The records of this disk get the listener immersed into the realm of the vocal masterpieces created by one of the most realistic Russian composers – Modest Mussorgsky. He was an immediate successor to Dargomuzhsky and denouncer of Russian despotic autocracy who fought for the rights of common people. Mussorgsky finely created a great number of various colourful portraits of characters in his musical pieces. Both in his operas Boris Godunov and Khovanschina and numerous vocal sketches appear typical and truthful images of Russian common people.
The vocal works take the central place in the composer’s musical heritage. His early romances and songs composed in the 50-ies and 60-ies were later called by the composer "scenes from common people life." In some of them such as Kalistrat, Lullaby for Eremushka, Orphan, Darling, Savishna, Mischiefmaker he brings in the episodes that had been noticed in the real life of peasants. In the others he ridicules the negative sides of reality using the language of satire. In the satirical vocal suite Gallery the composer created the abasing portraits of musical figures that were hostile to Mighty Group.
In the vocal cycle Nursery Mussorgsky continued the serial of sketches that describe the realm of children from urban environment. His brother’s children and Stasov’s nephews became the prototypes of the characters. The composer watched their life with sincere interest.
The 70-ies were the most somber period in Mussorgsky’s life and the musical pieces reflect that. There appeared a number of vocal works among which Sunless and Songs and Dances of Death are the most notable.
In spite of the common tragic trend the contents of the cycles is different. Sunless is the composer’s reflection on his own destiny, his personal loneliness and suffering. The musical language is notable for its little variety of expressive means and reticence of pronouncement.
The cycle Songs and Dances of Death was intended as a serial of sketches showing death of people of different social status. However, Mussorgsky managed to complete only four. They are not just sketches but real musical dramas. The composer animates Death and gives it the leading role introducing a fantastic element into the work. He uses various musical genres to characterize the treacherous image of Death – a lullaby, a serenade, a dance and a march – hymn. These genres obtain new rough and cold nuances. In Songs and Dances of Death Mussorgsky reaches unprecedented expressive power and psychological depth that allows us to consider the cycle to be the height of his vocal creative work.
Mussorgsky’s vocal cycles have occupied a fitting place in Eugene Nesterenko’s repertoire whose name does not need any further reference. The colourful, witty and truthful realm of the outstanding Russian classic is displayed in front of us performed by Nesterenko.
