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The emergence of Russian classical music in the nineteenth century in the wake of Mikhail Glinka comprises one of the most remarkable and fascinating stories in all musical history. The five men who came together in the Russian capital of St. Petersburg in the 1860s, all composers of talent, some of genius, would be—in spite of a virtual lack of technical training—responsible for some of the greatest and best-loved music ever written. How this happened is the subject of Stephen Walsh's brilliant composite portrait of the group known in the West as the Five, and in Russia as moguchaya kuchka—the Mighty Little Heap. Friends, competitors, and creative intellectuals whose ambitions and ideas reflect the ferment of their times, Mily Balakirev, César Cui, Alexander Borodin, Nikolay Rimsky-Korsakov, and—most important of all—Modest Musorgsky, come wonderfully to life in this extended account.
The detail is engrossing. We see Borodin composing music while conducting research in chemistry (“he would jump up and run back to the laboratory to make sure nothing had burnt out or boiled over there, meanwhile filling the corridor with improbable sequences of ninths or sevenths”); Balakirev tutoring Musorgsky (“Balakirev could not remedy the defects in his pupil’s character, but he could confront him with works of genius”); Cui doggedly producing operas during breaks from his career as a military fortifications instructor. Musorgsky asserts his independence, moving from writing songs and the showpiece Night on Bald Mountain to the magnificent Boris Godunov, meanwhile struggling against poverty and depression. In the background such important figures as Vissarion Belinsky and Nikolay Chernïshevsky shape the cultural milieu, while the godfather of the kuchka, critic and scholar Vladimir Stasov, is seen offering sometimes combative support.
As an experienced and widely skilled musical scholar and biographer (his two-volume life of Stravinsky has been called “one of the best books ever written about a musician”), Stephen Walsh is exceptionally wellplaced to tell this story. He does so with deep understanding and panache, making Musorgksy and His Circle both important and a delight to read.
- Sales Rank: #1515449 in eBooks
- Published on: 2013-12-03
- Released on: 2013-12-03
- Format: Kindle eBook
From Booklist
*Starred Review* Few influential artistic friendships have had more participants, lasted longer, or been more consequential than that of five Russians who stormed the heights of Western music in the third quarter of the nineteenth century. Though Mily Balakirev, Aleksandr Borodin, César Cui, Modest Mussorgsky, and Nikolay Rimsky-Korsakov did have predecessors—principally Mikhail Glinka—in building a truly Russian art music, they put it on its feet despite lack of musical education beyond piano tutoring anywhere in Russia (only Rimsky-Korsakov had academic training), of career paths for musicians in Russia, and of encouragement by Russian elites. As the title of Walsh’s brilliant volume signals, the greatest of these composers is now considered to be Mussorgsky, whose work was so structurally unusual for its time that most of it wasn’t performed as he wrote it until the later twentieth century. In absorbing dicusssion of virtually every bit of his production, Walsh argues that Mussorgsky invariably chose emotional expression and the rhythms of Russian speech rather than the rules of classical form to shape his music, outstandingly in his 60 songs and transcendent opera, Boris Godunov. Walsh discusses the most ambitious works of the other four musical friends with similar penetration as he unfolds the life and career trajectories of all five, constantly bedeviled by lack of time to compose and shortage of venues for performance. A masterpiece of Russian cultural history. --Ray Olson
About the Author
Stephen Walsh is a Professor of Music at Cardiff University, and the author of several books on music. The first volume of his major biography of Stravinsky - Stravinsky: A Creative Spring - won the Royal Philharmonic Society prize in 2000. Volume Two - Stravinsky: The Second Exile - was chosen by the Washington Post as one of the ten best books of 2006. He was deputy music critic of The Observer from 1966 to 1985. He now reviews for theartsdesk.com website and broadcasts regularly for BBC Radio 3.
Most helpful customer reviews
1 of 2 people found the following review helpful.
Good for the throne.....
By M. M. V. Vooren
I love Musorgsky's music. I bought this book and the one by David Brown, as well, hoping to find fascinating reading in both of them. Stephen Walsh received much praise for this work. I got the book on April 23rd, and I have now labored my way through it all the way to page 67. We are July 20th. I have always been an avid reader, I love to read good books, all sorts of books, professional works, fiction, poetry, novels, biographies. When a book is well written, it will hold me in its grips and I won't let go until the last page is read. Reading this book has turned into an exercise of principle, a chore. I will read through it to the very end, just because I got it. The title is Musorgsky AND his Circle. So far, I have read mostly about the other people in his circle, and a little about the composer, mostly by indirect approach. Whatever I have read about the other people in his circle was also not presented in a way that makes me want to know more about them, either. They all have remained remote and quite abstract. I am wondering how passionate the author himself felt about his topic. Between the lines, I also gain a feeling that the author talks about the Russian classical music and composition of that era, as well as the people involved in its development, in a rather condescending way. (Those primitives!). It may just be me, but I find this book too un-scholarly to be academic, as it does not go into details of music theory, and too boring to be entertaining. I placed it on the little table next to my "throne", if you get my hint, and there, I can make myself read further along a few pages each time I visit. That is as much as I can bear. At least it motivates me not to linger!
There won't be any risk of me sitting there and getting a cramp in my leg from too long a session on an uncomfortable seat, because the reading kept me riveted in place! I wish it would!
21 of 22 people found the following review helpful.
Thorough up to a point, but slightly biased and with a surprising omission
By Julian Grant
In the last 20 years it has suddenly become cool to write about 19th century Russian Music - long dismissed as anti-intellectual, gimcrack and populist by the (usually Germanic) music scholars, writers such as Richard Taruskin, Marina Frolova-Walker, David Brown, Edward Garden and more have devoted serious study to the tradition, and put it in context, and shown how remarkable this body of music is. Stephen Walsh has impeccable credentials in this field, having written in depth studies of Stravinsky and Bartok in particular.
What one does get from this painstakingly researched book is the emergence of a body of work from absolutely nowhere, in a country with no art music tradition, a brand new conservatoire, and almost no concert series, and how, in a generation, the composers highlighted (the 'Mighty Handful' - Musorgsky, Borodin, Rimsky-Korsakov, Balakirev and Cui) forged a Russian nationalist style which sowed the seeds for an explosion of music-making. The retelling of these birth pangs makes for compelling reading, as do the roots of the ideology of creating a national style, and the frictions of this very disparate group of creators forced to appear as a united vanguard for a new world of music. I also liked how the account is chronological, switching back and forth from the creative endeavours of each composer. There are many perceptive insights into the chronic lack of basic training that is the strength and paralyzing weakness of this bunch, which resulted in several very well known torsos being left (the operas Prince Igor and Khovanshchina above all) and a sense of incredible promise, talent,and in fact, genius, frittered away and wasted.
This book is aimed for the musically literate, even if there are almost no musical examples, some of the theoretical explanations require prior knowledge of the works in hand and assume technical knowledge to follow - even so these do not dominate the book and take up only a very small part.
However, one sense that the author is not really passionate about much of this music, and the summary dismissals of old style Russian music criticism occasionally rear their inappropriate heads. While several of Musorgsky's songs are given very amplified and detailed comment, I find it strange that certain works (the 1st symphonies of Borodin and Balakirev) are glanced over, as many writers before have drawn attention to their extremely original construction, that presage the processes of Sibelius. As usual, Rimsky is condescended to - while Scheherazade may not be the most profound work in the repertoire, its narrative vitality has surely by now warranted it a place in the pantheon of great pieces. It would have been interesting to see a book like this reverse some of these hoary old received opinions.
Towards the end of the book, there is surely an opportunity lost in the chapters that deal with the influence these composers had. For example Debussy is mentioned, but only in the light of Mussorgsky, whereas the lush sound world and formal freedom of Rimsky's 'Antar' and Balakirev's 'Tamara' - both commented on in Debussy's own writings are omitted. And far more damaging, having commented on all the unfinished lives work (Musorgsky and Borodin), there should surely have been a chapter on how these composers legacies were posthumously managed, edited and published, and again, how all of this music was disseminated to the west, through Diaghilev and others - only becoming widely known (and potently influential) some 40 years after its creation.
While a critical stance is welcome, and one would not a book like this to be partisan, the impression left at times is that of a lack of enthusiasm for some of the subject, and a slight indifference to much of the material. A useful survey, but not as complete as it could have been.
0 of 0 people found the following review helpful.
Good material on the Russian Five
By dale campbell
An interesting book. Good material on the Russian Five. The writing style was a bit tedious however.
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