To enter into sympathy with Russian music we must remember one thing: that the national spirit pervades13 its masterpieces. Even the so-called "cosmopolitanism14" of Peter Ilitch Tschaikovsky is superficial. To be sure, he leaned on Liszt and the French, but booming melancholy15 and orgiastic frenzy16 may be found in some of his symphonies. According to the judgment17 of the Rubinsteins he was too much the Kalmuck; Nicolas Rubinstein severely18 criticised him for this trait. But of all the little group that gathered about Mila Balakirev fifty years ago there was no one so Russian as a certain young officer named Modeste Petrovitch Moussorgsky (born 1839, died 1881). Not Rimsky-Korsakof, Borodine, Cesar Cui were so deeply saturated19 with love of the Russian soil and folk-lore as this pleasant young man. He played the piano skilfully20, but as amateur, not virtuoso21. He came of good family, "little nobles," and received an excellent but conventional education. A bit of a dandy, he was the last person from whom to expect a revolution, but in Russia anything may happen. Moussorgsky was like other well-nurtured youths who went to Siberia for a mere22 gesture of dissent23. With Emerson he might [Pg 192] have agreed that "whoso would be a man must be a non-conformist." With him rebellion against law and order revealed itself in an abhorrence24 of text-books, harmony, and scholastic25 training. He wished to achieve originality26 without the monotonous27 climb to the peak of Parnassus, and this was his misfortune. Two anarchs of music, Richard Strauss and Arnold Schoenberg, reached their goals after marching successfully through the established forms: and the prose versicles of Walt Whitman were achieved only after he had practised the ordinary rules of prosody29. Not so with Moussorgsky, and while few youthful composers have been so carefully counselled, he either could not, or would not, take the trouble of mastering the rudiments30 of his art.
The result almost outweighs31 the evil—his opera, Boris Godounow. The rest of his music, with a few notable exceptions, is not worth the trouble of resuscitating32. I say this although I disagree with the enthusiastic Pierre d'Alheim—whose book first made me acquainted with the Russian's art—and disagree, too, with Colvocoressi, whose study is likely to remain the definitive33 one. I've played the piano music and found it banal34 in form and idea, far less individual than the piano pieces of Cui, Liadow, Stcherbatchef, Arensky, or Rachmaninof. The keyboard did not make special appeal to Moussorgsky. With his songs it is another matter. His lyrics35 are charming and characteristic. Liszt warmly [Pg 193] praised La Chambre des Enfants, one of his most popular compositions. Moussorgsky would not study the elements of orchestration, and one of the penalties he paid was that his friend, Rimsky-Korsakof "edited" Boris Godounow (in 1896 a new edition appeared with changes, purely37 practical, as Colvocoressi notes, but the orchestration, clumsy as it is, largely remains38 the work of the composer) and La Khovanchtchina was scored by Rimsky-Korsakof, and no doubt "edited," that is, revised, what picture experts call "restored." So the musical baggage which is carried by Moussorgsky down the corridor of time is not large. But it is significant.
He was much influenced by Dargomyjski, particularly in the matter of realism. "I insist that the tone will directly translate the word," was an axiom of this musician. His friend and follower39 often carries this precept40 to the point of caricature. There are numerous songs which end in mere mimicry41, parody42, a pantomime of tone. The realism so much emphasised by the critic Stassow and others is really an enormous sincerity43, and the reduction to an almost bare simplicity44 of the musical idea. His vigorous rhythmic45 sense enabled Moussorgsky to express bizarre motions and unusual situations that are at first blush extramusical. Many of his "reforms" are not reforms at all, rather the outcome of his passion for simplification. The framework of his opera—Boris Godounow—is rather commonplace, a plethora46 [Pg 194] of choral numbers the most marked feature. In the original draught47 there was an absence of the feminine element, but after much pressure the composer was persuaded to weave several scenes into the general texture48, and let it be said that these are the weakest in the work. The primal49 power of the composition carries us away, not its form, which, to tell the truth, is rather old-fashioned.
His stubbornness is both a failure and a virtue50. His sincerity covers a multitude of ineptitudes, but it is a splendid sincerity. His preference for unrelated tones in his melodic51 scheme led to the dissociated harmonies of his operatic score, and this same Boris Godounow has much influenced French music,—as I have pointed52 out earlier in this volume—a source at which Claude Debussy drank—not to mention Dukas, Ravel, and others—whose more sophisticated scores prove this. Of Moussorgsky, Debussy has remarked that he reminded him of a curious savage53 who at every step traced by his emotions discovers music. And Boris Godounow is virgin54 soil. That is why I have called its creator a Primitive55. He has achieved the na?ve attitude toward music which in the plastic arts is the very essence of the Flemish Primitives56. Nature made him deaf to other men's music. In his savage craving57 for absolute originality—the most impossible of all "absolutes"—he sought to abstract from the art its chief components58. He would have it in its naked innocence59: rhythmic, [Pg 195] undefiled by customary treatment, and never swerving60 from the "truth" of the poem. His devotion to the verbal text and dramatic action out-Wagners Wagner. Moussorgsky did not approve of Wagner's gigantic orchestral apparatus61; he wished to avoid all that would distract the spectator from the stage—for him Wagner was too much "symphonist," not enough dramatist. Action, above all, no thematic development in the academic sense, were the Russian's watchwords. Paul Cézanne is a Primitive among modern painters, inasmuch as he discards the flamboyant62 rhetoric63 and familiar points d'appui of the schools and achieves a certain na?veté. The efforts of Moussorgsky were analogous64. He employed leading motives65 charily66, and as he disliked intricate polyphony, his music moves in massive blocks, following the semi-detached tableaux67 of the opera.
But a man is never entirely68 the master of his genius, and while Moussorgsky fought the stars in their courses, he nevertheless poured out upon paper the richest colours and images, created human characters and glorified69 the "people." He "went to the people," to the folk-melody, and in Pushkin he found the historical story of Czar Boris, neuropathic, criminal, and half crazy, which he manipulated to serve his purpose. The chorus is the protagonist70, despite the stirring dramatic scenes allotted71 to Boris. After all, the "people," that mystic quantity in Russian art, must have a [Pg 196] spokesman. Notwithstanding this every tune28 to be found in Pratsch's Russian anthology, and utilised by the new men, was composed by an individual man. Art is never democratic, but it is all the stronger when it incarnates73 the woes74 and joys of the people—not quite the same thing as being composed by the "people." The tree is rooted in the soil, but the tree stands alone in the forest. The moujik dominates the stage, even after the generous lopping from the partition of some of the choruses.
The feeling for comedy which is to be found in many of the songs is not missing in the stage work. Moussorgsky loved Gogol, set his Le Mariage to music (only one act) and savoured the salty humour of the great writer. But the composer has his tragic75 side, and therein he reminds me of Dosto?evsky—both men died during the same year—who but Dosto?evsky, if he had been a composer, could have written the malediction76 scene in Boris? As a matter of fact he did write a play on the same historical subject, but it has disappeared. There are many other contacts with Dosto?evsky—intense Slavophilism, adoration77 of Russia; its very soil is sacred; carelessness as to the externals of their art—a Chinese asymmetry78 is present in their architectonic; they both excel in portraying79 humour, broad, vulgar, uproarious, outrageous80, reckless humour; and also in exposing the profundities81 of the Russian soul, especially the soul racked by evil and morbid82 [Pg 197] thoughts. Dosto?evsky said: "The soul of another is a dark place, and the Russian soul is a dark place...." The obsession83 of the abnormal is marked in novelist and composer. They are revolutionists, but in the heaven of the insurgent84 there are many mansions85. (Beethoven—a letter to Zmeskell—wrote: "Might is the morality of men who distinguish themselves above others. It is my morality, anyhow.") Dosto?evsky and Moussorgsky were not unlike temperamentally. Dosto?evsky always repented87 in haste only to sin again at leisure; with Moussorgsky it was the same. Both men suffered from some sort of moral lesion. Dosto?evsky was an epileptic, and the nature of Moussorgsky's "mysterious nervous ailment88" is unknown to me; possibly it was a mild or masked epilepsy. Moussorgsky was said to have been a heavy drinker—his biographer speaks of him as being "ravaged89 by alcohol"—a failing not rare in Russia. The "inspissated gloom" of his work, its tenebrous gulfs and musical vertigoes90 are true indices of his morbid pathology. He was of a pious91 nature, as was Dosto?evsky; but he might have subscribed92 to the truth of Remy de Gourmont's epigram: "Religion est l'h?pital de l'amour." Love, however, does not play a major r?le in his life or art, yet it permeates93 both, in a sultry, sensual manner.
Boris Godounow was successfully produced January 24, 1874, at the St. Petersburg Opera with a satisfactory cast. At once its native [Pg 198] power was felt and its appalling94 longueurs, technical crudities and minor95 shortcomings were recognised as the inevitable96 slag97 in the profusion98 of rich ore. A Russian opera, more Russian than Glinka! It was the "high noon," as Nietzsche would say, of the composer—the latter part of whose career was clouded by a morose99 pessimism100 and disease. There is much ugly music, but it is always characteristic. Despite the ecclesiastical modes and rare harmonic progressions the score is Muscovite, not Oriental—the latter element is a stumbling-block in the development of so many Russian composers. The melancholy is Russian, the tunes101 are Russian, and the inn-scene, apart from the difference of historical periods, is as Russian as Gogol. No opera ever penned is less "literary," less "operatic," or more national than this one.
Rimsky-Korsakof, who died only a few years ago, was the junior of Moussorgsky (born 1844), and proved during the latter's lifetime, and after his death, an unshaken friendship. The pair dwelt together for some time and criticised each other's work. If Balakirev laid the foundation of Moussorgsky's musical education (in composition, not piano-playing) Rimsky-Korsakof completed it; as far as he could. The musical gift of the latter was more lyrical than any of his fellow students' at Balakirev's. Without having a novel "message," he developed as a master-painter in orchestration. He belongs in the category of composers who are more prolific102 [Pg 199] in the coining of images than the creation of ideas. He "played the sedulous103 ape" to Berlioz and it was natural, with his fanciful imagination and full-blooded temperament86, that his themes are clothed in shining orchestration, that his formal sense would work to happier ends within the elastic104 form of the Liszt symphonic poem. He wrote symphonies and a "symphoniette" on Russian themes, but his genius is best displayed in freer forms. His third symphony, redolent of Haydn, with a delightful105 scherzo, his fugues, quartet, ballets, operas—he composed fifteen, some of which are still popular in Russia—prove him a past master in his technical medium; but the real engaging and fantastic personality of the man evaporates in his academic work. He is at his top notch106 in Sadko, with its depiction107 of both a calm and stormy sea; in Antar, with its evocation108 of vast, immemorial deserts; in Scheherazade, and its background of Bagdad and the fascinating atmosphere of the Arabian Nights.
The initial Sunday in December, 1878, at Paris, was a memorable109 afternoon for me. (I was then writing "special" stories to the Philadelphia Evening Bulletin, and the rereading of my article in print has refreshed my memory.) I heard for the first time the music of Rimsky-Korsakof, also the name of Modeste Moussorgsky. The symphonic poem, Sadko, was hissed110 and applauded at a Pasdeloup concert in the Cirque d'Hiver, for the new music created, on [Pg 200] the whole, a disturbing impression. To quiet the rioting in the audience—it came to shouts and fisticuffs—the conductor, Jacques Pasdeloup (whose real name was Jacob Wolfgang) played Weber's Invitation to the Valse, arranged by Berlioz, which tribute to a national composer—neglected when alive, glorified after death—put the huge gathering111 of musical "chauvinistes" into better humour. Sitting next to me and rather amused, I fancy, because of my enthusiasm for Sadko, was a young Russian, a student at the Sorbonne. He liked Rimsky-Korsakof and understood the new music better than I, and explained to me that Sadko was too French, too much Berlioz, not enough Tartar. I didn't, at the time, take all this in, nor did I place much credence112 in his declaration that Russia had a young man living in St. Petersburg, its greatest composer, a truly national one, as national as Taras Boulba, or Dead Souls. Moussorgsky was his name, and despite his impoverished113 circumstances, or probably because of them, he was burning the candle at both ends and in the middle. He had finished his masterpieces before 1878. I was not particularly impressed and I never saw the Russian student again though I often went to the Sorbonne. I was therefore interested in 1896 when Pierre d'Alheim's monograph114 appeared and I recalled the name of Moussorgsky, but it was only several seasons ago and at Paris I heard for the first time both his operas.
[Pg 201] In 1889 Rimsky-Korsakof directed two concerts of Russian music at the Trocadero and Paris fell in love with his compositions. He not only orchestrated the last opera of his friend Moussorgsky, but also Dargomyjski's The Stone Guest, and with the assistance of his pupil, Glazounow, completed the score of Prince Igor, by Borodine. He was an indefatigable115 workman, and his fame will endure because of "handling" of gorgeous orchestral tints116. He is an impressionist, a stylist, the reverse of Moussorgsky, and he has the "conscience of the ear" which his friend lacked. Praised by Liszt, admired by Von Bülow, he revealed the influence of the Hungarian. Profound psychologist he was not; an innovator117, like Moussorgsky he never would have been; the tragic eloquence118 vouchsafed119 Tschaikovsky was denied him. But he wielded120 a brush of incomparable richness, he spun121 the most evanescent and iridescent122 web, previous to the arrival of Debussy: he is the Berlioz of Russia, as Moussorgsky is its greatest nationalist in tone.
I make this discursion because, for a period, the paths of the two composers were parallel. Tschaikovsky did not admire Moussorgsky, spoke72 slightingly of his abilities, though he conceded that with all his roughness he had power of a repellent order. Turgenieff did not understand him. The opera La Khovanchtchina, notwithstanding the preponderance of the chorus—in Russia choral singing is the foundation [Pg 202] of musical culture—I found more "operatic" than Boris Godounow. The Old Believers become as much of a bore as the Anabaptists in Meyerbeer; the intrigue123 of the second plan not very vital; but as a composition it is more finished than its predecessor124. The women are more attractive, the lyric36 elements better developed, but the sense of barbaric grandeur125 of Boris is not evoked126; nor is its dark stream of cruelty present. Doubtless the belief that Modeste Moussorgsky is a precursor127 of much modern music is founded on truth, and while his musical genius is not to be challenged, yet do I believe that he has been given too lofty a position in art. At the best his work is unachieved, truncated128, a torso of what might have been a noble statue. But it will endure. It is difficult to conceive a time when, for Russia, Boris Godounow will cease to thrill.
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1
patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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parched
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| adj.焦干的；极渴的；v.（使）焦干 | |
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persecuted
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| （尤指宗教或政治信仰的）迫害(~sb. for sth.)( persecute的过去式和过去分词 )； 烦扰，困扰或骚扰某人 | |
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intensity
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| n.强烈，剧烈；强度；烈度 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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mighty
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| adj.强有力的；巨大的 | |
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injustice
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| n.非正义，不公正，不公平，侵犯（别人的）权利 | |
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specimen
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| n.样本，标本 | |
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cosmopolitan
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| adj.世界性的，全世界的，四海为家的，全球的 | |
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dweller
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| n.居住者，住客 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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sufficiently
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| adv.足够地，充分地 | |
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pervades
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| v.遍及，弥漫( pervade的第三人称单数 ) | |
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cosmopolitanism
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| n. 世界性,世界主义 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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frenzy
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| n.疯狂，狂热，极度的激动 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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severely
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| adv.严格地；严厉地；非常恶劣地 | |
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saturated
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| a.饱和的，充满的 | |
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skilfully
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| adv. (美skillfully)熟练地 | |
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virtuoso
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| n.精于某种艺术或乐器的专家，行家里手 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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dissent
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| n./v.不同意，持异议 | |
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abhorrence
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| n.憎恶；可憎恶的事 | |
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scholastic
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| adj.学校的，学院的，学术上的 | |
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originality
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| n.创造力，独创性；新颖 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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tune
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| n.调子；和谐，协调；v.调音，调节，调整 | |
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prosody
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| n.诗体论，作诗法 | |
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rudiments
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| n.基础知识，入门 | |
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outweighs
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| v.在重量上超过( outweigh的第三人称单数 )；在重要性或价值方面超过 | |
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resuscitating
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| v.使（某人或某物）恢复知觉，苏醒( resuscitate的现在分词 ) | |
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definitive
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| adj.确切的，权威性的；最后的，决定性的 | |
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banal
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| adj.陈腐的，平庸的 | |
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lyrics
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| n.歌词 | |
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lyric
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| n.抒情诗，歌词；adj.抒情的 | |
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purely
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| adv.纯粹地，完全地 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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follower
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| n.跟随者；随员；门徒；信徒 | |
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precept
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| n.戒律；格言 | |
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mimicry
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| n.（生物）拟态，模仿 | |
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parody
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| n.打油诗文，诙谐的改编诗文，拙劣的模仿；v.拙劣模仿，作模仿诗文 | |
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sincerity
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| n.真诚，诚意；真实 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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rhythmic
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| adj.有节奏的，有韵律的 | |
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plethora
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| n.过量，过剩 | |
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draught
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| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
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texture
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| n.(织物)质地；(材料)构造；结构；肌理 | |
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primal
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| adj.原始的；最重要的 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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melodic
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| adj.有旋律的，调子美妙的 | |
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pointed
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| adj.尖的，直截了当的 | |
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savage
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| adj.野蛮的；凶恶的，残暴的；n.未开化的人 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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primitives
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| 原始人（primitive的复数形式） | |
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craving
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| n.渴望,热望 | |
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components
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| （机器、设备等的）构成要素，零件，成分； 成分( component的名词复数 )； [物理化学]组分； [数学]分量； （混合物的）组成部分 | |
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innocence
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| n.无罪；天真；无害 | |
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swerving
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| v.（使）改变方向，改变目的( swerve的现在分词 ) | |
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apparatus
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| n.装置，器械；器具，设备 | |
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flamboyant
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| adj.火焰般的，华丽的，炫耀的 | |
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rhetoric
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| n.修辞学，浮夸之言语 | |
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analogous
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| adj.相似的；类似的 | |
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motives
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| n.动机，目的( motive的名词复数 ) | |
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charily
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| 小心谨慎地，节俭地，俭省地 | |
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tableaux
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| n.舞台造型，（由活人扮演的）静态画面、场面；人构成的画面或场景( tableau的名词复数 )；舞台造型；戏剧性的场面；绚丽的场景 | |
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68
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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69
glorified
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| 美其名的，变荣耀的 | |
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protagonist
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| n.(思想观念的)倡导者；主角，主人公 | |
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71
allotted
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| 分配，拨给，摊派( allot的过去式和过去分词 ) | |
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72
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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73
incarnates
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| v.赋予（思想、精神等）以人的形体( incarnate的第三人称单数 )；使人格化；体现；使具体化 | |
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74
woes
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| 困境( woe的名词复数 )； 悲伤； 我好苦哇； 某人就要倒霉 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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76
malediction
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| n.诅咒 | |
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adoration
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| n.爱慕，崇拜 | |
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asymmetry
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| n.不对称；adj.不对称的，不对等的 | |
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79
portraying
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| v.画像( portray的现在分词 )；描述；描绘；描画 | |
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outrageous
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| adj.无理的，令人不能容忍的 | |
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81
profundities
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| n.深奥，深刻，深厚( profundity的名词复数 )；堂奥 | |
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82
morbid
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| adj.病的；致病的；病态的；可怕的 | |
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obsession
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| n.困扰，无法摆脱的思想(或情感) | |
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84
insurgent
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| adj.叛乱的，起事的；n.叛乱分子 | |
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85
mansions
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| n.宅第，公馆，大厦( mansion的名词复数 ) | |
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86
temperament
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| n.气质，性格，性情 | |
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repented
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| 对（自己的所为）感到懊悔或忏悔( repent的过去式和过去分词 ) | |
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ailment
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| n.疾病，小病 | |
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ravaged
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| 毁坏( ravage的过去式和过去分词 )； 蹂躏； 劫掠； 抢劫 | |
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vertigoes
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| n.眩晕，头晕( vertigo的名词复数 ) | |
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pious
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| adj.虔诚的；道貌岸然的 | |
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subscribed
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| v.捐助( subscribe的过去式和过去分词 )；签署，题词；订阅；同意 | |
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permeates
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| 弥漫( permeate的第三人称单数 )； 遍布； 渗入； 渗透 | |
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appalling
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| adj.骇人听闻的，令人震惊的，可怕的 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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inevitable
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| adj.不可避免的，必然发生的 | |
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slag
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| n.熔渣，铁屑，矿渣；v.使变成熔渣，变熔渣 | |
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profusion
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| n.挥霍；丰富 | |
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morose
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| adj.脾气坏的，不高兴的 | |
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100
pessimism
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| n.悲观者，悲观主义者，厌世者 | |
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101
tunes
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| n.曲调，曲子( tune的名词复数 )v.调音( tune的第三人称单数 )；调整；（给收音机、电视等）调谐；使协调 | |
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102
prolific
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| adj.丰富的，大量的；多产的，富有创造力的 | |
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sedulous
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| adj.勤勉的，努力的 | |
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104
elastic
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| n.橡皮圈，松紧带；adj.有弹性的；灵活的 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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106
notch
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| n.(V字形)槽口，缺口，等级 | |
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107
depiction
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| n.描述 | |
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108
evocation
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| n. 引起，唤起 n. <古> 召唤，招魂 | |
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109
memorable
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| adj.值得回忆的，难忘的，特别的，显著的 | |
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hissed
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| 发嘶嘶声( hiss的过去式和过去分词 )； 发嘘声表示反对 | |
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111
gathering
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| n.集会，聚会，聚集 | |
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112
credence
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| n.信用，祭器台，供桌，凭证 | |
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113
impoverished
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| adj.穷困的，无力的，用尽了的v.使（某人）贫穷( impoverish的过去式和过去分词 )；使（某物）贫瘠或恶化 | |
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114
monograph
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| n.专题文章，专题著作 | |
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115
indefatigable
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| adj.不知疲倦的，不屈不挠的 | |
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116
tints
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| 色彩( tint的名词复数 )； 带白的颜色； （淡色）染发剂； 痕迹 | |
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117
innovator
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| n.改革者；创新者 | |
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118
eloquence
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| n.雄辩；口才，修辞 | |
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119
vouchsafed
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| v.给予，赐予( vouchsafe的过去式和过去分词 )；允诺 | |
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120
wielded
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| 手持着使用（武器、工具等）( wield的过去式和过去分词 )； 具有； 运用（权力）； 施加（影响） | |
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121
spun
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| v.纺，杜撰，急转身 | |
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122
iridescent
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| adj.彩虹色的，闪色的 | |
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123
intrigue
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| vt.激起兴趣，迷住；vi.耍阴谋；n.阴谋，密谋 | |
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124
predecessor
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| n.前辈，前任 | |
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125
grandeur
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| n.伟大，崇高，宏伟，庄严，豪华 | |
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126
evoked
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| [医]诱发的 | |
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127
precursor
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| n.先驱者；前辈；前任；预兆；先兆 | |
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128
truncated
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| adj.切去顶端的，缩短了的，被删节的v.截面的( truncate的过去式和过去分词 )；截头的；缩短了的；截去顶端或末端 | |
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