Mussorgsky Edition: Liner Notes & Sung Texts

Liner Notes

CD1 When Modest Mussorgsky died in 1881, at the young age of 42, he had only published a small part of his music, while numerous compositions remained uncompleted. His friend Nikolay Rimsky‐Korsakov was responsible for the posthumous publication of many of these works, though in some cases he undertook considerable alterations to Mussorgsky's work. This is the case with the fantasia "A Night on the Bare Mountain", a work with an unusual history. Mussorgsky had mentioned this composition in a letter as early as 1860 and it remained his only largescale work for orchestra. However he did not complete it until 1867, albeit in a matter of days, and composed the fantasia according to his own words straight onto the page, without any sketches. Rimsky‐Korsakov published a modified version of the work in 1886 and it is in this form, as on this recording, that it is usually performed today. The programme which Mussorgsky attached to his composition is strongly reminiscent of the programmatic notes for the last movement of Hector Berlioz's "Sinfonie fantastique": spirits are abroad wreaking havoc and Satan appears at the witches' sabbath. It is easy to understand why Mussorgsky was frequently viewed as a brilliant amateur and musical revolutionary when viewing his work in connection with "Night on the Bare Mountain". Not only Mily Balakirev, to whom the work was originally to be dedicated, found many passages incomprehensible; Rimsky‐Korsakov felt it necessary to implement many changes in his version of the work. Mussorgsky himself was well aware of the uniqueness and explosive force of his fantasia, as is clear from a letter he wrote: "They would drive me from the conservatoire for it... I hardly think I would re‐work it. If it is to survive, it should stand as it is, with its faults." "Pictures at an Exhibition", originally composed in 1874 for piano, is Mussorgsky's most popular work. It was written in memory of his friend, the painter Victor Hartmann, who died in 1873. Mussorgsky portrayed some of Hartmann's pictures in music when they were displayed at an exhibition in Saint Petersburg. The cycle of ten individual paintings is linked by the famous "promenade", symbolizing the viewer of the pictures wandering through the exhibition. "My own image appears in the interludes", wrote Mussorgsky in a letter. He wrote the "Pictures at an Exhibition" in a very short time, with the memory of his friend's paintings fresh in his mind: "Notes and thoughts just float through the air; I devour them with eager hunger and barely have enough time to scribble them all down on paper ..." The composition is dedicated to the music critic Vladimir Stasov, who had initiated the exhibition. Mussorgsky's imaginative and revolutionary style is clearly discernible in the "Pictures at an Exhibition" and the work was particularly well‐received by the Impressionists. In particular, the "Catacombs" (No.8) seem to preempt their new approach to music. However, the work also includes very "Russian" pieces, reflecting Mussorgsky's interest in a national music style ‐ the promenade alone is reminiscent of Russian folk songs. The virtuoso piano version is so rich in tone painting and antitheses that it is crying out to be orchestrated. It is therefore not surprising that a number of instrumentations of "Pictures at an Exhibition" have been written, of which the 1922 version by Maurice Ravel is the most important. His adaptation is rightly seen as a brilliant transformation of the original. Klemens Hippel Translation: Janet & Michael Berridge

CD2 Pictures at an Exhibition Mussorgsky is universally and rightly regarded as one of the greatest and most important composers of the nineteenth century. This reputation came into being only in the early twentieth century, mainly thanks to the impresario Sergei Diaghilev who tried to get the western public interested into Russian music. With this purpose in mind he presented to the Parisian audience spectacular performances of the (in his view) most overwhelming ballets, opera and concert pieces from his native country. Among the highlights of the first seasons of Diaghilev’s so‐called Ballets Russes around 1910 belonged operas by Rimsky‐Korsakov and Mussorgsky (including Boris Godunov) and the first ballets of one of Mussorgsky’s greatest admirers, Igor Stravinsky. In Boris Godunov people welcomed the non‐western and non‐classical approach to melody, form and harmony and as a result Mussorgsky’s sense of freedom and anarchy became an inspiring source for several modernist composers, including Claude Debussy. Mussorgsky’s reputation in the west was sealed when in 1922 Maurice Ravel, at the request of the Russian‐American conductor Sergei Koussevitzky, made an orchestration of Mussorgsky’ piano composition Pictures from an exhibition. Before 1922 the piece was hardly known and played; since 1922 almost everyone plays it. All the books on Mussorgsky mention his other compositions for piano, but these works are rarely discussed and performed. With the knowledge of Mussorgsky’s western reputation this neglect is understandable. (Whether this is justifi ed, is to the listener to decide.) The western reputation is based on the works Mussorgsky wrote after 1865. Before 1865, when he still had to find his own voice, he wrote several piano pieces which pleased the Russian aristocracy, the class from which Mussorgsky came. Children’s game (1857), Nanny and me (1865) and Impromptu passionné (1859) are salon‐like, charming, very melodic pieces, quite playable for the good amateur, with almost no hint of the Russian music which would dominant all his later, much more well‐known pieces. If Mussorgsky had a model, it was the charming and innocent looking songs and piano pieces written in Russia before 1850. Basically within the same style, but much more influenced by his later

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approach to Russian music are A tear and In the village, both from 1880. The melodic style is much more Russian and the tragic mood is much less harmless, but the general character could still be from Glinka. That the original titles of the pieces were in French, was no accident. French was the second language of the Russian aristocracy and elegance, charm and subtlety were cherished as great virtues. The sixties are a crucial decade both for Mussorgsky and for Russian musical life. Many people started to ask ‘what is Russian in Russian music?’ Some people believed Russian music should open itself to the German and romantic tradition. Others, among them Mussorgsky, believed Russian art music should look for inspiration in folk and church music. This influence should not be restricted to melody and harmony, but also include rhythm, phrasing and declamation. The big result of this so‐called Russian Realism was his opera Boris Godunov. A few years after the opera the same principles resulted into his most important piano piece: Pictures from an exhibition (1874). On the one hand this is conventional nineteenthcentury programme music. The movements of Pictures accompany a trip through an exhibition with pictures, made by Mussorgsky’s friend the architect Victor Hartmann who had died recently. The opening section is the Promenade between several pictures and returns several times in the composition. All the movements, each in their own way, explore Mussorgsky’s independence from the German and French romantic models he came to reject in the sixties: the irregular rhythms (in Promenade), the collage‐like form (for instance in the second movement), the melodic inflections from Russian folk and church music (in Catacombs), the depiction of Jews (in Goldenberg and Schmuyle), the spiky, light‐hearted accents (in The Hut on Hen’s Legs), the exuberant dance (Limoges) and the triumphant mood (in the closing scene on the Knight’s Gate in the Ancient Capital Kiev)in which Russian bells play a crucial part. Although the movements are impressive in themselves, the order of the sections betrays an iron sense of architecture. The overall structure, highly original and without historic precedent, is on the one hand far away from rigid German classical models, on the other hand a model of cohesion. The movements are clearly inspired by Hartmann’s drawings: listening to the sections while at the same time looking at Hartmann’s drawings shows that Mussorgsky had a romantic and picturesque sense of expression in details. Nevertheless the pieces are very enjoyable to a listener who doesn’t know Hartmann’s drawings. And as any good piece of programme music, the composition is a work of art in his own right. © Emanuel Overbeeke

CD3‐5 Boris Godunov After Mussorgsky’s death in 1881, his fellow‐composer Nikolai Rimsky‐Korsakov completed and orchestrated his opera Khovanshchina. Several years later, Rimsky‐Korsakov turned his attention to Boris Godunov, which was not incomplete but which Rimsky thought needed tidying up, ‘correcting’ and reorchestrating. His second version, the one that made the opera popular, was first performed in Paris in 1908.

Prologue Scene One Moscow, 1598. In the courtyard of the Novodievichy Monastery, a crowd of peasants is ordered to kneel by a police officer. The tsar has died; his widow has refused to reign in his place, and her brother, Boris Godunov, has retreated into the monastery. Shchelkalov, Secretary of the Council of Boyars, tells the crowd that Boris refuses to accept the crown. A band of blind pilgrims approaches; they exhort the peasants to acclaim Boris as tsar. Scene Two Boris has accepted the throne. As a great procession moves towards the Cathedral of the Assumption for his coronation, the crowd praises him. Boris appears: he fears for the future, but rises to the splendour of the occasion. The crowd repeats its praise.

Act One Scene One Some five years later, in a cell in the Chudov Monastery, the old monk Pimen is writing the last chapter of his history of Russia. His young cell‐mate, Grigory, wakes suddenly from a recurring dream in which he falls headlong from a tower overlooking the whole of Moscow. Pimen, too, is sometimes disturbed by dreams. He reminisces about the recent past. Prince Dimitri, who should now be tsar, was murdered as a boy on Boris’s instructions: had he lived, he would now be the same age as Grigory. Alone, Grigory cries out that Boris will not escape judgment. Scene Two In her inn on the Lithuanian border, the hostess sings a song about a drake. Two vagabond monks, Missail and Varlaam, arrive with Grigory, who has escaped from the monastery. Varlaam embarks on a boisterous song about Ivan the Terrible’s victory over the Tartars at Kazan. As the vagabonds drift into sleep, Grigory discovers from the hostess that the border guards are looking for a fugitive from Moscow. She tells him how to reach the border without encountering them. Police officers enter, with a warrant for the arrest of one Grigory Otrepiev. Grigory reads it out for them, substituting details of Varlaam’s appearance for his own. The outraged Varlaam, by now fully sober, slowly picks out the words of the warrant. As the true description emerges, Grigory makes his escape.

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Act Two In a room in the imperial palace in the Kremlin, Xenia, Boris’s daughter, laments the death of her fiancé. Her brother, Feodor, tries to distract her. The nurse tells her that she will soon find another lover and attempts to cheer her up with a song about a gnat, a flea and a dragonfly. But the ending was sad, so Feodor leads off with a cheerful clapping song. Boris enters suddenly. He comforts Xenia and sends her out to find her friends. He asks Feodor what he is doing, and is impressed by the boy’s knowledge of the extent of the Muscovite dominions. He muses to himself on the contrast between the success of his reign and his personal unhappiness. He attributes news of treachery and famine to God’s punishment for the murder of Dimitri. While Feodor investigates a disturbance in another room, a boyar reports that Prince Shuisky has arrived; he warns Boris of Shuisky’s deviousness. Feodor, returning, amuses his father with his account of how the family parrot had bitten all the nurses. As Boris warns Feodor about Shuisky, the man himself appears. He suppresses his anger at Boris’s insults, and tells the tsar that a pretender has arisen in Lithuania, claiming to be Dimitri. Shocked, Boris orders Feodor to leave. He demands a truthful account of Dimitri’s death. Shuisky gives a graphic description of the scene at Uglich: this is too much for Boris, who dismisses him. As he gasps for breath, he mistakes the moving figures of a clock for a vision of Dimitri. He begs God for forgiveness.

Act Three Scene One In her room in Sandomierz Castle, in Poland, the princess Marina is being entertained. She dismisses her attendants and sings of her boredom and of her quest for power. She will marry Dimitri – the pretender, Grigori – and, with him, ascend the throne of Russia. Rangoni, her Jesuit confessor, enters. It is her task to convert the Russians to the Roman Catholic faith, at whatever cost. She curses him for his cynicism, but yields to his demand for her complete submission. Scene Two ‘Dimitri’ sings rapturously of his love for Marina as he waits for her in the garden. (A scene with the wily Rangoni is omitted on this recording.) Dimitri conceals himself as Marina and her guests emerge from the castle to the strains of a polonaise. The guests look forward to conquering Moscow, and join Marina in a toast before reentering the castle. (A scene for Dimitri alone is also omitted.) Marina dismisses Dimitri’s ardent protestations. She asks him when he is going to be tsar in Moscow. On his knees, Dimitri reproaches her. When she insults him and tells him to leave, he vows to humiliate her when he is tsar. Marina immediately capitulates and affirms her love for him. Rangoni observes them, unseen.

Act Four Scene One In a clearing in the forest near Kromy, a crowd of vagabonds have captured a boyar, Krushchov, whom they are tormenting. They force a whip into his hand and praise him ironically. The yurodivy, the Holy Fool or Simpleton, enters with a group of urchins. He sings a sad, mad song. The urchins tap his tin hat and steal the kopek that he shows them. Missail and Varlaam are heard approaching, attributing various disasters to Boris’s sinful reign. The vagabonds, including the new arrivals, praise the new tsar Dimitri and curse Boris the murderer. Two Jesuits approach, praying in Latin for Dimitri. The vagabonds decide to hang them and they are dragged away. Dimitri enters on horseback and is welcomed by the crowd. He proclaims himself tsarevich and invites the boyar Krushchov to join him in the march on Moscow. All except the Simpleton follow him: even the Jesuits are reprieved. The Simpleton sings a lament for Russia and her starving people. Scene Two An emergency session of the Council of Boyars is taking place in a hall in the Kremlin. The boyars order the arrest and execution of the pretender. Shuisky enters: he describes how he had seen the tsar trying to drive away the ghost of Dimitri. Boris staggers in, distraught, but recovers. Shuisky tells him that a pilgrim begs to be admitted. The pilgrim is Pimen, who tells of a visit from a shepherd. Blind from childhood, the shepherd had dreamt of Dimitri, who told him to visit his tomb in Uglich. He did so, and his sight was restored. Boris collapses. He calls for Feodor and, dismissing the boyars, bids farewell to his son. As a bell tolls and a choir chants in the distance, Boris points to Feodor as the new tsar and dies as he begs God to forgive him. © Richard Lawrence, 2009

CD6‐8 Khovanshchina In 1872, while dealing with the adjustments to Boris Godunov that the theatre authorities had demanded – such as the introduction to the so‐called ‘Polish scenes’ – Modest Mussorgsky was already occupied with the subject of Khovanshchina. Mussorgsky worked on Khovanshchina until his death in 1881, at first absolutely feverishly, then at ever greater intervals. Worries of existence, depression and extreme alcoholism made his creative powers increasingly run dry. The vocal score of Khovanshchina that was left is, however, complete as far as the close of the second act and the finale of the fifth; the composer had not started on the orchestration. Mussorgsky’s friend Nikolai Rimsky‐Korsakov produced an orchestral version of the work – with large cuts – in 1883, and three years later, on 21 February 1886, this was performed for the first time in St Petersburg. Maurice Ravel and Igor Stravinsky re‐orchestrated the work on a commission from Sergei Diaghilev in

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the years 1912–13; in this Igor Stravinsky completed the composition of the Act 5 finale. In 1931 the musical scholar Pavel Lamm published Mussorgsky’s vocal score; between 1939 and 1959 Dmitri Shostakovich produced, on this basis, a further version in which he was guided in his instrumentation by the score of the original version of Boris Godunov. If in the latter work Mussorgsky had, in this melodic structure, partly based himself on classical models, in Khovanshchina he looked musically to the future, in that he made the vocal melody grow entirely from natural speech patterns.

Synopsis Act One Streltsi, members of a special troop founded in his time by Ivan ‘the Terrible’, now opposed to those in power, are becoming angry about the condition of Russia. The boyar Shaklovity dictates to a scribe a letter to the Tsar of All the Russians in which he accuses Prince Khovansky of planning a coup d’état. The illiterate people get the scribe to read them a proclamation from the Tsar in which future banishments and death sentences are announced. When Prince Khovansky appears with his followers, Shaklovity and the scribe flee. The prince incites the people against the Tsar. Khovansky’s son Andrey importunes Emma, a young German girl. But Marfa, Andrey’s former beloved, protects her. Prince Khovansky makes demands on Emma for himself, and a quarrel ensues between father and son. Dosifey ends it and asks Marfa to take the girl with her.

Act Two In his palace Prince Golitsin is reading a love‐letter from the Tsarevna to him. He has Marfa in so as to learn the future from her. When the girl predicts to him the loss of his fortune, and banishment, he wants to have her drowned. Prince Khovansky appears and accuses Golitsin of betrayal: old Dosifey attempts once again to settle the quarrel. Marfa arrives and tells of Golitsin’s attempt to have her murdered. Shaklovity enters with the news that Prince Khovansky is to be indited for high treason.

Act Three A procession of Old Believers moves through the Moscow suburb of Samoskarvechye, where the streltsi live. Marfa sits in front of Khovansky’s house and sings a song about love; the zealot Susanna takes her to task for it. Dosifey pacifies the two girls. When Susanna has gone, Marfa confesses to the old man her ‘impious’ love, as she calls it, for Andrey Khovansky; Dosifey comforts her. The boyar Shaklovity sees Russia sliding into catastrophe; drunken streltsi call for the destruction of Moscow. The scribe reports persecution of the streltsi by the Tsar’s cavalry. Prince Khovansky must help and avenge the Tsar’s soldiers’ misdeeds. The prince orders the people, on the contrary, to keep calm, and withdraws into his house.

Act 4 Tableau One In Prince Khovansky’s house, country girls are singing at their handiwork. Khovansky, warned by a confidant of Prince Golitsin of an assassination attempt, throws all caution to the wind. He has Persian dancers entertain him at his meal. Shaklovity brings in a summons for Khovansky to appear before the Grand Council. In defiance of all warnings, the prince decides to obey the summons. But scarcely has he emerged from his house than he is murdered by myrmidons. Tableau Two Meanwhile Golitsin and other nobles are being deported. The people of Moscow comment on the procession of those exiled, who are escorted by armed men. Marfa tells Dosifey that the Imperial Guard has abandoned the Old Believers. Andrey Khovansky appears, looking for Emma. He accuses Marfa of hiding the girl from him and threatens to denounce her as a witch. When, however, the bells of the cathedral announce an act of punishment by the Tsar, he tearfully begs Marfa for protection. Both run away. The wives of the streltsi urge the Tsar to punish the streltsi, who sorrowfully submit. But the ruler’s bodyguard enters and announces an amnesty.

Act Five In a wood near Moscow the Old Believers have found refuge. Their cause seems lost: Dosifey appeals to them to die for their faith. All, Andrey and Marfa too, mount a gigantic funeral pyre and die. The soldiers of the Tsar’s bodyguards arrive too late with their amnesty. © Gerhard Persché Translation: Lionel Salter

CD9‐10 The Sorochintsy Fair Opera in three acts (four scenes) "The Sorochintsy Fair" ‐ one of the very few Russian comic operas ‐ was planned for the first time in summer 1874. The composer began to compile a libretto after the likenamed story by N.V. Gogol. But already in April 20, 1875 he wrote to L.I. Karmalina: "I refuse the Small Russian opera: the reason of refuse is impossibility for a Great Russian to pretend to be a Small Russian and, consequently, the impossibility to master Small Russian recitative, i.e. all nuances and peculiarities of the musical outline of Small Russian speaking." From 1876 on the composer again returns to the idea of "The Sorochintsy Fair". The work was done on two operas simultaneously, and Mussorgsky gave his principal consideration to "Khovanshchina". In

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August ‐ October 1879 , during a concert tour with singer D.M. Leonova through Ukraine and Russia, Mussorgsky included in the programs fragments from "The Sorochintsy Fair". As he wrote, "Ukrainians of both sexes had recognized the character of "Sorochintsy"'s music as quite national one, and I myself made sure of that, testing myself in Ukrainian Lands" (letter to V.V. Stassov, 10.09.1879). Group of composer's admirers, being inspired his new operatic intention, made him a private order for the urgent completion of "The Sorochintsy Fair", pledging themselves to pay it off during a year at 80 rubles monthly. The same admirers arranged the publication of the opera fragments at N.M.Bernard's publishing house as far as they could be composed. Bernard undertook to issue them in the form of a piano transcription, without words and vocal parts, and Mussorgsky, for the sake of economy of time, wrote music down at once just in such, not in true operatic variant. In 1881 "Russian Music Herald" twice announced the completion and preparing production of "The Sorochintsy Fair". But in reality Mussorgsky hadn't time to complete it, even in the rough. More than that, according to N. Rimsky‐ Korsakov's opinion, the opera was composed without genuine libretto and detailed scenario. After Mussorgsky's death Anatoliy Liadov intended to complete the opera; for him A.N. Golenishchev‐Kutuzov, Mussorgsky's friend and repeated co‐ author, had written up lacking parts of the text in the 1st and 2nd acts. Soon Liadov lost interest in this work restricting himself to edition and orchestration of the five fragments (issued in 1904), including the Introduction that is heard in his version. It is typically Liadov's filigree but as the absolutely newly composed arrangement of the Mussorgsky's themes. Other three numbers were orchestrated by Viacheslav Karatygin and the rest by Yuriy Sakhnovskiy; in such fragmentary form (with prosaic inclusions) the work was staged in 1913 in the Moscow Free Theatre. In 1915/16 the opera was completed and fully orchestrated by Caesar Cui for the production of the Music Drama Theatre in Petrograd (the premiere took place on October 13th, 1917). The free version of opera was edited also by Nikolai Tcherepnin (Paris, 1923). When preparing the 3rd volume of the Collected works by Mussorgsky (Moscow, 1933) musical textual critic Pavel Lamm and composer Vissarion Shebalin created a version close to the author's idea and at the same time suitable for scenic embodiment. Till to‐day this version is the model one; it is the basis of Yekaterinburg performance. Careful investigation of all autographs led P.A. Lamm to the conclusion: "opera was wrote by the composer though not in succession but according to a firmly determined plan". This permitted the placing and interpreting correctly of nameless unconnected numbers. Nevertheless, lack of several essential fragments put up before the editors complicated problems for the dramatist and composer. For example, in connection with appearance of "Lad's Dreaming Vision" (rearranged by the author "Night on the Bald Mountain" ‐ firstly an orchestral work and afterwords a sabbath scene from the unrealized collective opera "Mlada") in the beginning of Act 3, they had to move the Lad's Meditation (Dumka) to the end of Act 1. Completely anew or on the basis of Mussorgsky's fragmentary sketches and folklore records V. Shebalin composed scene of Khivria and Cherevik in Act 1 ("Well, wife, I find a fiance for the daughter") and transition to "Lad's Meditation" as well as the scene of the Lad and Gypsy after "Lad's Meditation" except final orchestral "little hopak"; in the 2nd act he was the author of Godfather's Tale (text and music excluding the first phrase) and the conclusion of the act. In Act 3 Shebalin composed the whole beginning of the 1st scene until the "Lad's Dreaming Vision" and all the scenes of the 2nd scene between "Parasia's Meditation" and concluding Hopak, that contain a dramatic denouement of the plot and are often based on themes that were sounded in the earlier opera. Creating original music Shebalin was able to be imbued with the figurative style of Mussorgsky's musical speeking that stylistic "seams" in the opera are absolutely absent. "Sorochintsy Fair" was recorded by Moscow Radio in 1947 as a literary‐musical composition (in Yu. Sakhnovskiy's version). In 1983 the complete recording of V. Shebalin's version was issued for the first time on gramophone LP records in the performance of Stanislavsky and Nemirovich‐Danchenko theatre company under the baton of Vladimir Yessipov. This recording is the first digital one issued on CD.

Synopsis ACT 1 Fair in the borough Sorochintsy near Poltava. Hawker's trays, sheds, carts, lots of various goods; common animation and fuss. Hot sunny summer day. Tradesmen and tradeswomen vying with each other offer their goods: wheels, pots, melons, caps, ribbons, pails and so on. Jews also call to their trays (Jewish tune in the orchestra), Gypsies abuse them, proposing to give their goods for nothing. This moment Cossacks and lads appear who take away goods from them both. The fair did not mark this small incident: bargain is continued, each praise his goods ‐ nails, rims, banduras (Ukrainian string plucked instrument). Parasia is in raptures from many‐coloured ribbons, from rich beads: "Make me a present, father!" ‐ "Well, I'll sell wheat and a mare," ‐ not quite definite Solopiy Cherevik answers, the protagonist of our story. Their conversation is sinked in general hubbub of the fair. Girls flirt with lads. Suddenly noise abrupted with Gypsy's appearance. He greets all good people, but it will not be a bargain on this damned place; there in old shed an evil spirit settles ‐ a devil nicknamed "The Red Sheepskin". He leads away mares and oxes, put the evil eye, and who is that who will meet him ‐ he himself at once will become a demon. Not having turn his attendance to the gloomy prophecy in the depth of a stage, by carts loaded with wheat, a lad Gritsko makes Parasia a declaration of love. At that very moment when he intended to kiss her, indignant Cherevik appears. But Gritsko is found to be a son of his old friend, Cossack Golopoopenko; he immediately makes a proposal of marriage, and Cherevik has no objection to give his daughter to such good‐looking and richly dressed lad. They strike a bargain and, in honour of reached agreement, make for an inn to drink. The fair continues to make a noise, the trade proceeds. But sun sets, it becomes dark and the square little by little becomes deserted. Only Cherevik and Godfather, having come at last out from an inn, crawl in a darkness with unsteady gait, striking various objects and singing songs. Godfather goes home, but Cherevik will have it painfully out with his wife about immoderate drinking and not approved by her match making. It turns out that Gritsko is that very lad who along the road to Sorochintsy ventured to mock at Khivria and even threw a mud at her, hitting straight a face! Indignant Khivria takes the offensive and beats

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Cherevik, who has been "under her thumb". "Here's your marriage!" he reflects over. "I will have to get a refusal to a good man for no reason at all". Gritsko imperceptibly watches this scene and, after Cherevik had retired to Godfather's house, in solitude gives vent to his love, depression and disappointment. "What is your grief about, Gritsko?" ‐ the Gypsy interrupts his thoughts. Learning the reason the Gypsy makes an unexpected proposition: "Will you sell your oxes for twenty, if we'll compel Cherevik to give us Paraska?" ‐ "I'll sell for fifteen, if you will not lie!" ‐ delighted Gritsko promises. Newly allies shake hands on it and start dancing.

ACT 2 Godfather's hut where Cherevik stayed who had arrived with his family to the fair. Khivria being busy with cooking, cracks during the work unflattering remarks about her sleeping husband. No comparison with her "darling" ‐ a secret sweetheart, younger priest Afanassiy Ivanovich. Just him she is awaiting to‐day with a visit, for him she is cooking, and it is necessary for her to send the husband about his business for the whole night away from the house. Awaked Cherevik calmly reacts to all his wife's accusations and even mock her a little, comparing now with a mare, now with a rabbit. He got accustomed to regard a family life philisophically; with a "philosophical" maxim he finishes his stay at home, going at the wife's ugrent request with Godfather to watch carts with wheat: "O Lord, on what account such a misfortune for us, sinners? As it is so many trash in the world, and You had produced in addition wifes!" Having remain alone Khivria prepares herself for desirable guest's arrival: lays the table, smartens herself up. The voice of Cherevik is heard behind the window and excites new attack of Khivria's indignation against husband. Son of a priest is not here still. Khivria feels depressed probably dear friend will not come. But the depression has passed ‐ Khivria decided buck herself up with merry song about handsome Cossack Brudeus. Before she had time to finish it a scream outside the window is heard: somebody steals up to the house, and Khivria, having snatch a scoop full of water, "runs to the window with intention to make a trouble". But... quickly hides the scoop behind her back: "Ah, it's you, Afanassiy Ivanovichl" In spite of warning the son of priest falls into the nettle and only after that at last appears in the hut. A parody "love scene" follows: the son of priest admires charms of "the most superb, incredible" Khavronya Nikiforovna by turns with talks about quantity of offerings to the priest from parishioners with treat various dishes, which Afanassiy Ivanovich swallows up in great doses and with incredible speed. At last it reaches love game, but before the son of priest had time to come up to his chosen one there was a strong knock at the gates. Unexpected Godfather and Cherevik had arrived with a large crowd of guests. The son of priest, bewailing, dashes around the hut and at last climbes up the polaty, while frightened Khivria runs to open the gates. Guests are frightened too owing to tales about the Red Sheepskin ‐ everywhere they seems to see snouts, devil's hoofs and grunting. Nevertheless Godfather makes a note of Khivria's fear, but Cherevik is deeply convinced that the devil himself is afraid of his wife. Meanwhile the son of priest cannot lie on the polaty absolutely motionlessly, and each sound made by him stirs guests a fit of fear. For courage they decided to drink; especially Godfather takes heart, who is ready to cock a snook at the devil himself. Cherevik with guests starts a merry song, interrupted by tinware to fall from under the son of priest. Saving the situation Khivria accuses guests that, owing to the noise they had make, tinware falls down from its place by itself. Nevertheless all tremble with fear; Cherevik, not making bold to come to the window, asks Khivria to close it. Finding himself in a reserved space he feels more confidently: "Now", he declares, "welcome, mistress Red Sheepskin!" All are revolted his irresponsible words and demand: "Keep away from it!" Cherevik pronounces necessary invocation and, changing his tone to an ordinary one, asks the Godfather to tell, what is, strictly speaking, that story about Red Sheepskin. Godfather begins his tale. Once for some fault one devil was driven out the hell. Let the devil with grief to drink hard and had swapped all his property for drink. The devil had to pawn his red sheepskin to an old tavern keeper in Sorochintsy. "Look out, old man", he speaks, "I’ll come to you for sheepskin exactly in a year: take care of it!" But for the tavern keeper it appeared boringly to wait for a term, and he sell it to a travelling landowner triple the price. One day towards evening some man comes for sheepskin, but old man pretends he had never seen it; the man went away empty‐handed. Only towards the night, when the old man slipped on a bed‐sheet, suddenly he heard a rustle... Lo and behold: there are snouts in all windows... Again some noise is heard from the son of priest, and again there is general fright. Khivria shames men ‐ "it is a bench to squeak under somebody and all had thrown as half‐witted!" Godfather continues the tale: devils climbed through the windows and began to lash the tavern keeper with wattled triplets. Old man falled at their feet and owned up. "Since then every year devil with a snout‐like face searches damned sheepskin all over a fair. But the evil one possessed now the assessor to..." At that moment glasses broke in the window, and a dreadful snout stared at the room. General alarm is caused; one from the guests strikes his head against the polaty, the son of a priest with a crash falls down the floor. Cherevik, having snatch a pot instead of a cap, runs to an exit, after him Godfather and some of the guests follow. In the inner porch there are crush and cries. The others dash around the hut. "Devil! oh! oh! Devil! Help!"

ACT 3 Scene 1 Street in Sorochintsy. It's evening. Cherevik with a pot on his head runs, being dead tired. Godfather follows him pursued by lads with the Gypsy at the head. Lads snatch and tie up both "for they had stolen newly arrived fellow Cherevik's mare." Any excuses don't help; especially it hurts Cherevik, who supposedly robbed himself. Gritsko appears as an "unexpected" saviour; he gives to Cherevik and Godfather a freedom in exchange to Parasia. Cherevik with joy gives again his final consent to wedding – tomorrow without fail ‐ and goes home. The Gypsy gets from Gritsko promised oxes everything has turned out all right, as he planned. Gritsko remains alone and falls asleep with thought of Parasia, but in his sleep he sees

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witches' sabbath headed by Chernobog ["Black God" from Russian] (in Yekaterinburg production Chernobog appears before the lad in the shape of mysterious Gypsy, and both parts one and the same actor plays). Only towards a dawn, having heard from a far a singing of saint hermits, evil spirits with moans disappear, hiding in their hide chinks. With first rays of sun Gritsko wakes up.

Scene 2 Street before Godfather's hut. It's morning. Parasia goes out to a porch and longs for her beloved Gritsko, for a frustrated wedding. But youth has its effect: Parasia starts dancing, appeared Cherevik joins her. "Good", the Godfather remarks, "father with his daughter undertake here a wedding themselves! Well, Paraska, welcome your bridegroom." She turns ‐ there is Gritsko! Lovers are again together, girls and lads congratulate them. Cherevik seeks to finish the whole ceremony before Khivria's appearance, who had run away to buy shawls and various fabrics. Far from it. "I’ll rather burst than allow this!" ‐ Khivria came running in, out of breath. But hefty fellows, according to signal given by the Gypsy, grab Khivria and carry her away. Grown bolder Cherevik blesses newly‐weds, and all those present with Gypsy at the head dance hopak. Little by little whole group moves away, the street stays empty. A hot summer day.

CD11 The artist must "not get to know the people, but be admitted to their brotherhood" Mussorgsky

If ever a composer had peculiar talents which destined him to be a great musical dramatist it was Modest Mussorgsky. Although Mussorgsky was to fulfil this destiny, the medium in which he did so was ‐ like so much else about him ‐ unconventional. Mussorgsky should by rights have been one of the major figures of nineteenth‐century opera, with his strong sense of dialogue and drama and a musical aesthetic based almost entirely on the desire to represent accurately human speech and character. The reality, however, is that despite a continuous stream of ideas for operas, some merely sketched, others tantalisingly near to completion, Mussorgsky's inability to see large projects through to their conclusion meant that he finished only one stage work. Yet the character flaw in Mussorgsky which proved the opera‐lover's loss is the song‐ lover's gain. Working on the smaller canvasses which the medium of song offered, Mussorgsky produced copious finished works of music drama. To describe solo songs as music drama might seem perverse, but Mussorgsky's songs were composed in a highly idiomatic style, in which the conventions of 'pure' music were always subject to his overriding concern for human and dramatic realism. In an autobiographical sketch written shortly before his death, Mussorgsky gave the following summation of his musical aesthetic: Mussorgsky cannot be classed with any existing group of musicians, either by the character of his compositions or by his musical views. The formula of his artistic 'profession de foi' may be explained by his view of the function of art: art is a means of communicating with people, not an aim in itself. This guiding principle has defined the whole of his creative activity. Proceeding from the conviction that human speech is strictly controlled by musical laws, he considers the function of art to be the reproduction in musical sounds, not merely of feelings, but first and foremost of human at speech. In part, Mussorgsky's greatness as a song writer lies not only in the precision of his characterisations, but in their universality. Aristocrats, peasants, nurses and soldiers were all subject to Mussorgsky's musical and dramatic perception. The seeds of these wide‐ranging empathies can be seen in Mussorgsky's early history. Although Mussorgsky was born into a wealthy landowning family, he claimed also to have peasant blood. By his own account, it was as a young child under the influence of his nurse that he became familiar with Russian folk‐tales, and with the spirit of the Russian people. In 1852, at the age of 13, he entered an army cadet‐school in St. Petersburg, where he stayed for four years before entering the army proper. Mussorgsky's brief military career ended a year later when he suffered something of a nervous breakdown. Henceforth Mussorgsky was never entirely free from problems of mental balance, and at various stages in later life was beset by dipsomania. Throughout these problems, however, Mussorgsky managed to continue working, both musically and professionally; in 1863 financial concerns had forced Mussorgsky into the civil service, which he left only in the last year of his life. Musically, Mussorgsky's background was equally unconventional. He began to improvise at the piano at an early age, before he had received any formal tuition. Piano lessons followed, and Mussorgsky became something of a child prodigy. Mussorgsky's musical education also included singing, but significantly he was taught nothing formally of harmony or composition until he induced his near contemporary, Balakirev, to give him lessons in form. Other acquaintances included the composers Dargomizhsky and Cesar Cui, but far more significant in the formation of Mussorgsky's musical personality were figures from the other arts. Mussorgsky's artistic creed was shaped by writers such as Chernishevsky, and confirmed in him by the encouragement of his friend, the art critic Vladimir Stassov. Together, these disparate influences created an altogether exceptional talent. Although Mussorgsky never eschewed lyricism and elegance, he had a profound disdain for formal beauty as a means to an end. Music is not only the most abstract of the arts (and therefore most in need of imposed formal structures) but also traditionally the most conservative: whilst Mussorgsky's artistic friends had few qualms about his approach, fellow musicians were seldom quite so liberally accommodating in their appreciation.

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In many ways the Songs and Dances of Death, which date from 1875‐77, epitomise Mussorgsky as a composer. On the debit side it should be pointed out that the work is in a sense incomplete, since Mussorgsky originally projected a further four songs. The list of credits for these songs, though, is much longer. Each song contains a dialogue between Death and another character – a dying infant's mother, a young girl, an old peasant, and a field of fallen soldiers ‐ and it is the contrasting personae in each of these dialogues which dictate the balance of lyricism and dramatic declamation in the songs. Mussorgsky's search for dramatic realism also dictates the form of each of the songs: the dramatic hiatus at the end of the Lullaby, and the two almost unrelated halves of the Serenade, which end in different keys, are examples of this. It is Trepak, however, which is the most originally formed of the songs: the melody of the introduction is transformed into the melody of the dance, whilst the closing melody is derived from both of these themes. In complete contrast, the protagonist of The Nursery is not sombre Death but a small child. Composed between 1868 and 1872 to Mussorgsky's own texts, these seven short songs show the composer at his most perceptive. Mussorgsky's dramatic skill lies in his insight into the psyche of a human type so obviously different to himself: his musical skill lies in his realisation of this insight through thoroughly novel rhythmic and harmonic means. Dating from the same period (in which he also wrote his operatic masterpiece Boris Godunov) comes The Puppet‐Show, an elaborate satire on Mussorgsky's artistic enemies. In the introduction Mussorgsky invites the audience to walk up and watch the show: what follows is a series of lampoons on the foibles of the theorist Zaremba, the fanatical admirer of Italian music F.M. Tolstoy, the composers Famintsin and Serov, and lastly the patron Grand Duchess Helena Pavlovna. If the references of The Puppet‐Show make it almost exclusively a period piece, it nevertheless offers an insight into the barbed humour of Mussorgsky. In the same mould as the Songs and Dances of Death, with which it shares obvious characteristics, is Forgotten, the inspiration for which was a controversial painting by Vershchagin of a forgotten Russian soldier in the Turkestan campaign. The Seminarist, Savishna and The He‐Goat are all songs from Mussorgsky's early maturity, and together mark the beginning of the composer's vein of unconventional musical realism and ironic comedy. The same vein was running twenty years later when Mussorgsky wrote the famous Song of Mephistopheles inspired by Goethe's Faust, the Song of Mephistopheles was dedicated to the singer Darya Leonova. Mussorgsky toured with Leonova as her accompanist in the last years of his life, and it was to her that the composer tumed in February 1881 when he realised that his own death was imminent. © 1994 Simon Ravens

CD12 One of Mussorgsky's many literary friends was the poet Arseny Golenishchev‐Kutuzov. Mussorgsky drew on Golenishchev‐ Kutuzov's poetry for the song cycle Sunless, composed during 1874, a bleak period in the composer's life which followed the hostile critical reception given to Boris Godunov. This was also the period during which Mussorgsky worked as a clerk in the Russian Forestry department, a job which he found stultifyingly boring. Not surprisingly, a spirit of pessimism pervades all six songs in the Sunless cycle, and Mussorgsky's penchant for drama is almost entirely absent. By way of compensation the cycle is both lyrical and highly charged, with the frequent changes of mood in the texts reflected by Mussorgsky's harmonic shifts. The opening of Within four walls, for instance, contains a number of harmonic twists, whilst Thine eyes in the crowd concludes with a chord remote to the rest of the piece. Mussorgsky's finest melodies. From the same period of Mussorgsky's life come two other songs, Cruel death and The misunderstood one. Cruel death, an epitaph to one of the few women to whom the composer became romantically attached, Nadezhda Opochinina. Along with Sunless, Cruel death is a relatively rare expression of Mussorgsky's own feelings. The texts of both Cruel death and The misunderstood one were written by Mussorgsky himself. The misunderstood one is dedicated to another woman friend, Marya Kostyurina. Another of Mussorgsky's literary friends (indeed, a distant relative) was the great Russian novelist and lyric poet, Tolstoy. In 1877 Mussorgsky set five of Tolstoy's poems to music. Around this time Mussorgsky was experimenting with 'the incorporation of recitative in melody... this type I should like to call inteIIigently justified melody'. The results of this experimentation are to be heard fleetingly in Misfortune, The spirit ofheaven, Pride, Is spinning man's work? and Trouble. Is spinning man's work? seems to present an autobiographical comment on the drudgery of Mussorgsky's work as an office clerk. In between composing these Tolstoy songs, and working in much the same style, Mussorgsky also set a sensuous text by Golenishchev‐Kutuzov, A Vision. Two years later Mussorgsky revised an earlier song of his, On the Dnieper. Originally composed in 1868 On the Dnieper is a strange mixture of lyrical music and a xenophobic text by the Ukrainian poet Shevchenko. The main body of the song is a passionate allegro. Also from 1868 comes Yeryomushka's cradle song, dedicated to Alexander Dargomizhsky, a Russian composer who was one of the few musicians encourage the innovative side of Mussorgsky's musical character. The mid‐1860s were the most productive years of Mussorgsky's career as a song writer: from this period come The Feast, the music of which Mussorgsky was later to echo in Pictures at an Exhibition; The Classicist, a satire of Famintsin, a conservative musical critic in St. Petersburg; and finally, From my tears, an almost Schumannesque setting of the German poet Heine. © Simon Ravens, 1995

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CD13 One of the earliest of Mussorgsky's surviving compositions, dating from the time of his study with Balakirev, is the setting of Grekov's poem, Where are you, little star? Although the score of this song lacks the regular shifts of time‐signature we associate with Mussorgsky's mature style, the recitative‐like values of the vocal part hint at his future rhythmic freedom. Harmonically, too, the song is interesting; whilst it lacks the daring of Mussorgsky's later music, it nonetheless carries certain modal fingerprints which can be traced to Russian folkmusic. Presentiments of a different kind exist in Hour of jollity from the following year, 1858. In this drinking song the presentiments are more personal than stylistic, pointing towards Mussorgsky's later weakness for drink. Both Where are you, little star?, and Hour of jollity survive in two versions. In each case, although the shape of the song remains roughly the same, the differences in detail are significant, indicating the whimsical nature ofMussorgsky's invention. 1859 was the year of Mussorgsky's nationalist awakening, yet strong traces of European influence remain in his music from this time. Sadly rustled the leaves, for instance, is distinctly Germanic in style. By 1863, the time of I have many palaces and gardens, however, Mussorgsky's highly idiomatic style is evident; for the ending of this magnificent song Mussorgsky shifts key unexpectedly, as well as adopting a slower tempo. Prayer is a reflective setting of a text by the great Russian lyric poet Michael Lermontov. Tell me why, dearest maiden (the text of which has been wrongly attributed to Pushkin) is another early song, and was amongst Mussorgsky's first published works. Overburdened by the problems of the family estate, and by his new Civil Service position, 1864 was one of Mussorgsky's least productive years. It yielded only three songs and no other music. Yet these three songs are some of the first to carry the stamp of artistic maturity. The first of these, The wild winds blow, is a romantic tone‐picture of a wood, the stormy scene thrown into relief by contrasted sections. The other two songs of 1864 are Night, which exists in two widely differing versions composed at the same time, and Kalistratushka (Nekrasov), which Mussorgsky described as 'a study in folk style'. Mussorgsky also described Kalistratushka as his 'first attempt at the comic', although the song's humour is more ironic than extrovert. The overall character of Kalistratushka is essentially lyrical, continuing in the same vein as two of Mussorgsky's 1863 efforts, But if I could meet you again, and the Old man's song. The other notable song dating from 1863 is King Saul, an extrovert character piece. In 1863 Mussorgsky began work on the libretto of an opera, Salammbô, based on Flaubert's novel. Although the work was never to be completed, for the next three years Salammbô accounted for most of Mussorgsky's creative energies. This explains not only Mussorgsky's meagre output for 1864 but also for the following year: The outcast: an essay in recitative and Lullaby (from the play Voyevoda by the contemporary Russian dramatist Ostrovsky) are the only songs to survive from 1865. One of the few fragments to have come out of Salammbô is the pseudo‐oriental Balearic Song intended for the opera's first act. Although in isolation the Balearic Song reminds us of Mussorgsky's depressing inability to complete large canvasses, it also reminds us of his skill in vividly painting miniatures. © Simon Ravens, 1996 Translation: Joan Pemberton Smith

CD14 Few composers have left behind such a confused legacy as Mussorgsky. Often the fault with this lies not with the composer but with his subsequent editors, such as Rimsky‐ Korsakov, who sought to 'improve' the weaknesses they perceived in Mussorgsky's unconventional music. Occasionally, however, the confusion can perhaps be traced back to Mussorgsky himself. Where art thou, little star?, for instance, exists in two versions. According to the dates on the autograph manuscripts, the version recorded here is an earlier version of the song. However, Richard Taruskin has put forward a convincing argument that Mussorgsky deliberately predated a second version to make it appear earlier than his original effort. That being the case, the version presented here is not one of Mussorgsky's earliest songs, but a revision dating from as late as 1870. Similarly, Night exists in two versions, of which that presented here and dated 1864 is apparently the later. In this later version, Pushkin's text is freely rewritten by Mussorgsky ‐ treatment the composer also gave to the text of The garden by the Don and The Magpie. This characteristic prompted the pertinent comment from one biographer that Rimsky‐Korsakov never maltreated Mussorgsky worse than Mussorgsky maltreated his poets.

Textual confusion of another sort reigns in Hopak. The text of the song seems to suggest that this is a song sung by a peasant woman, yet the composer's direction on the score, 'The old man sings and dances', shows that this is in fact the song of a man impersonating a woman. Such layers of characterisation typify Mussorgsky's approach to human representation in song. Sometimes these sophistications appear to have defeated the composer himself. The nettle mountain is an unfinished satire, in which Mussorgsky's text went on to paint himself as the rooster upbraided for crowing too loudly by a crab (the conservative critic Herman Laroche). You drunken sot! is also satirical, being based on the adventures of Mussorgsky's friend Nikolsky: if such a satire strikes us as being an 'in' joke we should note that Mussorgsky himself never intended the song for publication. Humour of a different kind plays a part in Gathering mushrooms, whose subject is a peasant woman. Mussorgsky's eye for the humour and pathos of the lower strands of Russian society can also be seen in The mischievous child and The Orphan, respectively. Like The Ragamuffin, A children's song, Evening song and Hebrew song achieve their poignancy partly through unconventional harmonic effects. Finally, in this sequence of Mussorgsky's songs, come two settings of German texts, Meines Herzens Sehnsucht and Ich wollt' meine Schmerzen ergossen. The existence of such songs perhaps underlines the influence of German culture in nineteenth century Russia on even the most ardent individualist.

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The same penchant for musical characterisation which Mussorgsky demonstrated in his songs also runs through his piano works, most famously in the Pictures from an Exhibition. Although Mussorgsky was himself a fine pianist, his surviving works for the instrument are relatively scarce. In part this is because the salon environment, which was the driving force behind much nineteenth century piano music, was an athema to Mussorgsky both socially and musically. It is no surprise that the contemporary demand for salon music went largely unheeded by Mussorgsky ‐ Meditation and A Tear being rare examples of this idiom. Outside his immediate circle of artistic friends Mussorgsky played little as a pianist until the summer of 1879, when he was asked to accompany the famous singer Madame Daria Leonova on a concert tour of southern Russia. From this trip survived a small number of musical impressions, including On the southern shores of the Crimea, Near the southern shores of the Crimea and In the Village. The quasi‐oriental styles and folk idioms of these pieces may well stem from material which Mussorgsky noted down on tour. The Intermezzo symphonique was also inspired by a specific scene. In this case the genus of the work was the sight of a group of peasant women crossing a snow‐field (with some difficulty). This incident, which Mussorgsky observed in 1861, he described as 'beautiful and picturesque and serious and amusing'. Hopak of the young Ukrainians is a fragment from the opera Sorochinsky Fair, Mussorgsky's last stage work which exists only in piano reduction. Finally, the Passionate Impromptu is based on the encounter between Beltov and Lyuba, the protagonists in Herzen's novel Who is to blame? © 1996 Simon Ravens

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SUNG TEXTS

CD3‐5 MITIUKH Boris Godunov Oy, vy, vyéd’my, nye búshuyte!

PROLOGUE WOMEN Akh, postryél ty okayánny! 1. Introduction Vót‐to nyékhrist otyskálsya! Éko dyávol privyazálsa! Scene One Oy, uydyómte lúchshe, prodobrú, da pozdoróvu, POLICE OFFICER ot bedy´ da ot napasti! 2. Nu, shtozh vy? Shtozh vy ídolami stáli POLICE OFFICER zhivo, na kolyéni! Shtozh vy? shtozh smólkli? Nu zhe! Al’ glótok zhálko? Da nu! Vot ya vas! Eko chórtovo otródye! Al’ davno po spinam plyótka nye gulyála! PEOPLE Prouchú vas...ya zhivo! Na kovó ty nas pokidáesh, otyéts nash! Akh, na kovó‐to ty ostavlyáesh, WOMEN rodímy, Nye sercháy, Mikitich, my, da, vsye tvoí siróty nye sercháy, rodímy! bezzashchítnyye? Akh, da, my tebyá‐to prósim, PEASANTS mólim so slezámi, so goryúchimi: Tól’ko pootdókhnyem, Smíluysa! Smíluysa! zaoryóm my snóva. Smíluysa! I vzdokhnút’ nye dast, proklyáty. Boyárin bátyushka! Otyéts nash! Ty kormilyets! POLICE OFFICER Boyárin! Smíluysya! Nu‐ka tól’ko glótok nye zhalyét’! VOICES AMONG THE PEOPLE Mityúkh, a Mityúkh, chevó oryóm? PEASANTS Ládno! MITIUKH Voná! pochóm ya znáyu? POLICE OFFICER Nu? VOICES AMONG THE PEOPLE Tsaryá na Rusí PEOPLE khotím postávit! Na kovó ty nas pokidáesh, otyéts nash! Akh, na kovó‐to ty ostavlyáesh, rodímy! FIRST PEASANT WOMAN My tebyá, siróty, prosím, Oy, likhonko! sovsyém okhripla. mólim so slezámi golúbka, sosyédushka, so goryúchimi: nye pripasla‐l’ voditsy? Smíluysa! Smíluysa! Boyárin bátyushka! SECOND PEASANT WOMAN Otyéts nash! Otyéts nash! Vish, boyárynya kakáya! Kormílyets! Kormílyets! A‐a‐a!

WOMEN POLICE OFFICER Orála púshche vsyekh, Nishkní! Vstaváyte! samá b i pripasála. Dyak dúmny govorít:

SECOND PEASANT SHCHELKALOV Nu vy, baby, nye gutórit’! 3. Pravoslávnyye! nye umolin boyárin! Na skórbny WOMEN zov Boyárskoy Dúmy i Patriárkha, A ty shto i slyshat’ nye khotyél o trónye tsárskom. za ukázchik! Pechál’ na Rusi...pechal’ bezyskhódnaya, Vish, pristav navyazálsa! pravoslávnyye! Stónyet zemlyá v zlom besprávyi.

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Ko góspodu sil pripadíte, Ráduysya lyud! da nisposhlyót on skórbnoy Ráduysya, veselísya lyud! Rusí uteshénye... Pravoslávny lyud! I ozarit nebyésnym svyétom Pravoslávny lyud! Borísa ustály dukh! Velicháy tsaryá Borísa i slava!

PILGRIMS BOYARS 4. Sláva tebyé, tvortsú vsevy´shnemu, na zemlé! Da zdrávstvuet tsar Boris Feódorovich! Sláva sílam tvoím nebyésnym! I vsyem ugódnikam, PEOPLE Sláva na Rusí! Da zdrávstvuet!

PEOPLE BOYARS Bózkyi lyúdi! Da zdrávstvuet tsar Boris Feódorovich!

PILGRIMS PEOPLE Ángel gospóden miru rek: Sláva, Sláva! Podnimáytes túchi gróznyye. Uzh kak na nyébye sóntsu krásnomu, Vy nesites po podnebyésyu, Sláva! zastiláyte zémlyu rússku Sláva, Sláva! Sokrushíte zmiya lyúta Tsar ty bátyushka nash! so dvanadesyátyu kry´lami khóboty, tavo zmíya, smútu rússkuyu, BOYARS da beznacháliye. Da zdrávstvuet tsar Boris Feódorovich! Vozvestíte pravoslávnim da vo spasyénye: PEOPLE Oblekáytes v rízy svyétlyye, Da zdrávstvuet! podnimáyte ikóny vladychitsy. Uzh kak na nyébye sóntsu krásnomu, I so Donskóy, Sláva, Sláva! i so Valdímirskoy, Uzh i kak na Rusí gryadíte tsaryú vo sretenye! tsaryú Borísu, Sláva! Vospóyte slávu bózhyu, Sláva tsaryú, Sláva! slávu sil svyátykh nebyésnykhl! Sláva, Sláva, Sláva, Sláva! Sláva tebyé, tvortsú, na zemlí! sláva otsú nebyésnomu! BORIS 7. Skorbít dusha! Scene Two Kakóy‐to strakh nevól’ny zlovyéshchim predchúvstviem 5. Introduction skovál mnye syérdtse. O, právednik, o moy otyéts derzhávny! PRINCE SHUISKY Vozrí s nebyés 6. Da zdrávstvuet tsar Boris Feódorovich! na slyózy vyérnykh slug i nisposhlí ty mnye svayshchénnoye PEOPLE na vlast blagoslovyenye: Zhiví i zdrávstvuy, Da búdu blag i práveden kak ty, tsar nash bátyushka! da v slávye právlyu moy naród. Tepér poklónimsa SHUISKY pochíyushchim vlastítelyam Rusíi, Slávte! a tam szyvát’ naród na pir, vsyekh, ot boyár do níshchevo sleptsá: PEOPLE vsyem vól’ny vkhod, Uzh kak na nyébye sóntsu krásnomu vsye gósti dorogíye. Sláva, Sláva! Uzh i sláva na Rusí PEOPLE tsaryú Borísu 8. Sláva, Sláva, Sláva! Sláva, Sláva! Zhivi i zdrávstvuy, Zhiví i zdrávstvuy! tsar nash bátyushka! Zhiví i zdrávstvuy! Sláva, Sláva! Tsar nash bátyushka! Tsar ty, tsar ty nash! Tsar nash bátyushka! Zhiví i zdrávstvuy! BOYARS Tsar nash bátyushka! Da zdrávstvuet tsar Boris Feódrovich! Zhiví i zdrávstvuy!

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PEOPLE GRIGORY Da zdrávstvuet! Blagosloví menyá, chestnóy otyéts. Uzh kak na nyébye sóntsu Krásnomu. Sláva! Sláva! MONKS Uzh kak na Rusí Bózhe, Bózhe moy tsaryú Borísu vskuyu ostávil mya! Sláva! Sláva i mnógaya lyéta! Sláva, Sláva, etc. PIMEN Blagosloví tebyá gospód’, ACT ONE i dnyes, i prísno, i vo vyéki.

Scene One GRIGORY 11. Ty vsyo pisál PIMEN i snom nye pozabylsa: 9. Yeshchó odnó poslyédneye skazánye a moy pokóy besóvskoye mechtánye i lyétopis okónchena moyá. trevózhilo, i vrag menyá mutíl. Okónchen trud, Mnye snílos: lyésnitsa krutáya velá zavéshchany ot Bóga menyá na báshnyu; s vysoty´ mnye gryéshnomu. mnye vídelas Moskvá, Nedárom mnógikh lyet shto muravyéynik; svidyételem, Gospód’ menyá postávil. naród vnizú Kogda‐nibúd’ na plóshchadi kipyél monákh trudolyubívy i na menyá ukázyval so smyékhom... naydyót moy trud usyérdny, i stydno mnye, i stráshno stanovílos... bezymyány; i, pádaya stremgláv, ya probuzhdálsa. zasvyétit on, kak ya, svoyú lampádu i, pyl vekóv ot khárty PIMEN otryakhnúv, Mladáya krov igráet; pravdívyye skazánya perepíshet: smiryáy sebyá molitvoy i postóm, da vyédayut potómki pravoslávnykh i sny tvoí vidéniy lyókhkikh zemlí rodnóy minúvshuyu sud’bú. búdut pólny. Na stárosti ya sy´znova zhivú; Dony´ne, yésli ya minúvsheye prokhódit prédo mnóyu, nevólnoyu dremótoy obezsílen, volnúyasa kak mórye okián... nye sotvoryú molítvy dólgoy k nóchi, Davnól’ onó neslós soby´ty pólno! moy stáry son nye tikh Tepér onó spokóyno i bezmólvno!... i nye bezgréshen; Odnáko blizok dyen...Lampáda mnye chúdyatsa to búynye piry, dogoráyet... to skhvátki boevyye; Yeshchó odnó poslyédneye skazánye... bezúmnyye potyékhi yúnykh lyet!

MONKS GRIGORY 10. Bózhe krépky, právy, Kak vyéselo provyól svoyú ty mládost’! vnemlí rabám tvoím, Ty voevál pod báshnyami Kazáni, molyáshchim tya! ty rat’ Litvy´ pri Shúyskom otrazhál, Dukh Izhemúdriya lukávy ty vídel dvor i róskosh Ioánna! otzhení ot chad tvoíkh A ya ot ótrocheskikh lyet véryaschchik ti! po kyéliyam skitáyus, byédny ínok! Zachém i mnye nye tyéshit’sa v boyákh, GRIGORY nye pirovat’ za tsárskoyu trapézoy? Vsyo tot zhe son! V trétiy raz vsyo tot zhe son! PIMEN Neotvyázny, proklyáty son... Nye syétuy, brat, A starík sidít, shto ráno gréshny svyet da píshet, i dremótoy pokínul. Ver ty mnye: znat’, vo vsyu noch nas ízdali plenyáet róskosh on nye smykál ochéy. i zhénskaya lukávaya lyubóv. Kak ya lyublyú yevó smirénny vid, Pomy´sli, syn, ty o tsaryákh velíkikh, kogdá, dushóy v minúvshem pogruzhónny, kto vyshe ikh? i shto‐zhe: spokóyny, velichávy, on lyétopis svoyú... o kak chásto, chásto oni smenyáli svoy pósokh tsársky, i porfíru, PIMEN i svoy venyets roskoshny, Prosnúlsa, brat? na ínokov klobúk smirénny, i v kyélii svyatóy

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dushóyu otdykháli... kyélye Zdyes, v étoy sámoy kyélye zdyes na tebyá donós uzhásny píshet: (v nyey zhil togdá Kirill i nye uydyósh ty mnogostradál’ny ot sudá lyudskóvo, muzh právyedny), kak nye uydyósh zdyes vídel ya tsaryá. ot bózhevo sudá. Zadúmchiv, tikh sidyél mezh námi Grózny; Scene Two i tikho rech iz ust yevó lilásya, a v ochákh yevó suróvykh HOSTESS raskáyanya slezá drozhála... 14. Poymála ya síza seleznyá, i plákal on... okh, ty, moy syélezen, A syn yevó Fyódor? On tsárskiye chertógi moy kasátik, syélezen. preobratíl v monáshestvuyu kyél’yu; Posazhú tebyá, síza seleznyá, Bog vozlyubíl smiryéniye tsaryá, okh, na chístenkíy prudók, i Rus pri nyom, pod rakítovy kustók. vo sláve bezmyatézhnoy Ty porkhní, porkhní, utéshilas. sízy syélezen, A v chas yevó konchiny, oy, vzvyéysa, podnimís, svershílosa neslykhannoye chúdo: k byednenkoy ko mnye spustís. paláty ispólnilis blagoukhányem... Polyublyú tebyá, prigolúblyu ya, I lik yevó kak sóntse prosiyál!... mávo mílova druzhká, Uzh nye vidát’ takóvo nam tsaryá! kásatika seleznyá! Prognévali my Bóga: Ty prisyád’ ko mnye, da poblízhe, sogreshíli: vlady´koyu sebyé oboymí menyá, druzhók, tsareubíytsy nárekli! potslúy menyá razók. Évona!...Prokhózhiy lyud... GRIGORY Gósti dorogíe! 12. Davnó, chestnóy, otyéts, Aú! Smólkli!... khotyélos mnye tebyá sprosit’ Znat’ mímo promakhnúli... kakikh byl lyet traevich ubiyenny? Rastslúy menyá, da po zhárche, okh, ty moy syélezen PIMEN moy kasútik syékezen! On byl by tvoy rovyésnik Ty potyésh menyá, i tsárstvoval! potyésh menyá vdovú, No Bog sudíl inóye. vdóvushku vól’nuyu... Borísa prestuplyényem vopiyúshchim zaklyuchú ya lyétopis svoyú. MISSAIL and VARLAAM Brat Grigóry! Lyud khristíansky, Ty grámotoy svoy rázum prosvetíl, lyud chestnóy, gospódniy, tebyé moy trud peredayú... na stroyénye khrámov Opisivay, nye múdrstvuya lukávo, pozhértvuy khot’ kopéyechku, vsyo, chemú svidyétel’ v zhízni búdyesh: lyépta vozdástsa tebyé storítsey. voynú il’ mir, uprávu gosudárey, proróchestva i známenya nebyésny... HOSTESS A mnye porá, porá uzh otdokhnút’... Akh, ty, góspodi, 13. Zvonyát k zaútrenye... stártsy chestnyye! Blagosloví, gospód, svoíkh rabóv! Dúra ya, dúra okól’naya, Podáy kosty´l’, Grigóry! stáraya grekhovódnitsa! Tak i yest!... MONKS Oní...chestnyye stártsy... Pomíluy nas, bózhe, pomíluy nas, vsyeblágy! VARLAAM Ótche nash, vsederzhitel’, 15. Zhenó, mir dómu tvoemú! bózhe vyéchny, právy, pomíluy nas! HOSTESS Chem‐to mnye vas podchivát’, GRIGORY stártsy chestnyye! Borís, Borís, vsyo pryed tobóy trepyéshchet, MISSAIL niktó nye smyéyet i napómnit’ Chem bog postál, khozyáyushka. o zhrébiy neschástnovo mladéntsa. A mézhdu tyem otshél’nik v tyómnoy

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VARLAAM Shtozh ty nye podtyágivaesh, Nyet li viná? da i nye potyágivaesh?

HOSTESS GRIGORY Kak nye byt’, otsy moí! Nye khochú. Seychás vynesú. MISSAIL VARLAAM Vól’nomu vólya. Shtozh ty prizadúmalsa, továrishch? Vot i granítsa litóvskaya, VARLAAM do kotóroy tebyé tak khotyélos dobrát’sa. A pyánomu, ray, otyéts Misaíl! GRIGORY Vy´pyem chárochku za shinkárochku! Poká nye búdu v Litvyé, Odnáko, brat, nye mogú byt’ spokoén. kogdá ya pyu, tak trézvykh nye lyublyú; VARLAAM íno dyélo pyánstvo, Da, shto tebyé Litvá tak slyubílas! íno dyélo chvánstvo; Vot my, otyéts Misaíl, da az mnogogréshny, khóchesh zhit’ kak my, kak uteklí iz monastyryá, mílosti prósim! tak i v us sebyé nye dúem! Nyet! tak ubiráysa, proválivay! Litvá li, Rus li, shto gudók, shto gúsli, vsyo nam ravnó, bylo b vinó. GRIGORY Da vot i onó! Pyey, da pro sebyá razumyéy, otyéts Varlaám! HOSTESS Vot vam, otsy´ moí, pyéyte na zdoróvye. VARLAAM Pro sebyá! VARLAAM and MISSAIL Da shto mnye pro sebyá razumyét’? Spasíbo, khozyáyushka, Ekh! bog tebyá blagoslaví! 17. Kak yédet yon, yédet yon, yon... Da pogonyáet yon. VARLAAM 16. Kak vo górode by´lo vo Kazáne, GRIGORY grózny Tsar pirovál, da veselílsa. Khozyáyka! Kudá vedyót éta doróga? On tatárey bil neshchádno, shtob im by´lo nepovádno HOSTESS vdol’ po Rusí gulyát’. A v Litvú, kormílets. On podkhódom podkhodíl, da, pod Kazán gorodók, VARLAAM on podkópy podkopál, da, pod Kazánku rekú. Shápka na yom torchít kak rozhón! Kak tatáre‐to po górodu pokházhivayut, Vyes, akh, vyes to gryazyón! na tsaryá Ivána‐to poglyádyvayut, zli tatárove. GRIGORY Grózny tsar‐ot zakruchínilsa, A dalyéche do Litvy? on povyésil golóvushku na právoe plechó. Uzh kak stal tsar pushkaryéy szyvát’. HOSTESS pushkaryéy vsye zazhigál’shchikov. Nyet, rodímy, nye dalyéche, Zazhigál’shchikov! k vyécheru mózhnob pospyét’, Zadymílasa svyéchka vósku yárova, kaby´ nye zastávy. podkhodíl molodóy pushkár‐ot k bóchechke. GRIGORY A i s pórokhom‐to Kak? Zastávy? bóchka zakruzhílasya, oy, po podkópam pokatílasya, HOSTESS da i khlópnula. Kto‐to bezhál iz Moskvy, Zavopíli, zagaldeli zli tatárove, a vyéleno vsyekh zadyérzhivat’, blágim mátom zaliválisya. da osmátrivat’. Polegló tatárovey t’ma t’múshchaya, polegló ikh sórok ty´syachey, da i tri tysyachi. GRIGORY Tak‐to vo górode by´lo, vo Kázani. E! Vot tebyé, bábushka, i Yúryev dyen! E!

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VARLAAM GRIGORY Svalílsa yon Miryánin iz prígoroda... lezhít yon, yon, Provodíl stártsev do rubyezhá, da vstat’ nye mózhet yon. idú vo svoyási.

GRIGORY GUARD A kovó im núzhno? Páren‐to, kázhetsa, gol: plokhá pozhiva... HOSTESS Vo rázve stártsy...Hm! Uzh nye znáyu. Ny, otsy´ moí, Vor lí, razbóynik kakóy, kakovó promyshlyáete? tól’ko prokhódu nyet ot pristavóv proklyátykh! VARLAAM Okh! plókho, sy´ne, plókho! GRIGORY Khristiáne skúpy stáli, Tak... dyéngu lyúbyat, dyéngu pryáchut, HOSTESS málo Bógu dayút. A chevó poymáyut? Priíde grekh véliy Nichevó, ni byésa lysavo! na yazystsy zemlí. Búdto tól’ko i putí, shto stolbováya! Khódish, khódish, mólish, mólish, Vot, khot’ otsúda: yéle, yéle tri polúshki vy´molish. svorotí nalyévo, da po tropínke, Shto dyélat’? S górya i idí do Chekánskoy chasóvni, i ostal’nóe propyósh. shto na ruchyú; Okh, prishlí náshi poslyédniye vryemená! a ottúda na Khlópino, a tam na Záytsevo; HOSTESS a tut uzh vsyákiy mal’chíshka Góspodi pomíluy i spasí nas! do Litvy´ tebyá provódit... Ot étikh pristavóv tól’ko i tólku, VARLAAM shto tyesnyát prokhózhikh, Shto ty na menyá tak prístal’no smótrish? da obizháyut nas byédnykh... GUARD VARLAAM A vot shto: Priyékhal yon, Alyókha! pri tebyé ukás? da v dvyer tuk! tuk! Daváy sudá! Da shto yest’ móchenki Vídish: iz Moskvy´ bezhál tuk! tuk! tuk! nyékiy eretík, Gríshka Otryepev. HOSTESS Znáesh li ty éto? Shto tam yéshcho? Vot oní proklyátyye! VARLAAM Opyát’ dozórom idút! Nye znáyu.

VARLAAM GUARD Kak, yédet yon, Nu, i tsar velyél yevó, yédet yon, yon, eretiká, da pogonyáet... izlovít i povyésit’. Slykhál li ty éto? GUARD 18. Vy shto za lyúdi? VARLAAM Nye slykhál. MISSAIL and VARLAAM Stártsy smiryénnyye, ínoki chestny´ye, GUARD khódim po selyéniyam, Chitát’ umyéesh? sobiráem milostynku. VARLAAM GUARD Nyet, sy´ne, A ty kto takóy? nye umudríl gospód’.

MISSAIL and VARLAAM GUARD Nash továrishch. Tak, vot tebyé ukáz!

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VARLAAM Kol dyélo‐to do pyétli dokhódit. Na shto on mnye? “A lyet...lyet...a lyet yemú... Dvádtsat!” GUARD Gdyezh tut pyatdesyát? Vídish! Etot eretík, razbóynik, “A róstu on sryédnevo vor, Gríshka‐ty! vólosy...ry´zhiye, na nosú...na nosú borodávka, VARLAAM na lbu...drugáya, Voná! odná ruká...ruká koróche... shto ty, koróche drugóy.” gospód’s tobóy! Da, éto uzh nye...

HOSTESS VARLAAM, MISSAIL and GUARD Góspodi! Derzhí, derzhí yevó, derzhí yevó! i stártsa‐to v pokóye nye ostávyat! ACT TWO GUARD Ey! Kto zdyes grámotny? XENIA 1. Gdye ty, zheníkh moy; GRIGORY gdye ty, moy zhelánny! 19. Ya grámotny. Vo syróy mogílke, na chuzhóy storónke; GUARD lezhish odinóko, Éva! pod kámnem tyazhólym... Nu, chitáy...Vslukh chitáy! Nye vídish ty skórbi, nye slyshish ty plácha, GRIGORY plácha golúbki, “Chúdova monastyryá nedostóyny kak ty, odinókoy. chernyéts Grigóriy, iz ródu Otryépyevykh, nauchón diávolom, vzdúmal smushchát’ NURSE svyatúyu brátiyu vsyákimi soblázny i Aú! pólno, tsaryévna, bezzakóniyami. A bezhál on, Gríshka, k golúbushka! granítse Litóvskoy, i tsar prikazál izlovít’ Pólno plákat’, da ubivát’sa. yevó...” XENIA GUARD Akh, grústno, mámushka, tak grústno! I povyésit’. NURSE GRIGORY I, shto ty, dityatko! Zdyes nye skázano povyésit’. Dyévichi slyózy, shto rosá: vzoydyót sólnyshko, GUARD rosú vy´sushit. Vryosh! nye vsyáko slóvo v stróku píshetsa. Nye klínom svyet soshólsa. Chitáy: “Izlovít’ i povyésit’”. Naydyóm my zhenikhá, i prigózhevo, i privyétlivovo... GRIGORY Zabúdesh pro Ivána Korolyévicha... “I povyésit’. A lyet yemú...Gríshke... ót rodu pyatdesyát...borodá sedáya, XENIA bryúkho tólstoe, nos krásny...” Akh, nyet, nyet, mámushka! Ya i myortvomu GUARD búdu yemú verná. Derzhí yevó! Derzhí, rebyáta! NURSE VARLAAM Vot kak! Shto vy! mél’kom vídela, Postryély okayánnyye! uzh issókhnula... Chevó pristáli? Skúshno by´lo dyévitse Nu, kakóy ya Gríshka! odnóy, Nyet, brat, mólod polyubílsa molodyéts shútki shutít’! likhóy. Khót’ po skladám umyéyu, Kak nye stálo mólodtsa tovó, khot’ plókho razbiráyu, razlyubíla dyévitsa yevó. a razberú! razberú! Ekh, golúbka, to‐to tvoyó góre!

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Lúchshe prislúshaykas, za kolódu da na pyen! shto ya tebyé skazhú: Shágom, mágom, chetvertágom. 2. Kak komár drová rubíl, komár vódu nosíl, FYODOR klópik tyésto mesíl, Kak odnázhky popát’ya komarú obyéd nosíl. zarodíli vorobyá: Naletyéla strekozá, sovsyém vorobyéy, na popóvy na lugá, sovsyém molodóy: i daváy krutít’, mutít’, dlinonósenky, syéno v ryéku vorotít’. vostronósenky. Oserchál komár Poletyél vorobyéy, za popóv továr: pryámo vo gósti k sychú. pobezhál byégom za syénom, stal gonyát’ FYODOR and NURSE strekóz polyénom. Stal sheptát’ Na komaryú na bedú, na ushkó usátomu. to polyéno sorvalós, po strekózam nye popálo, NURSE ryóbra komarú slomálo. Párni dyakóvy gorókh molitíli, Na podmógushku yemú, tsepy polomáli, v ovin pobrosáli, ránym ráno, po utrú, ovin zagoryélsa, pólymen py´shet, klop lopátu privolók, dyáku v oknó stálo vídno yevó. komarú pod sámy bok. Da nye vzdúzhil, iznemóg, FYODOR and NURSE komará podnyát’ nye smog. Dyak ispugálsa, zalyéz pod kadúshku, Zhivotóchek nadorvál... zalyéz pod kadúshku, Bógu dúshenku otdál... shchemíl sebyé úshko...

FYODOR FYODOR 3. Ekh, máma, mámushka, Písar, s péchi, vot kak skázochka! oborvál pléchi Velá za zdrávye, svelá za upokóy! dyákova zhená kalachéy napeklá. Nabezháli pristavá, NURSE vsye poyéli kalachí... Nishto, tsaryévich! Al’ polúchshe znáesh? FYODOR and NURSE Pokhvástaykas! Sam d’yak luka syel koróvu, da byká, My slúshat’ terpelívy, semsót porosyát, my vyed u bátyushki Tsaryá Ivána odní nózhki visyát. terpyényu obuchális. Khlyost! Nu’kas! NURSE FYODOR Akh ty! Oy, máma! smotrí, nye vy´terpish! BORIS Samá podtyánesh. 4. Chevó? Al lyúty zvyer Skázochka pro to i pro syo: nasyédku vspolokhnúl? Kak kúrochka by´chka rodilá. Porosyónochek yaíchko snyos. NURSE Skázka poyótsa, dúrnyam nye dayótsa. Tsar, gosudár, pomíluy! Túru, túru, petushók, Pod stárost’‐to puglíva ty dalyóko l’ otoshól? ból’no stála. Za móre, za móre, k Kievu górodu. BORIS Tam dub stoít razvyésisty, Shto, Kséniya? na dubú sych sidít uvyésisty. shto byédnaya golúbka! V nevyéstakh FYODOR and NURSE uzh pechál’naya vdovítsa! Sych glázom morgnyót, Vsyo pláchesh ty o myórtvom zhenikhé. sych pyésny poyót: dzin, dzin, péredzin. Postrigúli, pomigúli, tyen, tyen, potetyén,

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XENIA toskúyet, tomítsa O gosudár! dukh ustály. nye ogorcháysa ty slezóy devíchey! Kakóy‐to tryépet táyny, Devíchye góre tak lekhkó, nichtózhno vsyo zhdyosh chevó‐to... pyéred tvoyéyu skórbyu. Molítvoy tyóploy k ugódnikam bózhym, BORIS ya mnil zaglushít Dityá moyó! moyá golúbka! dushí stradánya... Besyédoy tyóployu, s podrúgami v svetlítse, v velíchy i blyéske rassyéy svoy um vlásti bezgraníchnoy, ot dum tyazhólykh. Rusí vlady´ka u nikh, Idí, dityá! ya slyoz prosíl mnye v uteshénye. 5. A ty, moy syn, A tam donós: chem zányat? boyár kramóly, Éto shto? kózni Litvy´, i tay´nyye podkópy, FYODOR glad, i mor, Chertyózh zemlí Moskóvokoy, i trus, i razzorénye... náshe tsárstvo, iz kráya v kray. Slóvno díky zvyer ry´shchet Vot vídish: vot Moskvá, lyud zachumlyónny: vot Nóvgorod, golódnaya, byédnaya a vot Kazán, Astrakhán. stónet Rus... Vot móre, Káspiy móre; I v lyútom góre, vot Pérmskiye dremúchiye lesá. nispóslannom bógom, A vot Sibír. za ty´azhky moy gryekh v ispytánye, vinóy vsyekh zol BORIS menyá narekáyut, Kak khoroshó, moy syn! klyanút na ploshchadyákh Kak s oblakóv, yedínym vzórom, ímya Borísa! ty mózhesh obozrét’ vsyo tsárstvo: I dázhe son bezhít, granítsy, réki, grády. i v súmrake nóchi Uchís, Feódor! dityá okrovavlyónnoe vstayót... Kogdá‐nibud’, i skóro Óchi pyláyut, mózhet byt’, stísnuv ruchónki, tebyé vsyo éto tsárstvo dostánetsa. mólit poshchády... Uchís, dityá! I nye by´lo poshchády! 6. Dostíg ya vy´shey vlásti. Stráshnaya rána ziyáet! Shestóy uzh god ya tsárstvuyu spokóyno. Slyshitsa krik yevó predsmyértny... No schástya nyet moyéy O, góspodi, bózhe moy! izmúchennoy dushé! Naprásno mnye kudyésniki sudyát NURSES dni dólgie, dni vlásti bezmyatyézhnoy. Ay, kysh! Ni zhizn, ni vlast’, Ay, kysh, kysh! ni slávy obol’shchénya, Akhti! ni klíki tolpy´ menyá Kysh, kysh! nye veselyát! Ay! V semyé svoyéy Kysh! Kysh! Kysh! ya mnil naytí otrádu, Oy, líkhon’ka. gotóvil dócheri Kysh! Kysh! vesyóly bráchny pir, moyéy tsaryévne, BORIS golúbke chistoy. 7. Shto takóe? Kak búrya, Uznáy, shto tam sluchílos! smyert’ unósit zhenikhá... Ek, vóyut‐to! Tyazhká desnítsa Ty zachém? gróznovo Sudií, uzhásen prígovor NURSES dushé prestúpnoy... Kysh! Kysh! Okrést lish t’ma i mrak neproglyádny! BORIS Khotyá mel’knúl Shtozh molchísh? by luch otrády! I skórbyu sérdtse pólno,

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BOYAR pópinku zagnát’ khotyéli. Velíky gosudár! Da nye vprosák, Tebyé knyaz Vasíly Shúysky chelóm byot. pópka kázhduyu otmyétil. Vot, ótche gosudár, BORIS oní, glyadísh, i vzvy´li, Shúysky? Zoví! dúmu tsárskuyu tvoyú dúmat’ pomesháli. Skazhí, shto rády videt’ knyázya Vot, kazhís, i vsyo, vsyo, kak by´lo. i zhdyom yevó besyédy. BORIS BOYAR Moy syn, dityá moyó rodnóye! Vechór, Púshkina kholóp S kakím isskústvom, kak bóyko prishól’s donósom na Shúyskovo ty vyol svoy rasskáz pravdívy; Mstislávskovo i próchikh i na khozyayna: kak prósto, nóchyu táynaya besyéda shla u nikh, bezkhítrostno, lóvko gonyéts iz Krákovo sumyél opisát’ priyékhal i privyóz... slúchay potyéshny. Vot sládky plod uchénya, BORIS ístiny svyétom, Gontsá skhvatít’! úma okrylyénye. Akhá, Shúysky knyaz! O, yésli by tebyá ya mog Ny, shto? tsaryóm uvídet’, Rúsi pravitelem derzhávnym, FYODOR o, s kakim vostórgom Nye prigózhe by´lob, ótche gosudár, presryév soblázny vlásti um tvoy derzhávny utruzhdát’ na to blazhénstvo ya promenyál by rasskázom vzdórnym. pósokh tsársky.

BORIS SHUISKY Nyet, nyet, dityá! 9. V elíky gosudár, chelóm byu. Vsyo, sly´shish, vsyo, kak bylo. BORIS A, preslávny vitiyá, FYODOR dostóiny konovód tolpy´ bezmózgloy; 8. Pópinka nash sidyél prestúpnaya glavá boyár kramól’nykh, s mamkámi v svetlítse, tsárskovo prestóla supostát. byez umolkú boltál, Nágly lzhets, trízhdy klyátvu prestupívshy, vyésel byl i láskov, khítry litsemyér, l’styets lukávy, k mámushkam podkhodíl, prosvírnya pod shápkoyu boyárskoy, prosíl chesát’ golóvku, obmánshchik, plut! k kázhdoy on podkhodíl, cheryód im soblyudáya. SHUISKY Mámka Nastásya chesát’ nye zakhotéla, Tsar...yest...vyésti, pópinka, oserdyás, i vyésti vázhnye dlya tsárstva tvoyevó. názval mámku dúroy. Mámka, s obídy shtol’, BORIS khvat’ yevó po shéyke, Nye tyel’, shto Púshkinu, pópka kak zakrichít, ili tebyé tam, shtol’, dy´bom vstáli pyérya. privyóz gonyéts potáyny ot sopriyátelyey, Nu, yevó ublazhát’, boyár opál’nykh? ugoshchát’ yevó slastyámi, vsyem príchetom molít’, SHUISKY laskát’ yevó, pokóit’. Da, gosudár! Da nyet, nye tut to by´lo! V Litvyé yavílsa Samozvánets, Khmúry takóy sidít, koról’, pany´ nos utknúvshi v pyérya, i pápa za nyevó! na slásti nye glyadít, shto‐to vyso bormóchet... BORIS Vdrug k mámke podskochíl, Chim zhe imenem na nas chesát’ shto nye khotyéla, on opolchítsa vzdúmal? dávay yeyó dolbít’, Chyo ímya, negodyáy, ukrál... ta i grókhnulasa ób pol. Chyo ímya? Tut mámki, so strastyéy, slóvno vzbelenílis, stáli makhát’, krichát’,

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SHUISKY kazn, takúyu kazn, Konyéshno, tsar, sil’ná tvoyá derzháva. shto Tsar Iván ot úzhasa vo gróbe Ty mílostyu, radyényem i shchedrótoy sodrognyótsa!... usynovíl serdtsá svoikh rabóv, Otvyéta zhdu! dushóyu prédannykh prestólu tvoyemú. Khotyá i ból’no mnye, velíky gosudár, SHUISKY khotyá i króvyu moyó sérdtse obol’yótsa, Nye kazn strashná, no ot tebyá taít’ nye smyéyu, strashná tvoyá nemílost’! shto, yésli, dyérzosti ispólnyenny brodyága, 11. V Ugliche, v soboryé s Litvy´ granítsu náshu pereydyót, pred vsyém naródom, k nyemú tolpú, byt’ mózhet privlechót pyat’ slíshkom dnyey ya trup Dimítriya voskrésnuvshee ímya! mladyéntsa posyeshchál.. Vokrúg nyevó trinádtsat’ tyel lezhálo, BORIS obezobrázhennykh, v kroví, Dimítriya... v lokhmótyakh gryáznykh, Tsaryévich udalís! i po nim uzh tlyénie zamyétno prostupálo; FYODOR no dyétsky lik tsaryévicha O gosudár, dozvól’ mnye byl svyétel, chist i yásen; pri tebyé ostát’sa, glubókaya, stráshnaya ziyála rána; uznát bedú, a na ustákh yevó neporóchnykh grozyáshchuyu prestólu tvoyemú. ulybka chúdnaya igrála; kazálosya v svoyéy on kolybyél’ke BORIS spokóyno spit, slozhívshi rúchki Nelzyá...nelzyá, dityá! Tsaryévich! i v právoy kryépko szhav igrúshku Tsaryévich, povinúysa! dyétskuyu... Vzyat’ myéry, syey zhe chas, shtob ot Litvy´ Rus BORIS ogradílas zastávami, Dovól’no!... shtob ni odná dushá 12. Uf! tyazheló! nye pereshlá za étu gran... Day dukh perevedú... Stupáy!... Ya chústvoval vsya krov’ mnye kínulas v Nyet!...Postóy...postóy, Shúysky! litsó, 10. Slikhál li ty, kogdá‐nibud’, i tyázhko opuskálas. shtob dyéti myórtvye iz gróba vykhodíli... O, sóvest’ lyútaya, Dopráshivat’ tsaryéy...tsaryéy zakónnykh, kak stráshno ty karaesh!... ízbrannykh vsenaródno, Yézheli v tebyé pyatnó yedínoe... uvyénchannykh velikim patriárkhom... Yedínoe slucháyno zavelósya, Kha, kha, kha, kha, kha, kha, kha, kha. dushá sgorít, Shto?...Smeshnó? nal’yótsa sérdtse yadóm, Shtozh nye smeyóshsa? A? tak tyázhko, tyázhko stánet, shto mólotom stuchít SHUISKY v ushákh upryokom i proklyátyem... Pomíluy, velíky gosudár! i dúshit shto‐to...dúshit... I golová kruzhítsai viditsa... BORIS v glazákh... Slúshay, knyaz! dityá okrovavlyónnoe!... Kogdá velikoe svershílos zlodeyánye... Von...von tam, shto éto... Kogdá bezvryémenno malyútka pogíb, tam v uglú... malyútka tot...pogíbshy... kolyshetsa, rastyót... by!...Dimítry? blízitsa... drozhít i stónet... SHUISKY Chur, chur... On! Nye ya,...nye ya tvoy likhodyéy... Chur, chur, dityá!... BORIS Nye ya...nye ya... Vasíly Iványch! Vólya naróda!... Krestóm tebyá i bógom zaklináyu, Chur, dityá!... po sóvesti, vsyu právdu mnye skazhí, Góspodi! ty nye khóchesh ty znáesh, ya mílostiv... smyérti gryéshnika, no yésli ty khitrísh, pomíluy dúshu prestúpnovo klyanús tebyé! tsaryá Borísa! Pridúmayu ya zlúyu

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ACT THREE o velíchyi, o pobyédakh i o slávye vóyev pol’skikh, Scene One o vsemóshchnykh pol’skikh dyévakh, o pobitykh inozémtsakh. CHORUS OF MAIDENS Vot shto núzhno pánnye Mníshek, 13. Na Víslye lazúrnoy, éti pyésni yey otráda. pod ívoy tenístoy, Stupáyte. yest chúdny tsvetóchek, on snéga beléye, Ty, Rúzya, mnye nye nuzhná sevódnya; v zerkál’nyye vódy lenívo glyadítsa, otdokhní. lyubúyas svoyéy roskóshnoy krasóyu. Nad chúdnym tsvetóchkom, blistáya na 15. Skúchno Marínye, akh, kak skúchno‐to! sóntse, Kak tomítel’no i vyálo roy bábochek rézvykh igráet, dni za dnyámi dlyátsa. kruzhítsa; Pústo, glúpo tak, besplódno; plenyónny chudésnoy krasóyu tsvetóchka, tsély sonm knyazyéy i gráfov, prelyéstnikh listóchkov nye sméyet i panóv vel’mózhnykh kosnútsa. nye razgónit skúki ádskoy. I chúdny tsvetóchek, kiváya golovóy, No lish tam, v tumánnoy dáli, v zerkál’nye vódy lenívo glyadítsa. zórka yásnaya blesnúla; to Moskóvsky prokhodímets MARINA pánnye Mníshek priglyanúlsa. Almázny moy venyéts! Moy Dimítry, mstítel’ grózny, besposhchádny, CHOIR bózhy sud, i bózhya A v zámkye vesyólom krasávitsa pánna, kára za tsaryévicha tsvetóchka rechnóvo malyútku, zhértvu vlásti nenasytnoy, beléye, miléye, zhértvu álchnosti Borísa, tsvetóchka rechnóvo, beléye, nezhnéye, zhértvu zloby Godunóva. na slávu i rádost’ vsyevó Sandomíra Razhbuzhú zhe ya magnátov sónnykh, roshkóshno tsvetyót. blyéskom zláta ya shlyákhtu. Nemálo mólodtsev, A tebyá, moy samozvánets, blestyáshchikh i znátnykh, moy lyubóvnik tómny, v nevól’nom smushchényi opóyu tebyá slezámi pred nyéyu preklonyális, strásti zhgúchey, ulybku krasótki blazhénstvom schitáya, zadushú tebyá v obyátyakh, u nog charodyéyki zatselúyu vyes mir zabyváya. mily moy tsaryévich, moy Dimítry, A pánna krasótka lukávo smeyálas moy zheníkh nazvány nad réchyu lyubóvnoy, nyézhnym lyépetom lyubóvnym nad strástyu ikh py´lkoy slukh tvoy ocharúyu. tomlyényam i múkam serdyéts moy tsaryevích, moy Dimítry, moy ikh smushchónnykh lyubóvnik tomny! nye vnémlya. Pánnye Mnishek slíshkom skúchny strásti tómnoy izlyánya, MARINA pylkikh yúnoshey molyénya, Dovól’no! réchi póshlyye magnátov. 14. Krasótka pánna blagodárna Pánna Mníshek slávy khóchet, za láskovoye slóvo pánna Mníshek vlásti zházhdet! i sravnyénye Na prestól tsaryéy moskóvskikh s tyem tsvetóchkom chúdnym ya tsarítsey syádu, shto beléye snyéga. i, v porfírye zlatotkánnoy, No pánna Mníshek nedovól’na sóntsem zablistáyu. ni réchyu váshey l’stívoy I srazhu krasóyu chudyésnoy ni bessmy´slennym namyókom ya moskaley tupoumnykh, na kakíkh‐to mólodtsev blistyáshchikh, i stádo boyár kichlívykh shto tséloyu tolpóyu u nog yeyó lezháli, bit’ chelóm sebyé zastávlyu. v blazhénstvye utopáya. I proslávyat v skázkakh, Nyet, nye étikh pyésen bylyakh nebylítsakh núzhno pánnye Mníshek; górduyu svoyú tsarítsu nye pokhvál svoyéy krasyé tupoúmnyye moskáli! ot vas zhdalá ya. Kha, kha, etc. A tyekh pyésenok chudyésnykh, 16. A! Akh, éto ty, moy otyéts! shto mnye nyánya napevála,

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RANGONI ugryzyénia sóvyesti zhálkoy, Dozvólit li nichtózhnomu rabú gospódnyu bros predrasúdok, pustóy i nichtozhny, krasóyu nezemnóy siyayuschchaya pánna skrómnosti lózhnoy i vzdórnoy devichey prosít’ vnimániya. poróyu genévom pritvornym kapriznoyu príkhot’yu zhenskoy. MARINA Poróyu tónkoyu lyéstyu iwkuwnim, il’ Otyéts moy, vy nye prosít’ dolzhny´: lóvkim obmánon Marína Mníshek dócheryu iskusí yevó, obol’stí yevó. poslúshnoyu bylá i búdyet I kogdá istomlyónny, u nog tvoíkh svyatóy apostól’skoy nerazdyél’noy tsérkvi. dívnykh, v vostórgye bezmólvnom, RANGONI zhdat’ búdyet velyéniy, Tsérkov bózhya klyátvu potrébuy svyatóy propagándy! ostávlyena, zaby´ta líki svyétlyye MARINA svyaty´kh poblyókli, Tovó li mnye núzhno! vyéry zhivóy istóchnik chísty gásnyet, RANGONI ogn kadíl’nits blagovónnykh myérknet, Kak? i ty derznovénno ziyáyut rány svyaty´kh strastotyérptsev, protívitsa tsérkvi! skorb i stóny Yésli za blágo príznano búdyet, v obítelyakh górnikh, dolzhná ty pozhértvovat’ budesh, lyútsa slyózy bez strákha, bez sozhalyénya, chéstyu pástyryey smiryénnykh. svoyéyu!

MARINA MARINA Otyéts moy! vy...vy smushcháete menyá. Shto? dyérzky lzhets! Bólyu zhgúcheyu rech vásha skórbnaya Klyanú tvoí réchi lukávyye, v slábom moyóm syérdtse otdayótsa. syérdtse tvoyó razvrashchónnoye, klyanú tebyá vsyey síloy prezréniya. RANGONI Proch s glaz moikh! Doch moyá Marina! Provozvestí yerétikam‐moskályam RANGONI vyéru právuyu Marína! obratí ikh na put’ spasyénya, Plámenem ádskim glazá tvoí zablestáli, sokrushí dukh raskóla grekhóvny, ustá iskazílis, shchóki poblyókli; i proslávyat Marínu svyatúyu ot dunovyénya nechístovo ischézla krasá pred prestólom tvortsá luchezárnym tyoyá. ángely gospódni! MARINA MARINA Bózhe, zashchití menyá! I proslavyát Marínu svyatúyu Bózhe, nauchí menyá! pred prestólom tvortsá luchezárnym Bózhe moy put ukazhí ángely gospódni! by´dnoy Maríne! U! grekh kakóy! Otyéts moy, sobláznom stráshnym RANGONI vy iskusíli dushú gréshnuyu Dúkhi t’my tobóy ovladyéli, neópytnoy i vyétrennoy Maríny. górdynyey besóvskoy tvoy um omráchili, Nyet, nye mnye, privykshey k blyésku, v gróznom velíchyi, na krylyakh ádskikh, v vikhre svyéta sam sataná parít nad tobóyu! i piróv vesyólykh, Smirís pred bózhyim poslóm! nyet, nye mnye na dólyu pálo Predáysya mnye vsyey dushóyu, tsérkov bózhiyu proslávit’. svóim vsyem pómyslom, zhelányem i Ya bessíl’na. mechtóyu; moyéyu bud’ rabóy! RANGONI 17. Krasóyu svoyéyu plení samozvántsa! Scene Two Réchyu lyubóvnoyu, pylkoyu, nyézhnoyu, strást zaroní v yevó syérdtse. DIMITRY Plámennym vzórom, ulybkoy 18. V pólnoch...v sadú... charúyushchey. u fontána, Rázum yevó pokorí. o gólos dívny! Strakh suyevyérny, nelyépy prezrí Kakóy otrádoy ty mnye napólnil syérdtse!

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Pridyósh li ty, zhelánnaya, o táynykh svidányakh, pridyósh li, golúbka moyá lyokhlo‐kry´laya? o postelúyakh, A l’ pozabyla ly búynovo sókola, roy oskorblyéniy nevynosimykh... shto po tebyé grustít, nadryváestsa? O, ty nye otvyérg by togdá Privyétom láskovym, réchyu nyézhnoyu mol’by moyéy skrómnoy, moikh uveryéniy, ty oblegchí múku syérdtsa bezyskhódnuyu. lózhyu nye názval by Marína! Marína! múku byédnoy Maríny. Otklíknis, o, otkliknís! Pridí, pridí, ya zhdu tebyá! DIMITRY Ya zhdu tebyá! Dovól’no! Slíshkom mnógo upryókov, Na zov otkliknís, otzovís! slíshkom dólgo skryvál ya ot lyudyéy Nyet, nyet otvyéta. svoyó schástye! Ya za Marínu grúdyu stánu, RANGONI ya doproshú panóv nadmyénnykh, Tsaryévich! kovárstvo zhon ikh bessty´dnykh razrúshu. Ya osmyeyú ikh zhálkuyu zlóbu, DIMITRY pred tséloy tolpóyu bezdúshnykh panyónok Opyát’ za mnoy! otkróyus v lyubvi bezgraníchnoy Marinye, Kak tyen, preslyéduesh menyá. ya bróshus k nogám yeyó, umolyáya nye otvergát’ py´lkoy strásti moyéy, RANGONI byt’ mnye zhenóyu, tsarítseyu, drugom. Svetlyéyshy, doblestny tsaryévich! Ya póslan k vam górdoyu krasávitsey RANGONI Marínoy. Vspomoshchestvúy, svyatóy Ignátiy!

DIMITRY DIMITRY Marínoy? Ty, otryókshysya ot míra, proklyátyu predávshy vsye rádosti zhízni, RANGONI máster velíky v lyubóvnom iskússtvye, Poslúshnoy, nyézhnoy dócheryu, zaklináyu tebyá, vsyey síloy klyátvy tvoyéy, mnye nyébom vruchónnoy. vsyey siloy zházhdy blazhénstva Oná umolyála skazát’ vam, nebyésnovo! shto mnógo nasmyéshek zlóbnykh Vedí menyá k nyey, O day uvidet’ yeyó, prishlós perenyést’ yey, day skazát’ o lyubví moyéy, shto vas oná lyúbit, shto búdyet k vam... o stradányakh moíkh, i nyet toy tseny, DIMITRY shto smutíla b menyá! O, yésli ty nye lzhozh, RANGONI yésli nye sam Satana Smirénny, gréshny bogomólyets shépchet tye réchi chudyésnyye... o blízhnikh svoíkh, Voznesú yeyó, golúbku, o stráshnom dnye poslyédnevo sudá, pred vsyéyu rússkoy zemlyóy, o gróznoy kárye gospódney, vozvedú yeyó s sobóyu gryadúschchey v tot dyen, na tsársky prestól, vsechásno pomyshlyayushchy, osleplyú yeyó krasóyu pravoslavny lyud! trup, davnó otzhívsky, khládny kámen, Zloy dyémon! mózhet li zhelát’ sokróvishch zhízni! Ty, kak tat’ nochnóy, No yésli Dimítry zakrálsa mnye v dúshu, vnushényem bózhyim, ty vy´rval iz grudí moyéy priznanye... nye otvyérgnyet zhelániy smirénnykh Ty o lyubví Maríny lgal? nye pokidát’ yevó kak sy´na, sledít’ za kázhdym shágom yevó i my´slyu, RANGONI beréch i okhranyát’ yevó... Lgal? ya lgal? I pyéred tobóy, tsaryévich? DIMITRY Da po tebyé odnóm oná i dyen, i noch Da, ya nye rasstánus s tobóy, tomítsa i stradáet, tol’ko day mnye uvídet’ Marínu moyú, o, sud’bé tvoyéy zavídnoy obnyát’ yeyó. v nochnóy tishí mechtáet: O, yéslib ty lyubil yeyó, RANGONI yésliby znal yeyó terzánya Tsaryévich, skróysya! górdykh panóv nasmyéshki, závist’ ihk zhon litsemyérnykh, DIMITRY póshlyye splyétni, brédni pusty´ye Shto s tobóy?

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RANGONI ukrádkoy vstrétit’ blyesk charúyushchikh Tebyá zastányet zdes tolpá ochéy yeyó chudyésnykh, pirúyushchikh magnátov. a syérdtse bílos síl’no, Uydí, tsaryévich, umolyáyu, uydi! tak síl’no bílos, shto nye raz tolkálo s bóya vzyat’ svobódu, DIMITRY pobít’sa s pokrovítelyem nezvánnym, Pust’ idút, otsóm moím duhkóvnym! ya vstréchu ikh s pochótom, Pod boltovnyú nesnósnuyu yevó rechéy, po sánu, dóblesti i chésti. do náglosti lukávykh, ya vídel pód ruku s pánom khvastlívym, RANGONI nadmyénnuyu krasávitsu Marínu: Opómnis, tsaryévich, plenítel’noy uly´bkoyu siyáya, ty pogubísh sebyá preléstnitsa sheptála o láskye nyézhnoy, ty vy´dash Marínu, uydí skoréye! o strásti tikhoy, o schasti byt’ suprúgoy... suprúgoy bezdúshnovo kutíly! 19. Polonaise Kogdá sud’bá sulít yey lyubví blazhénstva i slávu, MARINA venyéts zlatóyi tsárskuyu porfíru! Váshey strásti ya nye vyéryu, pánye, Nyet, k chórtu vsyo! váshey klyátvy, uverénya, vsyo naprásno! Skoréye v bránnyye dospyékhi! I nye móshete vy, pánye... Shelóm i myech bulátny, réchyu váshu obmanút’ i na konyéy! Vperyód! Na symértny boy! GUESTS Mchástsa v glavyé druzhíny khoróbroy, I Moskóvskoye tsárstvo vstrétit litsóm k litsú my polónim zhivo! vrázhyi polkí, s bóya, so slávoy, I moskályey plyénnykh vzyat’ naslyédny prestól! privedyóm k vam, pánni! A vóyska Borísa razobyóm navyérno, my v’ MARINA prakh. 20. Dimítry! Tsaryévich Dimítriy!

WOMEN DIMITRY Nu, tak shto zhe, dólgo myédlits vam! Oná! Marína! Na Moskvú skoréy idíte vi Zdes, moyá golúbka, krasávitsa moyá. vi Borísa v plyen beríte, O, kak tomítel’no, vyálo, shto zhe dólgo myédlits’ vam! dlílis minúty ozhidánya skol’ko muchítel’nykh somnyéniy, MEN syerdtse terzáya, Na Moskvú speshít’ dolzhny´ my, svyétlyye dúmy moí omracháli, vzyat’, vzyat’, v plen Borísa vzyat’. lyubóv moyú i shástye Dlya Réchi Pospolítoy proklinát’ zastavlyáli. nádo razorít’ gnezdó moskályey! MARINA WOMEN Znáyu, vsyo znáyu! Marína nye sumyeyet. Nochéy nye spish, mechtáesh ty, Krasíva, no sukhá, nadmyénna, zla Marína. i dyen i noch mechtáesh o svoyéy Marínye. Nyet, nye dlya rechéy lyubví MARINA nye dlya besyéd pusty´kh i vzdórnykh Viná, viná, panóvye! ya prishlá k tebyé. Ti nayedinye s sobóyu mózhesh mlyet’ i táyat’ ot lyubví ko mnye. GUESTS Pyom bokál DIMITRY vo zdrávye Mníshkov! Marína? Pyom, pany, Maríny zdrávye! Pannu chéstvuyem vengérskim! MARINA Sláva tsárskomu ventsú Maríny! Nyet, menyá nye udivyát, ty dólzhen znat’ Vivat, vivat, vivat! ni zhértvy, ni dázhe smyert’ tvoyá iz‐za lyubví ko mnye. DIMITRY Kogdá zh tsaryóm ty budyésh v Moskvyé? Iezuít lukávy krépko zhal menyá v kogtyákh svoíkh proklyátikh. DIMITRY Ya tólko mélkom, ízdali, uspél Tsaryóm? Marína, ty pugáesh syérdtse! vzglyanút’ na divnuyu Marínu, Uzhéli vlast’, siyániye prestóla,

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kholópov pódlykh roy, DIMITRY ikh gnúsnyye donósy Shto s tobóy! v tebyé moglí by zaglushít’ svyatúyu zházhdu lyubví vzaímnoy, MARINA otrádu láski serdyéchnoy, obyátiy zhárkikh Kholóp! i strastnykh vostórgov charúyushchuyu sílu! DIMITRY Stoy, Marína! MARINA Mnye chúdilos, ty brósila Konyéshno! ukorom tyágostnym moyéy minúvshey My i zhízni. v khIzhinye ubógoy Lzhosh, górdaya polyáchka! búdyem schástlivy s tobóy; Tsaryévich ya! shto nam sláva, shto nam tsárstvo? So vsyekh kontsóv Rusi My lyubóvyu búdyem zhit’ odnóy! vozhdí steklísya, Yésli vy, tsaryévich, odnóy lyubví khotíte, zaútra v boy letím v Moskóvii u vas naydyótsa nemálo v glavyé druzhín khoróbrykh, zhénschchin, slávnym vítyazem pryámo krasívykh, rumyánykh, brov sobolínaya. v kreml’ Moskóvsky, na ótchiy prestól, DIMITRY zavyéshchanny sud’bóy. 21. Tebyá, tebyá odnú, Marína No kogdá tsaryóm ya syádu ya obozháyu, v velíchyi nepristúpnom, vsyey síloy strásti, O s kakím vostórgom ya nasmyéyus nad vsyey zházhdoy nyégi i blazhénstva. tobóy, Zhál’sa nad skórbyu O kak okhótno ya posmotryú na tebyá, byédnoy dushí moyéy kak ty, potyéryannym tsárstvom terzáyas, nye otvergáy menyá! rabóyu poslúshnoyu, búdyesh poltztí k podnózhyu prestóla moyevó MARINA vsyem togdá smeyátsa ya velyú Tak nye Marínu, nad dúroyu‐shlyakhtyánkoy! vy tól’ko zhénshchinu vo mnye lyubíli? Lish prestól tsaréy moskóvskikh, MARINA lish zlatóy venyéts derzhávny Smeyátsa! iskusít’ menya moglí by. 22. O tsaryévich, umolyáyu, ne klyaní menyá za réchi zly´ye, DIMITRY nye ukórom, nye nasmyéshkoy, Ty ránish syérdtse mnye, no chístoy lyubóvyu, zvúchat oní zhestókaya Marína, zházhdoy slávy tvoyéy, ot slov tvoíkh mogíl’ny zházhdoy velíchya, khlad na dúshu vyéyet. zvuchát v tishí nochnóy Vídish, ya u nog tvoíkh, moy míly, moy kokhány, u nog tvoíkh molyú tebyá: nye izménit tvoyá Marína! nye otvergáy lyubví moyéye bezúmnoy! Zabúd, zabúd’ o nyey, zabúd’ o lyubví svoyéy, MARINA skoréye na otchiy prestól! Vstan’, lyubóvnik nyézhny. Nye tomí sebyá mol’boy naprásnoy. DIMITRY Vstan’, stradályets nyézhny, kak mnye Marína! zhal’tebyá Adskyyu múku dushí moyéy Mnye zhal’, moy míly. nye rastravláy lyubóvyu pritvórnoy! Iznemóg, istomílsa ot lyubví k svoyéy Marínye, MARINA dyen i noch o nyey mechtáesh. Lyublyú tebyá, moy kokhány, brósit dúmat’ o prestólye, moy povelítel’! o borbyé s tsaryóm Borísom proch, brodyága dérzky! DIMITRY O, povtorí, povtorí, Marína! DIMITRY O, nye day ostyt’ naslazhdyényu, Marína, shto s tobóy? day dushé otrádu, moyá charovnítsa, zhizn’ moya! MARINA Proch, prispyéshnik pánsky!

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MARINA Dubínki u boyárina nye vídno. Tsar moy! Chevó dubínki? Súnte plyótku. Vot tak. Dál’she valyáy. DIMITRY Sídnem sidít, dúmu dúmaet, Vstan’ tsarítsa moya, nenaglyádnaya! kak by Borísu v ugódushku, Obnimí ti zhelánnovo! kak by vóru na pomóch Vstan, obnimí! zabít, zaporót’ lyud chestnóy. Sláva boyárinu, sláva Borísovu! MARINA Sláva boyárinu, O, kak syérdtse moyó ozhivíl ty, sláva Borísovu! Sláva! povelítel’ moy! Chéstyu, póchestyu ty nas povázhival, v búryu, nyépogod’, da v bezdorózhiye, VOICES OF FEASTING GUESTS na rebyátkakh náshykh pokátyval, Vivat! Vivat! Vivat! Vivat! tónkoy plyótkoy postyógival. Sláva boyárinu, sláva Borisovu! ACT FOUR Sláva boyárinu, sláva Borísovu! Okh, uzh i sláva zh tebyé, boyárin! Scene One Okh, uzh i sláva zh tebyé, boyárinu! Sláva vyéchnaya! VAGABONDS 1. Valí syudá! GROUP OF BOYS Na pyen sadí, na pyen, rebyáta! 3. Trrr, trrr, trrr, trrr! Vot tak! A shtob nye ból’no vyl, Zhelyézny kolpák, zhelyézny kolpák! shtob górlishko boyárskovo nye pórtil... Trrr, trrr, trrr, trrr! Zakonopát’. Vázhno! Zhelyézny kolpák, zhelyézny kolpák! Shtozh, brátsy? Ulyu, lyu, lyu, lyu, lyu, lyu, Al’ tak, bez pochótu lyu, lyu, lyu, lyu, lyu! Trrr! boyárina ostávim? Tak, bez pochótu! Tak nye ládno! SIMPLETON Vsyozh on Borísov voyevóda. Myésyats yédet, Borís‐ot vorovskí prestólom tsárskim kotyónok pláchet, právil, Yuródivy, vstaváy, a on u vóra vorovál! Shtozh? Bógu pomolísya, Khristú poklonísya. Za to yemú pochót, Khristós bog nash búdyet vyódro, kak vóru dóbromu? budyet myésyats, Ey! Ry´ndy! Fómka! Yepikhán! budyet vyódro...myésyats... Za boyárina! Vázhno! Shtóyto za nyévidal’! BOYS Al’ nikolí boyárin Zdrávstvuy, zdrávstvuy, yuródivy Iványch! nash zasnóbushki nye vyédal? Vstan, nas pochéstvuy, Kudy´ tye k chórtu! v póyas poklonísya nam Boyárin bez zaznoby, kolpachók to skin! shto piróg bez nachínki, Kolpachók tyazhól! odin sukhár! Dzin, dzin, dzin, Afímya! golúbka! dzin, dzin, dzin, Tebyé uzh, báyut, vtoraya sótnya ek zvonít! podstupíla. Tak onó nye bóyazno. SIMPLETON Valí, krasávitsa, k boyárinu. A u menyá kopyeyechka yest’. Valí! Kah, kah, etc. Ládno. Daváyte velichát’! BOYS Daváyte velichát’! Shútish! Ey, báby, zavodí! Nye nadúyesh nas, nyebos! Ey, vy báby, zavodí! 2. Nye sókol letít po podnébyesyu, SIMPLETON nye bórzy kon mchítsa pó polyu. Vish! Sídnem sidít boyárinushka BOYS dúmu dúmaet. Fit’! Sláva boyárinu! Sláva Borísovu! SIMPLETON Sláva boyárinu! A‐a! A! Obídeli yuródivovo! Sláva Borísovu! Sláva! A‐a! Ótnyali kopyéyechku! A‐a! Stoy, báby!

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VARLAAM and MISSAIL razgulyálas, podnimálas síla pododónnaya, 4. Sóntse, luná pomyérknuli, síla gróznaya, bedóvaya! zvyózdy s nebyés pokatílisya, vselyénnaya voskolebálasya, VARLAAM ot tyázhkovo grekhá Borísova Ry´shchut, bródyat slúgi Borísa, bródit zveryó nevídannoye, pytáyut lyud nepovínny... brodít zveryó nesly´khannoye, pozhiráet telá chelovyécheskiye MISSAIL vo slávu grekhá Borísova. Ry´shchut, bródyat slúgi Borísa, Múchat, pytáyut bózhy lyud, pytáyut lyud nepovínny... a múchat slúgi Borísovy, naushchényem síly ádovoy, VARLAAM and MISSAIL vo slávu prestóla satanínskovo. Py´tkoy pytáyut, dushát v zastyénkye, VAGABONDS lyud nepovínny, lyud pravoslávny. Shto b to by´lo? Ot Moskvy´ idút svyaty´ye stártsy, VAGABONDS Ktoy‐to, brátsy? Smyert’! Smyert’ Borísu! pyésnyu vedút o kóznyakh Borísa, Tsareubíytse smyert’! o pytkakh sviryépykh, o múkakh zhestókikh, LAVITSKY and CHERNIKOVSKY shto tyérpit lyud nepovínny. 5. Domine, Domine, salvum fac regem, regem, regem VARLAAM and MISSAIL Demetrium Moscoviae, Stónet, myatyótsa svyatáya Rus, salvum fac, salvum fac a stónet pod rukóy bogootstúpnika, regem Demetrium omnis Russia pod próklyatoy rukóy tsareubíytsy, salvum fac, salvum fac v proslavlyénye grekhá nezamolímovo! regem Demetrium.

VAGABONDS VAGABONDS Gaydá! Raskhodílas, razgulyálas síla Kovó yeshchó nelyókhkaya nesyót? udal’ molodyétskaya. Slóvno vólki vóyut! Rashkhodílas, razgulyálas síla Shto za dyávoly? udal’ molodyétskaya. Py´shet pólymem LAVITSKY and CHERNIKOVSKY krov kazátskaya. Domine, Domine, salvum fac, Podnimálasa so dna, regem Demetrium salvum fac. síla pododónnaya podnimálasa so dna síla pododónnaya. VARLAAM poddónaya, neu go mónnaya, goi! Voronyó pogánoye! Oy, to síla, Podí‐ka, tózhe vozglasháyut tsaryévicha! sílushka, Nye popústim, otyéts Misaíl? oy, ty síla bedóvaya! Oy, ty síla, sílushka, VARLAAM and MISSAIL oy, ty síla gróznaya! Nye popústim! Ty nye vyday mólodtsev, molodtsev událykh! LAVITSKY and CHERNIKOVSKY Oy, ty day im ponatyéshitsa, Domine, Domine, salvum fac oy ty day im ponasy´titsa, regem Demetrium ponasy´titsa, ponatyéshitsa, regem Demetrium Moscoviae! ponatyéshitsa, sílushka, day! VARLAAM and MISSAIL VARLAAM and MISSAIL Dushí vorón proklyátykh! Vosprimíte, lyúdiy, tsaryá zakónnovo! Vosprimíte bógom spasyónnovo, VAGABONDS ot ubíytsy bógom ukry´tovo. Gaydá! Dushí! Vosprimíte, lyúdiye, Daví! tsaryá Dimítriya Ivánovicha! A, krovosósy, kolduny´ pogányye! VAGABONDS Raskhodílo, razgulyálos údal VARLAAM molodyétskaya, Da voznesútsa na drévo blagolyépno.

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VARLAAM and MISSAIL THE SIMPLETON Da vosproslávyat vselyénnuyu 7. Lyéytes, lyéytes slyózy górkiye, glásom vélim. plach, plach, dushá pravoslávnaya, skóro vrag pridyót, VAGABONDS i nastányet t’ma Gaydá! témen tyómnaya, neproglyádnaya. Góre, góre Rusí, LAVITSKY and CHERNIKOVSKY plach, plach rússky lyud. Sanctissima Virgo, juva, juva servos tuos! Golódny lyud! Sanctissima Virgo, juva, juva servos tuos! Sanctissima Virgo, juva, juva servos tuos! Scene Two

VARLAAM FIRST GROUP OF BOYARS Krépche vyazhí! 8. Shtozh? poydóm na golosá, boyáre. Da presechótsa mániye diányey, da otrínyetsa pómoshch desnítsy! SECOND GROUP Vam pyérvym nachinát, boyáre. VAGABONDS Gayda! FIRST GROUP Na osinu! Da náshe mnyéniye davnó gotóvo. Pishí, Andréy Mikháylych. LAVITSKY and CHERNIKOVSKY Sanctissima Virgo, juva, juva servos tuos! THIRD GROUP Zlodyéya, ktob ni byl on, VARLAAM and MISSAIL skaznít’. 6. Sláva tebyé, tsaryévichu, bógom spasyénnomu, SECOND GROUP Sláva tebyé, tsaryévichu. Stoy, boyáre! Vy prézdhe izloví, VAGABONDS a tam skazní, pozháluy. Sláva tsaryévichu, bógom spasyénnomu bógom ukry´tomu! THIRD GROUP Sláva tebyé, bógom spasyénnomu! Ládno... Zhiví i zdrávstvuy, Dimítriy Ivánovich! Sláva! Sláva! Sláva! FOURTH GROUP Nu, nye sovsyém‐to ládno. DIMITRY My, Dimítriy Ivánovich, FIRST GROUP bózhyim isvolyéniyem tsaryévich vseyá Da nu, boyáre, nye sbiváete. Rusí, knyaz ot kolyéna prédkov náshikh, THIRD GROUP vas, gonimykh Godunóvym Zlodyéya, ktob ni byl on, zovyóm k sebyé imát’ i obeshcháem mílost’ i zashchítu. i pytát’ na dy´bye krépko.

KHRUSHCHOV FIRST GROUP Góspodi! syn Ioánnov, sláva tebyé! A tam skaznít’ i trup yevó povyésit’. DIMITRY Pust’ klyuyút vrány golódnyye! Vstan, boyárin! Za námi vslyed idíte v boy! FOURTH GROUP Na ródinu svyatúyu! Trup yevó predát’ sozhzhényu V Moskvú, v zlatovyérkhy Kreml’! na lóbnom myéstye vsenaródno, i trizhdy proklyást’ tot prakh pogány. VAGABONDS Sláva tebyé, tsar batyúshka! SECOND GROUP I rasséyat’ prakh proklyáty LAVITSKY and CHERNIKOVSKY za zastávami po vyétru. Deo gloria, gloria Deo, Deo gloria, gloria! ALL Shtob i slyed prosty´l navyéki VAGABONDS pobrodyagi samozvantsa. Sláva tebyé, Dimítriy Ivánovich! Sláva!

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SECOND and FOURTH GROUPS BORIS I kázhdovo, kto s nim Chur, chur! yedinomy´slit, skaznít’. SHUISKY Chur, dityá! ALL I trup k pozónomu stolbú pribít’, SHCHELKALOV o chom ukázy razoslát’ povsemyéstno. Tíshe! tsar...tsar... Po syólam, gorodám i po posádam, po vsyey Rusí BORIS chitát’ v sobórakh i tserkvákh, Chur, chur! na ploshchadyákh i skhódakh. I góspoda molít’ koleno preklonyenno, BOYARS da szhálitsa nad Rúsyu, mnogostradál’noy. Góspodi!

FIRST and FOURTH GROUPS BORIS 9. Zhal, Shúyskovo nyet knyázya. Chur, dityá!

SECOND and THIRD GROUPS BOYARS Khot’ i kramól’nik, O, góspodi! a bez nyevó, kazhis, S námi kréstnaya síla! ne ládno vy´shlo mnyénye. BORIS SHUISKY Chur, chur! Prostíte mnye, boyáre. Kto govorít: ubíytsa? Ubíytsy nyet! Zhiv, zhiv malyútka! FIRST and FOURTH GROUP A Shúyskovo za lzhivuyu prisyágu Ek, lyógok na pomínye... chetvertovát’!

SHUISKY SHUISKY Pozapozdál malyénko, Blagodát’ gospódnya nad tobóy! nye vo vrémya pozhálovat’ izvólil. Namyédni, ukhodyá ot gosudárya, BORIS skorbyá vsyem syérdtsem, A? radyéya o dushé tsaryovoy, Ya sózval vas, boyáre, ya v shchólochku na váshu múdrost’ polagáyus; slucháyno zaglyanúl. v godínu byed i tyázhkikh ispytániy, O, shto uvídyel ya, boyáre! vy mnye pomóshniki, boyáre. Blyédny, kholódnym pótom obliváyas, drozhá vsyem tyélom, SHUISKY nyesvyázno bormochá Velíky gosudár! kakíye‐to slová chudnyye, Dozvól’ mnye, nerazúmnomu, gnyévno ochámi sverkáya, smirénnomu rabú, kakóy‐to múkoy táynoy terzáyas, slóvo mólvit’. Zdes, u Krásnovo kryl’tsá, stradálets gosudár tomiílsa stárets smirénny zhdyot soizvolyénya Vdrug posinyél, predstat’ pred óchi tvoí svyétlyye. glazá ustávil v úgol, Muzh právdy i sovyéta, i stráshno stenyá muzh zhízni bezupréchnoy, i churáyas... velíkuyu on taynyu povyédat’ khóchet.

BOYARS BORIS Lzhosh! Lzhosh, knyaz! Byt’ tak. Zoví yevó! Besyéda stártsa, byt’ mózhet, uspokóit SHUISKY trevógu táynuyu, K tsaryévichu, pogíbshemu vzyvaya... izmúchennoy dushí!

BOYARS PIMEN Shto? 10. Smiryénny ínok v delákh mirskíkh nye múdry sudiyá, SHUISKY derzáet dnes podát’ svoy gólos. Prízrak yevó bessíl’no otgonyáya... “Chur...chur” sheptál.

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BORIS Nye vveryáysa navyétam boyár Rasskázyvay, starík, vsyo, shto znáesh, kramól’nykh, bez utáyki. zórko sledí za ikh snoshényami táynymi s Litvóyu, PIMEN izmyénu karáy bez poshchády, Odnázhdy, v vechérniy chas, bez mílosti karay. prishól ko mnye pastúkh, Strógo vnikáy v sud naródny, sud uzhé mastíty stárets nelitsemyérny, i táynu mnye chudyésnuyu povyédal: stoy na strázhe bortsóm “Yeshchó rebyónkom” za vyéru právuyu, skazál on, “ya oslyép svyáto chti svyaty´kh ugódnikov bózhyikh. i s toy pory´ nye znal Sestrú svoyú, tsaryévnu, sberegí, moy syn, ni dnya ni nóchi ty yey odín khranítel’ ostayóshsa, do stárosti. náshey Ksénii, golúbke chístoy. Naprásno ya lechílsa Góspodi! Góspodi! Vozzrí, molyú, i zélyem i táynym nasheptányem, na slyózy gréshnovo ottsá! naprásno ya iz kládezey svyaty´kh Nye za sebyá molyú, kropíl vodóy tselyébnoy óchi... nye za sebyá, moy bózhe! Naprásno! S górney nepristúpnoy vysoty´ prolyéy I tak ya k t’me ty blagodátny svyet na chad moíkh svoyéy privy´k, nevínnykh...Krótkikh i chístykh... shto dázhe sny moí mnye Síly nebyésnyye! vídyennykh veshchéy Strázhi tróna predvyéchnovo! uzh nye yavlyális, a snílis tól’ko zvúki. Krylámi svyétlymi vy okhraníte Raz v glubókom snye, moyó dityá rodnóye ot byed i zol, vdrug sly´shu ot iskushéniy. dyétsky gólos zovyót menyá, 12. Zvon! Pogrebál’ny zvon! tak vnyátno zovyót: ‘Vstan, dyédushka, vstan, CHORUS OF MONKS idí ty v Úglich grad, Pláchte, pláchte, lyúdiye, zaydí v sobór Preobrazhénya, nyest’ bo zhízni v nyom tam pomolís ty nad moyéy mogílkoy. i nyemy ustá yevó Znay, dyédushka: i nye dast otvyéta. Dimítriy ya, tsaryévich, Pláchte! Allilúya! gospod’ privál menyá v lik ángelov svoíkh BORIS i ya teypér Rusí Nadgróbny vopl’! velíky chudotvórets’. Skhíma, Prosnúlsa ya...podúmal... svyatáya skhíma, vzyal s sobóyu vnúka v monákhi tsar idyót. i v dal’niy put’ poplyólsa. I tól’ko shto sklonílsa nad mogílkoy, FYODOR tak khoroshó vdrug stálo i slyózy polilís, Gosudár, uspokóysya! obíl’no, tíkho polilís Gospód’ pomózhet. i ya uvídyel i bózhy svyet, i vnúka, i mogílku.” BORIS Nyet, nyet, syn moy, chas moy probíl... BORIS 11. Oy; dúshno! dúshno! CHORUS OF MONKS Svyétu! Vízhu mladyéntsa umiráyushcha, Tsaryévicha skoréy! i rydáyu, pláchu; Okh, tyázhko mnye! myatyotsa, trepyeshchet on, Skhímu! i k pómoshchi vzyváet, Ostávte nas! uydíte vsye! i nyet yemu spasyénya. Proshcháy, moy syn, umiráyu. Seychás ty tsárstvovat’ nachnyósh. BORIS Nye spráshivay, kakím putyóm ya tsárstvo Bózhe! Bózhe! Tyázkho mnye! priobryól. Uzhel’ grekhá ne zamolít’? Tebyé nye núzhno znat’. O, zlaya smyert’! Kak múchish Ty tsárstvovat’ po právu búdyesh, ty zhestóko! kak moy naslyédnik, kak syn moy Povremeníte...ya tsar yeshchó! pervoródny. Ya tsar yeshchó! Syn moy! Dityá moyó rodnóye! Bózhe! Smyert’!

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Prostí menyá! PERVYJ STRELEC Vot! Vot tsar vash... Ot nedrugov lichich, tsar... Bojar spesivych, Prostíte...prostíte... Lichoimatelej, Kazny grabitelej. BOYARS Uspnye! VTOROYE STRELEC Verchr; podnjalsja. END KUZ'KA Gde grabiteli? Votja im! CD6‐8 Khovanshchina PERVYJ I VTOROYE STRELEC Aj da Kuz'ka, straznik znatnyj, ACT ONE Aj da parja, pravo, ljubo!

1. Introduction KUZ'KA Da cto vy, d'javoly! Scene One PERVYJ STRELEC KUZKA Och ty, strelec, 2. Podoydu, podoydu... Chudoj konec. Pod Ivangorod... Vysibu, vysibu, VTOROYE STRELEC Kamennyj... steny... Boevoda vzgromozdilsja na uroda. Vyvedu, vyvedu... Cha, cha, cha... Krasnu devicu... KUZ'KA VTOROYE STRELEC Och ty, strelec, Vona, drychnet. Chudoj konec... Cha, cha, cha... PERVYJ STRELEC Ech, nishto, brat Antipyc! PERVYJ STRELEC Vcera nemalo potrudilis'. Cha, cha, cha...

VTOROYE STRELEC KUZ'KA Cto govorit'. Un koj cert Vas po nocam zdes' nosit. PERVYJ STRELEC Kak d'jaku‐to, dumnomu, PERVYJ I VTOROYE STRELEC Larivonu Ivanovu, Kakoe po nocam! Grud' razdvoili kameniem vostrym. Uz i utreni otbyli Gljadikos': VTOROYE STRELEC Sam strocilo pret. A nemca, Gadena, U Spasa na Boru imali, Scene Two A i svolokli do mesta I tu po clenam razobrali. PERVYJ STRELEC 3. Gusja tocit. PERVYJ STRELEC Vot tak rjakajut! KUZ'KA Cernilisce‐to, gospodi! KUZ'KA Och, ne kolys', VTOROYE STRELEC Ne kolys' menja... veter, Vot zaskrypit‐to. Och, ne podkos'. Ne podkos' moi... nozen'ki... PERVYJ I VTOROYE STRELEC Vasemu prikrasnomu stepenstvu ... VTOROYE STRELEC Vo imja boz'e ochranjajut nemolcno KUZ'KA Zizn' i zdravie Skorej na ètot stolbik ugodit.. Carej mladych. Cha, cha, cha...

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PERVYJ I VTOROYE STRELEC SAKLOVITYJ Cha, cha, cha... Stroci!

POD'JACIJ POD'JACIJ Sodoma i Gomorra! A! Nu, skazyvaj. Vot vremecko! Tjazkoe! U nas, brat, A vce z pribytok sprnvim...Da! Kornar nosa ne podtocit ...Skazyvaj!

SAKLOVITYJ SAKLOVITYJ Ej! Ej ty, Strocilo. "Carjarn ‐ gosudarjarn So mnoju bog I velikim knjaz'jam, Milosti tebe prislal. Vsea Velikija, i Malyja, I Belyja Rossii samoderzcam"... POD'JACIJ Nastrocil? Blagodarim. dobryj celovek. A jaz gresnyj. POD'JACIJ Nedostojnyj rab bozij. Uz ty ne sumlevajsja, Ne spodobilsja zreti... Znaj skazyvaj.

SAKLOVITYJ SAKLOVITYJ Ladno..., ne v tom delo. "Izvescajut moskovskie strelec ljudi Smekni‐ko: Na Chovanskich: Zakazec vaznyj est' Bojarina knjaz' Ivana Tebe... Da na syna ego Andreja"

POD'JACIJ POD'JACIJ Cto z! Ne solono chlebal. Cto z, nastrocim. S ziru besitsja! Migom nastrocim. Po urjadu, po ukladu SAKLOVITYJ Mastrocim donosec licho. Procti‐ko!

SAKLOVITYJ POD'JACIJ Esli ty mozes' pytku sterpet', "Carjam ‐ gosudarjam Esli dyba i zastenok I velikim knjaz'jam Ne strasat tebja, Vsea Velikija, i Malyja, Esli ty smozes' ot sem'i otrec'sja, I Belyja Rossii samoderzcam, Zabyt' vse, cto dorogo tebe... Izvescajut moskovskie strelec ljudi Stroci! Na Chovanskich: bojarina knjaz' Ivana Da na syna ego Andreja, POD'JACIJ Zamutit' grozjat na gosudarstve" Gospodi! MOSKOVSKIE PRISLYE LJUDI SAKLOVITYJ Zila kuma, byla kuma, No ezeli kogda ‐nibud' pri vstrece Kuma, kuma kuma uvidala, So mnoj ty vydas' menja, Kuma, kuma kuma ne priznala. Oboroni tebja gospod' Sidit kuma, Togda; pomni! Gljadit kuma, Kume kum, kume den'gu sulit. POD'JACIJ Kume kum, kume rubl' darit, Znaes! Êèòà den'gu zà pazuchu... Prochodi‐ko ty mimo, dobryj celovek. Bol'no mnogo posulil ty. SAKLOVITYJ Drug moj ljubeznyj. Verno. Dal'se stroci. "Zvali na pomoc' svoju bratiju, SAKLOVITYJ Kak by carstvo im dostupiti. Stroci, zivo! A dlja togo iznevest' v gorod Narod smuscat', POD'JACIJ Ctob mnogo bol'sich bojar pobil, vis' ty. A tam mutit' Da duj tebja goroj! Po vsej Rusi velikoj, Otcalivaj! Po derevnjam. po selam

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I po sadam. Suscie zveri! Delom zlym na voevod, Cto ni stupjat ‐ krov', Na vlasti podnjat' s tjagla Cto ne chvarjat ‐ Cestnoe d1rest'janstvo; Golovu naproc'; A stanet smuta A v domech Na Rusi, Skorb' i stony... v tot raz izbrat' I vse eto, vis'. Vlastej nadeznych, Dlja porjadka nado... Ctob starye knigi ljubili; A na carstve Moskovskom SAKLOVITYJ Sest' Chovanskomu Andreju..." Slys' ty: Zivo, v stroku vedi! POD'JACIJ "A my zivem nyne v pochoronkach; Àj! Prjamaja pogibel'... A kogda Gospod' utisit STREL'CY I vse sochranitsja" Goj, licho! POD'JACIJ POD'JACIJ "V pochoronkch... Ne budet poscady. ... ob"javimsja" Knjaz' vse uznaet. Gotovo. Knjaz' ne prostit mne...Gospodi! SAKLOVITYJ STREL'CY "Vrucit' carevne" Goj vy, ljudi! POD'JACIJ POD'JACIJ "Vrucit' carevne" Pytkoj zestokoj, plet'ju V zastenke zamucit do smerti... SAKLOVITYJ Oboroni tebja gospod'. STREL'CY Smotri z, pomni! Goj vy, ljudi ratnye, Vy, strel'cy udalye. POD'JACIJ Goj! Da cto ty strascaes'. Ej‐bogu, dosadno. SAKLOVITYJ Ne vest' kakaja ptica, Strel'cy... Tuda z kicit'sja chocet; Slysis'? Strel'cy! Pona mosna. tak i pugat, ljubo.

POD'JACIJ SAKLOVITYJ Oj, matuski, lichon'ko! Qj li! Oj. ne choti uznat'. STREL'CY S kem imees' delo; Guljajte, vy guljajte veselo. Oj, ne nudi skazat', Netu vam preponuski, Kto za celovek ja. A i nyet zapretu. Prokljatyj ot veka, Goj, guljajte, D'javola chodataj; Guljajte veselo. Iz nonesdnich Dusite goj, i lich gubite Buduscij Smutu vraz'ju. Proscaj!

SAKLOVITYJ POD'JACIJ Uchodjat... Skatert'ju doroga. Slys ty, strocilo! Proscaj. Da slusaj ze. Vot cudak‐to, pravo; Nevdomek emu pod'jacaja slava; POD'JACIJ I silen, kazis', Molci uz... molci! I znaten, i bogat, Slava tebe gospodi! I nos svoj vot ved' kak vorotit; Promcalo prokljatych. Da vse z, kak posmotris', Uz kak ja ne ljublju ich. Chot' silen i znaten, I skazat' nemozno. A nasego ledascego Ne ljudi: zveri. Telka glupee.

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A jaz, cerv' prezrennyj, "Cto tut pisano? Pochitrej malen'ko: Kazi nam, milyj... Pod ruku pokojnicka Anan'eva podkinul: POD'JACIJ "Mertvii bo srama ne imut" As'? Che, che! A nu, kosel'... MOSKOVSKIE PRISLYE LJUDI Stupaj‐ko na raspravu. Cto tut‐ko pisano?

MOSKOVSKIE PRISLYE LJUDI POD'JACIJ Zila kuma, Izbu stroil s kraju, Slyla kuma, A slyla kuma Nicego ne znaju. Nedotrogoj, Cto slyla l' kuma ubogoj. MOSKOVSKIE PRISLYE LJUDI Vot kum proznal, Vot kum by podstupit', Da ty, drug, ne storoz'sja. Cem kume by dosadit'. Ved' my narod I kum posel. Kak est' ubogoj. I kum nasel... Cto b eto na Moskve POD'JACIJ Takoe prikljucilos'? As'? Vot'to, bratcy, stotje; Ko li gol kak sokol, Krepko stolbucek slozili! Tak pod'jacego ne dlja cego. Ekoj grib povytjanulo Za noc'! MOSKOVSKIE PRISLYE LJUDI Stojte, bratcy, stojte; Robjata, vzjatku, Uz vot‐to divo, pravo: Vzjatku, nudit. Stolbusek‐o s nadpisom, Un, da s nas‐to vzjatki gladki, Pravo slovo, s nadpisom! Ne nazivetsja. Bratcy, stojte, nadpis! D'javol. Tut‐ko nadpis est', Vse z, robjata, znat' by nado, Na stolbe‐to, bratcy, nadpis! Cto tam na stolbe za nadpis! Aj, proznat' by ljubo ... Vot cto, bratcy: vzymem! Cto tut pisano. Vzymem! Kto b kazal nam: cto tut? Kogo? Kto, robjatuski. Pod'jacego da s budkoj vzymem, Kto gramotnyj? K stolbu ego: Kusi‐ko lokot', parni! Citaj nam nadpis! My ne gramotnyj, Na tjagostjach na nasich Kto b cital nam, Da k stolbu! Cto tut pisano? Vzymem, bratcy, Da netu gramotnych. S budkoj Netu gramotnich. Da k stolbu potjanem! Netu. Oj ljuboto! Kak ze tak? Pod'jacego da s budkoj vzymem! Vovse netu. A koli tak: Vot‐to derevenscina: Zatjanem pro pod'jacego. Dura duroj! Oj li, bratcy! Pod'jacij‐to na cto? Oj! Stojte, certi! Zil da byl pod'jacij On ot vlastej postavlen. Sem'desjat godov. on ot vlastej, robjata. Nazil on, pod'jacij, Cto z, cto ot vlastej. Sotni dve grechov. Nu, da kak‐to bojazno. Cto za bojazno? POD'JACIJ A my s pocetom da Achti! Achti! Pravoslavnye! I s pocest'ju, Dusat, rezut, achti! Vo vsem kak po ustavu nado. Pomogite! A un‐ko s pocest'ju Da cinno podchodi, robjata! MOSKOVSKIE PRISLYE LJUDI Ne byt' by bede Stavil on izbusku s kraju ot sela. Kakoj al' chudu! Mnogo v toj izbuske schoronil on zla. Ne byt' by chudu! Snjali tu izbusku, Dobryj celovek, Snjali, ponesli,

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Klanjalis' pod'jacemu MOSKOVSKIE PRISLYE LJUDI V pojas do zemli: Ej, brat, Uz ty potes' nas, S nami ne suti! Uz ty nas pozaluj: Na provolockach Ty ukazi nam, izvol', Nas‐to ne poddenes'. Cego ne znaem. To ze ved' prikinulsja. Otkazal pod'jacij. Nyet salis', brat, Vzjatki zachotelos'. Nyet, teper' popalsja. Tut robjata prinjalisja Citaj nam nadpis. Za izbusku, oj, Pocali taskat' POD'JACIJ Tesovuju‐to kysu. Pravoslavnye, Strasny kazni streleckie, POD'JACIJ Neutomima jarost' ich ljutaja... Stojte. stojte, okajannye! Cto vy eto. MOSKOVSKIE PRISLYE LJUDI Suscic razbojniki. Nam‐to cto? Citaj! Cto vy tut zatejali? Proctu vam ... POD'JACIJ Proctu ... slysite? Tak ptopadaj moja golovuska! "Izvoleniem boz'im za nas, MOSKOVSKIE PRISLYE LJUDI Velikich gosudarej, Bros', robjata! Nadvomyja pechoty Cto z ty ortacilsja. Polkov moskovskich, Ljubeznyj. I puskari, i zatinsciki S cego tesnit'‐to Or velikich k nim nalog i obid Nas zadumal. I ot nepravdy pobili: K tebe s pocetom. Aty rovno cto prikaznyj, MOSKOVSKIE PRISLYE LJUDI Ne po razumu. Strel'cy, dolzno byt'. Kak by, mol, Strel'cy ved', znacit. Den'gu sorvat'‐to s bratii. POD'JACIJ POD'JACIJ Knjazja Telepnju Vot cto? Knutom da v ssylku; Vam by tol'ko podati ne platit'. Knjazja Romodanovskogo ubili: Ljubo vam, gul'liven'kim. Turkam Cigirin sdal; Bez zaboty zit'. Toz ubili dumnogo D'jaka Larionova, MOSKOVSKIE PRISLYE LJUDI. Syna Vasil'ja: Un, ladno! Citaj‐ko nadpis. MOSKOVSKIE PRISLYE LJUDI Vot‐no zveri! POD'JACIJ Gospodi! POD'JACIJ Ot strel'cov lichich oboroni! Vedal gadiny otravnye Na gosudarskoe zdorov'e... MOSKOVSKIE PRISLYE LJUDI Cto z ty? Cto z ty? MOSKOVSKIE PRISLYE LJUDI Cto z ne ctes'? Nu eto podelom.

POD'JACIJ POD'JACIJ Cto mne delat'? Esce bojar pobili...

MOSKOVSKIE PRISLYE LJUDI MOSKOVSKIE PRISLYE LJUDI Citaj nam nadpis. Kakich bojar?

POD'JACIJ POD'JACIJ Mudrenno, nesto, pisano. Brjancevych... Gospodi! Prisla ...prisla moja MOSKOVSKIE PRISLYE LJUDI Smertuska! Esce kogo?

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POD'JACIJ MAL'CISKI Vsech Solncevych... Ljubo!

MOSKOVSKIE PRISLYE LJUDI MOSKOVSKIE PRISLYE LJUDI Za cto, pro cto? Cto b eto bylo? V cem provinilis'? Ctoj‐to, bratcy?

POD'JACIJ POD'JACIJ Cinili deneznuju i chlebnuju... Sam ljutyj zver' na vas idet, Peredacu vse v perevod... Vsjak celovek pust' proc' deret! Zabyv strach bozij... MOSKOVSKIE PRISLYE LJUDI MOSKOVSKIE PRISLYE LJUDI Da nu te k d'javolu! Vot ono cto. ZENSCINY POD'JACIJ Belomu lebedju A tem... kto slovom zlym Put' prostoren... Recennych ljudej, Nadvornuju pechotu STREL'CY Polkov moskovskich, obzovet... 4. Bol'soj idet!

MOSKOVSKIE PRISLYE LJUDI MAL'CISKI Slys' ty! Slusaj, bratcy! Ej, proc' s dorogi!

POD'JACIJ ZENSCINY I tem... nas... Znatnogo bojarina, Milostivyj ukaz ... Slav'te, slav'te! Cinit, bez vsjakija poscady." STREL'CY MOSKOVSKIE PRISLYE LJUDI Bol'soj idet! Breses'! Breses'! Bres' ty eto! MAL'CISKI Slava Bat'ke! POD'JACIJ Kak pered bogom, bratcy! MOSKOVSKIE PRISLYE LJUDI Tolpa valit, oj, baby vse! MOSKOVSKIE PRISLYE LJUDI Al' prazdnik, cto l', kako? Gospodi! Na stalo vremecko. MAL'CISKI Och ty, rodnaja matuska Rus'. Dorogu vsem, Nyet tebe pokoja, nyet puti. Bol'soj idet; Grud'ju krepko stala ty za nas. S dorogi proc', Da tebja z, rodimuju. gnetut. Sam Bat'ka posel! Cto gnetet tebja Ne vorog zloj, zloj, cuzoj. ZENSCINY Neprosennyj, a gnetut tebja, Slava lebedju, slava! Rodimuju, vse tvoich z robjata udalye; Slava belomu! V neurjadice Da v pravezach ty zila, MAL'CISKI Zila, stonala, Slava, slava Bat'ke, Kto z teper' tebja, Slava! Slava Bat'ke! Rodimuju, kto uresit, Uspokoit? STREL'CY Bol'soj idet! Scene Three Bol'soj. bol'soj!

MAL'CISKI MOSKOVSKIE PRISLYE LJUDI Aj da! Veselo! Vot tak, bratcy. Ljubo, ljubo! ZENSCINY Ctoj‐to za prazdnik na Moskve? Aj, znamo, baby! Cto ni den', Zatjanem pesnju! To pir goroj! To pir goroju!

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ZENSCINY I MAL'CISKI Lebedju chod legok, Prostor emu. Daj tebe boze zdrav'e i slavu!

STREL'CY STREL'CY Storonis'. narod! Bol'soj posel. Slava Bat'ke! MOSKOVSKIE PRISLYE LJUDI Strel'cy‐to... rovno palaci! NAROD Slava Bat'ke, slava! ZENSCINY I MAL'CISKI Prostor emu i slava! STREL'CY Sam Bol'soj posel! STREL'CY Sam Bol'soj idet! NAROD Ljudi pravoslavnye, Slava! Slava Bol'somu! Ljudi rossijskie, Sam Bol'soj derzit rec: STREL'CY Vnemlite blagocinno, Bol'soj idet! Bol'soj idet! Sam Bat'ka posel!

IVAN CHOVANSKIJ NAROD Deti, deti moi! Slava! Slava! Moskva i Rus. (spasi bog!) V pogrome velikom... Scene Four Ot tatej bojar kramol'nych, ot zloj lichoj nepravdy. EMMA Tak li, deti? Pustite, pustite! 5. Ostav'te. pustite menja! NAROD Vy strasny! Tak tak. Bol'soj! Pravda, pravda! ANDREJ CHOVANSKIJ Tjazko nam! Nyet, nyet, Golubke ne ujti IVAN CHOVANSKIJ Ot sokola chiscogo! Togo radi pod"jali My trud velikij, EMMA Vo zdrav'e carej blagich Szal'tes'. szal'tes'! Kramolu izveli Umoljaju, szal'tes'! Spasi bog! Pravda l'my? ANDREJ CHOVANSKIJ Aj, Spesiva stala golubka da NAROD V kogtjach u sokola. Prav, prav! Bol'somu slava! EMMA Slava Bat'ke. slava! Slusajte! Ja znaju vas: IVAN CHOVANSKIJ Vy knjaz' Chovanskij. Strel'cy! Vy ubili otca moego; Zarjazeny l' muskety? Vy zenid1a izgnali; Spasi bog! Vy ne szalilis' daze Nad bednoj mater'ju moej. STREL'CY Nu cto z vy? Vse gotovo. Bat'ka! Nu kaznite menja, Ja ved' v vasich rukach. IVAN CHOVANSKIJ Teper' ANDREJ CHOVANSKIJ V obchod po Moskve rodimoj, Kak cboroso ty, ptaska, Vo slavú gosudarej! Vo gneve: Slav'te nas! Slovno za maly ich Prencov vstrepenulasja. NAROD Ach, poljubi menja, krasavica; Slava lebedju. slava belomu, Ach, ne tupi ty oci jasnye o syru zemlju... Slava bojarinu samomu bol'somu.

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EMMA ANDREJ CHOVANSKIJ Pustite menja! Nu tak siloj sgibnet Esli nado, Golubku sokol jarostnyj. Skorej ubejte menja... Ubejte! EMMA Spasite, spasite, ANDREJ CHOVANSKIJ O, pomogite! Otdajsja mne! ANDREJ CHOVANSKIJ EMMA Nyet spasen'ja golubke, Boze moj! Cto v kogtjach sokolinyich!

ANDREJ CHOVANSKIJ EMMA Ne pytaj menja! Pomogite! Spasite!

EMMA ANDREJ CHOVANSKIJ Cto on govorit? Nyet, nyet spasen'ja! Nyet nikogo! ANDREJ CHOVANSKIJ Poimu tebja v caricy, Emma... MARFA Ja zdes'. EMMA Cto éto, boze moj! ANDREJ CHOVANSKIJ Marfa? ANDREJ CHOVANSKIJ I carskim MARFA Vencom ukrasu! Tak, tak, knjaze! Snimi ty grust'‐krucinu Ostalsja ty veren mne! S serdca sokola, golubka; Vidno, skoro, moj ljubyj. Ach, ne pugajsja, Opostyla ja. Ty ved' ljuba moja! Kljalsja, bozilsja ty, Moj knjaze, EMMA Cto neizmenis' mne; Boze, ty krepost' Tol'ko ne v poru I zascita! Byla ta kljatva, Ljubyj moj. ANDREJ CHOVANSKIJ Teper' druguju imes': Otdajsja z mne! EMMA MARFA Ja ne vinovna! Otdajsja emu. Poscadite menja!

EMMA MARFA Knjaz'! Bud' s neju scastliy ty.

ANDREJ CHOVANSKIJ ANDREJ CHOVANSKIJ Ljubi menja! Sam bes tolknul sjuda Ved'mu ljutuju! MARFA Ljubi ego! MARFA Spokojsja, ty so mnoj. EMMA Ditja moe... Knjaz', ostav'te menja! EMMA ANDREJ CHOVANSKIJ Vy dobraja. Emma! Vy zascitite menja. On strasen, EMMA Ja bojus' ego. Pustite, pustite. On bez zalostno ptesleduet menja. Ja skazala: ubejte menja... Ubejte! MARFA Ja znaju vse; na grech moj, Vse ja videla.

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Zorkim strazem o tebe EMMA Ja stanu; Ach! Prituplju ja Kogti zlova sokola. MARFA Slychala, knjaze, ANDREJ CHOVANSKIJ I navyvorot. Slovo zmej sipit! Tol'ko ne tot konec Ujmu ja tebja, dosadnuju; Tebe ja ugotovila, Budet tebe, babe, I ne ot moej ruki svedes' Tesit'sja. Ty scety s zizniju. Cuet boljascee serdce MARFA Sud'by glagol; Ty neporocna, cista, Viditsja v gornich Ne vinna ty. Obitel' divno presvetlaja!

ANDREJ CHOVANSKIJ EMMA S cego ty, pravo, On uzasen. on zlodej! Tut, krasavica? Gospod'. spasi ee, Al' k babe babu Scitom svjatym ty ochrani! Tjanet ne v poru? Ona menja spasla: Bessil'naja e spasti. MARFA Ne pora li ANDREJ CHOVANSKIJ Pamju‐to pokajat'sja: D'javol sam nagnal Ved' ne vek ze lgat' Zluju ved'mu pytat' menja! Na serdce devic'e; Slovno curovana. Al' v bojarskoj spesi I vostryj noz nejmet ee; Bol'se razuma, Besstrasna, ozloblena; Cem v stradan'jach I nyet otnyne zapreta ej! Devicy pokinutoj! Scene Five ANDREJ CHOVANSKIJ Umolkni, ved'ma! MARFA 6. I V nej, MARFA v luce cudesnom... Al' zabyl ty prisjagu, Knjaz': NAROD "Ne vjazat'sja Slava lebedju! S veroj ljuterskoj, Prezirat' pre'scenie antichristogo, STREL'CY Pod strachom muki vecnyja" Bat'ka idet!

ANDREJ CHOVANSKIJ MARFA Gospodi! Mcatsja usopsich dusi! Doneset, podi, ljutaja. Na porugan'e, NAROD Na sud otcov svetet. Bol'somu slava!

EMMA ANDREJ CHOVANSKIJ On smuscen, on boitsja? Otec idet. A so mnoju strasen byl. EMMA ANDREJ CHOVANSKIJ Cto tam? Nyet, nepoddamsja ja; Nyet, pokoncu razom s neju. MARFA Slychala l' ty, krasavica, Bol'soj idet. Pro nekogo molodcika: Kak s svoej vozljub1ennoj, NAROD Cto opostylato, on, lich molodec, Slava lebedju. slava belomu. Razvedalsja bez okolicnostej, Slava bojarinu samomu bol'somu! A i vychvatil on vostryj noz... EMMA Boze. ty krepost' moja!

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STREL'CY IVAN CHOVANSKIJ Bat'ka idet. Dnes' vam, strel'cy, Povelevaem neotlozno: NAROD Ljuterku, cto tam, Lebedju chod sirok daj boze! Otnjat' i k nam. Sjuda dostavit'! STREL'CY Spasi boze nasego Bat'ku! ANDREJ CHOVANSKIJ Tak mertvoju imajte! IVAN CHOVANSKIJ Cto takoe? Scene Six Knjaz' Andrej? Zdravstvuj, Marfa! DOSIFEJ I ne odin, s krasotkoj, 7. Stoj! I belolicej, Besnovatye! I nam prigljadnoj... Pocto besnuetes'? Strel'cy: Za karaul ee! IVAN CHOVANSKIJ Al' my ne vlastny? ANDREJ CHOVANSKIJ Proc'! EMMA Nyet, ne otdam ee na pytku. O, kto b ni byli by... Vam, zlodejam, na potechi; Spasite, spasite, Nyet, nyet, ne vam. Ne dajte gibnut' mne! Stal'tes'! Cholop'jam, sporit' s volej Moej ne ukrotimoj! DOSIFEJ Marfa, IVAN CHOVANSKIJ Svedi‐ko ljuterku domoj; Cto z eto, spasi bog! Da na puti zascitoj vernoj Kak tak? Bud' ej, cado moe. Ej vy, strel'cy. vzjat' ee! MARFA ANDREJ CHOVANSKIJ Otce, blagoslovi. Proc', skazal ja! DOSIFEJ STREL'CY Mir ty! Ne mozno, Bat'ka! A vy, besnovatye! Knjaz' Andrej mesaet. Esce sprosu: Pocto besnuetes'? ANDREJ CHOVANSKIJ Prispelo vremja mraka Knjaz'‐batjuska! I gibeli dusevnoj: Vozmoze Gordad! IVAN CHOVANSKIJ I ot stremnin gor'kich. Budto i vpravdu I ot jazvin svoich My bole ne glavenstvuem; Izydosa otstuplenie Budto b veleli nam, Ot istinnoj verkvi russkoj. Cto bole ne vlastny Brat'ja, drugi. Nad synom! Vremja za veru Stat' pravoslavnuju! ANDREJ CHOVANSKIJ Na prju grjadem. Knjaz'‐batjuska! Na prju velikuju. I noet grud' ... IVAN CHOVANSKIJ I serdce zjabnet... Cto? Otstoim li veru svjatuju? Kto mozet velet' nam? Pomogite, pravoslavnye! Kto smeet protivit'sja nam? Vo imja velikich gosudarej, IVAN CHOVANSKIJ Preslavnych i vsemoscnych... Strel'cy! Zivo! V Kreml'! ANDREJ CHOVANSKIJ Vzjat' vse karauly Batjuska! I zorkim byt'; Vse vchody i vychody

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Sterec' neotstupno. Carevna, v zabotjach tjagostnych Gospod' chranit Moskvu! O blage gosudarej mladych, Strasti kipucej predana, STREL'CY Mecte o minuvsem naslazden'i Kost'mi i za veru ljazem. Vsecasno otdaetsja... Verit' li kljatve zensciny IVAN CHOVANSKIJ Vlastoljubivoj i sil'noj? Truby pochod. Vecnoe sommen'e, vo vsem, vsegda! Knjaz' Andrej, Nyet, ne poddamsja ja V polkovnikach idti! Obmanu mecty pustoj, Odurjajuscich minutnych DOSIFEJ Naslazdenij. Gospodi! Vam, konecno, Ne dazd' odoleti sile vraz'ej; Verju ja ochotno, Otce! No s vami ostoroznost' nadobna, Zastupi ot lichich Ne to kak raz v nemilost' ... Tvoe otkrovenie A tam... Na blago cadam tvoim! Golovu naproc'! Brat'ja, tjazko mne! Ostorozno, getman‐knjaz'. Vozmozem li spasti? Ba! Pojte, brat'ja, Pis'mo ot matuski‐knjagini! Pesn' otrecenija ot mira sego! Skacut posly Grjadem na prju. S kaznoju knjazeneckoj Dlja slavy potomka velikich, CERNYE RJASONOSCY Slavnych predkov. Boze, otzeni slovesa Dlja del bol'sich Lukavstvija. Bol'sie den'gi nadobny. Boze vsesil'nyj, "Ty, svet moj, sam vedaes', Otzeni slovesa Kakov ty mne nadoben, Lukavstvija ot nas. Doroze dusi Sily soblaznye antichrista Moej gresnoj. Ty pobori! Derzisja cistoty Antichrista. Dusevnoj i telesnoj; Sam znaes', kak... to... DOSIFEJ Bogu ljubo"... Otce! Cto eto? Serdce otkryto tebe. Predznamenovan'e. cto l'? Cem grozit resenie sud'by moej? CERNYE RJASONOSCY Cernie dumy dusy pytajut; Boze nas! Bessil'ny my Blagij! Podkrepi! Postignut' tajnu; Nictozna vlast', Nictozen razum... ACT TWO "Derzisja cistoty Dusevnoj i telesnoj ... Scene One To bogu ljubo"... Kto tam? VASILIJ GOLICYN 1. "Svet moj, bratec Vasen'ka, VARSONOF'EV Zdravstvuj, batjuska moj! Svetlejsij knjaz'. A mne veritsja, radost' moja, Svet ocej moich, GOLICYN Ctoby svidet'sja. Nu! Velik by den' tor byl, Kogda tebja, sveta moego, VARSONOF'EV V ob"jatijach uvidela! Ljuterskij svjascennik Brela pesa... Cto‐to krepko Iz Vozdvizenska ... Pristal ko mne: Tol'ko otpiski ot bojar Videt' vas chocet. I ot tebja ... Ne pomju GOLICYN Kak vzosla: Tak pust' vojdet! Cla, iduci"

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PASTOR GOLICYN Ja znaju svjascennyj vas obycaj. No esli budet vam Knjaz', Ugodno prosit', Nikogda ne otvergat' v predelach darovannoj mne vlasti. Prosenij synov Evropy, Ob ulucsen'jach Ljubimoj vami! I o l'gotach. Prostite, Vozmoznych dlja vas, Ja osmelilsja trevozit' vas, Dlja pastvy vasej... V vysokich dumach vasich! PASTOR GOLICYN Udobnyj slucaj! Prosu vas mne povedat', pastor, Cem tak smusceny vy; GOLICYN Ne stesnjajtes', Ja s ucast'em primu Prosu vas, skazite mne, Prosen'e vase, Cto trevozit vas? Vedomo uz vam Moe raspolozen'e. PASTOR Govorite, gerr pastor. Zloba i nenavist', Prezren'e i mscen'ja zazda, PASTOR Celyj mir prokljatych Ja smuscen... Protivorecij terzajut serdce moe. Ja opasajus'...

GOLICYN GOLICYN Cto s vami? Govorite!

PASTOR PASTOR Knjaz' Chovanskij, junior... Emmu otverg; Byt' mozet. GOLICYN Pastor ne otvergnut budet. Un! GOLICYN PASTOR Cto z vy? Segodnja na ploscadi... PASTOR GOLICYN Dlja sobljuden'ja Nu ze! v serdcach Ljubimoj pasty moej PASTOR Osnovy very zivoj, Obidel devusku... Ja umoljal by, knjaz'; Dozvol'te cerkov' GOLICYN Vozvesti u nas. Vot kak! V Nemeckoj slobode. Esce odnu, tol'ko odnu, PASTOR Ved' k nam vy tak raspolozeny. Nescastnuju sirotku... GOLICYN GOLICYN Ja predlozil by vam. Emmu? Pastor, Poskromnee mectat'. PASTOR Da, knjaz'! PASTOR Knjaz', umoljaju: GOLICYN Vyslusajte... Tak vot v cem delo! Vidite, gerr pastor, GOLICYN O, prosu vas, uspokojtes'; Rechnulis' cto li vy, Ne mogy vchodlt' ja Il' smelosti nabralis'; V delo castnoe Chovanskich. Rossiju chotite Kirkami zastroit'! PASTOR Da, kstati: Boze moj! Segodnja ja Zdu K sebe na sovescan'e

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Chovanskogo, senior, i, MARFA Cto vazno, Dosifeja; Ne pogadat' li Vstreca s nimi O sud'be tvoej, knjaze? Udobna li vam budet, Sprosit' velenij tajnych sil, Skazite? Vladyk zemli, knjaze?

PASTOR GOLICYN Knjaz', ja ponjal... Na cem? Prostite. MARFA GOLICYN Veli prinest' vodicy. Da? Proscajte. gerr pastor, Dosvidan'ja, ne pravda l'? GOLICYN Dosvidan'ja. Vody...ispit'. Postav'! GOLICYN Nachal, projdocha... MARFA V ovec'ej skure Volk! Sily potajnye, Opjat'! Sily velikie, Dusi, otbyvsie VARSONOF'EV V mir nevedomyj, Svetlejsij knjaz'! K vam vzyvaju! Dusi utopsie, GOLICYN Dusi pogibsie, Nu kto tam esce, a? Tajny poznavsie Mira podvodnogo, VARSONOF'EV Zdes' li vy? Koldovka, ta, Strachom tomimomu, Cto namedni izvolili Knjazju‐bojarinu Vy svat', prisla. Tajnu sud'by ego, v mrake sokrytuju, GOLICYN Orkroete l'? Svoja li golova Ticho i cisto Na plecach u tebja, v podnebes'i. Al' cuzaja? Svetom volsebnym Vse ozareno. VARSONOF'EV Sily potajnye Prostite. Knjaz', Zov moj uslysali. Obmolvilsja. Knjaze, sud'by tvoej tajna Ta zenscina, cto casto Orkryvaetsja. K vam prichodit S kovarnoj usmeskoju Za sovetom... Liki zlobnye Vkrug tebja, knjaze. GOLICYN Plotno somknulisja; Un, to‐to ze. Pozvat'! Liki, tebe znakomye. Put' ukazujut kuda‐to dalece... Scene Two Vizu, svetlo, Pravda skazalas'! MARFA 2. K vam, knjaze. GOLICYN Rovno by v zasadu popadaes': Cto skazalos'? Klevrety tak i ryscut. MARFA GOLICYN Knjaze! Vremja potajnych navetov; Tebe ugrozaet opala i zatocen'e Vremja izmen i korysti; v dal'nem kraju! Grjaduscee sokryto Otnimetsja vlast'. Pokrovom tumannym; I bogatstvo, Trepesces' za kazdyj mig I znatnost' navek ot tebja. Naprasnoj zizni. Ni slava v minuvsem, Ni doblest', ni znan'e. Nicto ne spaset tebja: Sud'ba tak resila!

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Uznaes' velikuju stradu‐pecal' GOLICYN I lisen'ja, knjaze moj; Cto ty, knjaz'! v toj strade, Gorjucich slezach IVAN CHOVANSKIJ Poznaes' Tut, ali in gde, Vsju pravdu zemli... Podale, na poroge, S celjad'ju tvoeju, GOLICYN So smerdami? Sgin'! Skorej utopit' na bolote... GOLICYN Ctoby spletni ne vyslo! Ne cudno l' eto? Ty, doblest'ju Scene Three I siloju bogatyj, Ty, vlastelin GOLICYN Strel'cov nesokrusimych, 3. Vot v cem resen'e Sokrusilsja o bojarskie Sud'by moej; Pricudy. Vot otcego Tak serdce szimalos': IVAN CHOVANSKIJ Grozit mne pozornaja opala. Slys', ne truni, A tam pridet besslav'e I pogibel'. Golicyn. Tak nedavno, Ty, kicas' uspechami svoimi, S veroj krepkoj v scast'e, Nas, i nasu cest', Ja dumal obnovit' l sanovitost' predal Svjatoj otcizny delo: D'jakam na posmejan'e. Pokoncil s bojarskimi Mestami... GOLICYN Snosenija s Evropoju D'jakam? Uprovil, nadeznyj mir Rodnoj strane gotovil... IVAN CHOVANSKIJ Na menja smotreli evropejcy. Nu, ladno z, knjaz', Kogda v glave polkov, Natesilsja ty vdovol'. Ispytannych v bojach, Nadmennost' sbil ja GOLICYN Zajadlomu sljachetstvu; Nad kem by eto? Il' pod Andrusovym vyrval Iz pasti krulej zadnych IVAN CHOVANSKIJ Rodnye zemli, U tatarvy ved' I zemite, krov'ju Toze vse ravny: Predkov obagrennye, Cut' cto ne tak, Prines ja v dar Sejcas basku doloj. Moej svjatoj otcizne ... Uz ne s tatar li Vse prachom poslo, Ty primer beres'? Vse zabyto! O, svjataja Rus', GOLICYN Neskoro rzavcinu tatarskuju Cto? Cto s toboj, Ty smoes'! S uma sosel... Opomnis', Chovanskij! IVAN CHOVANSKIJ A my bez dokladu, IVAN CHOVANSKIJ Knjaz', vot kak! Aga, zabralo!

GOLICYN GOLICYN Prosu prisest'. Ty posmel Golicynu Podstavit' plemja prokljatoe ... IVAN CHOVANSKIJ A vprocem, knjaz', Prisest' (spasi bog!) Vy znaete: goljac ja, Vot zadaca! Ne v meru vspyl'civ... My teper' mestov lisilis'. Ved' tak resili Ty ze sam nas uladil, V bojarskoj vasej dume. Knjaz', s cholop'em porovnjal. Gde z prisest' prikazes'?

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IVAN CHOVANSKIJ IVAN CHOVANSKIJ Gospod' s toboj. Dovol'no, knjaz'. Ja ne resal; Ja vyslusival tebja spokojno. Bez menja resili. Ja ne prepjatstvoval No mesto moe, Tebe v zlorec'i; Bojarskoe, ja najdu Vyslusaj i ty menja. I sobljudu naperekor tebe. I ty mne ne prepjatstvyj. Znaes li ty, GOLICYN C'ja krov' vo mne? Prostite necajannyj poryv moj. Gedemina krov' vo mne, Knjaz' Chovanskij: Vot cto knjaz'; Ja vas, dokole vam I potomu kiclivosti tvoej Ugodno budet. Ne poterplju ja. Cem kicis'sja? IVAN CHOVANSKIJ Nyet, izvol', skazi mne: A pozvol'‐ko Cem kicis'sja ty? Usomnit'sja, knjaz'. Nebos' ne slavnym Ratnym li pochodom, GOLICYN Kogda polkov t'my tem', Prosil by dozvolen'ja Bez bojar, Dokoncit' rec' moju. Ty golodom smoril.

IVAN CHOVANSKIJ GOLICYN Un, soizvoljaem, Cto? Kuda ni slo! Ne tebe sudit' Moi postupki! GOLICYN Byt' mozet, ja bojar IVAN CHOVANSKIJ Obidel meroj krutoju, Vot te raz, No neizbeznoj! Kak by ne tak! Tol'ko stranno mne, Cto ja, pri étom, GOLICYN O vas sovsem zabyl, Nyet, Knjaz' Chovanskij, Nye tvoego uma éto delo, Chotja i znal ja, Slysis, ty! Cto vam zaviden bil Bojarin tot, cto, pomnite, Scene Four Pri care Aleksie, Za mesto obidelsja IVAN CHOVANSKIJ Gorazdo i, za trapezoj, Cto takoe? Zatiska1sja pod stol, Gorjucimi slezami DOSIFEJ Oblivajas' i chnyca, 4. Knas’ja, smiri gordynju zluju. Toc'‐v‐toc' nakazannyj Ne v razdore Rebenok. Vasem Rusi spasen'e. Pravo, IVAN CHOVANSKIJ Ljubo na vas gljadet', knjaz'ja! Nu cto ty breses' tam! Sobralis' dlja sovetu: Tak by o Rusi radet' chotelos'! GOLICYN A cut' prislis' ‐ nu, Tuda, pod stol, Rovno petuchi: cap, cap! Tisajsij car' velel Bojarinu sovat' i med, GOLICYN I jastva... Dosifej! Prosu I ty, kojaz' Chovanskij, V predelach derzat'sja. Ty, vladyka vsemoscnyj, Ty zabyl, Pred kem vsja Moskva Cto u knjazej obycaj svoj, Lezala vo prache, Ne tvoj, ljubeznyj. Krov'ju oblivajas' Ty nigde mesta Ne nachodis!

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DOSIFEJ IVAN CHOVANSKIJ Ja ne sabyl, Vestimo, slava bogu! Ja napomnit' tol'ko mog By moe byloe... zabytoe, DOSIFEJ Navek pochoronennoe. Knjaz'ja! Poslal li gospod' vsemoguscij GOLICYN Sovet i mudrost' vam. Cto zabyl ty? Cto pochoronil? GOLICYN Prezde vsego chotel by ja DOSIFEJ Prjamo k celi besedv Mnoju samim otverzennuju Nasej pristupit'. Moju, knjazuju volju, knjaz'. DOSIFEJ GOLICYN Poznali l' vy, knjaz'ja, Knjaz' Myseckij? Gde svjatoj Rusi pogibel' I v cem Rusi spasen'e? IVAN CHOVANSKIJ Cto z primolkli? Myseckij?... GOLICYN GOLICYN Da nado silv znat'. Pravda ... Gde éti sily? chodili sluchi... ja... Mne ne verilos', DOSIFEJ Ctoby teper' rossijskie knjaz'ja Nasi? Ot predkov curalisja V serdce boz'em I v rjasy oblekalis'. I vere svjatoj.

IVAN CHOVANSKIJ GOLICYN Pravil'no! Da étogo konecno. Esli ty rodilsja knjazem, Nyet, inye sily! Knjazem dolzen i ostat'sja: Rjasa monacha dlja nas, DOSIFEJ Knjazej, ne po merke sita. Kakie tut inye sily, Kogda krest'janstvo DOSIFEJ Domy pobrosali Da bros'te, knjaz'ja, I vrozn' bredut. Mectanija pustye. Nu ich! GOLICYN My zdes' sobralis' Un, znacit Dlja sovetu: nacnem, Koncena beseda. Ne terpit vremja. DOSIFEJ GOLICYN A ty cto mnis', Chovanskij knja'? Prosu sadit'sja. IVAN CHOVANSKIJ IVAN CHOVANSKIJ Ja? Esli uz sam Myseckij. Tol'ko ostav'te mne Otknjazivsij, saditsja, Strel'cov moich, i, Tak mne, Chovanskomu, Vidit bog, I bog velel sidet'. Ja Moskvu sbereg Seli! I so vseju Rus'ju splavljus'.

DOSIFEJ GOLICYN Myseckij otsel' dalece. Tak. Spokojny bud'te. A pravlenie kakoe? Ja ne Myseckij. Ja bozij rab, IVAN CHOVANSKIJ Dosifej, smirennyj. Kak kakoe? Moe, nadejus'. GOLICYN I slava bogu! GOLICYN A ty cto mnis' ob étom?

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DOSIFEJ Pokinuli i zen, O pravlen'i? I domy, Po starine mirskoj, Revut i ryscut Po starym knigam. Aki zveri. A das'se sam Narod podskazet. IVAN CHOVANSKIJ Vona! GOLICYN Ja l' vinovat, Un, k starine Cto zelena vina upilis'. Nesliskom prilezu, Ne bud' vina, Priznat'sja. Sluzili by izrjadno.

IVAN CHOVANSKIJ DOSIFEJ Vis'. prytok! As'? A ty cego smotrel? Éch, Tararuj ty, DOSIFEJ Tararuj! Nedarom ze v nemecine Ty skolu‐to otvedal. GOLICYN Nu cto' z. Cto? Cto éto? Vedi na nas Teuta V moem domu prosu S opolceniem besovskim; Obycaj sobljudat'! Izvol', razvodi u nas Prochlady i tancy, IVAN CHOVANSKIJ D'javolu v ugodu. Ne obzyvat' menja napraslinoj!

GOLICYN GOLICYN Dosifej! Gostej moich prosil by Izmenoj ne kori menja; Uvazat', poctennyj! Ja ot sebja ne otrekalsja. Kak ty. IVAN CHOVANSKIJ K otcizne ljubov' moja, Ili, byt' mozet, Byt' mozet, vyse tvoich Ja teper' osmejan za to, Potacek starine mirskoj. Cto pomoc' vam cinil vojskom, I sovetom, i kaznoj DOSIFEJ Svoej nemaloj! Vo mne i v gneve moem Narodnyj gnev i vopl' IVÁN KHOVANSKY Ty dolzen slysat', Pobedichom, Knjaz'! Pobedichom, Narod bezit v lesa Posramichom, I debri ot vasich Prerekochom, Novsestv lukavych. Prerekochom Necestivych! IVAN CHOVANSKIJ Pravda! DOSIFEJ Vot ja: ja ved' toze ponjal sut'; Prebud'te ne my Knjazju‐to kiclivomu I vnemlite doblim tem, Vse govoril, tak ze, V put' gospoda grjaduscim! vse govoril: Knjaz', Ne rus' ty stariny. GOLICYN A on, gljadis', Cto takoe? Mesta bojaram sokratil. DOSIFEJ DOSIFEJ Vy, bojare, Smotrel by lucse Tol'ko na slovach gorazdy... za strel'cami, knjaz'. DOSIFEJ IVAN CHOVANSKIJ A vot kto delaet. A cto strel'cy? Gljan'te, gljan'te; Se grjadut! DOSIFEJ Mamone sluzat. Belijala ctut;

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IVÁN KHOVANSKY Tol'ko. po zadvorkam, Posramichom, Sast'! ‐Klevret. Posramichom, Ja domeknulas': Prerekochom, Sledit za mnoj, vidno. Prerekochom Bylo za Belgorod, I preprechom Blizko «Bolota». Eres' necestija Tut pri «Bolote" I zla stremniny Dusit' menja pocal, Vrazie. Bajal: ty nakazal, knjaze. Prerekochom Ja ne poverila, Nikon'jancev Ja zabranilas'; I preprechom! A on, zlodej, Zlobu vymestit' dumal. IVAN CHOVANSKIJ Dolgo borolis', Molodcy, rebjata, licho! Gibel' grozila mne... Tut, uz, ne pomnju kak, GOLICYN Slucaj priselsja, Kto molodcy? Tol'ko, cto sily, ja vyrvalas' ... Slava ty, boze! DOSIFEJ Petrovcy podospeli... Pterekochom! A na zadvorkach court i derzut. I preprechom Nikoniancev lzeucenie, GOLICYN, IVAN CHOVANSKIJ, DOSIFEJ Nasadichom vertograd gospoden', Petrovcy! Sobljudochom veru pravuju, Vo slavu zizditelja vselennye. MARFA Da. Potesnye progulkoj, IVÁN KHOVANSKY Cto li, sli. Prerekochom! Preprechom VARSONOF'EV Necestivych nikoniancev. Saklovityj!

GOLICYN SAKLOVITYJ Raskol! Knjaz'ja! Catevna velela vest' vam dat': IVAN CHOVANSKIJ V Izmajlovskom sele donos pribit: Ljubo! Chovanskie na Nami da starinoj Carstvo pokusilis'. Paki Rus' vozveselitsja! IVAN CHOVANSKIJ Scene Five Chovanskie!

MARFA DOSIFEJ 5. Knjaze, knjaze! Mectan'ja bros'! Ne veli kaznit', A cto skazal car' Petr? Veli milovat'! SAKLOVITYJ GOLICYN Obozval "chovanscinoj" Oboroten'. Oboroten'! I velel syskat'.

IVAN CHOVANSKIJ Scene Six Gospod' s toboj! Cto ty, knjaz'? ACT THREE Eto Marfa. Scene One DOSIFEJ Cto s toboju. CERNORJASCY Ditja vozljublennoe? 7. Posramichom, Posramichom, MARFA Prerekochom, Otce! Ty zdes'? Prerekochom Sla ja ot knjazja I preprechom Po zor'ke vecernej; Eres' necestija i zla stremniny

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Vrazie! MARFA Prerekochom Mati, pomiluj, Nikon'jancev Strach tvoj povedaj mne; I preprechom! Tjazka nam zizn' Pobedichom, Otnyne stala v sej Posramichom, Judoli placa i skorbej... Posramichom, Kazis', Pobedichom eres'! Po‐kniznomu chvatila! Eres' necestija, Zla stremniny SUSANNA Vrazie A, vot cto! I preprechom! Ty ‐ lukavaja, Pobedichom! Ty ‐ obidlivaja, Necestija... A pro sebja poes' ty Prezrecbom Pesni grechovnye. I preprechom! MARFA Scene Two Ty podslusala pesn' moju, Ty tak tat' podkralas' MARFA Ko mne, 8. Ischodila mladesen'ka Vorovskim obycaem Vse luga i bolota, Ty iz serdca A i vse sennye pokosy. Ischitila skorb' moju! Istoptala, mladesen'ka, Mati boleznaja: Iskolola ja nozen'ki, Ja ne taila ot ljudej Vse za milym ryskajuci, Ljubov' moju, Da i lich ego ne imajuci. I ot tebja ne utaju Uz kak podkralas', Ja pravdu. Mladesen'ka, Ko tomu li ja k teremu, SUSANNA Uz ja stuk pod okonce, uz ja brjak Gospodi! Vo zvenjasce kolecko: Vspomni, pripomni, MARFA Miloj moj, Straino bylo, Och, ne sabud', Kak septel on mne, Kak bozilsja, A usta ego Mnogo z ja nocek Gorjacie zgli polymem. Promajalas', Vse tvoej li bozboj SUSANNA Uslazdajucis'. Cur... cur menja! Slovno sveci bozie, Kosnym glagolom, My s toboju zateplimsja Rec'ju besovskoju Okrest brat'ja vo plameni, Ty iskusaes' menja? I v dymu, Ogne dusi nosjatsja. MARFA Razljubil ty mladesen'ku, Nyet, mati, nyet, Zagubil ty na voljuske, Tol'ko vyslusaj. Tak pocues' v nevole Esli b ty kogda ponjat' Zloj opostyluju, Mogla zaznobu Zluju raskol'nicu! Serdca istradavsego; Esli b ty mogla Scene Three Zelannoj byt', Ljubvi k milomu SUSANNA Otdat'sja dusoj! 9. Grech! Mnogo, mnogo by Tjazkij, neiskupimyj grech. Grechov prostilosja Ad! Ad vizu paljascij, Mati boleznaja, Besov likovan'e, Mnogim by sama prostila ty, Adskie zerla pylajut, Ljubvi krucinu Kipit smola krasnoplamenna. Serdcem ponimajuci.

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SUSANNA Na bratnij sud, Cto so mnoju? Na groznyj cerkvi Gospodi, cto so mnoju! Sud! Al' ja slaba na razum stala! Al' chitryj bes mne DOSIFEJ Sepcet zloe! Stoj! Stoj,jarostnaja! MARFA Ty pokusilas', Vspomni, pripomni, V zlobe gordelivoj, Miloj moj, Na serdce boljascee Och, ne zabud', Sestry tvoej tomjascejsja. Kak bozilsja; Mnogo z ja SUSANNA Nocek promajalas', Nyet! Vse tvoej li bozboj Ne poddamsja ja! Uslazdajucis'. DOSIFEJ SUSANNA Ty? Boze, boze moj! Ty, Susanna? Besa otzeni Beliala Ot menja jarostnogo. I besov ugodnica, Skovala serdce mne Jarost'ju tvoeju ad sozdalsja! Zazda mesti neugomonnaja! A za toboju besov Ty... Legiony mcatsja, Ty iskusila menja. Nesutsja, Ty obol'stila menja. Skacut i pljasut! Ty vselila v menja Dscer' Beliala, izydi! Adskoj zloby duch. Iscad'e adovo, izydi! Na sud, na bratnij sud. Nu ee! Na groznyj cerkvi sud! Utekla, kazis'. Pro cary zlye tvoi Vot‐to zljucaja! Ja na sude povem! Ja na vozdvignu tebe Scene Four Koster pylajuscij! DOSIFEI DOSIFEJ 10. Ach ty, moja kasatka, Pocto mjatesisja? Poterpi malen'ko, I posluzis' krepko MARFA Vsej drevlej i svjatoj Rusi, Otce blagij! Ee ze iscem. Mati Susanna gnevom Vospylala na rec' na moju, MARFA Bez lesti i obmana... Och, noet, Noet serdce, otce, DOSIFEJ Vidno, cuet gore ljutoe! S cego by eto, mati? Prezrena, zabyta, brosena! A pomnis' ty, Al' uz zabyla, DOSIFEJ Cto Marfa ot bed Knjaz' Andreem‐to? Tebja velikich spasla: V zastenke dyboj MARFA Pytali b tebja, Da. Za zlobu tvoju, Za jarost' tvoju, DOSIFEJ Za blaz' tvoju. Cinitsja?

SUSANNA MARFA A cto mne v tom! Zarezat' dumal. Ne proscaju ja! Ona obol'stila menja; DOSIFEJ Ona vselila v menja A ty cto s nim? Adskoj zloby duch. Na sud ee,

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MARFA Detej tvoich, Slovno sveci bozie, K tebe ved' My s nim skoro zateplimsja. Laskovych i boleznych! Okrest brat'ja vo plamen'i, Stonala ty pod A v dymu i v ogne Jaremom tatarskim, sla. My s nim nosimsja! Brela za umom bojarskim; Ty dan'ju tataram DOSIFEJ Vrazdu knjazej spokoila; Goret'! Ty mestom bojarskim Strasnoe delo! Bojar sluzit' ponudila! Ne vremja, ne vremja, Propala dan' tatarskaja, Golubka. Prestala vlast' bojarskaja,‐ A ty, pecal'nica, MARFA Strazdei' i terpis! Ach, otce! Gospodi! Strasnaja pytka ljubov'moja, Ty, s vysot bespredel'nych Den' i noc' Nas gresnyj mir ob"emljuscij, Duse pokoja nyet. Ty, vedyj vsja tajnaja serdec, Mnitsja, gospoda Boljascich, izmucennych, Zavet ne bregu i grechovna, Nisposli ty razuma Prestupna ljubov'moja. Svet blagodatnyj na Rus'! Esli prestupna, otce, Daruj ej izbrannika, Ljubov' moja, Toj by spas, Kazni skorej, kazni menja; Voznes zloscastnuju Rus', Ach, ne scadi: Stradalicu! Pust' umret plot'moja, Ej, gospodi, Da smert'ju ploti Vzemljaj grech mira, Duch moj spasetsja. Uslysi mja: Ne daj Rusi pogibnut' DOSIFEJ Ot lichich naemnikov! Marfa, Ditja moe ty boleznoe! Scene Six Menja prosti! Iz gresnych pervyj az esm'! STREL'CY V gospodnej vole 12. Podnimasja, molodcy! Nevolja nasa. Idem otsele! STREL'CY Terpi, golubuska; Al' na pod"em vy tjazely, Ljubi, kak ty ljubila; Podnimasja, molodcy! I vsja projdennaja ... Prejdet. SAKLOVITYJ Prosnulos' stado! Scene Five Pastva smirennaja Chovanskich velemudrych! SAKLOVITYJ 11. Spit streleckoe gnezdo. STREL'CY Spi, russkij ljud: Sobirajtesja, strel'cy! Vorog ne dremlet. Ach ty, v sud'bine STREL'CY Zloscastnaja, rodnaja Rus'. Ali golovuska bolit, Kto z, kto tebja, pecal'nuju, Ali serdce scemit. Ot bedy lichoj spaset? Al' nedrug zloj nalozit SAKLOVITYJ Ruku na sud'bu tvoju? Ne dolog srok: Al' nemcin zloradnyj Pesnja skoro spoetsja! ot sud'by tvoej Pozivy zdet? STREL'CY Ach, rodnaja! Opochmelit'sja A ni, ni, oj, nyet, To‐to by povadno! Ty im, lichim. Ne poklon' sja, STREL'CY Vorogam tvoim! Al' za etim stalo delo! Vspomni, pomjani ty

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STREL'CY STRELECKIE ZENY Vali valom! Ach, okajannye propojcy, Ach, kolobrodniki otpetye! STREL'CY Nyet kazni vam, Ach, ne bylo, ach, Nyet uderzu! Ne bylo pecali. Zen i sem'i zabyli. Tol'ko zla, Detok malych pokinuli Prezla nastojka Na razoren'e, na pogibel'! Chmel'naja. Ach, okajannye propojcy, Ì, kolobrodniki otpetye, STREL'CY Nyet kazni vam, Ach! Nyet uderzu, Ne vine‐to byt' vinoj, Nyet vam gorja, A vina v vine ne zapoj. Okajannye propojcy, Oj, oj... Propojcy! Ochti z li, Oj‐Oj! Oj! STREL'CY Bydto by baby osercali, STREL'CY Sily nabralis', nam mesajut. Svalilsja, Ach, povalilsja strelec; STREL'CY Ne budi ego Bydto by baby osercali, Krescenyj ljud, Siloj chotjat mesat' nam. Daj otcbodnut' strel'cu. STREL'CY STREL'CY Bran' podnjali, Goj, goj, pribodris', Opolcajutsja! Goj, goj, podnimis' Baby, slysis, dovol'no! S tvoego‐to loza, ochti z, neprigoza, Ty, strelec. STREL'CY A i rus', porus', Oj, da achti z, A i bej, razbej volej, Streleckie‐to baby, Vlast'ju bogatyrskoj, Vot‐to opolcilis' Vsjakoj vred da zlospletnju, Voevat' s muz'jami! Vorovstvo, Cto ot vorogov tvoich STRELECKIE ZENY Ponaplyli‐to! Gde muz'ja‐to, Gde takie? STREL'CY Byli, byli, Goj! Da splyli! Podnimalsja aj, Vozbuzdalsja strelec. STREL'CY Slovno vstat' privelos' Och, trudnen'ko Na grech solevoj Babam‐to Nozen'ki, aj'! Spravljat'sja, Cto s muzskoju siloj, STREL'CY A i muz nej volej. Kak pojsel strelec, Kak pojsel rodimyj, STRELECKIE ZENY A po vsej Moskve Gde z by tut muzskaja sila, To pogromom stalo! Ne v propojstve li ta volja! Oj, ach, strelec, Ach, melodec, STREL'CY Ne bojsja, Aj,au! Ty ne trevoz'sja; Nam ne bylo ved' gorja, Stoj na straze Baby naleteli, Rusi celoj; Gorja zachoteli. Goj, strelec, Goj, molodec! STRELECKIE ZENY Oj, oj! Gor'koe gore Terpim my i tak uz!

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STREL'CY STREL'CY Kuz'ka! Oj. dolzno by, Prokljata zla‐prezlaja KUZ'KA Baba ta, Az'? Cto sarna pootklikalas', Spletnej zloju ponazvalas'. STREL'CY Kuz'ka! STRELECKIE ZENY Spletnja i v sem'ju prokralas', KUZ'KA Migom po sem'e promcalas', Nu! Spletnja sem'i razorila, A i detok‐to sgubila. STREL'CY Ty povol'nam, STRELECKIE ZENY Pomosc' daj, druzisce! Bojtes'. bojtes', Molodcy STREL'CY Spletni baby, zloj‐prezloj, Slys'! Cto grozit‐to lich bedoj, Utes' nemilostivych bab‐to! Cto kaznit ves' rod ljudskoj.

KUZ'KA STREL'CY Cto vy, drugi! Spletnja Po zastenkam sljalas', STREL'CY Spletnja s palacom jaksalas', Nukos'! Vsech donoscikov smanila, Zlatom, serebrom darila. KUZ'KA Och, mne nevmogotu, STREL'CY Och, vot, vot sovsem pripesil; Ne gnusalas'i pod'jacich, Strogi da gnevny, oj, Tech, cto per'jami skrypjat. Streleckie‐to baby; Gnevny vovse, ne dozvoljat, STREL'CY Ne dozvoljat, vospretjat; Da, gljadi podi, Cto vospretjat‐to baby, Puskajut zizn' Aveljat sovsem molcat'. Ljudskuju naprokat. Vy, baby, gospozi, Pozvol'te, prikazi. Au? KUZ'KA Spletnja stol'ko nacudila, STRELECKIE ZENY Cto i um ljudskoj smutila, Au! Au!... Ljudi sepcutsja i lgut, Pravdy vovse STREL'CY Ne berut; Licho, Kuz'ka! Tol'ko Spletne poklonis', Ot uma ty otkazis'; KUZ'KA Spletnja vse vverch Zavodilas' v zakoulkach, Dnom postavit Gde‐to v temnych pereulkach, I proslavlenych Zavodilas' baba zlaja, Besslavit. Odinokaja, bol'saja. Stala dumat' da gadat': STRELECKIE ZENY Kak by ljudjam pomesat', Aj, au, au, au, aj!... Kak by milym naplesti, Baba zlaja Spletnja ta. Bab s muz'jami razvesti. Cem ee nam izvesti?

STREL'CY STREL'CY Kak ze babu tu nazvat'? Kak by Spletnju tu sprovadit', Bol'se b baby ne kazalos', STREL'CY Ot nee ljudej otvadit', Baba ta sama nazvalas', Spletnja z imi by gnusalas'. Spletnej zloju otklikalas', Vy resajte, molodcy, Mnogo bed ona tvorit, Posovetujte, strel'cy: Na nedobroe manit. Cem ee nam izvesti?

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KUZ'KA STREL'CY Spletnic, spletnikov... I ziv otsele ne ujdet!

VMESTE POD'JACIJ Na sud! Otcy i brat'ja! Mne teper' vse ravno, Scene Seven Vidno. Uz smert' prisla, POD'JACIJ Tol'ko ne skroju 13. Beda, beda... Ot vas ja pravdy. Ach, zlejsaja! Rejtary blizko! Nyet siluski... K vam mcatsja, Och smert'juska! Vse rusat!

STREL'CY STREL'CY Cto ty, duren', Breses'! Rejtary?

STREL'CY POD'JACIJ Al'ty bresis'? D'javol! Slusajte! V Kitaj‐gorode STREL'CY Byl ja na rabote Vidno, lovko trepanuli! Po dolgu sluzby I cestnoj kljatve; STREL'CY Strocil gramotu, Vot tak strusil! Dusu polagaja Za ves' mir bozij STRELECKIE ZENY I za pravoslavnych. Vis', drozit‐to, Cu! Slysu: Ele dyset! Mernyj dal'nij topot Slovno v lichomanke! I konej rzan'e, Ljazg oruz'ja, STREL'CY Latnyj stuk i dikij krik... Podelom tebe, prokljatyj! STREL'CY POD'JACIJ Vidno, tebja iskali! Oj, lichon'ko! Vidno, tebja lovit' choteli! Nyet, ne bili menja, Stracha na nich nagna!, podi! Nyet, ne trepali menja, Slys', napugal ty ich! I ni ust moich, S boja vzjat' tebja, Ni slucha ne oskvernjali! S boja vzjat' choteli. Cudno, pravo! STREL'CY Kakaja z nelegkaja POD'JACIJ Sila sal'naja k nam, Blizko uz bylo Belgoroda, Slys', tebja nevpopad U samoj Slobody streleckoj, Podtolknula? Naleteti zlye vorogi Na zen i detej vasich, POD'JACIJ I okruzili. Strach poputal, Smert' zapugala! STREL'CY Vres'! Vres' zlodej! STREL'CY Ne pravda! Vot cto. STRELECKIE ZENY STREL'CY Gospodi, boze nas! Chiter ved' toze! POD'JACIJ STREL'CY Vdrug na podmogu rejtaram, Zabyl al' ne znal Otkuda vzjalsja, Obynaj nas streleckij, Petrovcy podospeli, Vsjakij, nezvanyj k nam, I svalka vcalas': Vorogom zovetsja... Gore! Strel'cy iznemogli!

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STRELECKIE ZENY I STREL'CY IVAN CHOVANSKIJ Gore nam! Gore nam! Zacem menja vy zvali? Gore! Gore! Al' beda kakaja S vami prikljucilas'? POD'JACIJ Teper' nautek STRELECKIE ZENY I STREL'CY Po dobru da po zdorovu, Rejtary da petrovcy Fit'! Gubjat nas!

Scene Eight STREL'CY Vedi nas v boj! KUZ'KA 14. Strel'cy! IVAN CHOVANSKIJ Sprosim batju: V boj? Pravda l' to al' nyet, Pomnite, detki, kak my, Cto nam cert pod'jacij Po scikolku v krovi, Ponagorodil o rejtarach Moskvu ot vorogov lichich Da o petrovcach. Oboronjali i sobljuli; Tak li? Nynce ne to: Strasen car' Petr! STRELECKIE ZENY Idite v domy vasi, Sprosim! Spokojno zdite Sud'by resen'e! STREL'CY Proscajte, proscajte! Sprosim! Batja, Batja! STRELECKIE ZENY I TREL'CY Vyjdi k nam! Gospodi, Ne daj vragam v obidu STRELECKIE ZENY, STREL'CY I ochrani nas Batja, Batja, I domy nasi Vyjdi k nam! Miloserdiem tvoim!

STRELECKIE ZENY Detki prosjat. ACT FOUR

STREL'CY Tableau One Tebja zovut. Scene 1 STRELECKIE ZENY, STREL'CY Batja, Batja, KREST'JANKI Vyjdi k nam! 1. Vozle recki Na luzocke noceval ja, STREL'CY Molodec, uslychal ja Batja, Batja, Golos devicij, Vyjdi k nam! So krovatuski vstaval, Umyvat'sja belo stal, STRELECKIE ZENY Vstal, umylsja, Batja, Batja, Batja, Sobralsja, Vyjdi k nam! Ko devuske podnjalsja. Detki prosjat... IVAN CHOVANSKIJ STRELECKIE ZENY I STREL'CY S cego zagolosili, Tebja zovut. Spasi bog, Batja, Batja, Slovno mertveca v zilisce Vyjdi k nam! Becnoe provodjat. I tak uz na Rusi velikoj IVAN CHOVANSKIJ Ne veselo, ne radostno zivetsja; Zdorovo, detki, A tut babij voj slysat': Na dobryj cas zdorovo! Zabavno. I vopl', i skrezet: STRELECKIE ZENY I STREL'CY Cudesno, spasi bog. Na radost' i slavu zivi Veseluju, da pobojcee, I sdravstvuj, Batja!

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Pesnju mne. I v yotcine moej ... Vy slysite? Mne grozit beda... Neminucaja? KREST'JANKI Vot zabavno, Kak povolis', bojarin knjaze. Vot‐to smesno! Pugat' izvoljat knjazja! IVAN CHOVANSKIJ Litva prosnulas'! Cego povolit? Vstavaj, Chovanskij! Prosnis' i ty! KREST'JANKI Ej, konjucham ego! Kak izvolis', bojarin knjaze. Puskaj pocestvu izrjadno! Medu mne! IVAN CHOVANSKIJ A vy, tam, Cego vam tam izvolit'? Na zenskoj polovine, Persidok mne pozvat'! KREST'JANKI Gajducka? Gajducka? Scene three

IVAN CHOVANSKIJ 3. Orchestra Cto vy sepcetes'! Pojte! Scene Four

KREST'JANKI IVAN CHOVANSKIJ Pozdno vecerom sidela, 4. Ty zacem? Vse lucinuska gorela. Gajduk, gajducok, SAKLOVITYJ Vse lucinuska gorela. K tebe, knjaz'. Vse lucinuska gorela I ogarocki prizgla. IVAN CHOVANSKIJ Znaju, cto ko mne. IVAN CHOVANSKIJ Zacem? Bojcej! Vot tak! SAKLOVITYJ KREST'JANKI I bez obycaja... Gajduk, gajducok, I ogaroCki prizgla. IVAN CHOVANSKIJ Gajduk, gajducok! I ty posemlJ Vse ogarocki prizgla ja, Druzka milogo zdala. SAKLOVITYJ Gajduk, gajducok, Knjaz'! Druzka milogo zdala. IVAN CHOVANSKIJ Scene Two Nu!

IVAN CHOVANSKIJ SAKLOVITYJ 2. Ty zacem? Carevna. Osmelilsja vojti? V skorbi velikoj za Rus' I za narod moskovskij. KLEVRET Zovet k sebe, Knjaz' Golicyn velel I nyne ze sovet velikij. Tebe skazat': Poberegis', knjaze! IVAN CHOVANSKIJ Vot kak! IVAN CHOVANSKIJ Da nam‐to cto? Poberegis'? Puskaj sebe zovet.

KLEVRET SAKLOVITYJ Tebe grozit beda neminucaja. Knjaz'!

IVAN CHOVANSKIJ IVAN CHOVANSKIJ Beda? My, kazis', Da ne s uma l' ty spjatil? Nemalo delom, V moem domu I sovetom, i vsjaceski

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Carevne ugozdali; Scene Six Teper', nebos', Drugie ej sovetniki posluzat! DOSIFEJ 6. Sversilosja resenie sud'by, SAKLOVITYJ Neumolimoj i groznoj, Tebja pervym izvolila nazvat', Kak sam strasnyj sudija! Knjaz'. Knjaz' Golicyn, Mol: bez tvoich uslug Vlastelin vsevlastnyj, Sovet ne mozet obojtit'sja. Knjaz' Golicyn, Gordost' Rusi celoj, IVAN CHOVANSKIJ Opal'no vyslan vdal'; Vot eto tak. A zdes' ot poezda Teper' my k nej Pecal'nogo ego odni Ochotno budem Lis' kolei ostalis'. I vnov' Rusi velikoj A vidno, mudrym byl Uslugu nasim razumom Nacal'nik Streleckogo prikaza! Okazem, spasi bog. Iz‐za kiclivosti svoej Ej! Sebja i bliznich pogubil. Lucsie odezdy mne, I knjazicu, podi, ne sdobrovat': Knjazoj moj posoch! Carem, vis', A vy velicajte! Ego na Moskve prednaznacali...

KREST'JANKI MARFA Plyvet, Otce! Plyvet lebeduska, Ladu, ladu. DOSIFEJ Plyvet navstrecu lebedju, A? Cto z? Ladu, ladu. Proznala ty, golubka, Sustrel, sustrel lebedusku, Cem resil Sovet velikij Ladu, ladu. Protiv nas v poprek Sustrel tot lebed' belyj, Drevlej Rusi, Ladu, ladu. Ee ze iscem? Posel chodit' s lebeduskoj, Ladu, ladu. MARFA S podruzen'koj pomolvilsja. Ne skroju, otce, Ladu, ladu. Gore grozit nam! I peli slavu lebedju, Veleno rejtaram okruzit' Ladu, ladu. Nas v svjatom skitu I peli slavu belomu, I bez poscady, Ladu, la... Bez sozalen'ja gubit' nas.

SAKLOVITYJ DOSIFEJ Belomu lebedju slava. Vot cto. Ladu, ladu. MARFA Tableau Two Da!

Scene Five DOSIFEJ Tak voc cto? PRISLYJ LJUD Teper' prispelo vremja 5. Gijan'‐ko! Vezut, V ogne i plameni prijat' Vezut, kak est'! Venec slavy vecnyja! Vezut, vezut vzapravdu! Marfa! Voz'mi Andreja knjazja, PRISLYJ LJUD Ne to oslabnet Prosti tebe gospod'! I ne podvignetsja. Pomogi tebe gospod' V tvoej nevole! MARFA Pomogi tebe v nevole! Voz' mu.

DOSIFEJ Terpi, golubuska, Ljubi, kak ty ljubila,

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I slavy vencom ANDREJ CHOVANSKIJ Pokroetsja imjatvoe. Ja ne verju tebe, Prosti! Ja ptoklinaju tebja! Ty siloj duchov t'my MARFA I carami uzasnymi tvoimi Teper' prispelo vremja Menja privorozila. Prijat' ot gospoda Serdce moe i zizn' V ogne i plameni Mne razbila! Venec slavy vecnyja! Koldovkoj obzovu tebja, A strel' ty cernokniznicej Scene Seven Dobavjat; Na kostre sgoris' ANDREJ CHOVANSKIJ Ty vsenarodno. 7. A, ty zdes', zlodejka! Zdes', zmeja! MARFA Gde moja Emma, Zovi strel'cov! Kuda ee ty skryla? Otdaj mne Emmu, ANDREJ CHOVANSKIJ Otdaj moju golubku! Pozvat'? Gde ona? Otdaj ee, otdaj! MARFA Zovi! MARFA Emmu rejtary uvezli dalece; ANDREJ CHOVANSKIJ Gospod' pomozet ‐ Cto eto? Skoro ona zenicha svoego, Cto iz Moskvy ty izgnal, MARFA Na rodine obnimet. Trubi esce!

ANDREJ CHOVANSKIJ Scene Eight Zenicha! Lzes', lzes', zmeja! ANDREJ CHOVANSKIJ Ne po verju! 8. Gospodi, boze moj! Ja soberu moich strel'cov, Vse pogiblo. Ja sozovu narod moskovskij ‐ Marfa, spasi menja! Tebja, izmenicu, Skaznjat! MARFA Cto z ne zoves' strel'cov? MARFA Skaznjat? ANDREJ CHOVANSKIJ Vidno, ty ne cujal, knjaze, Spasi menja! Cto sud'ba tvoja tebe skazet, Cto velit ona MARFA I cto tebe ukazet, Nu ladno, knjaze, Bez korysti, bezo lzi, Ja tebja ukroju Bez lesti, knjaze, V meste nadeznom. I obmana... Idem so mnoj.

ANDREJ CHOVANSKIJ MARFA Emmu, Emmu otdaj ty mne! Spokoen bud'. Smelej idi! MARFA Gordyj batja tvoj ubit, STREL'CICHI Kaznen izmenoj, Ne daj poscady, I gresnyj trup ego Kazni okajannvch Lezit nepogrebennyj; Bogootstupnikov, Tol'ko veter vol'nyj Zlych vorogov! Po‐nad nim guljaet, Tol'ko zver' dosuzij STREL'CY Okrest bati chodit, Gospodi boze, Da tol'ko tebja vdol' Poscadi nas, Po vsej Moskve iscut. Gospodi boze, Ne vzysci po grecham nasim!

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STREL'CICHI No v put' Ne daj poscady, Svjatogo obnovlen'ja Kazni okajannych, lspolnim ego. Car'‐batjuska! Otce blagij!

STREL'CY Scene Two Otce vsemoguscij. Pomiluj dusi gresnye nasi! DOSIFEJ 10. Bratija! STREL'CICHI Vnemlite glasu otkrovenija Kazni ich, Vo imja presvjatoe tvorca Okajannych, I gospoda sil! Car'‐batjuska, Bez poscady! CERNORlZCY Vladyko, otce, STREL'CY Sveta chranitel', Smilujsja, smilujsja, Gospodu otkryty Car'‐batjuska, Vovek nasi serdca. Car'‐batjuska! DOSIFEJ MOLODOJ STRESNEV Amin'. Strel'cy! Sestry! Cari i gosudari Chranite li zavet velikij Ivan i Petr vam milost' sljut: Vo imja presvjatoe tvorca ldite v domy vasi I gospoda sil? I gospoda molite Za ich gosudarskoe zdorov'e. CERNORIZKI Igrajte, truby! Ne imamy stracha, Car' Petr pes'ju Otce, zavet nas Sestvie v moskovskij Kreml' Pred gospodom svjat Cinit' izvolit. I ne prelozen.

ACT FIVE DOSIFEJ Amin'. Scene One Oblekajtesja v rizy svetlye, Vozzigajte sveci bozie DOSIFEJ I grjadite k stojaniju 9. Zdes', na etom meste svjate, I da preterpim Zalog spasen'ja miru vozvescu. Vo slavu gospoda! Skol'ko skorbi, skol'ko terzanij Duch somnen'ja v menja vseljal; CERNORIZCY Strach za bratiju; 11. Brag celovekov, Za ucast' gresnych Knjaz' mira sego vossta! Dus denno i noscno Menja smuscal, CERNORIZKI I ne drognulo serdce moe, Strasny kovy antichrista! Da sversitsja Volja nebesnogo otca! CERNORIZCY Vremja prispelo, Bespredel'na zloba ego! I skorb' moja vas, Milych, CERNORIZKI Vencom slavy osenila; Smert' idet. Spasajtesja! Zizni zemnoj i prechodjascej Utechi prezreli vy, CERNORIZCY Slavy bessmertnoj, Blizko brag. Vecnoj radi. Muzajtesja! Muzajtes', brat'ja! V molitve teploj CERNORlZCY I CERNORIZKY Najdete sily predstat' Plamenem i ognem svascenym Pred gospoda sil. My obelimsja Boze pravyj, Vo slavu vecnuju gospoda! Utverdi zavet nas! Predvecnogo, Da ne v sud il' osuzden'e, Bessmertnogo tvorca!

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CERNORIZCY Obojmu tebja v ostatnij raz. Slava tebe, boze Alilujja, alilujja... Slava tebe! DOSIFEJ CERNORIZCY I CERNORIZKI Truba predvecnogo! Ty dazd' sili gresnym rabam tvoim! Prispelo vremja Otce blagij! V ogne i plameni prijat' Venec slavy vecnyja! Scene Three MARFA MARFA Slysal li ty, 12. Podviglis'. Vdali za etim borom Gospodi, Truby vescali Ne utaju skorbi moej: Blizost' voisk petrovskich? Do dnes' terzaet dusu moju My vydany, Izmenna ego. Nas okruzili... Boze, grech moj ‐ Negde ukryt'sja, Serdce moe; uslysi mja! Nyet nam spasen'ja. Zazdu spasti ja Sama sud'ba skovala Sovest' ego po kljatve ego, Krepko nas s toboju I stracha ne poimu iskljucenija. I prorekla konec Prosti mja siloju tvoej ljubvi, Nam smertnyj, Gospodi! Ni slezy, ni mol'by, Ni ukory, ni stenan'ja ‐ ANDREJ CHOVANSKIJ Nicto ne spaset: Gde ty, moja voljuska? Sud'ba tak velala. Gde ty, moja neguska? U otcal' u batjuski? ANDREJ CHOVANSKIJ U rodimoj u matuski? Marfa, molju tebja, Kuda z, kuda ja volusku, Tjazko, tjazko mne. Kuda svoju nerusku, Da kuda z devat' ee, MARFA Da kuda z devat' budu ja? Idem ze, knjaze, Emma! Brat'ja uz sobralas', I ogon' svjascennyj zertvy MARFA Zdet svoej. Milyj moj! Vspomni, Vspomni, Pomjani svetlyj mig ljubvi, Pomjani svetlyj mig ljubvi, Kak septal ty mne Mnogo cudnych snov Pro scastie moe. S tech por vidala ja: V ogne i plameni Snilos' mne, budto by, Zakalitsja ta kljatva tvoja. Izmena ljubvi tvoej, Cudilis', brodili dumy mracnye. Scene Four

ANDREJ CHOVANSKIJ RASKOL'NIKI Marfa! 13. Gospodi slavy, grjadi vo slavu tvoju!

MARFA DOSIFEJ Spokojsja, knjaze! Bratija, podvignemsja, Ja ne ostavlju tebja, Vo gospode pravdy i ljubvi Vmeste s toboju sgorju, ljubja. Da uzrim svet! A slys', poslys': Zarko bylo, DOSIFEJ, RASKOL'NIKI Kak v noci septal ty mne Da sginut plotskie kozni Pro ljubov' svoju, Ada ot lica Pro scast'e moe; Svetla pravdy i ljubvi! Tucej cernoju Pokrylas' ljubov' moja, MARFA, RASKOL'NIKI Cholodom, l'dom skovalo Gospod' moj, Kljatvu moju. Zascitnik i pokrovitel', Smertnyj cas tvoj prisel, Paset mja. Milyj moj,

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DOSIFEJ, RASKOL'NIKI "Szhal'sa, pozhdi dopevat', khot' mnogoven'ye Gospoda pravdy ispovemy, Strashnuyu pesnyu tvoyu!" Nictoze lisit nas. "Vidish, usnul on pod tikhoe pen'ye. Bayushki, bayu, bayu." MARFA Vspomni, pomjani Svetlyj mig! 2. Serenade ANDREJ CHOVANSKIJ Nega vol'shebnaya, noch golubaya, O, Emma, Emma! Trepetny sumrak vesny... Vnemlet, poniknuv golovkoy, bol'naya DOSIFEJ I RASKOL'NIKI Shopot nochnoy tishiny. Amin'. Son ne smykayet blestyashchie ochi, Zhizn k naslazhdenyu zovyot! PRISLYE LJUDI A pod okoshkom v molchaniy polnochi Och ty, Smert' serenadu poyot: Rodnaja matuska Rus', "V mrake nevoli, surovoy i tesnoy, Nyet tebe pokoja, Molodost' vyanet tvoya, Nyet puti; Rytsar nevedomy, siloy chudesnoy Grud'ju krepko Osvobozhu ya tebya. Stala ty za nas, Vstan, posmotri na sebya: krasotoyu Da tebja z, Lik tvoy prozrachny blestit, Rodimuju, gnetut. Shchoki rumyany, volnistoy kosoyu V neurjadice Stan tvoy kak tuchey obvit. Da v pravezach ty zila, Pristal'nykh glaz goluboye siyan'e Zila, stonala. Yarche nebes i ognya... Kto z teper' tebja, Znoyem poludennym veyet dykhan'e… Rodimuju, kto utesit, Ty obol'stila menya. Uspokoit? Slukh tvoy plenilsa moyey serenadoy, Rystsarya shopot tvoy zval. END Rytsar prishol za posledney nagradoy: Chas upoyen'ya nastal. Nezhen tvoy stan, upoitelen trepet, O, zadushu ya tebya CD11 V krepkikh ob'yat'yakh; lyubovny moy lepet Pesni i Plaski Smerti Slushay... molchi...Ty moya! Texts: Golenischev‐Kutusov 1. Kolïbel'neya Stonet rebyonok, svecha, nagoraya, 3. Trepak Tusklo mertsayet krugom. Les da polyany, bezlyud'e krugom... Tseluyu noch, kolybel'ku kachaya, Vyuga i plachet i stonet... Mat' ne zabylasa snom. Chuyetsa, budto vo mrake nochnom Ranym‐ranyokhonko v dver ostorozhno Zlaya kovo‐to khoronit. Smert' serdobol'naya stuk! Glyad', tak i yest'! v temnote muzhika Vzdrognula mat', oglyanulas trevozhno... Smert' obnimayet, laskayet; "Polno pugat'sa, moy drug! S pyanenkim plyashet vdvoyom trepaka, Blednoe utro uzh smotrit v okoshko, Na ukho pesn napevayet: Placha, toskuya, lyublya, "Okh, muzhichok, starichok ubogy, Ty utomilas, vzdremni‐ka nemnozhko, Pyan napilsa, poplyolsa dorogoy; Ya posizhu za tebya. A metel‐to, ved'ma, podnyalas, vzygrala, Ugomonit' ty ditya ne sumela; S polya v les dremuchy nevznachay zagnala, Slashche tebya ya spoyu." Gorem, toskoy, da nuzhdoy tomimy, "Tishe! Rebyonok moy mechetsa, byotsa, Lyag, prikorni da usni, rodimy, Dushu terzayet moyu!" Ya tebya, golubchik moy, snezhkom sogreyu, "Nu, da so mnoyu on skoro uymyotsa, Vdrug tebya velikuyu igru zateyu. Bayushki, bayu, bayu." Vzbey‐ka posteI' ty, metel' lebyodka! "Shchochki bledneyut, slabeyet dykhan'ye... Hey, nachinay, zapevay, pogodka, Da zamolchi zhe, molyu!" Skazku da takuyu, shtob vsyu noch tyanulas, "Dobroye znamen'e: stikhnet stradan'e. Shtob pyanchuge krepko pod neyo zasnulas. Bayushki, bayu, bayu." Oy vy, lesa, nebesa da tuchi, "Proch ty, proklyataya! Laskoy svoyeyu Tem, veterok da snezhok letuchy, Sgubish ty radost' moyu." Sveytes pelenoyu snezhnoy pukhovoyu, "Net, mirny son ya mladentsu naveyu: Yeyu kak mladentsa starichka prikroyu. Bayushki, bayu, bayu." Spi, moy druzhok, muzhichok schastlivy,

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Leto prishlo, rastsvelo! Ili vot shto: Nad nivoy solnyshko smeyotsa da serpy gulyayut, Rasskazhi mne luchshe pro tsarya s tsaritsey, Pesenka nesyotsa, golubki letayut!... " Shto za morem zhili v teremu bogatom. Yeshcho tsar vsyo na nogu khromal, Kak spotknyotsa tak grib vyrastit. 4. Polkovodets U tsaritsy ta vsyo nasmork byl, Grokhochet bitva, bleshchut broni, Kak chikhnyot styokla v drebezgi! Orud'ya mednyye revut, Znayesh, nyanyushka: Begut polki, nesutsa koni, Ty pro buku to uzh ne rasskazyvay! I reki krasnyye tekut, Bog s nim, s bukoy! Pylayet polden, lyudi bytusa! Rasskazhi mne, nyanya, tu, smeshnuyu‐to! Sklonilos sontse, boy sil'ney! Zakat bledneyet, no derutsa Vragi vsyo yarostney i zley! 6. V uglu I pala noch na pole brani, Akh ty, prokaznik! Druzhiny v mrake razoshlis... Klubok razmotal, prutki rasteryal, Vsyo stikhlo, i v nochnom tumane Akhti! vse petli spustil! Stenan'ya k nebu podnyalis. Chulok ves zabryzgal chernilami! Togda, ozarena lunoyu, V ugol! V ugol! Na boevom svoyom kone, Poshol v ugol! Kostey sverkaya beliznoyu, Prokaznik! Yavilos smert'. I v tishine, Vnimaya vopli i molitvy, Ya nichevo ne sdelal, nyanyushka, Dovol'stva gordovo polna, Ya chulochek ne trogal, nyanyushka! Kak polkovodets, mesto bitvy Klubochek razmotal kotyonochek, Krugom ob'yekhala ona. I prutochki razbrosal kotyonochek, Na kholm podnyavshis, oglyanulas, A Mishen'ka byl payn'ka, Ostanovilos, ulybnulas... Mishen'ka byl umnitsa. , I nad ravninoy boyevoy A nyanya zlaya, staraya, u nyani nosik Pronyossya golos rokovoy: zapachkanny. "Konchena bitva! Ya vsekh pobedila! Misha chisten'ky, prichosanny, Vse predo mnoy vy smirilis, boytsy! A u nyani chepchik na boku. Zhizn vas possorila, ya pomirila! Nyanya Mishen'ku obidela, naprasno v ugol postavila Druzhno vstavayte na smotr, mertvetsy! Misha bol'she ne budet lyubit' svoyu nyanyushku, Marshem torzhestvennym mimo proydite, vot shto! Voysko moyo ya khochu soschitat'. V zemlyu potom svoi kosti slozhite, Sladko ot zhizni v zemle otdykhat'! 7. Zhuk Gody nezrimo proydut za godami, Nyanya, nyanyushka! shto sluchilos, nyanya V lyudyakh ischeznet i pamyat' O vas. dushen'ka! Ya ne zabudu! I gromko nad vami Ya igral tam na pesochke, za besedkoy, gde Pir budu pravit' v polunochny chas! beryozki, Plyaskoy tyazholoyu zemlyu syruyu Stroil domik iz luchinochek klenovykh, Ya pritopchu, shtoby sen grobovuyu Tekh, shto mne mama, sama mama nashchepala. Kosti pokinut' vovek ne smogli, Domik uzh sovsem postroil, Shtob nikogda vam ne vstat' iz zemli!" Domik s kryshoy, nastoyashchy domik, Vdrug! Na samoy kryshke zhuk sidit, Detskaya Ogromny, chorny, tolsty takoy, usami shevelit strashno tak, 5. S nyaney I pryamo na menya vsyo smotrit! Rasskazhi mne, nyanyushka, Ispugalsa ya! A zhuk gudit, zlitsa, Rasskazhi mne, milaya, Kryl'ya rastopyril, skhvatit' menya khochet!... Pro tovo pro buku strashnovo: I naletel, v visochek menya udaril! Kak tot buka po lesam brodil, Ya pritailsa, nyanyushka, prisel, boyus Kak tot buka vies detey nosil poshevel'nut'sa! I kak gryz on belyye kostochki, Tol'ko glazok odin chut'‐chut' otkryl, I ka deti te krichali, plakali! I shto‐zhe, poslushay, nyanyushka: Nyanyushka! Zhuk lezhit, slozhivshi lapki, kverkhu nosikom, na Ved' zato ikh, detey‐to, buka syel, spinke, Shto obideli nyanyu staruyu, I uzh ne zlitsa, i usami ne shevelit, Papu 5 mamoy ne poslushali, I ne gudit uzh, tol'ko krylyshki drozhat. Ved' zato on syel ikh, nyanyushka? Shto‐zh, on umer, il' pritvorilsa?

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Shto‐zh eto, shto‐zh, skazhi mne, nyanya, s Razdavlyu! zhukom‐to stalos? Oy, bol'no! Oy, nogu! Oy, bol'no! Oy, nogu!... Menya udaril, a sam svalilsa! "Serzhenika, moy mal'chik, shto za gore? Nu, polno Shto‐zh eto s nim stalos, s zhukom‐to! plakat'! Proidyot, moy drug! Postoy‐ka, vstan na nozhki pryamo: 8. S kukloy Vot‐tak, ditya! Posmotri, kakaya prelest'! Vidish? Tyapa, bay, bay, Tyapa, spi, usni, V kustakh nalevo! Akh, shto za ptichka divnaya! Ugomon tebya vozmi! Tyapa! spat' nado! Shto za pyoryshki! Tyapa, spi, usni, Tyapa buka syest, sery volk Vidish?... Nu shto? Proshlo?" vozmyot, "Proshlo! Ya v Yukki syezdil, mama! V tyomny les snesyot. Teper domoy toropit'sa nado... Tyapa, spi, usni! Hop! hop! Gosti budut... Hop! Toropit'sa nado!...” Shto vo sne uvidish, mne pro to rasskazhesh: Pro ostrov chudny, gde ni zhnut ni seyut, Gde tsvetut i zreyut grushi nalivnyye, 11. Kot Matros Den i noch poyut ptichki zolotyye! Ay, ay, ay, ay, mama, milaya mama! Bay, bay, bayu bay, bay, bay, Tyapa! Pobezhala ya za zontikom, mama, ochen ved zharko, Sharila v komode i v stole iskala: net, kak nalrochno! 9. Na son gryadushchiy Ya v toropyakh k oknu podbezhala, mozhet byt' Gospodi pomiluy papu i mamu i spasi ikh, Gospodi! zontik tarn pozabyla... Gospodi pomiluy brattsa Vasen'ku i brattsa Vdrug vizhu, na okne‐to, kot nash Matros, Mishen'ku! zabravshis na kIetku, skrebyot! Gospodi pomiluy babushku staren'kuyu, Snigir drozhit, zabilsa v ugol, pishchit. Poshli ty yey dobroye zdorovitse, Zlo menya vzyalo! Babushke dobren'koy, babushke staren'koy, "E, brat, do ptichek ty lakom! Gospodi! Net, postoy, popalsa. Vish‐ty, kot!" I spasi, Bozhe nash, tyotyu Katyu, tyotyu Natashu, Kak ni v chom ne byvalo stoyu ya, smotryu v tyotyu Mashu, tyotyu Parashu, storonku, Tyotyey Lyubu, Varyu, i Sashu, i Olyu, i Tanyu, i Tol'ko glazom odnim podmechayu: stranno shto‐to! Nadyu, Kot spokoyno v glaza mne smotrit, Dyadey Petyu i Kolyu, dyadey Volodyu i Grishu, i A sam uzh lapu v kIetku zanosit: Sashu, i vsekh ikh, Tol'ko shto dumal skhvatit' snigirya, a ya yevo Gospodi, spasi i pomiluy, i Filyu, i Vanyu, i Mityu, i khlop! Mama, kakaya tvyordaya kIetka! pal'tsam tak Petyu, i Dashu, bol'no, mama! Pashu, Sonyu, Dunyushku... Mama, vot v samykh konchikakh, vot tut, Nyanya! a nyanya! Kak dal'she, nyanya? Tak noyet, noyet tak... Vish ty, prokaznitsa kakaya! Net! kakov kot‐to, mama, a? Uzh skol'ko raz uchila: Gospodi pomiluy i menya greshnuyu! Gospodi pomiluy i menya greshnuyu! 12. Rayok Tak, nyanyushka? Ey, pochtenny gospoda, zakhvatite‐ko glaza, Podkhodite, poglyadite, povidites, polyubuytes Ne velikikh na gospod, muzykal'nykh voyevod! 10. Poyekhal na palochke Vse zdes! "Hey! Hop, hop! Hop! Razlivalas rechen'ka na tri rukava: Hop, hop! Hey, podi! Hey! Hey! Hey! Hey! Odin rukav leskom proshol, Hey! podi! Hop, hop, hop! Hop, hop!... etc. A drugoy rukav po pesochku povernulo, Hey! Hey! Hey! Hey! A tretiy rukav‐to pod mel'nitsu, Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, hey! Pod iz vyaza koleso, pod samy zhemov, Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, podi! Oy, vertitsa koleso, oy, meli zhemov, Tpru!... Stoy! Vasya, a Vasya! Vsyu pravdu meli pro etikh molodtsov, Slushay, prikhodi igrat' sevodnya! Tol'ko ne Muzykal'nykh udal'tsov! pozdno! Pokazyvayut! Nu ty, hop! Hop! Proshchay, Vasya! Ya v Yukki Vot, sorvavshis s oblakov, poyekhal... Tumanov vechnykh zhitel', Tol'ko k vecheru nepremenno budu, Smertnym otkryvat' idyot My ved rano, ochen rano spat' lozhimsa... Smysl tainstvenny veshchey obyknovennykh, Prikhodi, smotri! S pomoshchu Bozhiyey! Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, hey! Uchit, shto minomy ton grekh praroditel'sky, Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, podi! I shto mazhomy ton grekha iskupeniye. Hop! Hey, podi! Hey, hey podi! Hey, hey! Tak‐to, vitaya v oblakakh s ptitsami nebesnymi,

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Rastochayet smertnym on glagoly neponyatnyye, K nim v kompaniyu popal! S pomoshchu Boziyey! I totchas‐zhe oserchal, Za nim bezhit v pripryzhku Fif vechno yuny, S yarosi'yu na nikh napal Fif neugomonny, Fif primiritel', Fif vsestoronniy, I zhestoko otrepal. Vsyu zhizn on vertelsa, nu i zavertelsa; Uzh on ikh trepal, trepal, trepal, trepal, trepal, Nichemu ne vnemlet, i vnimat' ne v silakh, Trepal, trepal, trepal, trepal... Vnemlet tol'ko Patti, No gryanul grom!... I t'ma nastala, Patti obozhayet, Patti vospevayet. Gustaya mgla zatrepetala, O Patti, Patti, O Pa‐Pa‐Patti, I pali nits v svyashchennom strakhe Chudnaya Patti, divnaya Patti! Tumanov zhitel', Fif mladenets O Patti, Patti, O Pa‐Pa‐Patti, I gordy sey titan! Chudnaya Patti, divnaya Patti, I v venke iz roz i liliy, No zachem parik‐rik belokury? I kameliy belosnezhnykh Patti parik‐rik‐rik belokury? parik!... Predstala muza! Parik‐rik! I polilisa aromaty, Patti, Patti, O Pa‐Pa‐Patti, Voyevody prismireli Chudnaya Patti, divnaya Patti, I zapeli gimn molebny: O Patti, Patti, O Pa‐Pa‐Patti, "O preslavnaya Evterpa, Chudnaya Patti, divnaya Patti, O velikaya boginya, Chudnaya, milaya, slavnaya, divnaya, Nisposhli nam vdokhnoven'e, Pa‐Pa..., Pa‐Pa..., Pa‐Pa..., Pa‐Pa..., Ozhivi ty nemoshch nashu. Ti‐ti, ti‐ti, ti‐ti, ti‐ti, I zlatym dozhdyom s Olimpa Pa‐Pa Patti, Pa‐Pa ti‐ti, Orosi ty nivy nashi, O ‐ O ‐ Svetlorusaya boginya, Pa‐Pa‐Pa‐Patti, Nebozhitel'nitsa muza, O diva Patti! My tebya vovek proslavim, Vot pletyotsa shag za shagom Vospoyom na zvonkikh tsitrakh!" Tyazhko ranen mladenets, Bledny, mrachny, istomlyonny, Smyt' pyatno s sebya molyashchiy, 13. Zabïtïy Neprilichnoye pyatno. On smert' nashol v krayu chuzhom, v krayu A bylo vremya, on byl nevinen chuzhom, v boyu s vragom, I poslushan'yem starshikh plenyal, No vrag druzyami pobezhdyon, druzya likuyut, Lepetom milym, detski stydlivym tol'ko on Mnogikh, mnogikh serdtsa obol'shchal. Na pole bitvy pozabyt, odin lezhit. No proshlo to vremya. I mezhdu tem kak zhadny vran pyot krov yevo iz Pochuya vdrug sebya polnym voli velikoy, svezhikh ran Vraga uzrel, s nim v boy vstupil I tochit nezakryty glaz, grozivshiy smert'yu v smerti I pogib. chas, Udar moral'ny ponyos bednyazhka, I nasladivshis, pyan i syt, doloy letit... Voli velikoy udar! Dalyoko tam, v krayu rodnom, Vot on, Titan! Mat' kormit syna pod oknom: Titan, Titan! Agu... agu! ne plach, synok, vemyotsa tyatya! Vot on mchitsa, nesyotsa, myatyolsa, pirozhok Rvyot i mechet, zlitsa, grozit, Togda na radostyakh druzhku ya ispeku... Sheklaty, strashny! A tot zabyt, odin lezhit. Na tevtonskom bukefale, Zamoryonnom tsukunftistom; S pachkoyu gromov pod myshkoy, . 14. Seminarist Izgotovlennykh v pechatiye. Panis, piscis, crinis, finis, ignis, lapis, pulvis, cinis... Kreslo geniyu skorey! Akh ty gore, moyo gore! Negde geniyu prisesi'. Orbis, amnis et canalis, orbis, amnis et canalis... Na obed yevo zovite! Vot tak zadal pop mne tasku, Geniy ochen lyubit spich! Za zagrivok da po sheye on blagoslovil Vsekh direktorov doloy! I desnitseyu svyatoyu pamyati lishil. On odin iz vsekh zamenit! Fascis, axis, funis, ensis, fustis, vestis, vermis, Vot, vskipel!... mensis... I poshol, i poshol, i poshol, poshol, poshol, U popa Semonya dochka znataya takaya, Pryamo k nim, pryamo k nim, Schochki, shto tvoy makov tsvet, glazki s K voyevodam udalym, povolokoy, Sey titan, sey titan, Grud' lebyazhaya da pokataya pod rubashechkoy S titanicheskoy gordyney, vskolykhnulasa. O skandal, O skandal, Fascis, axis, funis, ensis, fustis, vestis, vermis,

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mensis... Muzh i stary i gorbaty, Akh ty Stesha, moya Stesha, tak tebya rastseloval Lysy, zloy i borodaty, sushchy chort. by, Krepko, krepko k serdtsu prizhal‐by! Shto‐zh, devitsa ispugalas? Postis, follis, cucumis, atque pollis... Atque pollis Gm! Kakzhe! ...cucumis, cucumis... Ona k muzhu prilaskalas, A namednis za molebnom presvyatoy i Uveryala, shto vema, gm! shto v muzha vlyublena, prepodobnoy i preslavnoy Mitrodore Shto primernaya zhena. Ya chital prokimen, glas shesty, A na Steshu levym glazom vsyo posmatrival, A na levy kIiros vsyo zaglyadival, da podmargival. 17. Pesnya Mefistofelya O blokhe Chortov bat'ka vsyo provedal, Zhil byl korol' kogda‐to, Menya v knizhitsu pometil, Pri nyom blokha zhila, I blagoslovil vladyko po sheyam menya trikraty, Blokha... blokha! I dolbil izo vsey mochi mne v bashku latyn ukazkoy: Miley rodnovo brata ona yemu byla; Orbis, amnis et canalis, et canalis, sanguis, unguis et Blokha... ha, ha, ha, ha, ha! blokha? ha, ha, ha, annalis, et annalis... ha, ha! Blokha! Tak ot besa iskushen'ye dovelos prinyat' mne v Zovyot korol' portnovo: "Poslushay ty, churban! khrame Bozhem. Dlya druga dorogovo Amnis et annalis, sanguis, unguis et canalis, et Shey barkhatny kaftan!" canalis, et canalis. Blokhe kaftan? Ha, ha, ha, ha, ha! Blokhe? Ha, ha, ha, ha, ha! Kaftan? Ha, ha, ha, ha! Ha, ha, ha, ha, ha, ha! 15. Svetik Savishna Blokhe kaftan? Svet moy, Savishna, sokol yasnen'ky, Vot v zoloto i barkhat Polyubi menya ne razumnova, Blokha naryazhena, Prigolub menya goremychnova! I polnaya svoboda yey pri dvore dana, Ha, ha! Oy‐li, sokol moy, sokol yasnen'ky, Ha, ha, ha, ha, ha! Blokhe! Ha, ha, ha, ha! Ha, ha, Svetik Savishna, svet Ivanovna, ha, ha, ha, ha! Blokhe! Ne pobrezgay ty gol'yu goluyu, Korol'yey san ministra Bestalannoyu moyey doleyu! I s nim zvezdu dayot, Urodilsa vish na smekh lyudyam ya, Za neyu i drugie poshli vsye blokhi v khod. Ha, ha! Pro zabavu da na potekhi im! I samoy koroleve, Klichut: Savishna, skorbnym razumom I freylinam yeyo, Velichayut, slysh, Vaney Bozhiim, Ot blokh ne stalo mochi, Svetik Savishna, svet Ivanovna, Ne stalo i zhit'ya, Ha, ha! I dayut pin'kov Vane Bozhemu, I tronut'‐to boyatsa, Kormyat chestvuyut podzatyl'nikom. Ne to shtoby ikh bit'. A pod prazdnichek kak razryadyatsa, A my, kto stal kusat'sa, Uberutsa vish v lenty alyye, Totchas davay dushit'! Dadut khlebushka Vane skorbnomu, Ha, ha ... etc. Ne zabyt'shtoby Vanyu Bozhevo. Svetik Savishna, yasny sokol moy, ENGLISH TRANSLATION Polyubi‐zh menya neprigozheva, Songs and Dances of Death Prigolub menya odinokova! Texts: Golenischev‐Kutusov Kak lyublyu tebya, mochi net skazat' , 1. Lullaby Svetik Savishna, ver men, ver ne ver, A child moans, a candle burns low, Svet Ivanovna! And casts a dim flicker around. All through the night, her cradle rocking, The mother has not slumbered. 16. Kozyol: svetskaya skazochka Early in the morning, at the door so gently Shla devitsa progulyatsa, na luzhok pokrasovatsa, Death, the compassionate, knocks! Vdrug navstrechu yey kozyol! The mother gives a start, and looks round in fear... Stary, gryazny, borodaty, “Be not afraid, my dear! Strashny, zloy i ves mokhnaty, sushchy chort! The pale light of morn now peeps through the window, weeping, in longing, in love, I devitsa ispugalas, Thou hast worn thyself out, now rest thee awhile, Ot kozla begom pomchalas pryamo v kust, and I will sit here by his side. I pritailas, Thou hast not been able to soothe the poor child, Yele dyshet, chut' zhiva. Sweeter than thou shall I sing." “Softly! My child is tossing and restless, Shla devitsa pod venets, It grieves my heart thus to see him!" Znat' prishla pora yey zamuzh, nu i vyshla! “Come now, he soon will listen to me.

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Hush‐a‐bye, baby, my own." But the blizzard, like a witch, rose and played with thee, “His dear cheeks are pale, his breath is failing... From the glades to the forest dense chanced to drive Be silent now, do, I beseech thee!" thee, “That's a good sign: soon his suffering will end. Through sorrow and grief and want grown weary, Hush‐a‐bye, baby, my own." Lie down, rest and sleep, my friend, “Get thee away, O accursed one! Thy caresses And I shall warm thee, my dear, with a cover of snow, The joy of my heart will destroy." Around thee a fine game will I start. “Nay, the sleep of peace will I breathe on the infant: Shake up the bed, thou swan‐like snow! Hush‐a‐bye, baby, my own." Hey there, begin, start up a song, wild weather, Have mercy! O tarry, if just for a moment, A song to last the whole night through, Ere ending that dread song of thine!" That this drunkard may sink into sleep to its strains. “See now, he sleeps to the singing so gentle. O you forests, heavens and clouds, Hush‐a‐bye, baby, my own." Darkness, breeze and sweeping snow, Wrap him in a shroud of softest snow, Composed 14 April 1875 in St. Petersburg, dedicated to And in it like a babe the old man I'll shelter. Anna J. V. Petrou Sleep, my friend, my peasant so happy, Summer has come, and all is in bloom! O'er the cornfields the sun doth smile and the 2. Serenade sickles are swinging, The magical languor, the blue of the night, The song rises up, and the doves are flying!... " The trembling twilight of spring... She listens, the invalid, hanging her head, Composed 17 February 1875 in St. Petersburg, To the whisper of night's silent words. dedicated to Ossip A. Petrov, a famous bass Her eyes, wide and burning, are not dosed in slumber, Life to its joys calls her still! Yet under her window in the silence of midnight 4. The Field‐Marshal Death sings his soft serenade: The battle thunders, the armour flashes, “In the dark gloom of prison, severe and confining, The cannons of bronze do roar, Thy youth will fade quite away, The regiments charge, the horses rush by, But I, thy unknown knight, with my wondrous power, And red rivers of blood do flow. Will set thee free. Noon burns fierce, the people fight on! Rise, look on thyself: with what beauty When the sun has sunk low, the battle rages fiercer! Thy face in radiance doth shine, Sunset pales, yet the enemies fight on Thy cheeks so rosy, thy rippling tresses More furiously still and savagely! Veiling thy form like a cloud. A.nd night doth fall on the field of battle. The blue radiance of thine eyes so intense In the gloom the legions disperse... Is brighter than the skies or fire... All is quiet, and in the darkness of night With midday's heat thy breath bloweth o'er me... Groans rise up to the sky, Thou hast bewitched me, my love. Then, illumined by the light of the moon, Thine ear is captivated by my soft serenade, On his battle horse astride, Thy whispered words summoned thy knight. His white bones gleaming in the pale light, Thy knight has come for his final reward: Comes the figure of Death. And in the quiet, The hour of rapture is near. He hears the groans and prayers, Fair is thy form, thy tremor enthralling, And filled with pride and satisfaction, O, I will clasp thee, my own, Like a warrior chief, he circles around In strongest embraces; to my lays of love The place of battle. Harken... be still... Thou art mine!" Up to a hill he climbs, and looks about, Stops, and gives a smile... Composed 11 May 1875 in St. Petersburg, dedicated to And o'er the battle plain Ludmilla I. Shestakova‐Glinka The voice of doom is heard: "The fight is ended! I have conquered all! Before me you have yielded, warriors all! 3. Trepak (Russian Dance) Life set you at odds, but I joined you in peace! In the forest and glades not a soul is in sight... Rise up together for the roll‐call of Death! The blizzard doth wail and howl... March in a solemn file all of you before me, It feels as if in the gloom of the night My troops I do wish to record. The cruel snow is burying some poor man. Then later your bones in the earth you may lay, Look ‐ so it is! In the darkness a peasant Sweetly to rest from life's toils in the earth! By Death is embraced and caressed; Year after year will pass by unheeded, With a drunkard Death dances a trepak together, And amongst men no memory of you shall remain. And sings in his ear a sweet song: But I'll not forget! And over your bones here "Hey, poor peasant, thou wretched old man, I'll have a loud feast at midnight's hour! Thou hast drunk thyself silly and wandered astray; In the dance's heavy tread upon the damp earth

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I'll stamp, so the shades of the grave Misha is nice and clean, and his hair is properly brushed, Your bones will never, no never escape, But Nanny's cap is all crooked. And you'll never rise out of the earth again!" Nanny has upset Misha, and put him in the corner for no reason at all: Composed 5 June 1877 in Tsarskoye‐Syelo, dedicated to Misha won't love his Nanny any more, so there! Prince Arsenyi Golenistchev‐Kutosov. For this song Mussorgsky made use of the theme of the Polish Composed 30 September 1870 in St. Petersburg, revolutionary march "Z dymen pozarow" The dedicated to V.A. Hartmann manuscript is in the State Library, St. Petersburg.

7. The Beetle The Nursery Nanny, Nanny dear! Listen what's happened, Vocal Suite of 5 songs on texts by Mussorgsky. First Nanny darling! edition 1872, illustrated by Repin. The Besse edition of I was playing there on the sand, behind the 1908 contains two additional new songs. summer‐house, by the birch‐trees, Building a little house out of maple twigs, 5. With Nanny Those which Mama had cut for me. Tell me, Nanny, I'd already finished building the little house, Tell me, dear Nanny, A little house with a roof, a proper little house, The story of the dreadful bogey‐man, When suddenly... ! And how he used to roam through the forests, There, right on the roof, a beetle was sitting, And how he carried off children into the wood, A huge, black one, with his whiskers bristling so And devoured their white bones, fearfully, And how the children cried out and wept! And staring straight at me! Nanny dear! I was terrified! Then he started buzzing and getting Was that why the bogey‐man ate up the children, angry, Because they had upset their old Nanny, He opened his wings wide, and wanted to grab hold And disobeyed their father and mother? of me... ! Was that why he ate them up, Nanny dear? Then he flew at me and hit me on the forehead! I hid myself, Nanny dear, and crouched down; I was No, wait: afraid to move! Teil me instead about the Tsar and the Tsaritsa, I just peeped out of one eye, Who lived by the sea in a rich palace. And listen, Nanny, what do you think, The Tsar was always limping, The beetle lay there on his back, with his feet folded And where he stumbled, a mushroom grew up. and his nose in the air, The Tsaritsa always had a cold, And he wasn't angry any more, and his whiskers And when she sneezed, it made the windows crack! weren't bristling. Listen, Nanny dear, Do you think he was dead, or just pretending? Don't tell me about the boogey‐man again! What do you think, Nanny, what was up with the Let's leave him alone! beetle? Tell me the other story, the funny one! He hit me, and then fell down! What was he up to, that beetle? Composed 26 April 1868 in St. Petersburg, dedicated to A.S. Dargomizhky. Composed 18 October 1870 in St. Petersburg, dedicated The manuscript is in the State Library, St. Petersburg. to V. V. Stassov

8. With the Doll 6. In the corner Dolly, bye, bye, Dolly, sleep, go to sleep, Oh, you naughty boy! Lie down quietly! Dolly! It's time to go to sleep! You've tangled my wool, and messed up my needles. Dolly, sleep, go to sleep, or the boogey‐man will eat Really! You've made me drop all my stitches! you up, the big bad wolf will get you, This sock is all splattered with ink! And take you away into the dark forest. Go into the corner! Into the corner! Dolly, sleep, go to sleep! Off with you into the corner! Tell me about your dreams: You naughty boy! About the wonderful island where they don't reap or sow, I didn't do anything, Nanny dear, And where luscious pear‐trees blossom and ripen, I never touched your sock, Nanny dear! And where all day and night golden birds sing! The kitten tangled up your wool, Bye, bye, lullaby, bye, bye, Dolly! It was the kitten who messed up your needles; Misha was a good boy, Composed 18 December 1870 in St. Petersburg, Misha was a clever boy. dedicated to Tania and Giorgio Mussorgsky, the children But Nanny is wicked and old, Nanny has a dirty nose. of the composer's brother.

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9. At Bedtime 11. The Cat 'Sailor' "God bless Mummy and Daddy, and keep them Oh, oh, oh, oh, oh, Mama, darling Mama! safe, O Lord! I just ran to get my sunshade, mama, it's so hot, God bless my brothers Vasenka and Mishenka! I hunted through the cupboard, and I looked in the God bless my old granny, table drawer: no luck! Give her good health, Hurriedly I ran to the window, maybe I'd left the She's such a good granny, a dear old granny, Lord! sunshade there... And protect, O God, my aunties Katya, Natasha, Then suddenly I saw, on the window‐sill, our cat 'Sailor', Masha, Parasha, He'd crept up to the cage, and was scartching at it! And my aunties Lyuba, Varya, Sasha, Olya, Tanya The little finch was trembling, and hid in the corner, and Nadya, chirping. And my uncles Petya and Kolya, my uncles Volodya I got so angry! and Grisha and Sasha, and all of them, "So, Puss, you like eating birdies, don't you? O Lord, protect and bless them all, and Philya and Stop it! I've got you. Just you look out, Pussy!” Vanya and Mitya and Petya and Dasha, I stood quite calmly and peeped, And Pasha, Sonya, Dunyusha... I kept one eye on him: what a strange thing! Nanny, O Nanny! How does it go next?" The cat looked me coolly straight in the eye, "Really, what a scatterbrain! And was just about to grab the bird, when I slapped How many times have I told you: 'God bless me and him! forgive my sins!'" Mama, what a hard cage it was! It hurt my fingers "God bless me and forgive my sins! so, mama! Is that right, Nanny dear?" Mama! Here, right at the tips, It's such an awful pain, an awful pain '" Composed 18 December 1870 in St. Petersburg, Oh, what a nasty cat, mama, isn't he?" dedicated to Sasha Cui (Cesar Cui's son) Composed 15 August 1872 in St. Petersburg. First published 1873, Bessel. The manuscript was until 1917 10. The Hobby‐Horse in the collection of the Russian Musical Gazette. "Gee up! Trot, trot! Trot! Trot, trot! Gee up, faster! Gee up! Gee up, faster! Trot, trot, trot! Trot, trot! 12. The Puppet‐Show Gee up, gee up, gee up, gee up, gee up, Come, honourable gentlemen, look this way, Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, gee up! Walk up, come and see, wonder and admire Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, faster! These great gentlemen, our lords of music! Whoa!... Stop! Vasya, hi Vasya! They're all here! Listen, come and play today! Don't be late! Once a river overflowed into three streams: Get on now! Trot! Trot! Goodbye, Vasya! I'm off to One stream ran through the forest, Yukki... Another got lost in a bed of sand, But I'll definitely be back by evening, And the third passed by the mill, You know we go to bed very early... By the mill‐wheel made of elm, right by the millstone. Just come and see! Oh, turn, you wheel, oh, grind, you stone, Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, gee up! Grind out the whole truth about these fine fellows, Ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, ta, faster! These brave musicians. Trot! Gee up, faster! Gee up, gee up, faster! Gee The show is beginning! up, gee up! I'll make you go faster! See, breaking away from the clouds, Oh, it hurts! Oh, my leg! Oh, it hurts! Oh, my leg!... A dweller in the etemal realms "My darling boy, what's the matter? Stop crying! Comes to show to mortals It'll soon get better, my love! Come, stand up The secret mystery of simple things. properly: He comes with God's help! there, my child! Look, isn't that lovely! Can you He tells us that the minor key is a sin of our forefathers, see? And that the major key is the atonement for our sins. In the bushes on the left! Oh, what a wonderful little And so, hovering in the clouds with the birds of the sky, bird! Look at his feathers! He pours on mortals words too deep for understanding, Can you see it? ... So, is it better now?" And God helps him! "Yes, it is! I've been to Yukki, mama! After him, running and skipping, comes Fif, ever young, Now I must hurry back home... Fif the undaunted, Fif the peace‐maker, Fif the clever one, Trot! Trot! We have guests coming... Trot! We All his life he's been in the midst of things, now he's must hurry..." losing his head: He doesn't heed anyone, he can't hear anything, Composed 14 September 1872 in St. Petersburg. The He heeds only Patti, manuscript is in the State Library, St. Petersburg. He adores Patti, he sings only of PattL O Patti, Patti, O Pa‐Pa Patti, Wonderful Patti, divine Patti,

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O Patti, Patti, O Pa‐Pa Patti, And that proud Titan! Wonderful Patti, divine Patti! And in a crown of roses and lilies But why that blonde wig? And snow‐white camelias Patti's blonde wig? A wig!... The Muse approached! A wig! And perfumes filled the air, Patti, Patti, O Pa‐Pa Patti, And the heroes grew calm Wonderful Patti, divine Patti, And sang the hymn of prayer: O Patti, Patti, O Pa‐Pa Patti, “O most glorious Euterpe, Wonderful Patti, divine Patti, O mighty goddess, Wonderful, darling, divine, exquisite, Grant us inspiration, Ha‐ha... Ha‐ha... Ha‐ha... Ha‐ha, Quicken our feeble strength. Ti‐ti, ti‐ti, ti‐ti, ti‐ti, And with a golden shower from Olympus Pa‐Pa Patti, Pa‐Pa ti‐ti! Water our cornfields; O ‐ O ‐ Goddess of the golden tresses, Pa‐Pa‐Pa Patti, Heaven‐born muse, O divine Patti! We praise thee eternally, Here comes a youth staggering, step by step, And raise songs to thee on the sounding zithers!" His wounds gaping; He is pale, gloomy and weary, Musical satire for bass or baritone, with piano He pleads for the stain to be washed away, accompaniment. Composed 15 June 1870 in St. The shameful stain. Petersburg to Mussorsgsky's own text, dedicated to V. There was a time when he was blameless Stassov. First edition by Bessel. The original manuscript And charmed everyone by obeying his elders, in the National Library, St. Petersburg. And with his delightful chatter, so shy and child‐like, Captivated many, many hearts. But that time has passed. 13. Forgotten (Ballad) Suddenly sensing within himself a mighty power He met his death in a foreign land, in a foreign He caught sight of the enemy, engaged him in battle, land, in battle with the foe, And was slain. But the foe was conquered by his troops, and the The poor fellow suffered a moral blow, troops rejoice. Only he A blow of mighty force! abandoned on the battlefield, lies alone. Here he is, Titan! and a greedy crow drinks the blood from his fresh wounds Titan, Titan! And pecks at the staring eye, the eye which See how he races and tears along in a fury, threatened death when all were dying, How he roars and rages, storms and threatens, And now, replete and satisfied, he flies off to distant How terrible and fearsome he is! lands... On his teutonic Bucephalus, Far away in his homeland His hardworked steed of the future, A mother feeds her child by the window: With armfuls of thunderbolts “There, there! Don't cry, my son, your daddy's Prepared for printing. coming! And a pie Quick, a seat for the genius! I’II bake for him in celebration... " The genius has nowhere to sit. But he, forsaken, lies alone. Call him to dinner! The genius loves a speech! Ballad for voice and orchestra with piano Banish all directors! accompaniment. Composed autumn 1874 on a text by He'll take everyone's place! Count Golenistchev‐Kutusov, dedicated to Vassili V. See how he rages!... Verestchagin. First publishd by Gutheil, 1887. On he comes, on he comes, Straight at them, straight at them, At the bold lords, . 14. The Seminarist This Titan, this Titan, Panis, piscis, crinis, finis, ignis, lapis, pulvis, cinis... With his titanic arrogance. Oh, you're the cause of all my trouble! Oh, what a scandal, what a scandal, Orbis, amnis et canalis, orbis, amnis et canalis... To mix in such a company! That's how the priest gave me a dressing‐down, And immediately he blazed with anger, And blessed me by the scruff of the neck And fell on them in fury, And with his holy right hand deprived me of my And mercilessly overrode them. reason. And he pushed and pulled Fascis, axis, funis, ensis, fustis, vestis, vermis, mensis... And thumped and bumped them... Father Semyon has such a splendid daughter, But the thunder rolled!... And darkness descended, With ruddy cheeks and languishing eyes, And a thick mist began to gather, Her breast like a swan's, stirring and swelling And headlong they fell in holy terror, beneath her bodice. That cloud‐dweller, young Fif Fascis, axis, funis, ensis, fustis, vestis, vermis, mensis...

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O Styosha, my Styosha, would I could kiss you, 16. The He‐goat And press you firmly to my heart! A maiden went walking through the meadow, to Postis, follis, cucumis, atque pollis... Atque pollis... show off her beauty, cucumis, cucumis... When suddenly she met a goat! The other day at the service for the most holy and An old, grimy, bearded goat, venerable and renowned Mitrodora Fearful, threatening, shaggy, a real devil! I was reading part of the Scriptures, But I was peeping at Styosha all the time, The maiden was frightened, And glancing at the left choir‐stall, and giving her a wink. And ran away from the goat straight into a bush, But that devil of a Father saw everything, And hid herself, And wrote it down in his little book, Hardly daring to breathe, and scarce alive. And his worship gave me a threefold blessing on the ears, The maiden went to church, And with all his force beat me on the head with his For it was time to wed, so she got married! Latin grammar: Her husband was old and hunchbacked, Orbis, amnis et canalis, et canalis, sanguis, unguis et Bald, evil‐looking and bearded, a real devil. annalis, et annalis... Thus I was tempted by the devil but succeeded in So was the maiden frightened? being accepted into the holy temple. Certainly not! She caressed her husband, Amnis et annalis, sanguis, unguis et canalis, et And assured him she'd be faithful, hm! and that she loved canalis, et canalis. him, And that she'd be a model wife.

For bass or baritone, with piano accompaniment. "A little anecdote of polite society" for voice and piano. Composed 27 September 1867 to Mussorgsky's own Composed 23 December 1867 in St. Petersburg, to an text and dedicated to Ludmilla I. Shestakova. adapted text. Dedicated to A.P. Borodin. First published Manuscript in the State Library, St. Petersburg. 1868 by Jurgenson. The manuscript is in the State Library, St. Petersburg.

15. Darling Savishna Radiant Savishna, my bright falcon, 17. Mephistopheles' Song of the Flea Love me, witless as I am; There was once a king Come, caress this luckless fellow! Who kept a flea, Oh, my falcon, my bright falcon, A flea... a flea! Darling Savishna, radiant Ivanovna, It was dearer to him than his own son; Do not spurn this poor destitute fellow, A flea... ha, ha, ha, ha, ha! A flea? Ha, ha, ha, ha, A flea! Though ill‐fortune be his lot! The king summoned his tailor: "Listen, you blockhead! From birth I've caused folk much merriment, For this dear friend of mine They get fun and amusement out of me! Sew a velvet doublet!" They say, Savishna, I'm feeble‐minded, A doublet for a flea? Ha, ha, ha, ha, ha! For a flea? call me ‐listen ‐ 'Holy Vanya', Ha, ha, ha, ha, ha! Darling Savishna, radiant Ivanovna, A doublet? Ha, ha, ha, ha! Ha, ha, ha, ha, ha, ha! They kick holy Vanya, A doublet for a flea? They give me food and then honour me with a clout And so in gold and velvet on the head. The flea was arrayed, But festivals when they dress in their finery, And he enjoyed complete freedom at court. Ha, ha! And deck themselves in scarlet ribbons, Ha, ha, ha, ha, ha! For a flea! Ha, ha, ha, ha! Ha, They give poor Vanya only a crust of bread, ha, ha, ha, ha! For a flea! So as not to forget holy Vanya. The king made him a minister, Darling Savishna, my bright falcon, And awarded him a star as well, Love me, for all my ugliness; And all his relations got the same. Ha, ha! Come, caress this lonely fellow! But the queen I love you more than I can say, And all the ladies Darling Savishna, believe me or not, Radiant Savishna! Couldn't stand the fleas, Who made their lives impossible. Ha, ha! For voice and piano. Composed 2 September at Minkino They were afraid to touch them, St. Petersburg) Text by Mussorgsky. Dedicated to Cesar Let alone kill them. Cui. First published 1867 by Jurgenson. The manuscript But if one starts to bite us, was presented to Cesar Cui, who gave it to the Cavalry We'll soon take a swipe at him! School in St. Petersburg. Ha, ha,... etc.

Composed on a journey in 1879 to Strougovtschikov's translation of Goethe's Faust. Dedicated to the singer D. M. Leonova

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CD12 4. Gomimi tikho IeteIa dusha nebesami 1. Nadgrabnoye pis'mo Gornimi tikho lete1a dusha nebesami, Zlaya smert', kak korshun khishchny, vpilas yam v Grustnyye dolu ona opuskala resnitsy, serdtse i ubila; Slyozy v prostranstvo ot nikh udalaya zvyezdami, Palach ot bytiya vekov proklyaty, ona pokhitila i vas! Svetloy i dlinnoy vilisya za ney verenitsey. O, yesli‐by mogli postignut' vashu dushu vse te, Komu, ya znayu, Iik moy vopI' bezumy! Vstrechnyye tikho yeyo voproshali svetila: O, yesli‐b yam vnimali... V besede, v zharkom spore, "Shto tak grustna i o chom eti slyozy vo vzore?" Mechtoy, byt' mozhet smeloy, ya nachertal‐by lyudyam Im otrechala ona: "ya zemli ne zabyla. Vash obraz svetly, lyubovyu pravdy ozaryonny, Mnogo ostavila tarn ya stradan' ya i gorya. Vash um pytlivy, spokoyno na lyudey vziravshy. Vy vo‐vremya porvali "s bleskom sveta" svyaz Zdes ya lish likam blazhenstva i radosti vnemlyu, privychki, Pravednykh dushi ne znayut ni skorbi, ni zloby. Rasstalis s nim bez gneva O, otpusti menya snova, sozdatel', na zemlyu, I dumoy neustannoy poznali zhizn inuyu. Bylo‐b o kom pozhalet' i uteshit' kovo‐by!" Zhizn mysli dlya truda svyatovo Kogda konchinoy materi lyubimoy, vsyakoyu zhiteyskoyu nevzgodoy 5. Spes Otbroshenny ot ochaga rodnovo, razbity, zloy, Khodit spes naduvayuchis, izmuchenny, S boku na bok perevalivayas. Ya robko, trevozhno, kak puganny rebyonok, v vashu Rostom spes arshin s chetvert'yu, svyatuyu dushu postuchalsa... Shapka‐to na nyom vo tselu sazhen. Iskal spasen'ya... A i zashol by spes k otsu k materi, Da vorota ne krasheny! A i pomolilsa b spes vo tserkvi Bozhiyey, 2. Neponyatnaya Da pol ne metyon! Tikha i molchaliva. Idyot spes,vidit na nebe radugu; Molchaniye pugayet vas, Povernul spes vo druguyu storonu: Kromeshniki tolpy vseyadnoy! Ne prigozhe‐de mne nagibatisa! Skromna, nasmeshliva, pozhaluy? Pozhaluy, da nu shto‐zhe? 6. Oy, chest'li to molodtsu lyon pryasti? Ne slishkom uzh gorda‐li, polno? Oy, chest'li to molodtsu lyon pryasti? I vy, lukavtsy zhalkiye, A i khvala‐li boyarinu kichku nosit', Vy smeyete podnyatsa Voyevode povodu khodit'? I brosit' obvinen ye! Guslyaru‐pevunu vo prikaze sidet', Vo prikaze sidet', potolok koptit'? Molchite! Ya skazal: Molchite, kak ona molchit, Oy, konya‐b yemu, gusli zvonkiye, I slushayte stuk molota Oy, v luga‐b yemu, vo zelyony bor, Po vashey sovesti okameneloy! Cherez rechenku da v tyomny sad, Gde solovushko na cheryomushke Tselu nochenku na prolyot poyot! 3. Ne Bozhiim gromom gore udarilo Ne Bozhiim gromom gore udarilo, Ne tyazheloy skaloy navalilosa, 7. Ya videI noch Sobiralos ono malymi tuchkami, Ya videl noch; ona peredo mnoy, Zatyanuli tuchki nebo yasnoye, Vsya v chornom shla, zhivaya, molodaya Poseyalo gore melkim dozhdichkom, Volshebnitsa, s poniksey golovoy, Melkim dozhdichkom osenniim. Zarnitsami, kak vzglyadami sverkaya.

A i seyet ono davnym‐davno, Prozrachen byl yeyo vozdushny stan; I sechyot ono bez umolku, No chuyal ya dykhan'ya znoyny trepet. Bez umolku, bez ustali, I v tishine, kak laskovy obman, Bez kontsa sechyot, bez otdykha. Nezrimykh ust prizvny nyossya lepet: Uzhe polno gore dub lomat' po prutikam, Shchipati po listikam! Kazalos mne, shto chudnaya zovyot Menya s soboy k lyubvi i naslazhden'yu. A i byvalo zhe drugim schast' itse: I ya vsyo shol, vsyo shol za ney vperyod, Naletalo gore vikhrem bureyu, Ob'yaty ves ognyom yeyo i ten'yu. Vorochalo gore duby s kornem von.

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8. Rassevayetsa, rasstupayetsa Shtoby starshiye Yeryomushku Rassevavyetsa, rasstupayetsa V lyudi vyveli skorey. Grust' pod dumami, pod moguchimi, Bayu, bay, bay, Vdushu tyomnuyu probivayetsa Bayu, bay, bay. Slovno solnyshko mezhdu tuchami. V lyudi vyydyesh, vsyo s vel'mozhami Oy‐li, molodets, ne rasstupitsa, Stanesh druzhestvo vodit', Ne rasseyetsa noch osennyaya; S molodymi da s prigozhimi Skoro svedayesh, chem iskupitsa Budesh s barami shalit'. Nepokazanny mig veseliya. I vesyolaya, i privol'naya Zhizn pokatitsa shutya. Prikachnulasa, privalilasa Bayu, bay, bay, K serdtsu syznova grust' obychnaya. Bayu, bay, bay. I golovushka vnov sklonilasa, Bestalannaya, goremychnaya 11. Pirushka Vorota tesovy rastvorilisa, 9. Na Dnepre Na konyakh na sanyakh gosti v'yekhali, Stoy, Dnepr! Im khozyain s zhenoy nizko klanyalis, Slushay, Dnepr! So dvora poveli v svetlu gorenku, Dnepr ty may shiroky, goy ty, Dnepr gluboky! Pered Spasom svyatym gosti molyatsa, Za dubovy stoly za nabranyye, Mnogo ty krovi kazachey Na dubovy skami seli zvanyye. V dal'neye more dal'ney dorogoy nosil, Bakhromoy kiseyoy prinaryazhena, Tol'ko‐tol'ko ty morya ne spoil, ty ne spoil! Molodaya zhena chernobrovaya, Sevodnya umyosha, sevodnya dozhdyoshsa, shiroky Obkhodila vokrug s potseluyami, moy Dnepr! Rasnosila gostyam chashu gorkova, Sevodnya at Boga Ukraynu zhdyot prazdnik, Sam khozyain za ney bragoy khmel'noyu I prazdnik tot strashny, i mnogo‐mnogo prol'yot ana Iz kovshey vyreznykh rodnykh potchuyet, krovi, A khozyayskaya doch myodom sychenym Kazak ozhivyot: Obnosila vokrug s laskoy devichey. I vstanut Getmany v odezhdakh parchovykh Gosti pyut i yedyat, zabavlyayutsa Ot vecherney zari do polunochi. I budet kak prezhde Ukrayna zhiva; 12. Klassik I vdal' po stepi, nad kurganami brat'yev, Ya prost, ya yasen, ya skromen, vezhliv, ya prekrasen.. Na strakh vragam zablestit bulava; Ya plaven, vazhen, ya v mem strasten, I snova kazak spoyot ne potayno, Ya chisty klassik, ya stydliv, Privol'no i likho spoyot pro Ukraynu: Ya chisty klassik, ya uchtiv. Svobodna do morya, net lyakhov s zhidami. Ya zleyshy vrag noveyshikh ukhishchreniy, Dnepr unyos ikh kosti, kosti vrazhi, krovyu Zaklyaty vrag vsekh novovvedeniy; shlyakhetskoy, lkh shum i gam, ikh strashny besporyadok Krovyu zhidovskoy dal'neye more on spoil. Menya trevozhit i pugayet, v nikh grob iskusstva vizhu ya. Stoy, Dnepr! Slushay, Dnepr! No ya, ya prost, no ya, ya yasen, ya skromen, vezhliv, Skoro ty dozhdyoshsa, skoro ty umyoshsa! ya prekrasen. Stoy, Dnepr! Ya chisty klassik, ya stydliv, Stoy, gluboky Dnepr! Ya chisty klassik, ya uchtiv.

10. Kolybel'naya yryomushki 13. Iz slyoz moikh Bayu, bay, bay, Iz slyoz moikh vyroslo Bayu, bay, bay. Mnogo dushistikh i yarkikh tsvetov, Nizhe tonenkoy bylinochki A vzdokhi moi perelilis Nado golovu klonití, V polunoshchny khor solovyov. Shtoby bednoy sirotinushke Bespechal'no vek prozhit'. I yesli menya ty polyubish, Bayu, bay, bay, Malyutka, tsvetochki tvoi; Bayu, bay, bay. I zvuchnuyu pesn pod okoshom, Tebe, moy drug, spoyut solovi. Sila lomit i solomushku, Poklonis ponizhe yey,

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Bez solntasa Skuchay. Skuchay, slovam lyubvi vnimaya 14. V chetyryokh stenakh V tishi serdechnoy pustoty, Komnatka tesnaya, tikhaya, milaya, Privetom lzhivym otvechaya Ten neproglyadnaya, ten bezotvetnaya, Na pravdu devstvennoy mechty. Duma glubokaya, pesnya unylaya, V byushchemsya serdtse nadezhda zavetnaya, Skuchay. S rozhden'ya do mogily Zarane put' nachertan tvoy, Bystry polyot za mgnoven'yem mgnoveniya, Po kaple ty istratish sily, Vzor nepodvizhny na schast'ye dalyokoye, Potom umryosh ‐ i Bog s toboy! Mnogo somneniya, mnogo terpeniya, I Bog s toboy! Vot ona, noch moya, noch odinokaya.

18. Elegiya 15. Menya ty v tolpe ne uznala V tumane dremlet noch. Bezmolvnaya zvezda Menya ty v tolpe ne uznala, Skvoz dymku oblakov mertsayet odinoko. Tvoy vzglyad ne skazal nichevo. Zvenyat bubentsami unylo i dalyoko No chudno i strashno mne stalo, Koney pasushchikhsya stada. Kogda ulovil ya yevo. Kak nochi oblaka, izmenchivyye dumy To bylo odno lish mgnoven'ye, Nesutsa nado mnoy, tevozhny i ugryumy; No, ver mne, ya v nyom perenyos V nikh otbleski nadezhd, kogda‐to dorogikh, Vsey proshloy lyubvi naslazhden'ye, Davno poteryannykh, davno uzh ne zhivykh, Vsyu gorech zabven'ya i slyoz! V nikh sozhaleniya... i slyozy.

Nesutsa dumy te bez tseli i kontsa. 16. Okonchen prazdny, shumny den To, prevratyas v cherty lyubimovo litsa, Okonchen prazdny, shumny den; Zovut, rozhdaya vnov v dushe bylyye gryozy; Lyudskaya zhizn, umolknuv, dremlet. To, slivshis v chorny mrak, polny nemoy ugrozy, Vsyo tikho. Mayskoy nochi ten Gryadushchevo borboy pugayut robky um, Stolitsu spyashchuyu ob'yemlet. I slyshitsa vdali nestroynoy zhizni shum, Tolpy bezdushnoy smekh, vrazhdy kovarny ropot, No Son ot glaz moikh bezhit, Zhiteyskoy melochi nezaglushimy shopot, I pri luchakh inoy dennitsy Unyly Smerti zvon!... Predvestnitsa zvezda, Voobrazheniye vertit Kak budto polnaya styda, Godov utrachennykh stranitsy. Slayvayet svetly lik v tumane bezotradnom, Kak budushchnost' moya, nemom i Kak budto vnov, vdykhaya yad neproglyadnom. Vesennikh, strastnykh snovideniy, V dushe ya voskreshayu ryad Nadezhd, poryvov, zabluzhdeniy... 19. Nad rekoy Mesyats zadumchivy, zvyozdy dalyokiye Uvy, to prizraki odni! S sinevo neba vodami lyubuyutsa. Mne skuchno s myortvoy ikh tolpoyu, Molcha smotryu ya na vody glubokiye: I shum ikh staroy boltovni Tayny volshebnyye serdtsem v nikh chuyutsa. Uzhe ne vlasten nado mnoyu. Pleshchut, tayatsa, laskatel'no nezhniyye; Mnogo v ikh ropote sily charuyushchey: Lish ten odna iz vsekh teney Slyshatsa dumy i strasti bezbrezhnyye. Yavilas mne, dysha lyubovyu, Golos nevedomy, dushu volnuyushchy, I, Verny drug minuvshikh dney, Nezhit, pugayet, navodit somneniye... Sklonilas tikho k izgolovyu. Slushat' velit‐li on? S mesta‐b ne sdvinulsa; Gonit‐li proch? Ubezhal‐by v smyatenii. I smelo otdal yey odnoy V glub‐li zovyot? Bez oglyadki‐b ya kinulsa!... Vsyu dushu ya v sleze bezmolvnoy, Nikem nezrimoy, schast'ya polnoy… V sleze, davno khranimoy mnoy!...

17. Skuchay Skuchay. Ty sozdana dlya skuki, Bez zhguchikh chuvstv otrady net, Kak net vozrata bez razluki Kak bez boren'ya net pobed.

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ENGLISH TRANSLATION Misfortune has long been scattered wide, 1. Cruel death: Epitaph And it beats unceasingly, Cruel death, like some predatory vulture, stabbed your Unceasingly, tirelessly, heart with his claws, and killed you; Endlessly it beats, without respite. Accursed executioner from time immemorial, he carried Enough of chopping the oak tree to pieces, even you away! And plucking off the leaves! Oh, if all those for whom my very appearance betokens one long cry of despair Others had a better fate: Could but comprehend the depths of your soul! Misfortune overtook them with the fury of a storm, If they had only listened to you... in conversation or in And tore up the oaks by the roots. the heat of a quarrel, Then I would draw, for all men to see, though it were For voice and piano. Composed 5 March 1877 in St. perhaps but an audacious dream, Petersburg to a text by Count A. Tolstoy, and dedicated to Your bright image, lit by the love of truth, F. Andalion. Manuscript in the State Library, St. And your searching mind, gazing serenely upon mortals. Petersburg. In time you broke that habit of 'vain worldly thoughts', And abandoned it calmly, And your unwearying mind sought a different life, 4. The Spirit of Heaven A life of contemplating holy labours. The Spirit roamed quietly through the lofty heavens, When my dear mother died, all life's cruel blows fell upon And downwards bent her sorrow‐laden eyes me: Tears fell from them into space like stars, I was turned out of my home, cast away, vengeful and And twisted and turned after her in a long bright trail. tormented; then, trembling and fearful as a frightened child, I Heavenly bodies in her path questioned her gently: turned to your sacred spirit, And sought salvation... 'Why so sad, and wherefore these tears in your eyes?" She answered them: "I cannot forget the earth, 'Epitaph’ for voice and piano. Composed in 1875 in St. For I left there much suffering and sorrow. Petersburg to a text by Mussorgsky 'For the death of N. P. O...ci...noi: (Opochinina), First edition 1912, Bessel. Now I can hear only cries of joy and bliss; Manuscript in the State Library, St. Petersburg. The souls of the righteous know neither sorrow nor evil. Oh, let me return again, my Maker, to the earth, Let me bring consolation and comfort to those in need!" 2. The misunderstood one She is quiet and breathes no word, For voice and piano. Composed 9 March 1877 in St. Yet her silence alarms you, Petersburg, to a text by Count A. Tofstoy. The manuscript Worthless dregs ofthe ravenous crowd! is in the State Library of St. Petersburg. She is modest and mocking, maybe? Maybe she is, but what of it? 5. Pride You don't mean she is too proud, then? Pride goes along all puffed‐up, And you, you pitiful hypocrites, Swaggering from side to side. You dare to rise up Pride is but three feet tall, And cast accusations on her! Yet his hat's seven feet. Pride would gladly visit his father and mother, Be silent! I said: But their gate isn't painted! Be silent, as she is silent, He'd like to go to church to say a prayer, And listen to those hammer blows But the floor hasn't been swept! Falling on your hearts ofstone! Pride was Walking along when he saw a rainbow; He turned and ran in the opposite direction: For voice and piano. Composed 21 December 1875 in St. "It's not right I should bow down before that!" Petersburg to a text by Mussorgsky, and dedicated to Maria Ism. Kostyurina. First edition, Bessel, 1911. For voice and piano. Composed 16 May 1877 in St. Manuscript was until 1917 in the possession of A. A. Petersburg to a text by Count A. Tolstoy. Dedicated to Makarov. A. E. Palchikov. First edition, Bessel, 1882. The manuscript is in the State Library, St. Petersburg.

3. Misfortune Misfortune struck, not with a single thunder‐clap, 6. Is spinning man's work? Nor like the falling of a heavy rock; Is spinning man's work? It came as light clouds Should a boyar wear a woman's headdress, That cover the clear sky; And should a monarch have to fetch water? Misfortune was scattered everywhere like gentle rain, Should a minstrel be told to sit and wait, Like the gentle rain ofautumn. To sit and wait, and idle his life away?

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Rather give him a horse and strings to play, Much Cossack blood Let him make for the meadows and the green wood, Have you borne on the long journey to the distant sea, And cross the river to the shady garden, Yet you have not satisfied the thirsty ocean! Where the nightingale in the cherry‐tree Today your waters will abate, your waiting will end, Sings as she flies the whole night long! O wide Dnieper! Today God has ordered a feast for Ukraine, Romance for voice and piano. Composed 20 March 1877 It will be a feast full of horror, and the blood will flow in St. Petersburg, to a text of Count A. Tolstoy. First in torrents, edition, And the Cossacks will come to life again: Bessel, 1882. The manuscript is in the State Library, And Hetmans will rise in garments ofbrocade, St. Petersburg. And Ukraine will live As before; 7. Vision I saw the night; she passed before me, And far over the steppes, on the graves of our brothers, All clothed in black, a spirited, young The mace will flash and strike fear in the enemy; Enchantress with bent head, And again the Cossacks will chant songs out aloud, Her eyes flashing like lightning. They will sing freely and proudly of Ukraine: A free land as far as the sea, where there are no Poles or Her ethereal form seemed transparent; Jews. But I felt the trembling ardour ofher breath, The Dnieper has borne their bones away, the enemy's And in the stillness, like a tender illusion, the murmur bones, from unseen lips lured me on: And slaked the distant sea's thirst with the blood of noblemen and Jews. It seemed the fair one was calling me To the delights oflove. Stay, O Dnieper! Hear me, Dnieper! Soon your waiting will end, soon your waters will And still I followed, followed her, abate, Enveloped in her fire and in her shadow Stay, O Dnieper! Stay, deep river! For voice and piano. Composed 7 April 1877 in St. Petersburg to a text by Prince A. Golenistchev‐Kutusov For voice and piano . Composed 23 December 1879 to a and dedicated to E. A. Goulevitch. First edition, Bessel, text by Chevchenko, drawn from the poem Gaidamaki. 1882. The manuscript is in the State Library, St. The manuscript is in the State Library, St. Petersburg. Petersburg.

10. Yeryomushka'a Cradle Song 8. Trouble Lulla, lullaby, It fades and disperses, Lulla, lullaby, This sorrow, under the mighty power of reason, Lower than the slenderest stem And into my dark soul light breaks through, Must you bend your head, As the sun through the clouds. So the poor orphan child May have a life free from care. Ah, my friend, this autumn night Lulla, lullaby, Will neither fade nor disperse; Lulla, lullaby. All too soon you will know the price you must pay Strong winds can break the slightest stalk, For this unaccountable moment of joy. So bend your head lower, Then his elders can help Yeryomushka It has returned to my heart again, To get on in life the better. All the old sorrow, swirling around me, Lulla, lullaby, And once again my head is bowed Lulla, lullaby. As adversity and misfortune pursue me. You will enjoy success, and strike up friendships With the great and mighty, Romance for voice and piano. Composed 21 March 1877 in And you will plan many an escapade St. Petersburg to a text by Count A. Tolstoy, dedicated to With fine young men about town. Olga Golenistchev‐Kutusov. First edition, Bessel, 1882. Thus happy and carefree The manuscript is in the State Library, St. Petersburg. You will enjoy life to the full. Lulla, lullaby, Lulla, lullaby. 9. On the Dnieper Stay, O Dnieper! For voice and piano. Composed 16 March 1868 in St. Hear me, O Dnieper! Petersburg to a text by Nekrassov, and dedicated to A. S. You wide Dnieper, hail, deep river! Dargomizhky. First edition, Bessel, 1871.

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11. The Feast Sunless The wooden gates are open wide, Song cycle for voice with piano accompaniment. And the guests enter on horse or sledge; Composed in 1874 in St. Petersburg, to a text of Prince Their host and his wife greet them kindly, Arsenyi Golenistchev‐Kufusov. First edition, 1874, Bessel. And lead them from the entrance to the brightly‐lit chamber, Where the guests pray before the holy Saviour 14. Within Four Walls Then they are invited to the laden oak tables My little room is tiny, peaceful, welcoming, To sit on oak benches. The shadows are impenetrable and unanswering, Arrayed in an embroidered muslin gown, My thoughts are deep and my song is melancholy, The young black‐browed wife Yet in my beating heart hope lies hidden. Mingles with her friends and embraces them And gives a cup to each guest for the toasts, The moments fly swiftly by, one by one, While the host comes after her with the foaming beer While my eyes are fIxed on distant happiness; And serves his family guests from carved goblets. Full of doubts, I wait patiently, And the daughter of the house comes round Thus it is, this night, my night of Ioneliness. With sweet honey, in her gentle modest way. The guests drink and eat and make merry From dusk until midnight. 15. In the crowd You did not see me in the crowd, Tale for voice and piano. Composed at the end of Your glance held no message. September 1867 in Minkino, to a text by Koltzov and But I Was filled with wonder and fear, dedicated to Ludmilla I. Chestakova. First edition 1868, When I perceived it. Jurgenson. It was just one fleeting moment, But I swear that in it I suffered anew 12. The classicist The delights of all our former love, My style is simple, clear, modest, polite and elegant, And all the grief of oblivion and tears. Smooth, lofty, and moderately passionate; I am a pure classicist, and retiring, I am a pure classicist, and courteous. 16. An end to the futile, hectic day I am violently against all new trends, An end to the futile, hectic day; A sworn enemy of all innovations; And human life, now silent, slumbers. The din and hubbub, the fearful commotion, All is quiet. The May night's shadow Alarm and terrify me, I see in them the death of art. Shrouds the sleeping city. But my style is simple, clear, modest, polite and elegant, I am a pure classicist, and retiring, But sleep is banished from my eyes, I am a pure classicist, and courteous. And by the light of another dawn My imagination turns back the pages Musical satire on various articles by M. Famintsin on Of years gone for ever. music. Composed 30 December 1867 in St. Petersburg to a text by Mussorgsky, and dedicated to N. P. Opochinin. And again I breathe in the poison First edition by the composer set by Bernard, 1870. Of those passionate dreams of youth, And in my soul spring to life again All those hopes, urges and delusions... 13. From my tears From my tears spring Alas, they are but ghosts! Bright, fragrant flowers, Enough of these dead visions, And my sighs have become The noise their chatter used to make A nightingales' chorus. No longer has any power over me.

And if you love me, my darling, Of all those shades there is but one The flowers shall be yours, Which came to me and breathed of love And beneath your window, dear one, A faithful friend of days gone by, The nightingales shall sing. Who quietly leaned over my pillow.

Composed 1866 to M. Mikhailov's translation of the To her alone I bravely surrendered poem by Heinrich Heine My soul in silent tears, Tears unseen, filled with happiness, Tears long ago treasured in my heart.

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17. Ennui CD13 Ennui. This yearning is your destiny, 1. Gde ty, zvyozdochka? Without ardour and passion there is no joy, Gde ty, zvyozdochka, akh, gde ty, yasnaya? Just as there is no return without a parting, Il' zatmilasa tuchey chornoyu, And without a battle no victory. tuchey chornoyu, tuchey groznoyu?

Ennui. You will languish when hearing love's message Gde ty, devitsa, gde ty, krasnaya? In the silence of an empty heart, Il' pokinula druga milovo, Answering with false words of greeting druga milovo nenaglyadnovo? The true words of a maiden's dream. Tucha chornaya skryla zvyozdochku, Ennui. From cradle to the grave zemlya khladnaya vzyala devitsu. Your path in life is preordained; Drop by drop your strength will vanish. Grekov Then you will die ‐ and God be with you! God be with you! 2. Vesyoly chas Dayte bokaly, dayte vina! 18. Elegy Radost' mgnoven'ya vypem do dna! In the darkness night slumbers. A silent star Gromkiye pesni gryan'te, druzya! Twinkles alone through the cloudy mist. Pust' nas vesyolykh vidit zarya! And mournfuly in the distance ring out The bells on the grazing horses. Nyne piruyem yunost' na chas, nynche vesel'ye radost' u nas, Like clouds in the night my turbulent thoughts zavtra shto budet, znayu, druzya, Swirl above my head, troubled and gloomy; pust' nas vesyolykh vidit zarya! And in them are reflected those once fond hopes of mine, Long since lost, long since dead; Dayte bokaly, dayte vina! In them are regrets... and tears. Radost' mgnoven'ya vypem do dna! Gromkiye pesni gryan'te, druzya! These thoughts swirl around aimlessly, endlessly; Pust' nas vesyolykh vidit zarya! Sometimes taking on the features of a beloved face, They call out, re‐creating in my soul dreams of long ago; Shumno, razgul'no poyte, druzya, And sometimes, merging into darkness, with silent threats leyte v bokaly bol'she vina! Nu‐te vse razom vypem do dna! Of future strife, they frighten my poor brain, Pust' nas vesyolykh vidit zarya! And far away I hear the sound of life's discordant bustle, The laughter of the callous crowd, the insidious, hostile Dayte‐zh bokaly, dayte vina! murmurs, Radost' mgnoven'ya vypem do dna! The unmuffled sounds of life's petty trifles. Gromkiye pesni gryan'te, druzya! Pust' nas vesyolykh vidit zarya! That mournful death‐knell! A prophetic star Kol'tsov As though possessed with shame, Hides its bright face in the cheerless gloom, As do my hopes, in the mute, impenetrable shado 3. List'ya shumeli unylo List'ya shumeli unylo v dubrave nochnoyu poroy; 19. On the river grob opustili v mogilu, The pensive moon and the distant stars grob, ozaryonny lunoy. Gaze down from the blue sky in wonder at the waters. And I look silently at the deep waters: Tikho, bez placha zaryli I can feel in my heart their magical secrets. i udalilis vse proch, They splash, then fall back, in their tender caressing; tol'ko sklonyas nad mogiloy, I feel in their murmur a force drawing my soul, list'ya shumeli vsyu noch. And I can hear unending musings and passions. A mysterious voice, disturbing my soul, Pleshcheyev Soothes, then scares, filling me with doubts... Does it bid me listen? Then I would not stir from here; Does it bid me be gone?Then I would flee in confusion. Does it call me to its depths? Then I would plunge in without a backward glance!...

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4. Mnogo yest' u menya teremov i sadov 7. Shto yam slova lyubvi? Mnogo yest' u menya teremov i sadov Shto yam slova lyubvi? ‐ Vy bredom nazovyote, i razgol'nykh poley i dremuchikh lesov, Shto slyozy yam moi? ‐ I slyoz vy ne poymyote. dremuchikh, dremuchikh lesov. Ostavte‐zh mne mechty, ni slovom i ni vzglyadom Mnogo yest' u menya zhemchugov i mekhov, serdechnoy teplyoty ne otravlyayte yadom! raznotsvetnykh odezhd, dragotsennykh kovrov. Lyublyu yeyo odnu, kak zhizn moyu, kak svet lyublyu, lyublyu, kak tishinu Mnogo yest' u menya dlya pirov serebra, moikh ocharovaniy, dlya besed krasnykh slov, dlya vesel'ya vina, dlya vesel'ya vina, dlya vesel'ya vina! ot zloy lyudskoy tolpy ya v dal' nemuyu rvusa i k ney na kryl'yakh dum dalyoko unoshusa. No ya znayu, na shto tray volshebnykh, volshebnykh ishchu, no ya znayu, znayu, o chom Ammosov sam s soboyu grushchu.

Kol'tsov 8. Duyut vetry, vetry buynyye Duyut vetry, vetry buynyye, khodyat tuchi, khodyat tuchi tyomnyye. 5. Molitva Khodyat tuchi, khodyat tyomnyye, Ya, Mater Bozhiya, nyne s molitvoyu tuchi tyomnyye. pred Tvoim obrazom yarkim siyaniyem ne za svoyu molyu dushu pustynnuyu, Ne vidat' v nikh, ne vidat' sveta belova, za dushu strannika v mire bezrodnovo, ne vidat' v nikh belova, no ya vruchit' khochu dushu nevinnuyu ne vidat' v nikh solntsa krasnova. tyoploy zastupnitse mira kholodnovo. Okruzhi schastiyem schast'ya dostoynuyu, Vo syroy vo mgle, za tumanami, day yey soputnikov polnykh vnimaniya, tol'ko nochka, nochka lish cherneyetsa. molodost' svetluyu, starost' pokoynuyu, Duyut vetry, duyut buynyye, serdtsu nezlobnomu mir upovaniya. khodyat tuchi, khodyat tyomnyye, khodyat tyomnyye. O, Mater Bozhiya, Tebya molyu! Kol'tsov Lermontov

9. No yesli‐by s toboyu ya vstretit'sa mogla 6. Otchevo, skazhi, dusha‐devitsa? Rasstalis gordo my ‐ ni slovom, ni slezoyu Otchevo, skazhi, dusha‐devitsa, ya grusti priznaka tebe ne podala. ty sidish teper prigoryunilas My razoshlis navek! i bezmolvnaya na dorozhenku ty, vzdokhnuv, glyadish ne nasmotrishsa? No yesli‐by s toboyu ya vstretit'sa mogla!

Il's toboy pri tebe netu milovo, Bez slyoz, bez zhalob ya sklonilas il' ostyla v nyom krov goryachaya, pred sud'boyu. Ne znayu, il’ ty yemu uzh naskuchila, sdelav mne tak mnogo v zhizni zla, il' zabyl tebya tvoy serdechny drug? lyubilli ty menya?

Net, moy mily drug ne zabyl menya No yesli‐by s toboyu ya vstretit'sa mogla! i ne to shchemit serdtse bednoye, a ya milovo v dal'nu storonu, Kurochkin v put'‐dorozhenky provozhayu ya, a ya milova v dal'nu storonu, v put'‐dorozhenku snaryazhayu ya. 10. Malyutka Akh, zachem tvoi glazki poroyu Pleshcheyev na menya tak surovo glyadyat? I tomit moyu dushu toskoyu tvoy kholodny, nelaskovy vzglyad?

Bez ulybki i v gordom molchan'i ty prokhodish kak ten predo mnoyu, i v dushe zataivshi stradan'ye, ya revnivo slezhu za toboy.

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Ty lyubovyu svoyey ozaryala, Mne, mne ulybayutsa, i zvuki slyshu ya: kak vesnoy, moi grustnyye dni, moy drug, moy nezhny drug! Lyublyu tebya, prilaskay‐zhe menya kak byvalo, tvoya, tvoya! laskoy proch moyu grust' otgoni. Pushkin Zachem zhe tvoi glazki poroyu na menya tak surovo glyadyat? 14. Kalistratushka Pleshcheyev Nado mnoy pevala matushka, kolybel' moyu kachayuchi: budesh schastliv, Kalistratushka, 11. Pesn startsa budesh zhit' ty pripevayuchi. Stanu skromno u poroga, I sbylos po vole Bozhiyey tikho v dveri ya voydu, predskazan'ye moyey matushki. kto podast mne, radi Boga, Net schastlivey, net prigozhey, snova daleye poydu. net naryadney Kalistratushki, okh! Net naryadney Kalistratushki! Schastliv, kto pered soboyu Klyuchevoy voditsey umyvayusa, uzrit bednovo menya, pyaternyoy cheshu volosynki, on poplachet nado mnoyu, urozhayu dozhidayusa a o chom, ne znayu ya. s nezapakhannoy polosynki, s nezaseyennoy. Goethe A zhena moya zanimayetsa na nagikh detishek stirkoyu, pushche muzha naryazhayetsa: 12. Tsar Saul nosit lapti s podkovyrkoyu. O vozhdi! Yesli palo na dolyu moyu Da, budesh schastliv, Kalistratushka, pred gospodnim narodom besslavno okh, budesh zhit' ty pripevayuchi! pogibnut' v boyu ‐ ne smushchaytes! V bitvu idite smeley! Nekrassov

Pust' uznayut vragi silu nashikh mechey, silu nashikh tyazhkikh mechey. 15. Otverzhennaya Ty, nesushchy za mnoyu moy mech i moy shchit, Ne smotri na neyo ty s prezren'yem, yesli voysko moyo smutny strakh porazit, ot sebya yeyo proch ne goni, yesli drognet ono i ot vraga pobezhit, luchshe v dushu yeyo s sozhalen'yem O, ne day perezhit' mne tot mig rokovoy, i s uchastiyem tyoplym vzglyani! pust' umru ya, srazhonny tvoyeyu rukoy! Posmotri, skol'ko v ney perezhito O moy syn! Moy naslednik, bur zhestokikh v ugodu sud'be, uzh k bitve zov po kholmam proletel skol'ko, skol'ko sil molodykh v ney ubito i pir nam sulit, krovavy pir. bez sleda v bezyskhodnoy borbe. Ty vidish li, v slave nash venets zasiyal i nad drognuvshim stanom mech vraga zasverkal. A i v etoy dushe zacherstveloy O moy syn, to dlya nas chas posledniy, strashny nastal! i v otravlennoy etoy krovi, ver, lyubov by yeshcho zakipela; Byron no ne videt' vzaimoy lyubvi.

Vsyudu slyshat' odni lish proklyat'ya, 13. Noch vsyudu vstretit' prezreniya vzglyad Tvoy obraz laskovy tak poln ocharovan'ya, i ne past', kogda zlobno ob'yat'ya tak manit k sebe, tak obol'shchayet, raskryvayet odin lish razvrat? trevozha son moy tikhy v chas polnochi bezmolvnoy... Ne smotri zh na neyo ty s prezren'yem, ot sebya yeyo proch ne goni, I mnitsa, shepchesh ty. Tvoi slova, luchshe v dushu yeyo s sozhalen'yem slivayas i zhurcha chistoy struykoy, i s uchastiyem tyoplym vzglyani! nado mnoyu v nochnoy tishi igrayut, polny lyubvi, polny otrady, polny vsey sili I. Holz‐Miller char volshebnoy negi i zabven'ya...

Vo t'me nochnoy, v polnochny chas, tvoi glaza blistayut predo mnoy.

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16. Kolybel'naya pesnya 2. The hour of jollity Bayu, bayu, mil vnuchonochek, Hand round the glasses, pour out the wine! ty spi, usni, usni, krest'yansky syn. Let's drain our glasses to this joyous moment! Bayu, bayu, doprezh dedy ne zavali bedy, Strike up the songs loudly, my friends! beda prishla, da bedu privela s napastyami, Let's make merry until dawn! da s propastyami, s pravezhami, beda vsyo s poboyami! Let's celebrate youth for a while with our feasting, Bayu, bayu, mil vnuchonochek, ty spi, usni, for now we feel merry and joyful; usni, krest'yansky syn. I know what tomorrow will bring, my friends, Izzhivyom bedu za rabotushkoy, but let's make merry until dawn! za nemiloy, chuzhoy, nepokladnoyu, vekovechnoyu, zloyu, stradnoyu, zloyu, stradnoyu. Hand round the glasses, pour out the wine! Let's drain our glasses to this joyous moment! Belym tel'tsem lezhish v lyulechke, Strike up the songs loudly, my friends! tvoya dushenka v nebesakh letit, Let's make merry until dawn! tvoy tikhy son sam Gospod' khranit. Po bokam stoyat svetly angely, Sing out with loud and cheerful voices, friends, stoyat angely! pour more wine into the glasses! Let's all drain our glasses at one go! Ostrovsky Let's make merry until dawn!

Hand round the glasses, pour out the wine! 17. Pesn baleartsa Let's drain our glasses to this joyous moment! V ob'yat'yakh devy molodoy, lobzan'yem zhguchim Strike up the songs loudly, my friends! raspalyonny, Let's make merry until dawn! dykhan'ya zharkovo struyoy v roskoshnoy nege upoyonny, pod shopot sladostnykh rechey ya zabyvayu zvuk mechey. A toast to a text by Kol'tsov, dedicated to Sakharin. V ob'yat'yakh devy nezhnoy ya zasypayu bezmyatezhno. Composed in 1858 at St. Petersburg. First edition... ? The manuscript is in Paris (Library of the Conservatoire). Zabudu‐l' obraz devy miloy, zabudu‐l' blesk yeyo ochey, i shopot sladostnykh rechey sred' zvukov pirshostva igrivykh? 3. Sadly rustled the leaves Pod shopot sladostnykh rechey ya zabyvayu zvuk mechey. Sadly rustled the leaves V ob'yat'yakh devy nezhnoy ya zasypayu bezmyatezhno, in the groves at night‐time; i v sladkom sne, lyubov'yu upoyonny, poyu lyubov, the coffin was lowered into the grave, i devy chudnuyu krasu i devu chudnuyu moyu! the coffin, lit by the moon.

Mussorgsky In silence, without tears, they buried it, and then everyone departed; only the leaves, bending over the grave, ENGLISH TRANSLATION rustled through the night. 1. Where are you, little star? Where are you, little star, oh, where are you, bright one? Musical narration for baritone or bass with piano Have you hidden behind a dark cloud, accompaniment. Composed in 1858 at St. Petersburg to a behind a dark, menacing cloud? text of Pleshcheyev, and dedicated to M.O. Mileschin. First edition 1911, Bessel. The manuscript is in Paris. Where are you, maiden, where are you, lovely one? Have you forsaken your dear lover your dear, handsome lover? 4. I have many palaces and gardens I have many palaces and gardens A dark cloud has obscured the star, and boundless fields and dense forests, and the cold earth has taken the lovely maiden away. dark, dense forests.

Ballad for voice and piano. Composed in 1857 at St. I have many pearls and furs, Petersburg to a text by Grekov, written in the spirit of and colourful garments, popular songs. Dedicated to the singer J.‐L. Gruenberg. and precious carpets. First edition 1911, Bessel. The manuscript is in Paris (Library of the Conservatoire). I have much silver for my table, fine conversation for my guests, and wine for enjoyment, much wine for enjoyment!

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But I know why I need the sorcerer's potions, I love her alone, as I love my life, the sorcerer's potions, but I know, I know why as I love the light, I love her as the peace my heart is grieving. which comes from joy;

Ballad for voice with piano accompaniment. Composed in I rush from this wicked world to the fareway silence 1860 at St. Petersburg to words by Kol'tsov, and dedicated and let myself be carried to her on winged thoughts. to T. Borispolz. First edition... ? The manuscript is in Paris. Romance for voice and piano. Composed in St. Petersburg in 1860 to a text by Ammosov, and dedicated to Maria V. 5. Prayer Scilavska. First published…? O Mother of God, I offer a prayer before the brightness of your countenance, but I pray not for my desolate soul, 8. The wild winds blow the soul of a pilgrim alone in the world, The wild winds blow, but beg you to grant an innocent maid black clouds sweep across the sky, tender protection from this bleak world. black clouds sweep across, Fill her with the happiness she deserves, black clouds. grant her attentive companions, a radiant youth, calm old age, No daylight is visible there, and to her innocent heart eternal hope. no daylight, no glowing sun is visible there. O Mother of God, I beseech you! In the damp gloom beyond the mists Ballad for voice with piano accompaniment. Composed 2 shows only the blackness of night. February 1865 at St. Petersburg to a text by Lermentov, The wild winds blow, and dedicated to Julia Ivanovna Mussorgsky (the black clouds sweep across the sky, composer’s mother). First edition: …? The manuscript is in black clouds sweep across, Paris. black clouds.

Song for baritone or bass with piano accompaniment. 6. Tell me why Composed 28 March 1864 in St. Petersburg to a text by Tell me why, dearest maiden, Kol'tsov and dedicated to Viaslav A. Loginov. First edition you sit here so sadly, 1911, Bessel. The manuscript is in Paris. and, silently sighing, ever look towards distant paths? 9. But if I could meet you again... Can it be that you have no sweetheart, Romance or maybe his passion has cooled, We parted, and I was too proud to use words or tears or he has grown tired of you, to give you any sign of my grief. or that devoted lover ofyours has left you? We parted for ever!

No, my lover has not left me, But if! could only meet you again! it is not that which grieves my poor heart, but I must send my darling Without tears, without complaints I bowed on a long journey to distant lands, before my fate. I do not know, I must send my darling, with all the suffering you caused me, and I must equip him for his journey. if you really loved me.

Romance for voice and piano. Composed in St. Petersburg, But if I could only meet you again! on a text by Pleshcheyev, dedicated to S.A. Burzev. Frstedition 1867, Jurgenson. The manuscript is in Paris. Romance for voice with piano accompaniment. Composed 15 August 1863 at Voloch to a text by Kurochkin, and dedicated to Nadiejda P. Opochinin. The manuscript is in 7. What are words of love to you? Paris. First edition...? What are words oflove to you? ‐ You call them but wanderings. What are my tears to you? ‐ Even tears you do not 10. Dear one, why are your eyes sometimes so cold? understand. Oh, why are your eyes sometimes so cold when they look at me? Leave me my dreams, let neither words nor looks And why is my soul tormented with longing from the heart's passion destroy them with their poison! at your chill, unfeeling glance?

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Unsmiling and in sombre silence 13. Night like a shadow you pass before me, Your lovely countenance is so full of delights, and I hide the sorrow in my heart so seductive, so captivating, as I jealously follow after you. it disturbs my peaceful sleep at midnight's silent hour... Your love illumined my desolate days, like the light of spring; And I seem to hcar you whisper. Your words come, let us kiss as we used to kiss, flowing and murmuring like a pure mountain stream, and with your caresses drive this sorrow from me. play around me in the silence of the night, full of love, full of delight, full of all the strength Why are your eyes sometimes and magic of bewitching serenity and oblivion. so cold when they look at me? In the gloom of night, at midnight's hour, Pleshcheyev. Composed 7 January 1866. your eyes shine bright before me. They smile at me, at me, and I hear your voice; my friend, my dearest friend! I love you, 11. Song of the old man I am yours, yours! I will stand humbly by the doorway, quietly I'll enter the door, Composed 10 April 1874 at St. Petersburg on a text by and if someone will give me alms in the name of God Pushkin. Dedicated to Nadiejda P. Opotchinina I'll go on my way.

Happy is the man who sees 14. Calistratus this poor fellow before him; My mother sang a song to me he will weep for me, as she rocked my cradle: but I know not why. "you shall be happy, Calistratus, you shall have a successful life". For bass or baritone, with piano accompaniment. And by God's decree it happened, Composed 13 August 1863 at Kanistev to a text by Goethe just as my mother had foretold. (Wilhelm Meister), and dedicated to A.P. Opochinin. First There is no‐one more happy, more handsome, edition 1911, Bessel. more elegant than Calistratus, oh, no! No‐one more elegant than Calistratus! I wash myself in the spring water, 12. King Saul comb my locks with my fingers, O warriors! If it should be my fate, and I await the harvest before God's people, to fall ingloriously from fields I have not ploughed, in battle ‐ do not falter! nor sown. Go bravely to the fight! But my wife stands over the tub washing the children's elothes, Let the enemy feel the strength of our swords, she is better dressed than her husband, the strength of our mighty swords. but her slippers have no soles. And you, my follower, who bears my sword and shield, Yes, you shall be happy, Calistratus, if you see my forces struck by dreadful fears, you shall have a successful life! if they falter, and flee from the enemy, Oh, may I not survive that fatal moment, Study in popular style for voice with piano let me die of a blow from your hand! accompaniment, composed 22 May 1864 in St. Petersburg (Novaia Derevnia) to a text by Nekrassov, and dedicated O my son! My heir, to A.P. Opochinin. The manuscript is in the State Library, already the call to battle has resounded through the hills, St. Petersburg; a variant is in Paris. First edition 1883, and we are promised a feast, a feast of blood. Bessel Do you see, our crown is lit with a blaze of glory, and our enemy's sword flashes over his trembling body. O my son, our last fearful hour is at hand! 15. The outcast Do not look at her with scorn, Composed in 1863 at Voloch to a text by Byron (from do not drive her away from you, Hebrew Melodies) and dedicated to A.P. Opochinin. First but rather gaze into her heart with pity edition 1871, Bessel, revised by Rimsky‐Korsakov from and tender sympathy. Glazounov's orchestration. There are some differences between the Paris orchestral manuscript and the Russian See how many fierce storms version. she has suffered at fate's will, how much ofher youthful strength has been destroyed without trace in the endless struggle.

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But within this hardened soul and the whisper of sweet words amongst the merry and this bleeding heart, sounds of the banquet? believe me, love could have been burning still, When I hear her whisper sweet words I forget the clang of but it was unrequited. the swords, and in my loved one's embraces I fall into a peaceful All around were only words of hate, sleep, all around were looks of scorn; and in that sweet sleep, intoxicated with love, I sing of How hard to avoid being weak, love, when only depravity can open the door to love. and of my mistress' wondrous beauty, of this wonderful girl of mine! Do not look at her with scorn, do not drive her away from you, From the opera "Salammbô" (Liviez) in four acts and seven but rather gaze into her heart with pity scenes to a text by Mussorgsky after Flaubert's novel. Of and tender sympathy. the first act, only the "Balearic song at the feast in the gardens of Hamilcar" was set to music. The manuscript of "Study in recitative" for voice and piano, composed 22 this song is in Paris, with the autograph date August 1864, June 1865 in St. Petersburg to a text by I. Holz‐Miller. The Novaia Derevnia, St.Petersburg. manuscript is in Paris.

16. Lullaby CD14 Hush, hush‐a‐bye, my little grandchild, 1. Gde ty, zvyozdochka? sleep in slumber deep, little peasant. Gde ty, zvyozdochka? Gde ty, krasnaya? Hush, hush‐a‐bye; our forefathers were not loaded Il' zatmilasa tuchey chornoyu, with such misfortunes as are piled upon us now, tuchey mrachnoyu? a load of grief and torments, and blows and beatings! Gde ty, devitsa, gde ty, krasnaya? Hush, hush‐a‐bye, my little grandchild, sleep soundly, Il' pokinula druga milovo, sleep, little peasant. nenaglyadnovo? We shall overcome our misfortunes, we shall work through them, I ya s goresti, so lyutoy toski, we shall conquer these evil, unacceptable, fierce, endless, poydu vo pole, pole chistoye; cruel sufferings, these cruel sufferings. ne uvizhu li yasnoy zvyozdochki, ne povstrechu li krasnoy devitsy. Your small white body lies there in the cradle, your soul flies up in the heavens, Tucha chornaya skryla zvyozdochku, your sleep is guarded by God himself, zemlya khladnaya nyala devitsu. and by your side stand bright angels, bright angels! Grekov

For voice and piano. Text drawn from Ostrovskys play, The Voyevode "Sleep, son of peasants...". Composed 5 2. Noch September 1865 in St. Petersburg and dedicated to the Moy golos dlya tebya i laskovy i tomny memory of Julia Ivanovna Mussorgsky, the composers trevozhit pozdneye molchan'ye nochi tyomnoy. mother. First edition 1871, Bessel. There are two original Bliz lozha moyevo pechal'naya svecha gorit. manuscripts of this song: the first in the State Library, St. Moi slova slivayas i zhurcha, Petersburg, the second in Paris with the marking: "tableau tekut, ruchi lyubvi, polny, polny toboy! dramatique". Vo t'me nochnoy, tvoi glaza blistayut predo mnoy, mne ulybayutsa i zvuki slyshu ya! Moy drug, moy nezhny drug, lyublyu tebya! 17. Balearic song Tvoya...tvoya! When in the arms of my mistress, inflamed by her burning kisses, Pushkin when intoxicated by her ardent breath, I lie sunk in delicious languor, when I hear her whisper sweet words, then I forget the 3. Hopak clang of the swords, Hoy! Hoy, hoy, hopaka! and in my loved one's embraces I fall into a peaceful Polyubila kazaka, sleep. tol'ko stary da nedyuzhy, tol'ko ryzhy, neuklyuzhy, Shall I forget my dear one's face, shall I forget the light in vot i dolya vsya poka! Hoy! her eyes, Dolya sledom za toskoyu, a ty stary za vodoyu,

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a sama to ya v shinok, nachinayut otkryvatsa da khvachu sebe kryuchok, tayni mrachnyye prirody. a potom vsyo chok da chok, vsyo chok da chok. Mussorgsky Charka pervaya kolom, a vtoraya sokolom, baba v plyas poshla v konets, a za neyu molodets, 5. Akh ty, pyanaya teterya! stary, ryzhy, babu klichet, Akh ty, pyanaya teterya! tol'ko baba kukish tychet. Gde ty do svetu shatalsa, Kol' zhenilsa, satana, s kem, besstydnik, ty taskala! dobyvay‐zhe mne pshena, Al' s rodymi pirovali, vot kak! zhon da detok vspominali? Nado detok pozhalet', Al' za rodnikh, shto v mogile, nakormit' i priodet'. boga gospoda molili? Vot shto! Rasskazhi zh, gde byl, Dobyvay, smotri, byt' khudu, pokhvastay, gde, shto pil. a ne to sama dobudu! Eko rylo, vsyo v gryazi‐to, Slysh ty! vsyo, serdechnoye, izbito. Dobyvay zhe, stary, ryzhy, Ha, ha, ha... dobyvay skorey, besstyzhy! T’fu, ty, pakost'! Shto, vzyal! Nu, shto vypuchil glazishi, Tol'ko, stary, ne greshi, shto stoish, kak stolb poverstny! kolybel'ki, kolyshi Al' stupit' boishsa, nozhki oslabeli? vot tak! Al' khmel'noye yazychok tebe otshiblo? Kolybel'ki stary, kolyshi, Ty ne boysa! vot tak! Zhonka staraya podmozhet, Kak byla ya molodoyu govori smeley! da ugodnitseyu, Zhonka yazychok razvyazhet! ya povesila perednik Kak nachnu vozit' ukhvatom, nad okonnitseyu, nozhki stanu t tvyordo; kak khvachu tebya po lyasam, i v okoshechko kivayu, yazychokot razvernyotsa: v pyal'tsakh sholkom vyshivayu. pravdumatku vsyu pokazhet, Hoy, semyony vy, Ivany, pro besstydnika rasskazhet, nadevayte‐ka kaftany, pro besstydnika, pro muzha, da so mnoy gulyat' poydyomte! pro starovo potaskukhu! Da prisyadem, zapoyomte! Ne molila l' ya tebya, Pakhomych, ne korila l' ya tebya, rodimy? Hoy, hoy, hoy, hoy, hoy, hoy, hoy Pozhaley ty svoikh detok malykh, hoy, hoy, hoy, hoy, hoy, hopaka! ne tomi ne much ty zhorlku staruyu. Polyubila kazaka, Poklyalsa, besstydnik, obrazom svyatym, tol'ko stary da nedyuzhy, na tri storony poklon polozhil, 'shto ne budesh pit', tol'ko ryzhy, neuklyuzhy, stanesh trezvo zhit'. vot i pravda vsya poka. Hoy! Okh, golovushka bednaya, okhti! Mey (iz Schevschenko) Okh ty, dolya gorkaya, okhti! Okh vy, detki malyye, kto vas prigolubit, bespomoshchnykh prilaskayet? Okhti! 4. Krapivnaya gora Po bokam‐to starym ya ukhvattsem pokhodila b Mezhdu nebom i zemlyoyu, vdol' da po spinke plet'yu, plyorochkoy pyoshpas by. v meste vovse neizvestnom, Sprava, sleva steganula, yest' krapivnaya gora. za zagrivok by nagnula. I na toy gore krapivnoy Po shchekam by otkhlestala vazhno! nichevo, oprich krapivy, Za volosya b ottaskala likho! ne rastyot i ne roslo. Ne shataysa po nocham ty, stary, ne valyaysa ty v gryazi, besstydnik! Tol'ko poveyet prokhladoy Na lezhanochke spi lezhi ty chinno, vecherney dremoyu otradnoy, zhonku, detok, steregi po chesti, pakhnyot veterok prelestny, da po chesti trezvo! s gori Krapivnoy dushit krapivoy, Akh ty, skaredna teterya, odnoy krapivoy; za ney na toy gore Krapivnoy al' yeshcho ne otrezvilsa? Grekh s toboy odin, da gore, da pozor,

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da posmeyan'ye! tyatya yeyo lyubit, Sgin ty s glaz moikh, proklyaty! Mamenka golyubit.

Mussorgsky Mey

6. Sirotka 9. Ozornik Barin moy milenky, Okh, baushka, okh, rodnaya, raskrasavushka, barin moy dobrenky! obernis! Szhal'sa nad bednen'kim, Vostronosaya, serebryonaya, pucheglazaya, potseluy! gorkim, bezdomnym sirotochkoy! Stan li tvoy dugoy, podpyortoy klyukoy, Barinushka! nozhki kostochki slovno trostochki. Khodish seleznem, spotykayeshsa, Kholodom, golodom greyus, kormlyusa ya, na chestoy na lyud natykayeshsa. burey da vyugoyu v noch prikryvayusa, Oy, podzharaya, baba staraya, branyu, poboyami, strakhom, ugrozoy oy, s gorbom! dobryye lyudi za ston golodny moy potchuyut! Okh, baushka, okh, rodnaya, krasavushka, ne V chashu‐l' dremuchuyu ot lyudey spryachus ya, serchay! golod dokuchlivy iz lesu vytolknet. Po lesam bredyosh, zveri mechutsa, Net moyey silushki, po goram polzyosh, dol tryasyotsa ves, pit', yest' zakhochetsa. stanesh pech topir', an izba gorit, stanesh khleb kusat', an zub lomitsa, Barin moy milenky, barin moy dobrenky! po griby l' poydyosh, sginut pod zemlyu, S golodu smert' strashna, s kholodu stynet krov. al' po yagodu, v travku spryachetsa. Barin moy dobrenky, Za toboy‐zhe vsled, moya rodnaya, vse polnym szhal'sa nad bednen'kim, polny, vse lukoshechki szhal'sa nad gorkim sirotochkoy! volokut nesut krasny devushki, da khikhikayut na tebya kargu, szadi glyadyuchi na Mussorgsky porozhnyuyu. Oy, baushka, oy rodnaya! Oy, ne bey! Vostronosaya, raskrasavushka, pucheglazaya, oy, ne bey! 7. Strekotun'ya beloboka Razzudis plecho, razmakhnis klynka, raskhodis, Strekotun'ya beloboka pod kalitkoyu moyey karga staraya! skachet pyostraya soroka i prorochit mne gostey. Oy, doslushay‐ka moyu skazochku, ty povyslushay Kolokol'chik nebyvaly u menya zvenit v ushakh, do kontsa! luch zari igrayet aly, serebritsa snezhny prakh. S podborodochkom nos tseluyetsa, slovno golubi, Kolokol'chiki zvenyat, barabanchiki gremyat, oy, oy, ne bey! a lyudi‐to lyudi oy, lyushenki lyudi! Na zatylochke tri volosika s polovinochkoy, A lyudi‐to lyudi na tsyganochku glyadyat. oy, oy, baushka, oy, oy, rodnaya, oy krasavushka, A tsyganochka‐to skachet, v barabanchiki byot, oy, oy, oy, ne bey, oy! oy, shirinochkoy‐to mashet, zalivayetsa, poyot: "Ya pevun'ya, ya pevitsa, Mussorgsky vorozhit' ya masteritsa!" Strekotun'ya beloboka pod kalitkoyu moyey skachet pyostraya soroka i prorochit mne gostey. 10. Vechernyaya pesenka Kolokol'chik nebyvaly u menya zvenit v ushakh, Vecher otradny luch zari igrayet aly, serebritsa snezhny prakh. Iyog na kholmakh, veter prokhladny A tsyganochka vsyo plyashet, oy, shirinochkoy‐to mashet: duyet v polyakh, "Ya pevun'ya, ya pevitsa, duyet, laskayet vorozhit' ya masteritsa!" travku, tsvety, tikho kachayet Pushkin rozy, kusty. Roza mladaya Iyot aromat, 8. Detskaya pesnya ptichki porkhaya Vo sadu, akh, vo sadochke v roshche poyut. vyrosla malinka; solnyshko yeyo greyet, ? Pleshcheyev dozhdichek leleyet.

V svetlom teremochke vyrosla Naninka,

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11. Po griby mezh druzey molodykh, mezh druzey molodykh. Ryzhichkov, volvyanochek, belykh, belyanochek Gde ty, mily moy, krasavets moy? naberu skoryoshenko ya mlada mladyoshenka, shto dlya svyokra batyushki, dlya svekrovi‐l' matushki, Mey perestali‐b skryazhnichat', seli‐by pobrazhnichat'.

A tebe nemilomu, staromu da khilomu, 15. Meines Herzens Sehnsucht sunu ya v okoshechko tseloye lukoshechko, (Zhelaniye serdtsa) mukhomora starovo, starovo podzharovo, Lastochke lekho rezvitsa, stary yest, ne spravitsa, mukhomorom davitsa. v siney vyshine skol'zit'... Bud' i ya krylatoy ptitsey, A tebe preklyatomu, belu kudrevatomu znal by ya, kuda speshit'. vysmotryu ya travushku, travushku muravushku Nam ne suzhdena s toboyu na postelyu branuyu, svakhoy nochkoy stlanuyu' radost' mirnovo gnezda, s pologom dubrovushkoy da so mnoy‐li vdovushkoy. vsyo zhe mne dano sud'boyu vernym byt' tebe vsegda. Mey Ty v dali, ya eto znayu, no vsyo zhe ty mne blizka. 12. Strannik V serdtse dumu ya pitayu, Teni gor vysokikh o tebe moya toska. na vodu legli, Akh! Ya znal by schast'ye v zhizni, potyanulis chayki bud' svobodnoy ptashkoy ya. belyye vdali. Pomchalsa by ya k otchizne, gde ty zhdyosh, lyubov moya. Net so mnoyu blizkikh, serdtsu dorogikh, Lastochke lekho rezvitsa, a teper tak krepko v siney vyshine skol'zit'... obnyal‐by ya nikh. Bud' i ya krylatoy ptitsey, znal by, znal, kuda speshit'. Pleshcheyev (iz Rückert) Ya nesu razluki bremya, i otrady luch poras. Toropis, o vremya, vremya, 13. Po nad Donom sad tsvetyot i uskor zhelanny chas. Po nad Donom sad tsvetyot, vo sadu dorozhka, Anon, tr Usov na neyo ya b vsyo glyadel sidya u okoshechko. 16. Khotel by v yedinoye slovo... Raz po ney pod vecherok Khotel by v yedinoye slovo Masha prokhodila; ya slit' moyu grust' i pechal' ne zabyt' mne nikogda, i brosit' to slovo na veter, shtob veter unyos yevo vdal'. kak ona vzdykhala, kak s ulybkoyu lyubvi I pust' by to slovo pechali robko otvechala, po vetru k tebe doneslos, i pust' by vsegda i povsyudu iz kuvshina v zabyt'i ono tebe v serdtse lilos! vodu prolivala. Po nad Donom sad tsvetyot, I yesli b ustalyye ochi vo sadu dorozhka... somknulis pod gryozoy nochnoy, O pust' by to slovo pechali Kol'tsov zvuchalo vo sne nad toboy!

Mey (iz Heine) 14.Yevreyskaya pesnya "Ya tsvetok polevoy, ya lileya dolin!" Golubitsa moya belolonnaya, mezhdu yunykh podrug, slovno v ternii krin. Golubitsa moya belolonnaya! Slovno mirta v tsvetu blagovornnaya mezh besplodnykh derevev lesnykh mily moy,

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ENGLISH TRANSLATION feed and clothe them. 1. Where are you, little star? That's what! Where are you, little star? Where are you, beauteous Get on then, look here, it'll be the worse for you, one? otherwise I'll do the providing! Have you hidden behind a black cloud, Just you listen! behind a dark menacing cloud? You provide for us, old redhead, get a move on, shameless creature! Where are you, maiden, where are you, lovely one? What gave you that idea? Have you forsaken your dear lover, But you, old boy, give up your sinful ways, your handsome lover? and rock the cradle, like that! And I in sorrow, in cruel anguish, Rock the cradle, old boy, will go to the field, the open field; like this! but I shall not see the bright star, When I was a young girl nor shall I meet the lovely maiden. and anxious to please, I used to hang up my apron A dark cloud has obscured the star, over the window; and the cold earth has claimed the maiden. then I'd beckon out of the window as I worked at my silk on the frame. Ballad for voice and piano. Composed in 1857 at St. And I'd call: "Hey, Simon, Ivan, Petersburg to a text by Grekov, written in the spirit of put on your kaftans, popular songs. Dedicated to the singer J.‐L. Gruenberg. and come walk with me! First edition 1911, Bessel. The manuscript is in Paris We'll sit awhile in the tavern and sing!" (Library of the Conservatoire). Hey, hey, hop, hop, hop, hop, hopak! 2. Night I fell in love with a Cossack, My voice is for you both tender and languid, but he was old and awkward, it disturbs the late silence of night's darkness. red‐haired and clumsy, Near my couch a sorrowful candle burns. and that's the whole truth. Hey! My words ripple and murmur, they flow like streams of love, full of you! Song for voice and piano. Composed 31 August 1866 in In the gloom of night your eyes shine bright before me, Pavlovsk to an Ukrainian text from Schevschenko’s they smile at me, and I hear sounds! Gaidamaki, translated by Mey. Dedicated to Nicolai My friend, my dearest friend, I love you... Rimsky‐Korsakov. First published 1867 by Jurgenson. I am yours, yours!

Fantasy for voice and piano. Composed 10 April 1864 in St. 4. The nettle mountain Petersburg to a text by Pushkin. Dedicated to Nadiejda P. Between the heavens and the earth, Opochinina. First published 1871. in a place not known to any mortal, there is a nettle mountain. And on that nettle mountain 3. Hopak nothing but nettles Hey! Hey, hey, hopak! grows nor has ever grown. I fell in love with a Cossack, but he was old and awkward, But when a cool and soothing red‐haired and clumsy, evening languor has wafted over all, but that's fate! Hey! there blows a delightful breeze, My fate is a sad one, and from the nettle mountain comes a scent of nettles, but while you, old boy, go to fetch water, just of nettles; behind, on that nettle mountain I'm off to the tavern. nature begins to open up I'll grab myself a goblet, her sombre secrets. then I'll be clinking glasses; the first cup'll stick in my throat, Incomplete; begun in 1874. Words by Mussorgsky. but the second will go down better. The woman has gone off to the dance, and there's a young man after her; 5. You drunken sot! the red‐haired husband calls to the woman, Oh, you drunken sot! but she sticks her fingers up at him. Where in the world have you been roaming, If you get married, hell, who have you been hanging out with, shameless you've got to provide the bread, creature? that's it! Have you been living it up among your relations, You have to show some sympathy for the children, chattering about your wives and children?

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Or have you been asking God's blessing 6. The Orphan on the ones already in their graves? My dear sir, my kind sir! Tell us where you've been, go on, boast about your Have pity on this poor creature, drinking bouts. this wretched, homeless orphan! What a snout, all covered in mud, Good sir! and all matters of the heart ruined. Ha, ha, ha... The cold warms me, hunger feeds me, Be off, you disgusting creature! storm and tempest give me shelter in the night, Well, what are you staring like that for, abuse, blows, fear and threats, why do you stand there like a milestone? this is how good folk answer my groans of hunger. Are you afraid to move, have your legs gone weak? Or has your intoxicated tongue failed you? If I hide from the world in the dense glade, Don't be afraid! a tormenting hunger drives me from the wood. Your old wife will help, I have no strength left, just come out with it! and thirst and hunger torment me. Your wife will unlock your tongue! When I start beating you up with an oven fork My dear sir, my kind sir! your legs'll get so stiff; Starvation is fearful, and the blood freezes in the cold. when I grab you by the jaws My kind sir, your tongue'll get unfurled; have pity on this poor creature, and reveal the whole truth; have pity on this wretched orphan! it'll tell of the shameless creature, of the shameless husband, Romance for voice and piano, composed in 1868 in St. of the old trollop! Petersburg to a text by Mussorgsky, and dedicated to Ekaterina S. Borodin. First published by Bessel, 1871. Didn't I beg you, Pakhomych, didn't I reproach you, dear fellow? Have pity on your little children, 7. The magpie don't torment and torture your old wife. That white‐winged chatterbox by my gate, Swear, in a holy manner, shameless creature, the vivid magpie, goes hopping along, telling of guests and give a triple bow, arriving. that you'll give up drinking, There's a strange sound of bells ringing in my ears, and start living a sober life. and the red glow of dawn flickers over the silversnowy landscape. Oh, my poor head, oh! Oh, my bitter fate, oh! The bells ring out, the tambourines clash, Oh, my little children, who will caress you, and the people, oh, so many people! who will kiss my little helpless ones? Oh! All the people gaze on the gipsy girl. I'd have a go at those old limbs with an oven fork, And the gipsy girl twirls as, banging on her tambourine, all down his back with a whip and a lash. and waving her scarf, she floods the air with song. To right and to left I'd whip him ''I'm the songstress, I'm the singer, I'd wring his neck. at telling fortunes I'm a winner!" I'd give him a good whipping on the cheeks! I'd give his hair a good tug! That white‐winged chatterbox by my gate, Don't roam around at nights, you old fool, the vivid magpie, goes hopping along, telling of guests don't lie around in the mud, you shameless creature! arriving. Go and sleep on your stove‐bench in a proper manner, There's a strange sound of bells ringing in my ears, and look after your wife and children honourably, and the red glow of dawn flickers over the silversnowy yes, honourably and soberly! landscape. Oh, you miserable sot, haven't you sobered up yet? The gipsy girl dances on, oh, and she waves her scarf. It's sinful, it's a shame and a scandal, ''I'm the songstress, I'm the singer, it's a mockery! at telling fortunes I'm a winner!" Get out of my sight, curse you! Joke for voice and piano. Composed 26 August 1867 in St. Composed 1866 to a text by Mussorgsky, dedicated to Petersburg to texts by Pushkin, dedicated to A.P and N.P. Vladimir V. Nikolsky. Unpublished; discovered in the St. Opochinina. First published 1872, Bessel. The manuscript is Petersburg State Library in 1925 by Andrei Rimsky‐ in the State Library, St. Petersburg. Korsakov.

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8. A Children's song it blows and caresses In our garden, our tiny garden, the grass and the flowers, a raspberry‐bush has flowered; and gently sways the sun warms it, the roses and the bushes. and the rain nourishes it. A young rose gives out its scent, In our little house, and the birds as they fly about the maiden Naninka has grown up, in the glade pour forth their song. loved by her father, and cherished by her mother. Romance for voice and piano. Composed 15 March 1871 in St. Petersburg to a text by (?) Plescheyev, dedicated to For voice and piano. Composed 6 April 1868 in St. Sofia V. Serbin. First published Bessel, 1912. The Petersburg to a text by Mey (after Russian songs). The manuscript is in the State Library, St. Petersburg. manuscript is in the State Library, St. Petetersburg.

11. Looking for mushrooms 9. The mischievous child Orange ones, brown ones, white ones, mushrooms of Hey, my dear, you with the pretty painted face, many sorts, turn round! I will gather quickly, for I am young and able, You with the pointed nose, hair silver‐grey, puffy‐eyed, so that my husband's father and mother give me a kiss! can stop being so miserly and prepare a feast. Hunch‐backed, leaning on a stick, your legs just bones, like matchsticks, But for that decrepit, detestable old husband of mine you walk like a duck waddling along, I'll shove a whole punnet through the window, bumping into good honest folk. but they'll all be stunted, shrivelled and poisonous; Hey, you skinny old woman, the old boy will eat them, they'll disagree with him, and hey, you there with the hump! he'll choke. Hey, my dear, my pretty one, don't be cross! When you wander through the forests, the animals But for you, young man with the golden curls, scamper away, I'll pluck grasses, a soft sheaf of grasses, when you climb the mountains, the valleys all shake, to decorate a couch made ready for a wedding night, if you stoke the fire, then the hut burns down, with the shady leaves for curtains, and maybe this widow. if you take a bite of bread, you break a tooth, when you go out to pick mushrooms, they all vanish For voice and piano. Composed mid‐August 1867 to a text underground, by L. Mey, and dedicated to Vladimir V. Nikolsky. and if it's berries, then they hide in the grass. And after you, my dear, with their baskets full to the brim come the pretty maidens following close behind, 12. The Wanderer sniggering at you, old crone, with your empty basket. The shadows of the high mountains Oh, my dear, oh, don't beat me! have fallen on the water, You with the pointed nose and painted face, puffy‐eyed, and white seagulls are circling don't beat me! in the distance. Hitch your shoulder, raise your stick and clear off, old crone! All the dear friends I cherished Oh, listen to my tale, hear me to the end! are no longer with me; Chin and nose meet in a kiss, like love‐birds, yet I would press them to me oh, oh, don't beat me! in a close embrace. On your head there are just three hairs, and maybe a half, For voice and piano. Composed 1878 to a text by oh, oh, my dear, oh, my beauty, Plescheyev (from Ruckert) First published Bessel, 1883. oh, oh, oh, don't beat me, oh!

For voice and piano. Composed 19 December 1867 in St. 13. The garden by the Don Petersburg to words by the composer. Dedicated to V.V. By the Don a garden grows, Stassov. First published, Bessel. The mauscript is in the and through the garden runs a path; State Library, St. Petersburg. there I love to gaze, seated by my window.

10. Evening song Once, towards evening, An enchanting evening Masha trod along that path; lies over the hills, I can never forget and a cool breeze how she sighed, blows in the fields; or how with a smile of love

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she shyly answered me, 16. Desire while her pitcher lay forgotten I should like in a single word and the water trickled from it. to unite my grief and sorrow and hurl that word to the wind, By the Don a garden grows, that the wind may bear it away. and through the garden runs a,path. And may that word of sorrow Romance for voice and piano. Composed 23 December be borne by the wind to you, 1867 to a text by Kol'tsov, in St. Petersburg. First published and may it ever, wherever you are, 1883, Bessel. Until 1917, the manusctipt belonged to V. V. find its way into your heart! Jastrebzev. And if your tired eyelids should close in the dreams of night, 14. Hebrew song oh, may that word of sorrow "I am a flower of the field, a lily of the valleys!" ring out loud in your sleep over you! My dove with snowy breast among her young companions, is like a rose among Romance for voice and piano. Composed in St. Petersburg thorns, "in the night of 15‐16 April 1866, at two my dove with snowy breast! o'clock" Mussorgsky's manuscript notes. The text is from As the fragrant myrtle in bloom Heine's Ich wollt' meine Schmerzen ergössen, translated by among the barren woodland trees is my love, Mey. Dedicated to Nadiejda P. Opochinina 'In memory of among his young friends, among his young friends. her verdict on me". The manuscript is in the State Library. Where are you, my love, my handsome darling? St. Petersburg. First published 1911, Bessel.

For voice and piano. Composed 12 June 1867 at Minkino, to a text by Mey (adapted from The Song of Solomon II, v 1‐3) and dedicated to Mussorgsky's brother and his wife. First edition Jurgenson, 1868. The manusctipt is in the State Libraty, St. Petersburg.

15. Meines Herzens Sehnsucht (Longing) The swallow can dip and glide in the blue heights... If I were a winged bird I would know whither to hasten. Fate does not decree that you and I should know the joy of an earthly nest, but fate allows me to be true to you always.

You are far away, that I know, but still you are near to me. In my heart I nurse this thought, and my longing is for you. Oh, I would know life's joy were I a bird of liberty. I would hasten to your homeland where you wait, my love.

The swallow can dip and glide in the blue heights... If I were a winged bird I would know, I'd know whither to hasten. I bear the burden of parting, and joy's light has died away. Speed along, Time, O Time, and hasten the hour I long for.

Composed 1858 to Usov's translation from an anonymous German original

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