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The "Mighty Five," as they were sometimes called (Balakirev, Borodin, Cui, R-K and Mussorgsky) banded together to create a truly "Russian" music to counterpoise the Western European influences of that other guy.
Hey, careful there. I like the other guy. And, as far as I know, Tchaikovsky didn't claim any particular Russian-ness in his music. Of the others, IMHO, only Borodin is halfway listenable on the whole.
The idiot also known as Capfka ...
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Hey, careful there. I like the other guy. And, as far as I know, Tchaikovsky didn't claim any particular Russian-ness in his music. Of the others, IMHO, only Borodin is halfway listenable on the whole.Truth to tell, CapK, I like Tchaikovsky too. However, I believe that Mussorgsky was brilliantly inventive, Borodin was T-sky's equal as a melodist, and R-K was a fine all-around composer. As for the other two, well, er, um, which half of what (w)hole were you thinking of?  I do admire Mussorgsky for perceiving the connection between music and spoken language, and attempting to incorporate it into his paltry sum of musical work. That, of course, is the subject of this thread, so he ought to be celebrated here for his efforts.
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, I believe that Mussorgsky was brilliantly inventive,
Pictures is a work of genius. i'd be hardpressed to think of a piece that's more fun to play (well, except for chamber quintets, since there's nothing - absolutely nothing - on this earth that equals the pleasure of being such an integral part of the most beautiful music ever written.)
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PicturesI agree, bridget96 - his Chicken Kiev is a particularly appetising and aromatic delight 
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Since the discussion of music has continued, I will, too.
Tchaikovsky didn't claim any particular Russian-ness in his music.
Well, he did try to make it representative. I have read his diary several times, and he was often concerned with expressing the feeling of his culture in just the right way.
That rich, tenebrous, upsurging and swelling of unbearable longing, never, oh, never to be satiated by the final and lasting attainment of happiness...just eased for
brief moments here and there. Ahhh...
I really wonder what his compositions might have been like had he lived in the time of the Revolution.
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At the risk of sacrilege after such heart-felt poetry, oh Pooh-Bah, this reminded me of a little joke about revolutionary oratory.
The scene is a mass meeting of workers in a large factory, being addressed by the fire-brand leader of the Union. His speech holding out the promise of the view from the mountain top, sweeps towards its conclusion with the array of glittering prizes for the workers 'after the revolution'.
"After the revolution, you' ll all be driving Rolls Royces..."
A little voice pipes up from the back of the crowd:
"But I don't want to drive a Rolls Royce!"
The orator looks sternly over to the interruption, and snarls:
"After the revolution, you will drive a bloody Rolls Royce whether you want to or not!"
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"...Western European influences of that other guy."
Unfortunately, it is the exact reason why that other guy has enjoyed "success", and the others, well...
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veteran
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revolutionary Rolls Royces
This reminds me of the story about the backwoods preacher who was going great guns preaching hellfire and brimstone, and how, in Hell, there will be weeping, wailing and gnashing of teeth. One old gaffer cried out, "Preacher, how about us-uns that ain't got no teeth?" Without missing a beat, the preacher replied, "Brother, teeth will be provided."
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>Question--a rest (silence; pause) in music is easy to indicate. How do you do that in a poem, please?
I've always felt that poets like cummings and Lawrence Ferlenghetti had a very good sense of how to accomplish that very thing...
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Ferlenghetti - sounds like an Italian motor car! Perhaps with a silent engine?
The idiot also known as Capfka ...
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