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Mussorgsky's Pictures at an Exhibition Mussorgsky’s Pictures at an Exhibition: Identifying the Expressive Narrative through Comparisons with Vocal Literature A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Keyboard Studies Division of the College-Conservatory of Music by Matthew G. Quick BM, Vanderbilt University, 2007 MM, University of Cincinnati, 2009 July 2014 Committee Chair: Christopher Segall, Ph.D. Abstract This document reveals connections between Mussorgsky’s Pictures at an Exhibition and his vocal literature in order to provide a new perspective on the expressive narrative of the piano cycle. Scholars often treat Pictures at an Exhibition as an isolated monument apart from Mussorgsky’s typical endeavors, and this insulated approach has resulted in somewhat dubious and poorly substantiated assertions about the cycle’s expressive content. In order to craft a more reliable and penetrating view of the cycle, this document incorporates evidence from Mussorgsky’s vocal works as well as Russian folk, chant, and choral music in order to clarify and challenge long-held beliefs about the work while providing new and alternative meanings for the musical text. There has yet to be a study which systematically examines the relationships between Pictures and the composer’s vocal literature. What vocal music provides, however, is an intrinsically direct correlation between music and text, binding the musical devices with more concretely descriptive meaning from the composer. This relationship serves as a basis for identifying the expressive roles associated with specific musical textures, which can then be connected back to the piano cycle. Through exploring parallels between Pictures and corresponding textures in vocal repertoire, this document by association reveals and validates expressive concepts in Pictures that would otherwise not have textual grounding in the piano cycle alone. ii Copyright © 2014 Matthew G. Quick All Rights Reserved iii Acknowledgements I would like to extend my deepest thanks to those involved in making this document possible. My advisor Christopher Segall was invaluable to this project. His patience, knowledge, and insight allowed me to solidify a topic, focus my research, and take it to new heights. I would also like to thank my readers bruce mcclung and Michael Chertock for their meticulous and discerning revisions. Credit should be extended to my wonderful piano teachers Eugene and Elizabeth Pridonoff, who taught me piano performance from a vocal and orchestral perspective, consequently shaping my perceptions of this topic. Lastly, I would like to acknowledge my incredibly supportive wife and family. Their unwavering encouragement has kept me going through the many challenges of my scholastic career. iv Table of Contents Introduction: Mussorgsky’s Pictures at an Exhibition, Vocal Literature, and the Music/Text Relationship 1 Chapter 1: Youth 7 1.1 “Tuileries (Dispute d’enfants après jeux)” 1.2 “Ballet of the Unhatched Chicks” Chapter 2: Satire 22 2.1 “Samuel Goldenberg und Schmuÿl e” 2.2 “Limoges: The Market Square (The Big News)” Chapter 3: Burden 41 3.1 “Gnomus” 3.2 “Bydło” Chapter 4: Death 61 4.1 “Il vecchio castello” 4.2 “Catcombae” / “Con mortuis in lingua mortua” 4.3 “The Hut on Hen’s Legs (Baba-Yaga)” Chapter 5: Transcendence 95 5.1 “Promenade” 5.2 “The Bogatyr Gate (At Kiev, the Ancient Capital)” Conclusion: Significance of Mussorgsky’s Narrative 113 Bibliography 115 v List of Musical Examples Example 1.1.1 Mussorgsky, Pictures at an Exhibition, “Tuileries,” mm. 1–2. p. 9 Example 1.1.2 Mussorgsky, The Nursery, “Evening Prayer,” mm. 1–4. p. 10 Example 1.1.3 Mussorgsky, The Nursery, “Evening Prayer,” mm. 28–29. p. 10 Example 1.1.4 Mussorgsky, The Nursery, “The Beetle,” mm. 1–4. p. 11 Example 1.1.5 Mussorgsky, The Nursery, “The Beetle,” mm. 25–28. p. 12 Example 1.1.6 Mussorgsky, Pictures at an Exhibition, “Tuileries,” m. 13. p. 12 Example 1.1.7 Mussorgsky, Pictures at an Exhibition, “Tuileries,” m. 26. p. 12 Example 1.1.8 Mussorgsky, Pictures at an Exhibition, “Tuileries,” mm. 14–15. p. 13 Example 1.1.9 Mussorgsky, The Nursery, “The Beetle,” mm. 55–57. p. 13 Example 1.2.1 Mussorgsky, Pictures at an Exhibition, “Ballet of the Unhatched p. 17 Chicks,” mm. 1–4. Example 1.2.2 Mussorgsky, The Nursery, “‘Sailor’ the Cat,” mm. 23–24. p. 17 Example 1.2.3 Mussorgsky, Pictures at an Exhibition, “Ballet of the Unhatched p. 18 Chicks,” mm. 13–22. Example 1.2.4 Mussorgsky, The Nursery, “‘Sailor’ the Cat,” mm. 39–45. p. 19 Example 1.2.5 Mussorgsky, Pictures at an Exhibition, “Ballet of the Unhatched p. 20 Chicks,” mm. 23–26. Example 2.1.1 Mussorgsky, Pictures at an Exhibition, “Limoges,” mm. 1–4. p. 23 Example 2.1.2 Mussorgsky, “You Drunken Sot,” mm. 1–6. p. 25 Example 2.1.3 Mussorgsky, “You Drunken Sot,” m. 6. p. 26 Example 2.1.4 Mussorgsky, Pictures at an Exhibition, “Limoges,” m. 3. p. 26 Example 2.1.5 Mussorgsky, “You Drunken Sot,” mm. 16–18. p. 27 Example 2.1.6 Mussorgsky, Pictures at an Exhibition, “Limoges,” m. 13. p. 27 vi Example 2.1.7 Mussorgsky, “You Drunken Sot,” mm. 20–21. p. 28 Example 2.1.8 Mussorgsky, Pictures at an Exhibition, “Limoges,” m. 5. p. 28 Example 2.1.9 Mussorgsky, “You Drunken Sot,” mm. 34–39. p. 29 Example 2.1.10 Mussorgsky, Pictures at an Exhibition, “Limoges,” mm. 23–26. p. 30 Example 2.1.11 Mussorgsky, “You Drunken Sot,” mm. 87–88. p. 30 Example 2.1.12 Mussorgsky, Pictures at an Exhibition, “Limoges,” m. 37. p. 31 Example 2.2.1 Mussorgsky, Pictures at an Exhibition, “‘Samuel’ Goldenberg p. 35 und ‘Schmuÿl e,’” mm. 1–4. Example 2.2.2 Mussorgsky, Marriage, Act I, Scene I, mm. 7–14. p. 36 Example 2.2.3 Mussorgsky, Pictures at an Exhibition, “‘Samuel’ Goldenberg p. 37 und ‘Schmuÿl e,’” mm. 9–10. Example 2.2.4 Mussorgsky, Pictures at an Exhibition, “‘Samuel’ Goldenberg p. 38 und ‘Schmuÿl e,’” m. 17. Example 2.2.5 Mussorgsky, Marriage, Act I, Scene I, mm. 172–73. p. 38 Example 2.2.6 Mussorgsky, Pictures at an Exhibition, “‘Samuel’ Goldenberg p. 39 und ‘Schmuÿl e,’” mm. 19–20. Example 2.2.7 Mussorgsky, Marriage, Act I, Scene I, mm. 22–28. p. 39 Example 2.2.8 Mussorgsky, Pictures at an Exhibition, “‘Samuel’ Goldenberg p. 40 und ‘Schmuÿl e,’” mm. 27–29. Example 3.1.1 Mussorgsky, Boris Godunov, Motive of Guilt. p. 43 Example 3.1.2 Mussorgsky, Pictures at an Exhibition, “Gnomus,” mm. 60–63. p. 43 Example 3.1.3 Mussorgsky, Boris Godunov, Act II, Hallucination Scene, p. 222. p. 44 Example 3.1.4 Mussorgsky, Pictures at an Exhibition, “Gnomus,” mm. 1–3. p. 45 Example 3.1.5 Mussorgsky, Pictures at an Exhibition, “Gnomus,” Reduction of p. 45 Primary Motive. Example 3.1.6 Mussorgsky, Boris Godunov, Act II, Hallucination Scene, p. 223. p. 46 vii Example 3.1.7 Mussorgsky, Pictures at an Exhibition, “Gnomus,” mm. 19–21. p. 47 Example 3.1.8 Mussorgsky, Pictures at an Exhibition, “Gnomus,” mm. 72–76. p. 47 Example 3.1.9 Mussorgsky, Pictures at an Exhibition, “Gnomus,” mm. 87–90. p. 47 Example 3.1.10 Mussorgsky, Boris Godunov, Act II, Hallucination Scene, p. 223. p. 48 Example 3.1.11 Mussorgsky, Boris Godunov, Act II, Hallucination Scene, p. 226. p. 48 Example 3.1.12 Mussorgsky, Pictures at an Exhibition, “Gnomus,” mm. 38–41. p. 49 Example 3.2.1 Mussorgsky, Pictures at an Exhibition, “Bydło,” mm. 1–10. p. 54 Example 3.2.2 “Song of the Volga Boatmen.” p. 55 Example 3.2.3 Brown’s Reduction of Khovansky’s Dignity Theme. p. 56 Example 3.2.4 Mussorgsky, Khovanshchina, Act I, p. 35. p. 56 Example 3.2.5 Brown’s Excerpt from Mussorgsky, Khovanshchina, Act I. p. 57 Example 3.2.6 Mussorgsky, Khovanshchina, Act V, p. 370. p. 58 Example 3.2.7 Mussorgsky, “On the Dnieper,” mm. 58–65. p. 59 Example 4.1.1 Mussorgsky, Pictures at an Exhibition, “Il vecchio castello,” p. 63 mm. 6–15. Example 4.1.2 Mussorgsky, Songs and Dances of Death, “Serenade,” mm. 34–41. p. 66 Example 4.1.3 Mussorgsky, Pictures at an Exhibition, “Il vecchio castello,” p. 67 mm. 61–68. Example 4.1.4 Mussorgsky, Pictures at an Exhibition, “Il vecchio castello,” p. 67 mm. 29–31. Example 4.1.5 Mussorgsky, Songs and Dances of Death, “Serenade,” mm. 72–74. p. 68 Example 4.1.6 Mussorgsky, Songs and Dances of Death, “Serenade,” mm. 98–100. p. 68 Example 4.1.7 Mussorgsky, Songs and Dances of Death, “Serenade,” mm. 106–11. p. 69 Example 4.1.8 Mussorgsky, Pictures at an Exhibition, “Il vecchio castello,” p. 69 mm. 102–7. viii Example 4.2.1 Mussorgsky, Pictures at an Exhibition, “Catacombae,” mm. 1–11. p. 74 Example 4.2.2 Mussorgsky, Sunless, “The Idle, Noisy Day Is Over,” mm. 1–7. p. 75 Example 4.2.3 Mussorgsky, Sunless, “The Idle, Noisy Day is Over,” mm. 12–14. p. 76 Example 4.2.4 Mussorgsky, Sunless, “The Idle, Noisy Day is Over,” mm. 36–40. p. 77 Example 4.2.5 Mussorgsky, Pictures at an Exhibition, “Catacombae,” mm. 21–24. p. 77 Example 4.2.6 Mussorgsky, Pictures at an Exhibition, “Con mortuis in lingua p. 78 mortua,” mm. 1–4. Example 4.2.7 Mussorgsky, “Softly the Spirit Flew up to Heaven,” mm. 1–3. p. 80 Example 4.2.8 Mussorgsky, Sunless, “Elegy,” mm.
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