Like, is the mortar broom-sized?
Can you imagine what kind of killing instrument it would be if it were broom sized? And are the chicken legs alive? Like, can the hut suddenly scrabble away if angry villagers come by? The artist was fascinated by the character of Baba Yaga.
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He once went disguised as her to a costume ball, where everyone else was dressed as foreign characters, either monks or creatures of classical mythology. Stasov recalls that Hartmann shocked everyone by coming as the deformed witch:.
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A big fuzzy hat was pulled down over her eyes, her feet were wrapped in cloth, bony arms stuck out of the sleeves of her robe, a sparse beard protruded from her chin, her horrible eyes gleamed maliciously on her painted face, tusks stuck out of her half-opened mouth. Mussorgsky incorporated into the music the tolling of the clock, and the whirling terror of the witch chasing after children. Similar in grotesqueness to the Gnome, the structural placement of Baba Yaga gives symmetry to the suite, as it screeches pellmell into the redeeming glory of the concluding movement.
The Great Gate of Kiev.
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Hartmann considered the Great Gate of Kiev to be his best work. While at work on the suite, under the working title Hartmann , Musorgsky wrote to Stasov:. The plodding Bydlo 'oxcart' follows. The garrulous seventh Picture is set in a marketplace in the French town of Limoges. The eighth movement comprises two distinct parts: Catacombae , a stoic progression of darkly voiced chords Stasov records that 'Hartmann represented himself examining the Paris catacombs by the light of a lantern' ; and Cum mortuis in lingua mortua —'NB.
Latin text: With the dead in a dead language', Musorgsky noted in the margin of the manuscript. The creative spirit of the dead Hartmann leads me towards the skulls, invokes them; the skulls begin to glow softly from within. The suite concludes in majestic fashion with The Great Gate of Kiev. Upon its completion, the composer boasted of his newest creation that it was 'Russian and original—hot and chaotic'. I toured with it for a while and decided to record my own version. I have mostly stuck to the original writing, although I decided to thicken it up in a few places, to give it a richer, wider and perhaps more dramatic palette.
It is a rollercoaster ride, emotionally, but it is masterfully held together by common elements, small and large, and by a great structure.
The work was written in the descriptive style of Pictures from an Exhibition although the scene described is quite unlike any of the 'Pictures'. It was a joy to work on, and to try to unleash all the sonic potential of my beloved instrument! Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
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