"When fascism comes to America, it will be wrapped in the flag and carrying the cross."
-- Sinclair Lewis
Sunday, September 07, 2014
Ghost of Sunday Classics: I have a song to sing, O!
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Luciano Pavarotti and Joan Sutherland sing the "Brindisi" from Act I of Verdi's La Traviata, with Richard Bonynge conducting, at the Met in October 1970.
ALFREDO: Let’s drink, let's drink
from the joyous chalice where beauty flowers.
Let the fleeting hour
to pleasure’s intoxication yield.
Let’s drink to love’s sweet tremors –
to those eyes that pierce the heart.
Let’s drink to love -- to wine,
that warms our kisses. ALL : Ah! Let’s drink, let's drink to love --
to wine, that warms our kisses. VIOLETTA [rising]: With you, with you
I would share my days of happiness.
Everything is folly in this world
that does not give us pleasure.
Let us enjoy life,
for the pleasures of love are swift and fleeting,
as a flower that lives and dies
and can be enjoyed no more.
Let’s take our pleasure!
While its ardent, brilliant summons lures us on. ALL: Let’s take our pleasure
of wine and singing and mirth,
till the new day dawns on us as in Paradise. VIOLETTA [to ALFREDO]: Life is just pleasure. ALFREDO [to VIOLETTA]: But if one still waits for love -- VIOLETTA [to ALFREDO]: I know nothing of that --
don’t tell me -- ALFREDO [to VIOLETTA]: But there lies my fate. ALL: Let’s take our pleasure
of wine and singing and mirth,
till the new day dawns on this paradise of ours.
by Ken
Extra credit if you saw the title of this post and sang back, "Sing me your song, O!"
In a moment we'll come back to "I have a song to sing, O!," but first, by way of sort-of-explainaton of what we're up to today, it's not exactly a rarity in opera where one character or another is asked to sing for the entertainment of a gathering, often with drinking involved. Nor is it a rarity for one character or another to offer a song to a gathering for their entertainment. I have such a scene in mind, and to get there I thought we'd hit some of the more notable specimens, and we've started with perhaps the most famous of all, the "Brindisi" (drinking song) sung by Alfredo, and joined by Violetta, at the start of Act I of La Traviata.
In fact, we're going to hear the full setting of Alfredo's "Libiamo," but first --
Sunday Classics preview: Every day is a good day for an auto-da-fé
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In the course of his travels, Candide finds himself in Lisbon just in time for both an earthquake and an auto-da-fé, the "act of faith" that was the Inquisitorial Church's patented mode of festivity built around the burning of heretics. Composer Leonard Bernstein conducts the London Symphony Chorus and Orchestra in this famous July 1982 concert performance of Candide, with Clive Bayley (Bear-Keeper), Neil Jenkins (Cosmetic Merchant), Lindsay Benson (Doctor), Richard Suart (Junkman), John Treleaven (Alchemist), Adolph Green (Dr. Pangloss), and Jerry Hadley (Candide). We're going to hear the start of a less jolly theatrical auto-da-fé.
by Ken
Lately we've heard some orchestral introductions that not only set the scenes for the memorable operatic scenes they introduce, but grab the listener's imagination unforgettably. For example, in February 24's "In Boris Godunov, the Russian people do just as they're told" we heard the introductions to the two scenes of the Prologue to Mussorgsky's Boris Godunov (heard here in Rimsky-Korsakov's edition).
MUSSORGSKY: Boris Godunov (ed. Rimsky-Korsakov):
Prelude
Opening of the Coronation Scene
Alexei Maslennikov (t), Prince Shuisky; Sofia Radio Chorus, Vienna State Opera Chorus, Vienna Philharmonic, Herbert von Karajan, cond. Decca, recorded November 1970
Here are three equally vivid and equally contrasting musical introductions, to consecutive events: [1]
[2]
[3]
Orchestra of the Royal Opera House, Covent Garden, Georg Solti, cond. Decca, recorded 1965-66
Sunday Classics: This "Russian theme" used by Beethoven should be familiar
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The Alban Berg Quartet (Günther Pichler and Gerhard Schulz, violins; Thomas Kakuska, viola; Valentin Erben, cello) plays one of Beethoven's most beautiful creations, the Molto adagio from Op. 59, No. 2, in June 1989.
SUNDAY AFTERNOON NOTE: At the moment the audio clips haven't always been loading right. If that's the case, I can only ask you to try again later. Sorry! (Sigh.) UPDATE: Archive.org seems to have had some sort of system crash -- ohboy! SUNDAY EVENING UPDATE: All seems to be OK now!
by Ken
Here's Beethoven's version of what he noted as a "Thème russe":
Sunday Classics: In "Boris Godunov," the Russian people do just as they're told
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Although I titled Friday night's preview post "Long live Tsar Boris Feodorovich," we never did get to that famous line from the Coronation Scene of Boris Godunov. If I could have edited this clip, I would have stopped it at 1:58, so we would have heard just:
PRINCE SHUISKY: Long live Tsar Boris Feodorovich! THE PEOPLE: Long live the Tsar, our father! PRINCE SHUISKY: Praise him!
(This clip of the Coronation Scene is from the Andrei Tarkovsky-directed Unitel film of Boris, with Yevgeny Boitsov as Prince Shuisky and Robert Lloyd as Boris, Valery Gergiev conducting Covent Garden forces.) by Ken
As noted in the caption above, I never did get around to the line "Long live Tsar Boris Feodorovich," from the Coronation Scene of Boris Godunov, in Friday night's preview post of that name. So that's where I wanted to start today, and I remembered that YouTube now at least sometimes allows you to edit clips. But apparently it's only the starting point you can choose, whereas I wanted to start at the start and choose my own stopping point. So I'm trusting you to remember that you're honor-bound to watch no farther than that 1:58 point for now.
I think it's hard for anyone not to be gripped by those stark opening chords of the Coronation Scene of Boris Godunov, especially as amped up -- into lusher starkness! -- by Nikolai Rimsky-Korsakov in his now-widely-disparaged version of the opera. For the record, here's how it sounded in Mussorgsky's head:
Andrei Sokolov (t), Prince Shuisky; USSR TV and Radio Large Chorus and Large Symphony Orchestra, Vladimir Fedoseyev, cond. Melodiya-Philips, recorded 1978-83
I have to say that this is the most impactful performance of the composer's version I've heard (though I do wish those damned bells had been reined in). Most pure-Mussorgsky performances tend to sound thin and underpowered. Here again is Rimsky's version:
[ed. Rimsky-Korsakov] Alexei Maslennikov (t), Prince Shuisky; Sofia Radio Chorus, Vienna State Opera Chorus, Vienna Philharmonic, Herbert von Karajan, cond. Decca, recorded November 1970
THE "SUNDAY CLASSICS WITH KEN" STAND-ALONE BLOG . . .
Sunday Classics preview: Long live Tsar Boris Feodorovich!
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The Cathedral of Our Lady of Smolensk, part of Novodevichy Convent, near Moscow, where Boris Godunov, who had been the power behind the throne of his brother-in-law the newly departed Tsar Feodor, retreated in 1584, waiting to be implored to accept the throne. The rise of the curtain is preceded by this deeply forlorn orchestral introduction:
MUSSORGSKY: Boris Godunov: Prelude (ed. Rimsky-Korsakov)
Vienna Philharmonic, Herbert von Karajan, cond. Decca, recorded November 1970
by Ken
No, Sunday Classics isn't back from hiatus exactly. It's more like a hiatus from hiatus. I've been pondering how to proceed with our archival remembrance of that fine conductor Eugen Jochum, and one of the things I had a hankering to represent was his 1957 Munich broadcast performance of Mussorgsky's own version of Boris Godunov, then little heard, with Hans Hotter in the title role. That doesn't qualify as Sunday Classics archival material, though, since we haven't heard any of it yet. What's more, as the post started to take shape, it drifted away from Jochum to focus on the two scenes of the Prologue.
We've had a generous helping of encores sprinkled through the Sunday Classics programs. I always thought that one of these weeks we'd take a neatly organized, carefully rehearsed tour through the kinds of music and musicians inhabiting the world of concert "bonuses." That could still happen, but probably not this week.
No, I happened to find myself staring at the volume from Les Introuvables de János Starker -- from EMI France's often-valuable Introuvables (literally "unfindables") reissue series -- which includes the 1958 pictured above, which seems to me not so much a "recital" as a collection of fairly short pieces mostly of the type we would generally consider encore material. (I can't believe Starker would ever have given a recital made up of this material. One tip-off -- not conclusive, but a strong hint -- is the number of selections with "arranger" credits.) Including stuff like, you know, this:
DEBUSSY: Préludes, Book I: No. 8, "La Fille aux cheveux de lin" ("The Girl with the Flaxen Hair") (arr. Feuillard)
SCHUBERT: Moment musical in F minor, D. 780, No. 3 (arr. Becker)
MUSSORGSKY: The Fair at Sorochinsk: Gopak (arr. Stutchevsky)
János Starker, cello; Gerald Moore, piano. EMI, recorded in London, June 4-7, 1958
Sunday Classics: Concluding our walking tour through Mussorgsky's "Pictures at an Exhibition"
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Why don't we begin at the very end?We launched last week's Pictures preview with Esa-Pekka Salonen (whom we'd last heard conducting Stravinsky's Firebird) and the Philharmonia Orchestra opening the Mussorgsky-Ravel Pictures, so it seems only right to have them bring the piece to this stirring conclusion with "The Hut on Fowl's Legs" and "The Great Gate of Kiev" (the best thing I've ever heard Salonen do, I have to say) from that 2006 Proms performance.
by Ken
If there's one lesson I take away from the time we've spent with Mussorgsky's Pictures at an Exhibition, last week (preview and main post) and this (starting with last night's preview), it's that performers of these vividly imagined miniatures need to be operating at a comparable level of awareness and imagination, whether they're tackling the original piano version or Ravel's or anyone else's orchestral version. Esa-Pekka Salonen's performance of the concluding "Hut on Fowl's Legs" and "Great Gate at Kiev" in the clip above is a splendid demonstration. This is by no means the only way to do the music, but the choices are all fully imagined and executed. I doubt that anyone who hears this performance is going to forget the music anytime soon.
I'm not sure there's much more to say of an introductory nature. We're continuing with the game plan aid out last week: walking through Mussorgsky's musical rendering of pictures from the posthumous of work by his friend Viktor Hartmann -- in the composer's piano version and, among the many orchestral versions that have been attempted, the most-often-encountered one, by the composer Maurice Ravel, and the one by master orchestral colorist Leopold Stokowski.
From last night's Part 2 preview, we've heard how today's half-Pictures begins (with No. 6, "Samuel Goldenberg and Schmuyle" movement) and ends (with the rousing No. 10, "The Great Gate of Kiev"). In a moment we'll fill in the missing three (really four) pictures. Note that this week we're proceeding from picture to picture without benefit of those "promenades" Mussorgsky inserted between most of the earlier pictures. Note that there actually is one more Promenade, between No. 6 and No. 7, "Limoges -- The Marketplace," which Ravel omitted and many pianists do as well. Our Pictures companion William Kapell included it, however, and we'll hear it in place in his performance below. When we get to that point in our walk-through, we're going to have pianist Michel Béroff play it for us.
Before we resume out promenade through the exhibition, since we heard the start of Vladimir Horowitz's extravagant rendering of Pictureslast week, I thought it would be fun to hear him bring it to a close with "The Hut with Fowl Legs" and "The Great Gate at Kiev."
Sunday Classics preview: Preparing to conclude our walk-through of Mussorgsky's "Pictures at an Exhibition"
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Here's how it all turns out in the Emerson, Lake & Palmer rendering.
by Ken
Last week we began our walking tour through Mussorgsky's Pictures at an Exhibition, the suite of miniature pieces the composer imagined for solo piano depicting an exhibition of "pictures" by his late friend, the architect and artist Viktor Hartmann.
Since we pick up with "picture" No. 6, a musical amalgamation of Hartmann pencil drawings of two Polish Jews, I thought that for our preview we would start there and jump to the final "picture," the magisterial "Great Gate of Kiev." Here, by the way, is how "The Great Gate" sounds in a suitably grand performance of the Ravel orchestral version, with Stuart Stratford conducting the London Philharmonic, from a "FUNharmonic Family Concert" in London's Royal Festival Hall, February 2008.
Sunday Classics: We begin our walk-through of Mussorgsky's "Pictures at an Exhibition"
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Emerson, Lake & Palmer have at Pictures at an Exhibition.
by Ken
As I menioned in last night's preview, explaining my choice of "Bydło (Oxen)" and the "Ballet of the Unhatched Chicks" as sample "pictures," Mussorgsky's Pictures at an Exhibition is filled with movement, whether literally so, as in these musical portraits or the rollicking children in "Tuileries" and the bustle of "Limoges -- The Marketplace," or implicitly so, as in all the other movements. You could almost describe Pictures as a study in musical movement. I have no way of saying whether this is owing to Mussorgsky having seen all this movement in the pictures by his deceased friend Viktor Hartmann or to his simply understanding that while a picture can freeze a moment, music can't, but has to move. But I think it's something worth thinking about as we being our walk-through of this exhibition.
It seems pretty incredible, given that for decades now these have been some of the most famous pictures this side of the "Mona Lisa" and maybe a Rembrandt or two, but the music and art critic Alfred Frankenstein wrote in his liner notes for the LP issue of Leopold Stokowski's third and last recording (from 1965) of his own orchestration of Mussorgsky's Pictures at an Exhibition: "The pictures slumbered in Russian archives for fifty years until the writer of these lines discovered them and published them for the first time in the Musical Quarterly for July 1939." He explains:
Mussorgsky had little or no reputation during his lifetime. His Pictures at an Exhibition, composed in 1874, were not published until 1886 (five years after his death) and did not leap into their present widespread popularity until the various orchestrated versions appeared in recent years.
Ravel's orchestral version -- produced in 1922 on commission from Serge Koussevitzky, who gave the first performance in Paris the following year, the year before he began his 25-year tenure as music director of the Boston Symphony -- hasn't quite swept the field. New versions have continued to be produced, including Leopold Stowkowski's (presumably at intervals between its introduction in 1939 and publication in 1971), which aimed for a more authentically "Russian" feeling. Stoky omitted the two unabashedly "French" pictures -- No. 3, "Tuileries," and No. 7, "Limoges -- The Marketplace" -- entirely.
NOW, JUST TO GET US IN THE MOOD . . .
Let's walk!Valery Gergiev conducts the Rotterdam Philharmonic in the opening Promenade of the Mussorgsky-Ravel Pictures at an Exhibition.
Sunday Classics preview: Preparing for our first encounter with Mussorgsky's "Pictures at an Exhibition"
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The first and second "promenades" bracket the first "picture" in Ravel's orchestration of Mussorgsky's Pictures at an Exhibition. Esa-Pekka Salonen conducts the Philharmonia Orchestra in this August 2006 Proms concert.
by Ken
All told, Mussorgsky's Pictures at an Exhibition doesn't run much more than a half-hour. So why are we splitting it in two? (As I mentioned last night, we are splitting it in two -- the first half in tomorrow's post, the second half next week.) Simple: I want to "slow the music down." These miniatures are remarkably precisely etched, but they are miniatures, and can pass in not much more than the blink of an eye. I know that the music tends to blur for me, and I thought it might be helpful to others as well to, well, slow the thing down.
We're going to be considering three versions of Pictures: Mussorgsky's solo-piano original, the near-standard orchestral version produced by the great composer Maurice Ravel, and a quite different orchestral version produced by the orchestral wizard Leopold Stokowski -- though in tonight's and next Saturday's previews we're going to limit our listening to the first two.
Right away we're going to sample a performance I think you'll agree is radically different from the one we just heard. To my hearing, the differences have much less to do with the different "media" -- piano original vs. Ravel orchestration -- than with these particular performers' radically different ways of hearing and imagining the music.
This chunk of Pictures, from a live performance given in the ancient Roman theater of Orange, goes farther into the suite than the Salonen clip above, running not quite through the second picture, "The Old Castle."
Was Mussorgsky just romancing, suggesting that put-upon Russian peasants expected higher-quality lies (and liars) from their authoritarian rulers?
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"It was significant, and a sign of things to come, that Stalin, by his own admission, preferred the company of criminals to that of revolutionaries, 'because there were so many rats among the politicals.'" --from "Rise of a Gangster," Orlando Figes's review of Simon Schag Montefiore's Young Stalin in the new (Nov. 8) New York Review of Books
[7:55] "With my family I hoped to find solace. For my daughter I prepared a splendid wedding feast-- for my tsarevna, my Pure Little Dove. [7:15] Like a storm, death carries off the bridegroom." --Tsar Boris, soliloquizing in the imperial apartments of the Kremlin in Act II of Mussorgsky's Boris Godunov
[The above clip is from a 1985 concert (rather than staged) performance by the Finnish bass Matti Salminen, with Zubin Mehta conducting the New York Philharmonic. Important parts of Salminen's voice pack a wallop, and he's certainly not casual about the music, though a lot of the vowels are distinctly odd--is this what Russian sounds like with a Finnish accent? The clip continues with the Clock Scene from later in the act, as Boris begins to do his version of Nixon in the last White House days. Way down below we've also got a staged performance of Boris's monologue--from the Bolshoi Opera, no less--in some ways better, in some ways not so good.]
A lot of people find Russian history and politics interesting--or not--because it all seems so crazy, so different from ours. I'm inclined to think of it more as a somewhat exaggerated or "heightened" version of ours. Wouldn't you think, for example, that Dick Cheney or Karl Rove would understand Stalin's preference for criminals over revolutionaries in the choice of associates? (Could Chimpy the Prez ever have been installed in the White House if the campaign hadn't had its cohort of reliable GOP hoodlums to unleash in Florida?)
So far Orlando Figes's review of Young Stalin isn't up on the New York Review of Books website (www.nybooks.com), but only a couple of items from the issue have been posted, so we don't know yet whether it will be among the online freebies. (I'll keep you posted.) Meanwhile, here is a fuller version of the point about Stalin's preference for criminals over ideologues:
It was significant, and a sign of things to come, that Stalin [seen here in 1902, at 23], by his own admission, preferred the company of criminals to that of revolutionaries, "because there were so many rats among the politicals." He always had a loathing and mistrust of revolutionary intellectuals; he suspected them of treachery, kept them at a distance from himself (or simply wiped them out), and relied instead on criminals whose loyalty he could easily manipulate. "In power," Montefiore writes, Stalin "shocked his comrades by promoting criminals in the NKVD [the political police], but he had used criminals all his life."
One of the spookier nights in my memory was one I spent surrounded by Boris Godunov materials: Pushkin's play and a patchwork of scores and librettos of the various versions of Mussorgsky's opera, both the composer's own and the heavy reworking undertaken by his friend and champion Nikolai Rimsky-Korsakov. The play and opera highlight a crucial moment in Russian history: the first rupture in the legitimate succession of the monarchy, setting the stage for the grim period known, appropriately enough, as the Time of Troubles. (Mussorgsky would also attempt to dramatize the second break in the imperial succession, in his unfinished masterpiece Khovanshchina, which encapsules a prolonged period of chaos and bloodshed that eventuated in the accession of Peter the Great, bringing an end to the chaos but an at least temporary uptick in the bloodshed, as outstanding scores were settled.)
That night I may not have felt quite like the aged monk Pimen in Boris Godunov, scrivening away at his voluminous chronicle of the history of Russia, but it had some of that feeling, pondering the inscrutabilities of life in the Kremlin there in the wee hours of the morning. And in that setting I heard, rather eerily, news of the death of one of the Kremlin's more byzantine masters, Leonid Brezhnev.
Here's a practical tip: Don't get me started on Boris Godunov.
Oops, too late! It's not your fault, of course. It happens that recently, faced with a getaway bus trip of a few hours, I packed a performance of Boris that hardly qualifies as new, having been recorded (in stereo) in 1972, but was new to me. (It's one of many live performances issued in surprisingly satisfactory sound on the usually dirt-cheap Gala label.) It was prepared specifically for broadcast by Italian Radio's Rome division, which has a long history of importing sympathetic maestri and singers to collaborate with the resident forces on surprisingly persuasive original-language performances of non-Italian operas, the most spectacular specimen being the complete Ring des Nibelungen conducted by Wilhelm Furtwaengler in 1953, now a staple of the Wagner discography.
The Rome Boris conductor is one of the foremost operatic conductors of the Soviet era, Boris Khaikin, and the large cast, of generally high quality, is headed by the Bulgarian bass Nicolai Ghiaurov [seen here in the title role], then still in his imposing vocal prime. Since any halfway decent performance of Boris is bound to draw me into the opera's clutches, I had no hope of resisting this one, which is way more than halfway decent. And I'm still firmly in the opera's grip.
None of this is your fault, of course, so I'll try to limit myself to skimming a tiny bit of the surface of this endlessly engrossing musico-dramatization, partly historical and partly fictionalized, of Boris Godunov's ascension to the throne of Russia in 1598 and the unraveling of his reign six years later.
If you put Boris Godunov together with the still vaster and more complex (not to mention even more depressing) Khovanshchina, which alas the hopelessly alcoholic composer never managed to complete (in some ways it's remarkable that he made it past his 42nd birthday, if only by a week), the portrait painted of the Russian people isn't flattering: willing, even demanding, to surrender every vestige of free choice to authoritarian leaders of one sort or another.
If this sounds eerily like a strain in American political life--as documented recently, for example, by John Dean in Conservatives Without Conscience (Viking, 2006), his realization of a project conceived by the late Barry Goldwater--well, maybe it's not just those wacky Russian peasants who crave to be led by the nose.
Mussorgsky follows Pushkin's play Boris Godunov, which he in fact followed fairly closely in the opera's original version, in making clear that there's nothing spontaneous about the crowd gathered outside Novodevichy monastery, where Boris is in retreat, clamoring for him to save Russia by taking the throne left vacant by the death without heir of Boris's brother-in-law, the sainted (if feeble-minded*) Tsar Feodor I, who had given the country a time of relative peace and stability following the turbulent reign of his father, Tsar Ivan IV, better known to us as Ivan the Terrible. The first voice we hear after the opera's hauntingly melancholy prelude is a police officer haranguing the crowd to get down on their knees and do some serious imploring.
For that imploring, Mussorgsky showed himself an unsurpassed master of the great tradition of Russian choral singing. When the peasants aren't grumbling (and being duly threatened by officer Nikich), they sound awfully believable. Is this sincerity or the elusive but precious art of faking sincerity?
There's something even more striking about this whole scene, stage-managed as it is with a panache and thoroughness worthy of Karl Rove. The people's impassioned pleadings fail! Seemingly out of nowhere, but presumably from inside the monastery, appears an august presence, the boyar (nobleman) Andrei Shchelkalov, secretary of the Duma, the fledgling Russian parliament, then still a council of nobles that advised the tsar.
Shchelkalov bears sad tidings: Boris, unyielding, refuses even to consider assuming the throne of a Russia awash in the evil of lawlessness. There is nothing for it but for the people to pray to God to brighten Boris's weary soul:
The performance is from the heavily abridged but still fascinating 1954 color film version of Boris directed by Vera Stroyeva, with a cast of Bolshoi regulars lip-synching lustfully. And characteristically for this opera, one of the best singers in the cast, the baritone Ilya Bogdanov, is assigned to the small role of Shchelkalov, whose contribution consists of this address to the peasants and one to the assembled boyars in Act IV as Boris's time is drawing to a close.
There's a 1987 Bolshoi Boris on video, where there's no mistaking the seemingly irreversible decline in the company's musical and especially vocal standards which set in in the late Soviet period, and perhaps the most distinctive performance is given by the veteran baritone Yuri Mazurok as Shchelkalov. Nearing the end of a distinguished international career, Mazurok has to pull himself together and give it everything he's got, and in fact works visibly harder than he appeared to in so many earlier performances where he seemed content to let that fine baritone do all the work for him.
Shchelkalov's music isn't easy, and it can't be faked. It has an authority, and dignity, and humility (again, real or faked--who knows?) unlike anything else in the literature I can think of. In our clip, we can hear that Bogdanov isn't as young as he once was (he'd already sung the role in a 1948 recording of Boris), yet isn't this still one classy, and powerful, piece of singing?
Of course it's still all fake, all part of the carefully managed effort to put Boris on the throne. And yet the powers behind the scenes offer their subjects lies--and a liar--of the highest quality.
Or perhaps it's just that those prayers Shchelkalov exhorts from the crowd really work miracles. Because a change of scene now whisks us off to Moscow, to the square in the Kremlin, for the famous Coronation Scene. (Mission accomplished?) Yet another chorus of led-by-the-nose Russians cheers the coronation of Tsar Boris.
The mood of the new tsar himself, however, is reflective and gloomy. This is definitely not a speech crafted to Rovian specifications. Boris declares himself filled with dread. The performer here is probably the finest Russian pure singing bass of the '50s and '60s, Ivan Petrov:
I know, given the monumental depradations of the Bush regime, it's petty of me to nurse my private grudge, but I still can't forgive the vile, shoddy quality of the lies and liars we've had foisted on us by the regime's voices of authority, that loathsome medley of cheesy pols, religious loons, and supporting thugs, crooks, and crackpots.
Most insulting, of course, is the titular ringleader, whose pea-brained message is, approximately:
"I'm a MO-ron, and we is all God's MO-rons, put here to cretinize and destroy this danged planet while we wait to get rapturized."
Again, it may seem a petty complaint alongside the substantive monstrosities wrought by this regime, but it galls me no end that there appears to be no shame or even guilt felt by those assorted perpetrators. Chimpy the Prez, for one, swathed in his Yale- and Harvard-bred moronitude, shows not a glimmering of awareness of his part in the seven-year reign of lawlessness, destruction, and death he has inflicted on an undeserving world.
Not so Tsar Boris. Which brings us to his monologue. In an opera of astounding beauties (beauties all the more astounding for the general ugliness of the subject matter), I think it's these four minutes I treasure most.
We have to make clear that Mussorgsky here follows Pushkin in a leap of historical license. The leap proceeds from historical fact: Ivan the Terrible indeed left another potential heir, a young half-brother of Feodor. The tsarevich Dmitri, the issue of the terrible Ivan's seventh marriage, was a child of three when his father died. It's also a matter of historical fact that he died some years later.
At this point we move into the world of, er, embellishment--with a reminder that conspiracy theorizing is far from a modern invention. Already in Boris's time there was speculation that the death of the young tsarevich Dmitri was, shall we say, managed, and that perhaps Boris himself had a hand in removing this obstacle to his possible eventual accession to the throne. Historians have all sorts of objections to this speculation, for which there is absolutely no proof.
However, Boris's guilt is a given in Pushkin and Mussorgsky. He did it. He ordered the death of the child Dmitri. Indeed, in the course of the play and opera we are given conclusive eyewitness proof, and Boris in fact welcomes it! His immediate problem is the spreading report of a young man who claims to be the not-dead-after-all Dmitri, rightful heir to the throne. For Boris, there is reassurance in confirmation that the murder he ordered was duly carried out.
(In the end, in a scene added by Mussorgsky to follow the death of Boris, we see the pretender, newly crossed over the border from Poland into Russia, where he is hailed by the local led-by-the-nose chorus as their latest savior. And this pretender actually made it to the throne as Tsar Dmitri I, to be followed by yet another pretender as Dmitri II. At that point either the supply of fake Dmitris ran out or the Russian people got tired of this particular scam.)
Unfortunately for Boris, unlike our run of modern-day authoritarians, he has a working conscience. And now, as history has begun to turn on him, he is haunted by his guilty conscience. It leaves no aspect of his life untouched.
In the scene we know as Act II of the four-act revision), a remarkable "private" scene that existed in the original version but that Mussorgsky rewrote almost entirely in the course of his grueling labors on Boris, we are first introduced to Boris's two fine children, the grieving tsarevna Xenia, the tsar's "Pure Little Dove," in mourning for her dead fiance (I happen just to have been listening to the 1959 Met broadcast of Boris, in which the soprano Emilia Cundari is a heartbreakingly lovely Xenia), and her younger brother, the tsarevich Feodor (namesake of both his uncle the late tsar and of his father's father), being studiously groomed by his father for his future. Just as Boris has taken his own rule seriously, he expects his son to have a thorough grounding in reality-based learning--young Feodor displays a command of geography that would put a certain squatter in the Oval Office to shame, if he were capable of shame.
Boris enters, throwing a scare into the children's good-hearted Nurse. Then, left alone, he reflects. "I have attained the highest power," he sings. "For six years I have ruled as tsar serenely." But "there is no happiness for my tortured soul." The seers' prophecies of a long, healthy reign are no help. "Neither life, nor power, nor fleeting glory, nor the cries of the crowd give me pleasure."
Now the music changes character, giving way to a web of "family" musical motives, as Boris ponders the happiness he hoped to find in the bosom of his family. (Most singers of the role naturally try to find a vocal change that will mirror the different part of Boris's character which comes into play here, as Matti Salminen does above. Yevgeny Nesterenko, in our second clip below, just sings it all very well. Interestingly, the music is specific enough that the point still gets made.) And then comes the storm of death making off with Xenia's beloved.
Boris understands. The death of his son-in-law-to-be, the devastation of his Pure Little Dove, is punishment for his crimes:
"Heavy is the hand of the terrible judge. Horrible the sentence of the guilty soul."
Here, then, is our staged performance of Boris's monologue (without subtitles, I'm afraid), by Yevgeny Nesterenko, the only really first-class singing bass Russia seems to have produced in the last 30 years. As suggested above, he doesn't do much more than sing the music very well and maintain his dignity, but he makes those virtues count for a fair amount:
I don't know that I've succeeded in explaining how this chunk of Boris's monologue moves me so, more perhaps than any other moment in the opera. To give you an idea how perspectives vary, though, while I was shopping for video clips and "auditioned" the performance of the monologue by the veteran bass Alexander Pirogov in the 1954 film, I was startled to find this entire little chunk cut!
BORIS GODUNOV FOR HOME CONSUMPTION
This is tough. There's a heap of Boris recordings I wouldn't part with, but if I could have only one, I don't know what I'd say. It would probably be drawn from three variously flawed '60s-early '70s recordings of the Rimsky edition: the Bolshoi recording conducted by Alexander Melik-Pashayev, done in two versions, first with Ivan Petrov in the title role, and then with Boris's scenes rerecorded by the Canadian baritone George London; the gravelly-voiced but commanding Bulgarian bass Boris Christoff's EMI stereo remake, done in Paris under Andre Cluytens; and the Karajan/Decca recording made in Vienna, with the vocally plush Nicolai Ghiaurov in the title role. Actually, I might prefer the Gala issue of that 1972 Rome Radio performance, though of course it doesn't come with printed texts.
Of course, it's important to hear--at least once--Mussorgsky's own versions (yes, there are two, or actually two and a half), which purists insist are more original and powerful by virtue of being leaner in texture, less overtly theatrical, more primitive and daring in harmony than Rimsky's rewrite. For me that translates to "drabber," vocally paler, and orchestrally pallid. Clearly Rimsky went way further than trying to give us Boris the way he thought Mussorgsky would have written it if he'd had Rimsky's practical skill. But there's no question in my mind that Rimsky understood at every turn what Mussorgsky was trying to do, or that his version "plays" beautifully.
If I had to pick one recording of the composer's own Boris (his final version, that is), I'm surprised to say it would probably be the Abbado/Sony with the Berlin Philharmonic and a number of quite good singers (and, naturally, some less good ones), plus an agglomeration of choruses under the direction of longtime Bayreuth Festival chorus master Norbert Balatsch. I should say, though, that I've never heard the Kirov recording conducted by Valery Gergiev, which gives us the fixings for both of the basic Mussorgsky versions in a set that's supposed to be five CDs-for-the-price of-two, but only if you pay bust-out retail; the places I usually buy from normally charge for at least four if not all five of the CDs--too rich for my blood. (In any case I'm not a great Gergiev fan, and the cast doesn't thrill me, which I guess is why I haven't sprung for those big bucks.)
Unless I've missed something, all the other performances mentioned here are based of Rimsky's edition, with the qualifier that a couple--the Karajan/Decca and the Khaikin/Rome ones--reinstate the scene in front of St. Basil's Cathedral from the original version, which was cut by the composer himself. As a result, Rimsky dutifully omitted it. Rimskyites who wish to include it normally use a rendering by the composer Mikhail Ippolitov-Ivanov.
I assume that some company currently offers on CD the live-performance Boris excerpts recorded by the legendary Feodor Chaliapin, almost certainly the greatest singing actor of the 20th century. Being able to hear him in actual performance in his most famous role--I can't imagine being without these.
On video, well, hmm. The 1954 Russian film is out on DVD, and the other video versions I've seen all have some merits. Probably the most "ups" and fewest "downs" are to be found in the 1978 Boishoi performance available from Kultur (avoid the cheaper but technically much inferior edition in circulation--I bought it, but don't you!), conducted again by the excellent Boris Khaikin, with Yevgeny Nesterenko still in fine form in the title role. This performance is not to be confused with the largely geriatric 1987 Boris mentioned above (its cast might have been one to reckon with 10 or 15 years earlier), also available from Kultur, distinguished as noted by the veteran Yuri Mazurok's moving Shchelkalov. You don't buy a Boris for the Shchelkalov, though. At any rate, I don't.
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*Literally feeble-minded, that is. Feodor is generally thought to have been mentally retarded (which might itself have been a relief to the Russian people from his "terrible" father--except we're told that the Russian grozniy means "terrible" more in the sense of "His terrible swift sword"; my dictionary offers "terrible, formidable, redoubtable"), but was apparently beyond question pious. Wikipedia notes: "He is known as Feodor the Bellringer in consequence of his inclination to travel the land and ring the bells at churches." #
[1/30/2011] Concluding our walking tour through Mussorgsky's "Pictures at an Exhibition" (continued)
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READY? OKAY, HERE WE GO!
Again, our performers (for notes on the performances, see last week's post) are:
piano version:Byron Janis, piano. Mercury, recorded September 1961 Ravel orchestration:Chicago Symphony Orchestra, Fritz Reiner, cond. RCA/BMG, recorded Dec. 7, 1957 Stokowski orchestration:BBC Philharmonic, Matthias Bamert, cond. Chandos/MHS, recorded June 28-29, 1995
No. 6, Samuel Goldenberg and Schmuyle (Two Polish Jews -- One Rich, the Other Poor)
Hartmann, we're always told, had a thing about the medieval city of Sandomir ("Sandomierz" in Polish; "one of the oldest and historically most significant cities in Poland," on a cliff overlooking the Vistula River near the junction of the San, in what's now southeastern Poland -- bear in mind how movable national boundaries in this region have been through the centuries of "modern" European history), in particular for the Jewish ghetto.
The pencil drawings of the two Sandomir Jews on which this "picture" is based were apparently actually owned by Mussorgsky. In his musicalization, which we've already heard in last night's preview, he imagined this unharmonious encounter between the haughty, portly rich Jew and the whining beggar.
piano version --Byron Janis, piano
Ravel orchestration --Fritz Reiner, cond.
Stokowski orchestration --Matthias Bamert, cond.
THE "MISSING" PROMENADE BETWEEN NOS. 6 AND 7
This is the "walking" connector between Nos. 6 and 7, omitted by Ravel in his orchestral edition, and also by many (most?) pianists performing Mussorgsky's own version. I thought we'd hear it first by itself -- as you'll hear, it doesn't really add anything to what we've already heard -- and then as the link between "Samuel Goldenberg and Schmuyle" and "Limoges -- The Marketplace." (I'm not necessarily endorsing this performance by the then-25-year-old Michel Béroff. I just happen to have it. Probably we should also hear at the very least Béroff's handling of the opening Promenade, so we can hear how he relates this one to the earlier ones, but even I have limits to my openness to digression. Really!)
The "missing" Promenade by itself
No. 6, Samuel Goldenberg and Schmuyle Promenade No. 7, Limoges -- The Marketplace
Michel Béroff, piano. EMI, recorded c 1975
No. 7, Limoges -- The Marketplace
This is apparently a musical composite of numerous sketches Hartmann made of Limoges. Clearly, as with the other "French" picture, "Tuileries" (No. 3), the bustling marketplace affords Mussorgsky some welcome up-tempo musical contrast with the surrounding "pictures." Note that this picture is written to lead directly into the next, "Catacombs."
piano version --Byron Janis, piano
Ravel orchestration --Fritz Reiner, cond.
omitted by Stokowski
No. 8, Catacombs (Sepulcrum romanum) Cum mortuis in lingua mortua
In his Angel liner note for the Béroff Pictures from which we heard the "missing" promenade, Rory Guy offers this background for the pair of pictures combined here:
Hartmann himself, a friend, and a guide holding a lantern visit the interior of the Paris catacombs. The second part of the piece is the "Promenade" music transfigured. It bears a marginal note: "Latin text: With the dead in a dead language. The creative spirit of the dead Harmann leads me toward the skulls and speaks to them. They begin to glow from within with a gentle luminescence."
piano version --Byron Janis, piano
Ravel orchestration --Fritz Reiner, cond.
Stokowski orchestration --Matthias Bamert, cond.
No. 9, The Hut on Fowl's Legs (Baba Yaga)
Of course "The Great Gate of Kiev" makes for a grand climax to Pictures, but I'm not sure the most dramatic "picture" isn't this one. Baba Yaga is a folkloric Russian witch famous for dining on crushed-up human bones, and she indeed lived in a hut perched on fowl's legs. (Note that Hartmann's rendering is as a clock!) Rory Guy ventures that the music "seems also to suggest the witch's flight through the night sky in search of mortal prey." Again, this picture is written to run directly into the climactic final one.
piano version --Byron Janis, piano
Ravel orchestration --Fritz Reiner, cond.
Stokowski orchestration --Matthias Bamert, cond.
No. 10, The Great Gate of Kiev
The music itself hardly needs much comment, but for background here's Rory Guy: "A massive gate at Kiev was proposed to commemorate the escape from assassination of Tsar Alexander II, in 1866. It was never built, but Hartmann's six designs for it stimulated Mussorgsky to conceive an even more imposing edifice in music, quoting an ancient liturgical theme, and suggesting a procession, bells, chanting, and triumphant celebration."
piano version --Byron Janis, piano
Ravel orchestration --Fritz Reiner, cond.
Stokowski orchestration --Matthias Bamert, cond.
SUMMING UP TODAY'S PROMENADE: OUR SECOND "HALF-PICTURES"
Last week we heard what I called a "half-Pictures," gathering the portion of the exhibition we had traversed thus far, in the performances we've been using for our previews: Byron Janis at the keyboard, and George Szell conducting the Ravel orchestral version, plus -- since, again, I don't own a third recording of the Stokowski version -- the master's own 1965 recording of it, split in half. It seems only logical to complete this portion of our program with the second "half-Pictures." At the same time, it seems silly to make you click back to last week's post if, quite reasonably, you happen to want to hear the the first half of these performances as well. So don't tell anybody, but I've discreetly slipped in the first-half files for each.
Promenade No. 1, Gnomus Promenade; No. 2, Il vecchio castello (The Old Castle) Promenade; No. 3, Tuileries (Children's Dispute After Playing) [omitted by Stokowski] No. 4, Bydło (Oxen) Promenade; No. 5, Ballet of the Unhatched Chicks
No. 6, Samuel Goldenberg and Schmuyle (Two Polish Jews -- One Rich, the Other Poor) No. 7, Limoges -- The Marketplace [(a) omitted by Stokowski] [(b) preceded by a "Promenade" omitted by Ravel and by many pianists, but included by William Kapell] No. 8, Catacombs (Sepulcrum romanum) Cum mortuis in lingua mortua No. 9, The Hut on Fowl's Legs (Baba Yaga) No. 10, The Great Gate of Kiev
MUSSORGSKY: Pictures at an Exhibition (first half) (second half) William Kapell, piano. RCA/BMG, private recording of a live broadcast from Melbourne (Australia) Town Hall, July 21, 1953, with the conclusion of "The Great Gate at Kiev" patched in from a recital at the Frick Collection (New York), March 1, 1953
MUSSORGSKY-RAVEL: Pictures at an Exhibition (first half) (second half)
Cleveland Orchestra, George Szell, cond. Epic/Columbia/CBS/Sony, recorded Oct. 30, 1963
MUSSORGSKY-STOKOWSKI: Pictures at an Exhibition (first half -- "Tuileries" omitted) (second half -- "Limoges -- The Marketplace" omitted) New Philharmonia Orchestra, Leopold Stokowski, cond. Decca, recorded 1965
NOW, ALL TOGETHER, LET'S WALK THROUGH THE WHOLE EXHIBITION -- THREE TIMES!
Promenade No. 1, Gnomus Promenade; No. 2, Il vecchio castello (The Old Castle) Promenade; No. 3, Tuileries (Children's Dispute After Playing) [omitted by Stokowski] No. 4, Bydło (Oxen) Promenade; No. 5, Ballet of the Unhatched Chicks No. 6, Samuel Goldenberg and Schmuyle (Two Polish Jews -- One Rich, the Other Poor) No. 7, Limoges -- The Marketplace [omitted by Stokowski] No. 8, Catacombs (Sepulcrum romanum) Cum mortuis in lingua mortua No. 9, The Hut on Fowl's Legs (Baba Yaga) No. 10, The Great Gate of Kiev
MUSSORGSKY: Pictures at an Exhibition Sviatoslav Richter, piano. Columbia/Philips, recorded live in Sofia, 1958
MUSSORGSKY-RAVEL: Pictures at an Exhibition Philharmonia Orchestra, Herbert von Karajan, cond. EMI, recorded Oct. 1955 and June 1956
MUSSORGSKY-STOKOWSKI: Pictures at an Exhibition New Philharmonia Orchestra, Leopold Stokowski, cond. Decca, recorded 1965
