Childhood and early years -- The making of a composer I -- The making of a composer II -- The early songs I -- Salammbo -- The early songs II -- St. John's Night on the Bare Mountain: more songs -- The marriage: towards Boris -- Boris Godunov: composition and production -- Boris Godunov: the music -- Life alongside Boris I: The nursery completed - ...
Childhood and early years -- The making of a composer I -- The making of a composer II -- The early songs I -- Salammbo -- The early songs II -- St. John's Night on the Bare Mountain: more songs -- The marriage: towards Boris -- Boris Godunov: composition and production -- Boris Godunov: the music -- Life alongside Boris I: The nursery completed -- Life alongside Boris II: Khovanshchina begun -- Two relationships: Pictures at an exhibition and Sunless -- Khovanshchina -- Songs and dances of death: last songs -- Sorochintsy Fair -- Final years -- Postlude: the century since.
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Oxford University Press, USA, Oxford, England
Publishers Weekly, 2002-09-16 Brown, author of the standard biography of Tchaikovsky and professor emeritus of musicology at the University of Southampton, brings his many years of Russian music writing to this biography of Russian composer Musorgsky. Most famous for his opera Boris Godunov and his orchestral piece St. John's Night on the Bare Mountain (made popular as the climax of Disney's Fantasia), Musorgsky was a member of a group of nationalist composers often called "the Mighty Handful," whose members included Tchaikovsky. Brown devotes major chapters of his book to the composition and music of Musorgsky's operas, such as the various versions of Boris as well as the unfinished Khovanshchina and Sorochintsky Fair, which were worked on by other composers after his death. Brown's deep interest lies in the music rather than the man, for he pays little interest to Musorgsky's medical problems, especially the "dementia" and depressions of his early years, which Brown considers to be the results of the composer's alcoholism, a disease that killed him at the age of 42. And while Brown does not have the rhetorical panache of Richard Taruskin (Musorgsky), he refrains from musicological jargon or overly technical musical analyses, bringing together a solid biography of the composer. 3 line illustrations and 18 halftones not seen by PW. (Oct.) Forecast: Opera fans, singers and general music buffs will want this book for their collections. Copyright 2002 Cahners Business Information.
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