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After Ilya Repin, portrait of Modest Mussorgsky (1881), reproduced as the frontispiece of M. Montagu-Nathan, Moussorgsky (London: Constable, 1916); via Project Gutenberg, public domain · Frontispiece halftone plate in M. Montagu-Nathan, Moussorgsky (London: Constable and Company, 1916), captioned 'MOUSSORGSKY / From a portrait by Repin', reproducing Ilya Repin's 1881 oil portrait of Mussorgsky painted from life in four sittings in a St Petersburg military hospital; taken from the Project Gutenberg edition of the book (eBook 77855), which was prepared from Internet Archive images. The file is Gutenberg's cleaned plate image at 1014 x 1264 pixels, used as is: not resized and not upscaled. The painting itself hangs in the Tretyakov Gallery; its image terms do not apply to this 1916 reproduction, and the holder's record was not used. · Public domain: 1916 London book reproduction of an 1881 painting by Ilya Repin (died 1930); Project Gutenberg states that no United States copyright exists in the work
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모데스트 무소륵스키
1839–1881
주요 업적 분야
예술문화
아직 성격 매칭에 포함되지 않았습니다 — 기록된 근거가 성격 모델 전체를 다루기에는 충분하지 않습니다. 이 페이지의 다른 모든 내용은 자유롭게 확인하실 수 있습니다.
핵심 특성
주요 업적
푸시킨과 카람진을 바탕으로 1868년에 시작해 1869년에 끝낸 오페라 『보리스 고두노프』는 그의 명성의 중심에 있는 작품이다. 오페라 극장이 이를 거절하자 그는 작품을 고쳐 썼고, 개정판은 1874년 무대에 올랐다. 그는 ‘5인조’로 불리는 러시아 작곡가들 가운데 가장 뛰어난 인물로 평가받는다.
친구 빅토르 하르트만의 유작 전시회를 보고 1874년에 쓴 피아노 모음곡 『전람회의 그림』은 1922년 라벨의 관현악 편곡을 통해 널리 알려졌다.
『아이 방』과 『죽음의 노래와 춤』(1875) 같은 가곡집은 특이한 인물을 독특한 말의 리듬으로 노래했으며, 『호반시나』를 비롯한 여러 작품은 1881년 그가 세상을 떠날 때 미완성이었고 림스키코르사코프를 비롯한 동료들이 편집하거나 완성했다.
삶의 장면들
황실 오페라 위원회가 『보리스 고두노프』를 거절하자 그는 1871년 한 해를 작품을 다시 짜는 데 썼다. 사랑 이야기가 있는 폴란드 막을 넣고, 크로미 숲 장면을 끝으로 옮기고, 새 에피소드를 더했다.
이는 거절당한 악보를 무대에 올릴 수 있을 때까지 다듬은 모습과 일치한다. 끈기
1874년 2월 빅토르 하르트만 추모 전시회를 찾은 뒤 그는 이후 몇 달에 걸쳐 『전람회의 그림』을 작곡해 1874년 6월 완성했다.
이는 하나의 자극에 반응해 새로운 종류의 피아노 음악을 시도한 모습과 일치한다. 실험 성향
전환점
1868년 9월 그는 푸시킨과 카람진을 바탕으로 직접 대본을 써서 『보리스 고두노프』를 쓰기 시작했고, 첫 판본은 1년 안에 완성되어 그의 경력의 중심이 되었다.
이는 동료 모임의 조언보다 자신의 구상에 따라 대규모 작품으로 나아간 전환과 일치한다. 창의적 독창성
비슷한 인물
전체적인 프로필이 이 사람과 닮은 사람들이에요.
출처
- Modest Petrovich Mussorgsky (Q132682), verified live via the Wikidata API (2026-11-06): label 'Modest Petrovich Mussorgsky', description 'Russian composer (1839-1881)', birth recorded as 9 March 1839 (Gregorian) with older-style and 1835 variants, death 16 March 1881 (Julian) / 28 March (Gregorian), citizen of the Russian Empire, Korean label 모데스트 무소륵스키. Orientation only; not used as support for any row.
- 'Modest Petrovich Mussorgsky', Encyclopedia of World Biography (Gale; copy on Encyclopedia.com; read in full). CANONICAL SIGNIFICANCE SOURCE: calls him generally acclaimed the finest of the Russian composers known as the Mighty Five, whose operas, above all Boris Godunov (begun 1868, first version finished 1869, then redrawn in 1871-72), explored human emotions 'in a new and forthright manner' and mark a crossroads in the history of opera; lists Khovanshchina (begun 1872, unfinished), Sorochinsk Fair (finished by Liadov and Karatygin), The Marriage (completed by Cherepnin in 1909), Pictures at an Exhibition (1874, orchestrated by Ravel in 1922) and Songs and Dances of Death (1875); says he often started projects with enthusiasm and bogged down in self-doubt, denied belonging creatively to any group, and that the doctrinaire Rimsky-Korsakov complained of the 'absurdity, ugliness, and illogic' of much of his music. Health and drinking remarks in the entry are not used.
- M. Montagu-Nathan, Moussorgsky (London: Constable and Company, 1916; Masters of Russian Music series; Project Gutenberg eBook 77855, read for the biographical chapters, the Boris, Pictures and Night on the Bare Mountain passages and the frontispiece caption). Early English biography by a historian of Russian music, partly admiring and partly condescending (calls most of his piano music of historical interest only): records that Boris was begun on 6 September 1868 and completed within a year, that the Imperial Operatic Committee rejected it in 1870 for, among other things, the lack of a female role and the novelty of the music, that he reconstructed it through 1871 guided by Stasov, Hartmann, Nikolsky and Rimsky-Korsakov (adding the Polish act and moving the Kromy scene), the shared 'Mlada' project of 1872, his Hartmann suite written after a memorial exhibition in spring 1874 and the posthumous editing of his works by Rimsky-Korsakov. The Gutenberg edition is the PD source of the portrait plate captioned 'MOUSSORGSKY / From a portrait by Repin'.
- N. A. Rimsky-Korsakov, My Musical Life (English translation by Judah A. Joffe, ed. Carl Van Vechten, New York: Knopf, 1923; IMSLP scan with poor OCR, read in the passages on Mussorgsky: the early 1860s circle, the 1871-72 shared rooms, his songs, his refusal of harmony and counterpoint, the changes after Boris). Memoir of a close colleague who later edited his scores and a self-interested, sometimes hostile witness: says he was a fine pianist and singer but knew little of orchestration, that Balakirev and Cui treated him as a lesser light, that the circle first ridiculed and then declared 'needless' the sciences of harmony and counterpoint, that he 'went through life without them' regarding his ignorance as a virtue, that his best 'ideal style' passages in Boris came from his unfinished Salammbo, and that after Boris he grew haughtier and more obscure. First-person account of another composer, so used for observed behaviour only, with the interpretations treated as his opinion.
- Marina Frolova-Walker, 'Musorgsky's Pictures at an Exhibition (1874)', lecture notes, Gresham College (24 September 2020; PDF read in full, 7 pages). Scholarly lecture by a Cambridge professor: calls the suite a conceptual work with no precedent in his own or other Russian piano music, written in a burst after Stasov's February 1874 memorial exhibition of Viktor Hartmann, bound up with his admiration for Liszt (who had praised his song cycle The Nursery) and his refusal of a Stasov-funded trip to meet him; describes his realist method of choosing an unusual character and giving it distinctive speech patterns in music; presents Taruskin's reading of the 'Two Jews' movement as caricature and her own alternative (a counter-voice) and notes that private letters contain antisemitic remarks typical of the time, which are context and are not scored here.
- 'Pictures at an Exhibition', Encyclopaedia Britannica (article read in full, short). Says the ten-movement work was composed in 1874 for piano as a memorial to Viktor Hartmann after a retrospective exhibition of Hartmann's drawings, became better known in Ravel's 1922 orchestration, was tidied up for printing in 1886 by Rimsky-Korsakov, and that the recurring Promenade represents the composer himself; its caption names the Tretyakov painting 'Modest Mussorgsky, portrait by Ilya Repin, 1881'.
- Boston Symphony Orchestra, program note 'Pictures at an Exhibition' (page read in full). Orchestra program note giving Mussorgsky's dates, the June 1874 composition of the piano suite, its 1886 publication by Bessel in a version 'heavily edited by Rimsky-Korsakov', the obscurity of the piece until Ravel's 1922 orchestration for Koussevitzky and the earlier orchestrations; its birth and death dates are given in the Gregorian calendar and differ from Wikidata's primary values.
- Royal Ballet and Opera Collections, 'Boris Godunov [1896]' work record (page read, short). Institutional catalogue note: the original Boris Godunov of 1868-69 had seven scenes in four acts; a revised nine-scene version (six from the original, three new) was the first performed, in 1874; Rimsky-Korsakov re-orchestrated it in 1896 and again in 1906-08 and his 1908 version was the standard one for many years; the original 1869 work was first performed in 1928.