrovna Opochinin; ed.: 1871.
"King Saul", a Hebrew melody to the words of J. N. G. Byron, trans.
P. A. Kozlova; cit.: 1863 (1st and 2nd ed.); dedicated to: Alexander Petrovich Opochinin (1st ed.); ed.: 1871 (2nd ed.), 1923 (1st ed.).
“What do you need words of love”, romance to the words of A. N. Ammosov; cit.: 1860; dedicated to: Maria Vasilievna Shilovskaya; ed.: 1923.
“Meines Herzens Sehnsuchb (The Desire of the Heart), a romance based on a German text by an unknown author; cit.: 1858; dedicated to: Malvina Bamberg; ed.: 1907.

Mussorgsky's biography is very interesting; his life was filled not only with creativity: he knew many outstanding people of his time.

Mussorgsky came from an old noble family. He was born on March 9 (21), 1839 in the village of Karevo, Pskov province.

He spent the first 10 years of his life at home, receiving home education and learning to play the piano.

Then he was sent to study in St. Petersburg at a German school, from where he was transferred to the School of Guards Ensigns. It was at this school that he became interested in church music.

Since 1852, Mussorgsky began composing music; his compositions were performed on stages in St. Petersburg and Moscow.

In 1856, he was sent to serve in the Preobrazhensky Guards Regiment (during his service he met A. S. Dargomyzhsky). In 1858 he transferred to serve in the Ministry of State Property.

Music career

A short biography of Mussorgsky by Modest Petrovich, written for children, mentions that in 1859 Modest Petrovich met Balakirev, who insisted on the need to deepen his musical knowledge.

In 1861, he began work on such operas as Oedipus (based on the work of Sophocles), Salammbô (based on the work by Flaubert), and Marriage (based on the play by N. Gogol).

All these operas were never completed by the composer.

In 1870, the composer began work on her most important and famous work, the opera “Boris Godunov” (based on the tragedy of the same name by A. S. Pushkin). In 1871, he presented his creation to the judgment of music critics, who suggested that the composer work more and introduce a certain “feminine principle” into the opera. It was staged only in 1874 at the Mariinsky Theater.

In 1872, work began on two works at once: the dramatic opera “Khovanshchina” and “Sorochensk Fair” (based on a story by N. Gogol). Both of these works were never completed by the maestro.

Mussorgsky wrote many short musical works based on the plots of poems and plays by N. Nekrasov, N. Ostrovsky, and poems by T. Shevchenko. Some of them were created under the influence of Russian artists (for example, V. Vereshchagin).

Last years of life

In the last years of his life, Mussorgsky had a hard time with the collapse of the “Mighty Handful”, misunderstanding and criticism from music officials and colleagues (Cui, Balakirev, Rimsky-Korsakov). Against this background, he developed severe depression and became addicted to alcohol. He began to write music more slowly and quit his job, losing his small but constant income. In the last years of his life, only his friends supported him.

The last time he spoke publicly was at an evening in memory of F. M. Dostoevsky on February 4, 1881. On February 13, he died in the Nikolaevsky hospital in St. Petersburg from an attack of delirium tremens.

Mussorgsky was buried at the Tikhvin Cemetery of the Alexander Nevsky Lavra. But today only the tombstone has survived, since after a large-scale reconstruction of the old necropolis (in the 30s), his grave was lost (rolled into asphalt). Now there is a bus stop at the composer’s burial site.

Chronological table

Other biography options

The only lifetime portrait of the composer by Ilya Repin was painted a few days before the composer’s death.
Mussorgsky was an incredibly educated man: he spoke fluent French, German, English, Latin and Greek, and was an excellent engineer.

Biography score

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On March 21, 1839, a boy was born into the family of the poor landowner Pyotr Mussorgsky, who received the name Modest. His mother, Yulia Ivanovna, doted on her youngest child. Perhaps the reason for this was the death of her first two sons, and she gave all her tenderness to the two surviving boys. Modest spent his childhood on an estate in the Pskov region, among lakes and deep forests. Only the persistence of his mother and his innate talent helped him not to remain uneducated - the mother taught the children reading, foreign languages and music. Although there was only an old piano in the manor’s house, it was tuned well, and by the age of seven Modest was playing short works by Liszt on it. And at the age of nine he performed Field's concerto for the first time.

Peter Mussorgsky also loved music and was very happy about his son’s obvious talent. But could the parents have imagined that their boy would not only become a musician and composer, but would glorify Russia throughout the world with his music? A completely different fate was being prepared for Modest - after all, all the Mussorgskys came from an ancient noble family and always served in military units. Only Modest's father escaped this by devoting himself to agriculture.

As soon as Modest turned ten years old, he and his older brother were taken to St. Petersburg, where the boys were to study at the School of Guards Ensigns, a very privileged military school. After graduating from this school, seventeen-year-old Modest Mussorgsky was assigned to serve in the Preobrazhensky Guards Regiment. He had a brilliant military career ahead of him, but quite unexpectedly the young man resigned and entered the Main Engineering Directorate. He later worked in the investigation department of the Forest Department.

Shortly before making such a surprising decision, one of his regiment comrades introduced Modest to the composer Dargomyzhsky. The venerable musician only had a few minutes to appreciate the freedom with which Modest played the piano, and most importantly, his unique improvisations and extraordinary talent. Dargomyzhsky decided to reinforce his first impression and brought the young man together with Cui and Balakirev. This is how a completely new life began for Mussorgsky, full of music and friends in spirit - in Balakirev’s circle “The Mighty Handful”.

For Mussorgsky this was real happiness - after all, military art did not interest him at all. Another thing is literature, history and philosophy; he always devoted a lot of time to these subjects even in school. But the main thing for him was always music. And the character of the future composer was in no way suitable for a military career. Modest Petrovich was distinguished by tolerance towards others and democratic actions and views. When the peasant reform was announced in 1861, his kindness to people manifested itself especially clearly - in order to relieve his own serfs from the burden of redemption payments, Mussorgsky decided to renounce his part of the inheritance in favor of his brother.

The accumulation of new knowledge in the field of music could not but result in a period of powerful creative activity for the genius. Mussorgsky decided to write a classical opera, but with the obligatory inclusion in it of the embodiment of his passions for large folk scenes and a central personality - strong and strong-willed. He decided to take the plot for his opera from Flaubert’s novel “Salammbô,” which sends the reader to the history of ancient Carthage. Expressive and beautiful musical themes were born in the head of the young composer, and he even wrote down some of what he came up with. He was especially good at mass scenes. But at some point, Mussorgsky suddenly realized that the images already created by his imagination were extremely far from the real Carthage described by Flaubert. This discovery made him lose interest in his work and abandon it.

Another of his plans was an opera based on Gogol’s “Marriage.” The idea suggested by Dargomyzhsky was extremely consistent with Mussorgsky’s character - with his mockery, humor and ability to show complex processes using simple methods. But for that time, the task set - creating an opera based on a prose text - looked not only impossible, but simply too revolutionary. Work on “The Marriage” captivated Mussorgsky, and his comrades considered this work a striking manifestation of the composer’s talent in comedy. This talent was especially evident in creating interesting musical characteristics of the characters. And yet, it soon became clear that the opera based on “The Marriage” itself was only a bold experiment, and work on it was interrupted. Mussorgsky had to take a completely different path to create a serious, real opera.

Often visiting the house of Glinka’s sister, Lyudmila Ivanovna Shestakova, Mussorgsky met Vladimir Vasilyevich Nikolsky. A brilliant literary critic and philologist, a recognized expert in the field of Russian literature, Nikolsky advised the musician to pay attention to Pushkin’s tragedy “Boris Godunov”. The philologist was no stranger to music and believed that “Boris Godunov” could become excellent material for creating an opera libretto. The grain thrown by Nikolsky fell on fertile soil - Mussorgsky thought and began to read the tragedy. Even while reading, whole fragments of magnificent solemn music began to sound in his head. The composer literally felt with his whole body that an opera based on this material would become an amazingly voluminous and multifaceted work.

The opera "Boris Godunov" was completely completed at the end of 1869. And in 1970, Mussorgsky received a response from Gedeonov, director of the imperial theaters. From the letter, the composer learned that a committee of seven people had categorically rejected “Boris Godunov.” Within a year, Mussorgsky created the second edition of the opera - its seven scenes turned into four acts with a prologue. In the dedication to this work, Mussorgsky wrote that only thanks to his comrades in the “Mighty Handful” he was able to complete this difficult work. But even in the second edition, the opera was rejected by the theater committee. The prima donna of the Mariinsky Theater, Platonov, saved the situation - only at her request was the opera “Boris Godunov” accepted for production.

Mussorgsky could not find a place for himself while waiting for the premiere, fearing that his opera would not be accepted by society. But the composer's fears were in vain. The day of the premiere of “Boris Godunov” turned into a triumph and a true celebration of the composer. The news of the wonderful opera spread throughout the city with lightning speed, and every single subsequent performance was sold out. Mussorgsky could have been completely happy, but...

The composer did not at all expect the unexpected and extremely heavy blow that fell on him from the critics. “St. Petersburg Vedomosti” in February 1974 published a devastating review of “Boris Godunov” signed by Cui, one of the composer’s closest friends. Mussorgsky perceived his friend’s act as a stab in the back.

But both the triumph of the opera and the disappointments gradually faded into the background - life went on. The public's interest in “Boris Godunov” did not fade, but critics still considered the opera “wrong” - Mussorgsky’s music did not correspond too much to the romantic stereotypes then accepted in opera. Mussorgsky's transfer to the investigative unit of the Forestry Department burdened him with a lot of boring work, and there was practically no time to make creative plans. He didn’t stop composing music, of course, but he didn’t find peace.

A particularly dark period in the life of the great composer began. The “Mighty Handful” broke up. And it was not only a matter of Cui’s vile blow, but also of brewing internal contradictions among the members of the circle. Mussorgsky himself considered this event a betrayal of the people he dearly loved - a betrayal not of him personally, but of the old ideals that united them. Soon one of his friends, the artist Hartmann, died. Following him, Mussorgsky’s passionately and secretly beloved woman passed away, whose name the composer did not tell anyone - the only memory of love was the “Tombstone Letter,” found only after Mussorgsky’s death, and numerous works dedicated to this mysterious stranger.

Old friends were replaced by new ones. Mussorgsky becomes close to Count A. A. Golenishchev-Kutuzov, a young poet, and becomes attached to him. Perhaps it was this friendship that kept the composer on the brink of despair and breathed new life into him. The best of Mussorgsky's works of that period were written based on the poems of Count Arseny. However, even here the composer faced bitter disappointment - after one and a half years of such a bright friendship, Golenishchev-Kutuzov got married and moved away from his friends.

Another experience led the composer to drink, and he even changed in appearance - he became flabby, stopped taking care of himself, dressed haphazardly... In addition, troubles began at work. Mussorgsky was fired more than once, and he constantly experienced financial difficulties. The problems got to the point that one day the composer was kicked out of his rented apartment for non-payment. The health of the musical genius was gradually deteriorating.

Nevertheless, it was at that time that Mussorgsky’s genius was recognized abroad. Franz Liszt, as he was called then, “the great old man,” received from the publisher sheet music of works by Russian composers and was literally shocked by the talent and novelty of Mussorgsky’s works. Liszt's stormy delight especially affected Mussorgsky's song cycle under the general title “Children's”. In this cycle, the composer vividly and richly depicted the complex and bright world of children's souls.

Mussorgsky himself, despite the terrible conditions of his life during these years, experienced a true creative takeoff. Unfortunately, many of the composer’s ideas remained unfinished or unrefined by his talent. However, everything created shows that the composer was able to reach a new level in his work. The first work that followed “Boris Godunov” was a suite called “Pictures at an Exhibition,” the most significant and largest work for the piano. Mussorgsky managed to discover new nuances in the sound of the instrument and reveal its new capabilities. He also thought about working with Pushkin’s multifaceted dramaturgy. He envisioned an opera whose content would include the life of an entire country with many episodes and scenes. But Mussorgsky did not find the basis for the libretto of such an opera in the literature and decided to write the plot himself.

According to music critics, Mussorgsky's opera Khovanshchina has become a new, highest stage in the development of the composer's musical language. He still considered speech to be the main means of expressing the characters and feelings of people, but the musical design itself now received a new, broader and deeper meaning for him. While working on the opera “Khovanshchina,” Mussorgsky also composed another opera, “Sorochinskaya Fair,” based on Gogol’s work. This opera clearly shows the composer's love for life and simple human joys, despite the blows of fate and mental suffering. The composer's plans also included working on a musical folk drama about Pugachev's uprising. Together with Khovanshchina and Boris Godunov, this opera could form a single trilogy of musical descriptions of Russian history.

In the last years of his life, Mussorgsky left the service, and in order to prevent him from starving, a group of admirers contributed a small pension to the composer. His performances as a pianist-accompanist brought him some money, and in 1879 Mussorgsky decided to go on a concert tour of Crimea and Ukraine. This journey became the last bright spot in a series of gray days for the composer.

On February 12, 1881, Mussorgsky suffered a cerebral hemorrhage. But before he died, he had to survive several more such blows. Only on March 28, 1881, his body stopped resisting, and the great composer died - at the age of forty-two.

Mussorgsky was interred at the Tikhvin cemetery at the Alexander Nevsky Lavra. Almost a hundred years later, in 1972, his museum was opened in the village of Naumovo, not far from the unpreserved family estate.

Like many great people, fame came to the Russian composer Modest Petrovich Mussorgsky posthumously. Rimsky-Korsakov undertook to complete his “Khovanshchina” and put the late composer’s musical archive in order. It was in his edition that the opera “Khovanshchina” was staged, which, like other works of Mussorgsky, went around the whole world.

On March 2, 1881, an unusual visitor entered the doors of the capital’s Nikolaev Military Hospital, located on Slonovaya Street in Peski, holding a canvas in his hands. He went to the ward of his old friend, who had been admitted two weeks earlier with delirium tremens and nervous exhaustion. Putting the canvas on the table, opening his brushes and paints, Repin peered into the familiar tired and exhausted face. Four days later, the only lifetime portrait of the Russian genius was ready. Modest Petrovich Mussorgsky admired his image for only 9 days and died. He was defiantly brave and one of the most fatal musical creators of the 19th century. A brilliant personality, an innovator who was ahead of his time and had a significant influence on the development of not only Russian, but also European music. Mussorgsky's life, as well as the fate of his works, was difficult, but the glory of the composer will be eternal, because his music is imbued with love for the Russian land and the people who live on it.

Read a short biography of Modest Petrovich Mussorgsky and many interesting facts about the composer on our page.

Brief biography of Mussorgsky

Modest Petrovich Mussorgsky was born on March 9, 1839. His family home was an estate in the Pskov region, where he lived until he was 10 years old. The closeness of peasant life, folk songs and a simple village way of life formed in him that worldview, which later became the main theme of his work. Under the guidance of his mother, he began to play the piano at an early age. The boy had a developed imagination and, listening to his nanny's fairy tales, sometimes could not sleep all night from shock. These emotions found their expression in piano improvisations.

According to Mussorgsky's biography, in connection with his move to St. Petersburg in 1849, his musical studies were combined with studies at the gymnasium, and then at the School of Guards Ensigns. Modest Petrovich emerged from the walls of the latter not only as an officer, but also as a magnificent pianist. After a short military service, he retired in 1858 to concentrate entirely on his composing activities. This decision was greatly facilitated by acquaintance with M.A. Balakirev, who taught him the basics of composition. With the arrival of Mussorgsky, the final composition is formed " Mighty bunch».

The composer works a lot, the premiere of his first opera makes him famous, but other works do not find understanding even among the Kuchkists. There is a split in the group. Shortly before this, due to extreme need, Mussorgsky returned to serve in various departments, but his health began to fail. Manifestations of “nervous disease” are combined with addiction to alcohol. He spends several years on his brother's estate. In St. Petersburg, being in constant financial difficulties, he lives with various friends. Only once, in 1879, did he manage to go on a trip to the southern regions of the Empire with the singer D. Leonova as her accompanist. Unfortunately, the inspiration from this trip did not last long. Mussorgsky returned to the capital, was expelled from service and again plunged into apathy and drunkenness. He was a sensitive, generous, but deeply lonely man. On the day he was kicked out of his rented apartment for non-payment, he suffered a stroke. Modest Petrovich spent another month in the hospital, where he died in the early morning of March 16, 1881.

Interesting facts about Modest Petrovich Mussorgsky

Mentioning two versions of " Boris Godunov", we mean - copyrighted. But there are also “editions” of other composers. There are at least 7 of them! N.A. Rimsky-Korsakov, who lived in the same apartment with Mussorgsky at the time of the creation of the opera, had such an individual vision of this musical material that his two versions left a few bars of the original source unchanged. Their keyboard instrumentation was created by E. Melngailis, P.A. Lamm, D.D. Shostakovich, K. Rathaus, D. Lloyd-Jones.
Sometimes, to complete the reproduction of the author's intention and original music, the scene at St. Basil's Cathedral from the first edition is added to the 1872 version.
“Khovanshchina”, for obvious reasons, also suffered numerous editions - by Rimsky-Korsakov, Shostakovich, Stravinsky And Ravel. D.D. version Shostakovich is considered the closest to the original.

Conducted by Claudio Abbado for " Khovanshchiny“In 1989, at the Vienna Opera, he made his own compilation of music: he restored some episodes in the author’s orchestration, crossed out by Rimsky-Korsakov, took as a basis the edition of D. Shostakovich and the finale (“Final Chorus”), created by I. Stravinsky. Since then, this combination has been repeated many times in European productions of the opera.
Despite the fact that both Pushkin and Mussorgsky presented Boris Godunov as a child killer in their works, there is no direct historical evidence that Tsarevich Dimitri was killed on his orders. The youngest son of Ivan the Terrible suffered from epilepsy and, according to eyewitnesses and the official investigation, died from an accident while playing with a sharp object. The version of a contract killing was supported by the Tsarevich’s mother Marya Nagaya. Probably, out of revenge on Godunov, she recognized her son in False Dmitry I, although she later renounced her words. It is interesting that the investigation into the case of Dmitry was led by Vasily Shuisky, who later, having become king, changed his point of view, unequivocally asserting that the boy was killed on behalf of Boris Godunov. N.M. also shares this opinion. Karamzin in “History of the Russian State”.

Sister M.I. Glinka L.I. Shestakova presented Mussorgsky with an edition of “Boris Godunov” by A.S. Pushkin with pasted blank sheets. It was on them that the composer marked the start date of work on the opera.
Tickets for the premiere of “Boris Godunov” were sold out in 4 days, despite their price being three times higher than usual.
The foreign premieres of Boris Godunov and Khovanshchina took place in Paris in 1908 and 1913, respectively.
Not counting works Tchaikovsky, “Boris Godunov” is the most famous Russian opera, repeatedly staged on major stages.
The famous Bulgarian opera singer Boris Hristov performed three parts at once in the 1952 recording of “Boris Godunov”: Boris, Varlaam and Pimen.
Mussorgsky is F.I.’s favorite composer. Shalyapin.
Pre-revolutionary productions of “Boris Godunov” were few and short-lived, in three of them the title role was performed by F.I. Chaliapin. The work was truly appreciated only in Soviet times. Since 1947, the opera has been performed at the Bolshoi Theater, since 1928 at the Mariinsky, and both editions are included in the theater’s current repertoire.

Modest Petrovich's grandmother, Irina Egorovna, was a serf. Alexei Grigorievich Mussorgsky married her, already having three children together, including the composer’s father.
Modi's parents wanted him to become a military man. His grandfather and great-grandfather were guards officers, and his father, Pyotr Alekseevich, also dreamed of this. But due to his dubious origins, a military career was not available to him.
The Mussorgskys are the Smolensk branch of the royal Rurik family.
Probably, at the heart of the internal conflict that tormented Mussorgsky all his life was the class contradiction: coming from a wealthy noble family, he spent his childhood among the peasants of his estate, and the blood of serfs flowed in his own veins. It is the people who are the main protagonist of both of the composer’s great operas. This is the only character he treats with absolute sympathy and compassion.
From Mussorgsky's biography we know that the composer remained a bachelor all his life; even his friends did not leave evidence of the composer's amorous adventures. There were rumors that in his youth he lived with a tavern singer who ran away with another, cruelly breaking his heart. But it is not known for certain whether this story actually happened. Also, the version about the composer’s love for Nadezhda Petrovna Opochinina, who was 18 years older than him, and to whom he dedicated many of his works, remained unconfirmed.
Mussorgsky is the third most performed Russian opera composer.
"Boris Godunov" is shown in theaters around the world more often than "Werther" by Massenet, " Manon Lescaut"Puccini or any opera" Rings of the Nibelung» Wagner.
It was Mussorgsky’s work that inspired I. Stravinsky, who, as a student of N.A. Rimsky-Korsakov, did not recognize his edits in Boris Godunov.
Among the composer’s foreign followers are C. Debussy and M. Ravel.
Garbage Man is a nickname that the composer had among his friends. He was also called Modinka.

In Russia, “Khovanshchina” was first performed in 1897, performed by the Russian Private Opera S.I. Mamontova. And only in 1912 it was staged at the Bolshoi and Mariinsky theaters.
During the Soviet years, the Mikhailovsky Theater in St. Petersburg was named after M.P. Mussorgsky. After reconstruction and the return of the historical name, several bars from the introduction to “Khovanshchina” (“Dawn on the Moscow River”) are played as bells in the theater, as a tribute to the great composer.
Both of Mussorgsky's operas require a significantly expanded orchestra to accurately convey the expressiveness of the music.
“Sorochinsky Fair” was completed by Ts. Cui. This production was the last opera premiere of the Russian Empire, 12 days before the revolution.
The first serious attack of delirium tremens overtook the composer already in 1865. Tatyana Pavlovna Mussorgskaya, the wife of brother Filaret, insisted that Modest Petrovich move to their estate. They left him, but he never fully recovered from his illness. Having left his family for St. Petersburg, without whom he could not live, the composer did not abandon his addiction.
Mussorgsky died 16 days later than Emperor Alexander II, who was killed by terrorists in St. Petersburg.
The composer bequeathed the rights to publish his works to the famous philanthropist T.I. Filippov, who helped him more than once. It was he who paid for the decent funeral of Modest Petrovich at the Tikhvin cemetery of the Alexander Nevsky Lavra.

The work of Modest Petrovich Mussorgsky

First published work - polka "Lieutenant Ensign"- was published when its author was only 13 years old. At 17, he wrote two scherzos; sketches of further large-form works never developed into full-fledged works. Since 1857, Mussorgsky has been writing songs and romances, most of which are on folk themes. This was unusual for a secular musician of those years. The first attempts to write operas remained unfinished - this and “ Salammbo"according to G. Flaubert, and " Marriage» according to N.V. Gogol. The music for “Salambo” will be completely included in the composer’s only completed opera, “Boris Godunov.”

Mussorgsky's biography says that Mussorgsky began working on his main work in 1868. He wrote the libretto of all his large works himself; the text of “Godunov” was based on the tragedy of A.S. Pushkin, and the authenticity of the events was verified with the “History of the Russian State” by N.M. Karamzin. According to Modest Petrovich, in the original concept of the opera there were two main characters - the people and the tsar. Within a year, the work was completed and presented to the court of the directorate of the imperial theaters. The composer's innovative, non-academic and in many ways revolutionary work shocked the members of the Kapellmeister Committee. Formal reason for refusal to stage " Boris Godunov"was in the absence of a central women's party. Thus was born an amazing precedent in the history of opera - two editions, and in meaning - two operas with one plot.

The second edition was ready by 1872, it added a bright female character - Marina Mniszech, a magnificent part for mezzo-soprano, added a Polish act and a love line between False Dmitry and Marina, and reworked the finale. Despite this, the Mariinsky Theater again rejected the opera. The situation was ambiguous - many excerpts from “Boris Godunov” had already been performed by singers at concerts, the public received this music well, but the theater management remained indifferent. Thanks to the support of the Mariinsky Theater Opera Company, in particular, singer Yu.F. Platonova, who insisted on performing the work at her benefit performance, the opera saw the light of the stage on January 27, 1874.

The title role was performed by I.A. Melnikov, one of the outstanding vocalists of his time. The public went wild and called the composer to bow about 20 times; criticism was both restrained and negative. In particular, Mussorgsky was accused of portraying the people as an uncontrollable crowd of drunken, oppressed and desperate people, absolutely stupid, simple and good for nothing. Over the 8 years of its repertory life, the opera was performed only 15 times.

In 1867, in 12 days, Modest Petrovich painted the musical picture “ Midsummer Night on Bald Mountain”, which was never performed during his lifetime and was remade by him many times. In the 1870s, the author turned to instrumental and vocal compositions. This is how " Pictures from the exhibition", "Songs and Dances of Death", cycle "Without the Sun".

His second historical opera, folk musical drama " Khovanshchina", Mussorgsky began writing even before the premiere of Boris Godunov. The composer created the libretto entirely himself, without relying on literary sources. It is based on the real events of 1682, when Russian history was also going through a turning point: a split occurred not only in political, but also in spiritual spheres. The characters in the opera are the Streltsy chief Ivan Khovansky with his unlucky son, and the favorite of Princess Sophia, Prince Golitsyn, and the schismatic Old Believers. The characters are burned by passions - love, thirst for power and intoxication with permissiveness. The work lasted for many years - illness, depression, periods of heavy drinking... “Khovanshchina” was already completed by N.A. Rimsky-Korsakov immediately after the death of its author. In 1883, he offered it to the Mariinsky Theater, but received a categorical refusal. Mussorgsky's masterpiece was first performed in an amateur music group...

Simultaneously with “Khovanshchina,” the composer wrote the opera “ Sorochinskaya fair”, which remained only in drafts. His last compositions were several pieces for piano.

Mussorgsky's music in cinema

The tunes of "Nights on Bald Mountain" and "Pictures at an Exhibition" are popular all over the world and are often used in films. Among the famous films where the music of M.P. is heard. Mussorgsky:

"The Simpsons", television series (2007-2016)
"Tree of Life" (2011)
“Burn After Reading” (2008)
Six Feet Under, TV series (2003)
"Dracula 2000" (2000)
"The Big Lebowski" (1998)
"Lolita" (1997)
"Natural Born Killers" (1994)
"Death in Venice" (1971)

Biographical film There is only one about genius - “Mussorgsky” by G. Roshal, released in 1950. In the post-war decade, several films were made about great Russian composers; this one can be called the most successful. Great in the title role A.F. Borisov. He managed to create the image of Mussorgsky as his contemporaries described him - generous, open, sensitive, fickle, carried away. This role was awarded the USSR State Prize. V.V. Stasov was played by N. Cherkasov in the film, and the singer Platonova was played by L. Orlova.

Among the film adaptations of the composer’s operas and recordings of theatrical performances, we note:

“Khovanshchina”, staged by L. Baratov at the Mariinsky Theatre, recorded in 2012, starring: S. Aleksashkin, V. Galuzin, V. Vaneev, O. Borodina;
“Boris Godunov”, staged by A. Tarkovsky at the Covent Garden Theatre, recorded in 1990, starring: R. Lloyd, O. Borodina, A. Steblyanko;
“Khovanshchina”, staged by B. Large at the Vienna Opera, recorded in 1989, starring: N. Gyaurov, V. Atlantov, P. Burchuladze, L. Semchuk;
“Boris Godunov”, staged by L. Baratov at the Bolshoi Theatre, recorded in 1978, starring: E. Nesterenko, V. Piavko, V. Yaroslavtsev, I. Arkhipova;
“Khovanshchina”, film-opera by V. Stroeva, 1959, starring: A. Krivchenya, A. Grigoriev, M. Reisen, K. Leonova;
“Boris Godunov”, film-opera by V. Stroeva, 1954, starring A. Pirogov, G. Nelepp, M. Mikhailov, L. Avdeeva.

About the innovative nature of his music M.P. Mussorgsky mentioned it several times in letters. Time has proven the validity of this definition: in the 20th century, composers began to widely use the same techniques that once seemed anti-musical even to such contemporaries as Tchaikovsky and Rimsky-Korsakov. Modest Petrovich was a genius. But a Russian genius - with melancholy, nervous exhaustion and a search for peace at the bottom of the bottle. His work brought the history, character and songs of the Russian people to the best world stages, establishing their unconditional cultural authority.

Video: watch a film about Modest Petrovich Mussorgsky