Mussorgsky’s “Boris Godunov” (1869 Version): “Death Does Not Frighten Me”

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Set in Russia between 1598 and 1605, Modest Mussorgsky’s opera, Boris Godunov, tells the story of a Tsar who usurps the throne by brutal means, bears witness to the suffering of his people, and, as a result of his misdeeds, descends into loneliness, remorse, paranoia, and madness, leading to his ultimate death. In the end, it is the Russian people, represented by a mighty chorus in the opera’s epic Coronation Scene, which endures. …

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Borodin’s String Trio in G Minor: Variations on a Russian Folk Song

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Alexander Borodin’s String Trio in G minor for two violins and cello unfolds in a single brief movement. Composed in 1855, it is a set of eight variations on a once popular Russian folk song, Chem tebya ya ogorchila (“What have I done to hurt you?”). A single violin begins the melancholy theme and is joined soon in a canon by the other two instrumental voices. Each variation opens the door to a …

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Scriabin’s “The Poem of Ecstasy”: The Spirit Takes Flight

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For the Russian composer, Alexander Scriabin (1872-1915), music formed a mystical passageway to a transcendent level of consciousness. In the final years of his short life, Scriabin, a virtuoso pianist, moved beyond the early influences of Chopin and Liszt to a series of boundary-pushing symphonic works which, in the words of the conductor Marin Alsop, “break down the traditional tonal structure and experiment with new methods of organizing sound.” For Scriabin, who experienced synesthesia, …

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Anna Thorvaldsdottir’s “Heyr þú oss himnum á”: An Icelandic Hymn

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The music of the Icelandic composer, Anna Thorvaldsdottir (b. 1977), seems to rise out of remote, rugged landscapes bathed in pale Nordic sunlight. Thorvaldsdottir’s Heyr þú oss himnum á (“Hear us in heaven”), written in 2005 for the Skálholt Summer Concert Series, is a setting of four verses from an ancient Icelandic psalm by Olafur á Söndum (1560–1627). Scored for mixed choir, it is a meditative prayer filled with primal open intervals and …

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Arvo Pärt’s “In Spe”: Building With Primitive Materials

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For eight years, beginning in the late 1960s, the Estonian composer, Arvo Pärt (b. 1935), entered into a period of compositional “silence.” When Pärt resumed his work, the music which emerged was far removed from that of his earlier modernist style. Ultra-complexity and dissonance were gone, replaced with a sense of timeless, meditative serenity. Pärt embraced the sanctity of a single note, or a glowing triad. “The complex and many-faceted only confuses me, …

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Schumann’s Blumenstück in D-Flat Major: Vladimir Horowitz, Live in 1966

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Robert Schumann described his Blumenstück (“Flower Piece”) in D-flat Major, Op 19 as “variations, but not upon any theme,” adding that “everything is interwoven in such a peculiar way.” Indeed, the brief solo piano piece unfolds in a series of dreamy episodes through which runs a common thematic thread. Following its initial statement, the opening episode fades into the background, and it is the second section of the piece which recurs as …

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Schumann’s “Genoveva” Overture: Dramatic Music From a Neglected Opera

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Genoveva was Robert Schumann’s only opera. The tragic drama in four acts premiered in Leipzig in June of 1850. The unsuccessful original production received only three performances, and, with the exception of the Overture, the work fell into obscurity. As with Wagner’s Lohengrin, which was written during the same period of time and premiered in August of 1850, Genoveva is based on a medieval German legend. Genoveva, the wife of Siegfried, Count of Brabante, …

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