Shostakovich Version of Boris Godunov
orffiws
Forwarded from the DS list:
Arkadia MP 492.3 Mussorgsky/Shostakovich: Boris Godunov
I received this set about two week ago and have played it several
times. Sound (stereo - ADD) is fully satisfactory. Live
performance in 1967 in Venice by the Belgrade National Opera
Theater. Conductor Dusan Miladinovic. The performance is
enjoyable. The Yugoslav forces are capable.
There is no libretto with the set so it's hard to make small
comparisons. The story and libretto seem to be close to the
restored "original version," with a significant difference in the
DS version of including the St. Basil's tableau at the beginning
of Act IV. This inclusion is about twelve minutes and is similar
to the scene used to open Act IV in the modified R-K version.
There's also a significant deletion, for which see the following
comments.
For me an interesting historical difference (non-musical) occurs
with respect to Act III. First MM and then R-k included the role
of Rangoni, the Roman Catholic priest. This scene portrayed the
significant struggle between the Roman and the Orthodox church
leaders and their respective followers. This was a large social
and political issue. The scene was modified so that Rangoni and
the subject of Catholicism gaining the pretender's support
disappeared in the Soviet Bolshoi performance of the R-K version
(ref: 1948 Bolshoi performance). AND DS omitted it in his version
(1939-40). May I draw the reasonable (to me) conclusion that the
Soviet authorities didn't want a discussion of the religious
battle to appear in the opera?
Of course this Rangoni deletion also reduces the role of the
Polish princess, because she spent time plotting with Rangoni,
and this would enable the 1948 Bolshoi to assign a lesser
soprano voice (Davydova) to the role in the Bolshoi recording.
Davydova's presence as Marina in that recording is for me the
signifiant blemish in the performance that I have come to enjoy
as the finest, the standard of performance by which to view
others (editorial opinion <g>).
DS omitted in 1939-40 the Act III religious conflict and the role
of Rangoni, all in the face of its historical place in the MM
version and in the R-K version. And the Bolshoi, and presumably
other Soviet opera groups of the time, omitted it when they
performed the usual modified R-K version of that day. When we go
to a later Bolshoi recording, in my case that of the
Bolshoi/Melik-Pashayev of 1962, the omission still obtains.
Rangoni has not yet been resurrected in 1962! However the Soviet
(not Bolshoi) recording of the 1980's, the "restored original
edition" with Vedernikov singing Boris and conducted by Fedosiev,
reveals Rangoni and the "battling religions" theme back in place.
Circle completed!
The performance of the DS version by the Belgrade forces reveals
to my ear significant changes in instrumentation. Collateral
changes in orchestration seem less apparent, probably a function
of *my* limitations. It's interesting to hear the DS version, but
probably not especially important. It remains a "composer's
exercise." My preferences are still (1) the 1948 Bolshoi modified
R-K version with Reizen and Golovanov, and then (2) the 1980's
"restored original edition," described as the "definitive
edition," which comes in several good Slavic performances.
Cordially,
Harry Davis
Houston
(email: hda...@blkbox.com)
orffiws
Correction to first message.
The unattractive "Marina" in 1948 Bolshoi Boris was
Maksakova. (I've just finished being irritated by Davydova
in the Bolshoi Sadko of 1952 and the Bolshoi Mazeppa of 1949.)
Same logic applies. Same comments apply.
orffiws
Post corrected for errors:
Of course this Rangoni deletion also reduced the role of the
Polish princess, because she spent time plotting with Rangoni,
and this would have enabled the 1948 Bolshoi to assign a lesser
soprano voice to the role in that recording.
DS omitted in 1939-40 the Act III religious conflict and the role
of Rangoni, all in the face of its historical place in the MM
version and in the R-K version. And the Bolshoi, and presumably
other Soviet opera groups of the time, omitted it when they
performed the usual modified R-K version of that day. When we go
to a later Bolshoi recording, in my case that of the Bolshoi/Melik-
Pashayev of 1962, Rangoni has been resurrected! Circle completed!
The performance of the DS version by the Belgrade forces reveals
to my ear significant changes in instrumentation. Collateral
changes in orchestration seem less apparent, probably a function
of *my* limitations. It's interesting to hear the DS version, but
probably not especially important. It remains a "composer's
exercise." My performance preferences are still (1) the 1948
Bolshoi modified R-K version with Reizen and Golovanov, and then
(2) the 1980's "restored original edition," described as the
"definitive edition," which comes in several good Slavic
performances.
Manu Rouat
> There is no libretto with the set so it's hard to make small
> comparisons. The story and libretto seem to be close to the
> restored "original version,"
I couldn't check in a dictionary for the precise meaning of 'restored' -
to me it can mean both 'to repair' or 'to rehabilitate' - hope you mean the
second! (french equivalents would be 'restaurer' and 'rehabilitee')
> For me an interesting historical difference (non-musical) occurs
> with respect to Act III. First MM and then R-k included the role
> of Rangoni, the Roman Catholic priest. This scene portrayed the
> significant struggle between the Roman and the Orthodox church
> leaders and their respective followers. This was a large social
> and political issue. The scene was modified so that Rangoni and
> the subject of Catholicism gaining the pretender's support
> disappeared in the Soviet Bolshoi performance of the R-K version
> (ref: 1948 Bolshoi performance). AND DS omitted it in his version
> (1939-40). May I draw the reasonable (to me) conclusion that the
> Soviet authorities didn't want a discussion of the religious
> battle to appear in the opera?
I tried to find some info about this, but didn't find any. However
it seems reasonnable.
>
> The performance of the DS version by the Belgrade forces reveals
> to my ear significant changes in instrumentation.
Yes, DS didn't change the harmony much (NOT like RK!) , but his instrumentation
sounds really heavy to me. Sometimes it sounds just like a DS symphony ;-)
Collateral
> changes in orchestration seem less apparent, probably a function
> of *my* limitations. It's interesting to hear the DS version, but
> probably not especially important. It remains a "composer's
> exercise." My performance preferences are still (1) the 1948
> Bolshoi modified R-K version with Reizen and Golovanov, and then
> (2) the 1980's "restored original edition," described as the
> "definitive edition," which comes in several good Slavic
> performances.
I'm not sure, but it seems to me that the real story behind the so-called
'original' and 'revised' versions has not yet reached the USA? All posters
on this NG talking about 'a possible original' or 'a controversial original
version' or whatever were American (but then , most posters on this NG are, so
it could be a coincidence..)
To make things clear once and for all, here is the complete story of that opera.
MM started working on an opera called 'Salambbo' (based on the book by Flaubert)
in 1863. He stopped working on that opera in late 1865, but there is quite
a lot of that opera that he reused for 'Boris' (this probably explains why
he didn't finish Salambbo - the music was too russian for the libretto ;-)
In fact, the score of 'Salambbo' survived, and was much later 'finished' and
recorded by Zoltan pesko (CBS - not reissued on CD AFAIK) not a good recording,
only of value for the true hard-core Mussorgsky fanatics.
He then started to work on 'Boris' in late 1868, and completed his work late 1869.
This is the version in 7 'tableaux', AKA the '1869 version' or the 'primitive version'.
Note that this version is FINISHED and was READY to be performed.
However, the comitee in charge of the St Petursburg opera were unhappy about certain
features of the opera: no primma-donna, not the usual acts/scenes cut etc.
And this is the ONLY reason that MM had to rework his opera.
He did that, and the new version was completed in 1872: 4 acts + prolog, the
'polish' act allowing a primma-donna, a love duet etc, plus of course the 'Kromy'
scene which now concludes the opera . However no more 'St Basil' scene. Also many
scenes had been modified,usually lenghthened.
This is known as the 'original' version, but should be more accurately be refered to
as the '1872 version' or even better the 'final version'.
This version was first performed in 1874. First publication apparently in 1928
(Pavel Lamm's edition) - but Debussy himself studied the score as early as 1889!
(listen to the strings in 'Pelleas' ...MM's soul is flying there...)
So in fact , the original score had been published a long time before RK started
his 'revisions' (possibly right after its first performance in 1874).
So there is NOTHING controversial or mysterious about 'Boris'. The 'original'
version is NOT a reconstitution or anything of the kind. However, almost all
recent recordings of 'Boris' do play a modified version: it is usually the Loydd-Jones
edition, which inserts the 'St Basil' scene back into the 1874 version.
So now every-one talking wrongly about some kind of 'patched-up original' version
of Boris will be cursed until the end of times 8-\
Also please note that the forthcoming recording by Gergiev of Boris includes (I'm told)
BOTH complete versions - 5 cds.
manu
Matthew B. Tepper
>
> Also please note that the forthcoming recording by Gergiev of Boris
> includes (I'm told) BOTH complete versions - 5 cds.
Except that, as William Kasimir has pointed out in another post, this
release has been CANCELLED by the idiots at Polygram.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://www.deltanet.com/~ducky/index.htm
My main music page --- http://www.deltanet.com/~ducky/berlioz.htm
And my science fiction club's home page --- http://www.lasfs.org/
To write to me, do for my address what Androcles did for the lion
Manu Rouat
>
> Manu Rouat wrote:
> >
> > Also please note that the forthcoming recording by Gergiev of Boris
> > includes (I'm told) BOTH complete versions - 5 cds.
>
> release has been CANCELLED by the idiots at Polygram.
well, I've been waiting for ten years you know... a few months more or less
can't hurt (AAAAAAAAARRRRGGG so bloody CLOSE!!!!)
manu
Frank Schneiders
Frank
Juan I. Cahis
Some comments about this very interesting recording:
orffiws <hda...@erehwon.com> wrote:
>Arkadia MP 492.3 Mussorgsky/Shostakovich: Boris Godunov
>
>I received this set about two week ago and have played it several
>times. Sound (stereo - ADD) is fully satisfactory.
>
>For me an interesting historical difference (non-musical) occurs
>with respect to Act III. First MM and then R-k included the role
>of Rangoni, the Roman Catholic priest. This scene portrayed the
>significant struggle between the Roman and the Orthodox church
>leaders and their respective followers. This was a large social
>and political issue. The scene was modified so that Rangoni and
>the subject of Catholicism gaining the pretender's support
>disappeared in the Soviet Bolshoi performance of the R-K version
>(ref: 1948 Bolshoi performance). AND DS omitted it in his version
>(1939-40). May I draw the reasonable (to me) conclusion that the
>Soviet authorities didn't want a discussion of the religious
>battle to appear in the opera?
I am not so sure that Rangoni's deletion was Shostakovich's decision
or simply a performance cut. Please note that the very clarifying
recording's booklet doesn't mention this omission at all, and, by the
contrary, specifically mentions the "Scene in Marina's budoir in
Sandomir Castle" as a part of DS score, which is also omitted in this
recording. If the Soviet regime would have wanted to avoid a religious
battle, they also would have cut the short presence of the two Jesuits
(Lavitsky and Chernikovski) in the Kromy Scene, which it can be
suppressed very easily.
>The performance of the DS version by the Belgrade forces reveals
>to my ear significant changes in instrumentation.
Not only in the instrumentation. The Second Act is very different to
both R-K and the standard Moussorgski (1872) score. Xenia's complaint
for the death of her lover is sung with a different melody than the
standard one. Also, there is no parrot story and no clapping hands
play between the nurse and both children. Very curiously, Feodor is
sung by a tenor, who in the booklet is announced as a mezzo-soprano,
like in the R-K and Moussorgski's editions!
Perhaps DS based his Second Act in Moussorgski's 1869 version, which I
have never heard. I hope that the new Gergieev recording, which
includes *both* Moussorgski's editions, will clarify that issues.
Thanks
Juan I. Cahis
Santiago de Chile (South America)
Email: jic...@ibm.net.nospam jic...@reuna.cl.nospam
To send me Email, please remove ".nospam" from my Email address
Note: Please forgive me for my bad English, I am trying to improve it!
Matthew B. Tepper
>
> Perhaps DS based his Second Act in Moussorgski's 1869 version, which I
> have never heard. I hope that the new Gergieev recording, which
> includes *both* Moussorgski's editions, will clarify that issues.
Unfortunately American music-lovers will have to do without, since the
idiots at Polygram in New York have decided to cancel its Stateside
release. What buffoons! Could somebody please turn them in to the head
office for industrial sabotage?