Modest Mussorgsky - Songs and Dances of Death for Soprano and Piano (1870's) [Score-Video]

[@annulrsolformrkelse4023]

00:05 Berceuse, Wiegenlied 05:45 Sérénade, Ständchen 10:32 Trèpak, Trepak 16:20 Le Chef d'Armée, Der Feldherr

[@juliaray608]

3:16 - «колискова» діалог матері і смерті «няні» 5:45 - «серенада», тема першого розділу від автора 7:37 - «серенада», тема серенади смерті-«лицаря» 10:32 - «трепак», тема від автора 12:09 - «трепак», пісня смерті - «заметілі» 13:00 - «трепак» заклинання смерті 14:22 - «трепак», останній розділ, колискова 16:20 - «полководець», тема від автора

[@joeyshoe9095]

Wonderful.

[@thomasbirkhahn9616]

Vishnevskaja sometimes sings different notes to what is written in the music. I wonder why that is? Any idea?

[@kaanselcuk5712]

because mussorgsly was a drunk. people dont mind changing notes if its not sounding well.

[@plantmusicfoodlover]

The publishing is incorrect. Mussorgsky never completely published these pieces. Different people took the liberty to finish and publish them. So there are a lot of different versions from different publications. I think the most accurate (while not completely) can be found at the International Music Company.

[@ZefiroTornaScores]

Editor of this score version is Rimsky-Korsakov. He was a friend of Mussorgsky and edited almost all of Mussorgsky's scores after his death. Rimsky-Korsakov believed that he was rendering a service to his friend by putting his music in order. In fact, unfortunately, Rimsky-Korsakov simply could not understand the genius of Mussorgsky, like almost all of his contemporaries. Later, other editions of his works were made by Lamm, Shostakovich and others. These editions are more attentive to Mussorgsky's original ideas. Most used by the edition of "Songs and Dances of Death" by Lamm. ks4.imslp.info/files/imglnks/usimg/e/e5/IMSLP113882-PMLP104614-Mussorgsky_-_Songs_And_Dances_Of_Death.pdf Rimsky-Korsakov's version has not been used for a very long time ... So Vishnevskaya has nothing to do with it.

[@nohaylamujer]

@@ZefiroTornaScores Thank you

[@alilatifshushtari]

It is her interpretation, the performers used to play and perform very differently and bring their own interpretation into it whenever it suited not to change the composition but to express and it works perfectly especially with romantic repertoire. it adds a lot to its expressivity. listen to some early recordings of the beginning of the 20th century and you'll find extreme performances that actually make sense amazingly.

[@bobsmith9510]

Getting Crunk as hell with the lads to these absolute B4ng3rs!

[@juliekovrigina236]

При всём уважении, ну, и темпы! И почему-то ноты не в той тональности, что исполняет Вишневская.

[@luden6794]

Может ей так удобнее

[@theoperatripleaxel5417]

Is this singing trying to f*cking sing? Cause it sounds like a mosquito.

[@neweraofthechambermusic3699]

Как это понимать?

[@nandoflorestan]

I wonder whether 4 years later you have changed, or are still a musical idiot.