Modest Mussorgsky’s 1867 tone poem, Night on Bald Mountain was inspired by an old Russian legend which was turned into a ghoulish short story by Nikolai Gogol. The story centers around witches, black magic, and events which you might expect in the most grisly horror movie.
Here is Mussorgsky’s description of the musical program for Night on Bald Mountain:
Subterranean din of supernatural voices. Appearance of Spirits of Darkness, followed by that of the god Chernobog. Glorification of the Black God, The Black Mass. Witches’ Sabbath, interrupted at its height by the sounds of the far-off bell of the little church in a village. It disperses the Spirits of Darkness. Daybreak.
The popular version of Night on Bald Mountain we hear performed most often was as much the work of fellow Russian composer Nikolai Rimsky-Korsakov as Mussorgsky. Following Mussorgsky’s death, Rimsky-Korsakov reworked the score, which he found promising but unwieldily in its original form. He made a similar revision of Mussorgsky’s sprawling opera, Boris Godunov.
Listen to Mussorgsky’s original score, and you’ll hear the extent to which the two “versions” are actually completely different pieces. Mussorgsky’s score may lack the structural refinement and polished orchestration of Rimsky-Korsakov’s, but it rumbles with a uniquely terrifying, hellish energy.
Rimsky-Korsakov was one of the most influential orchestrators of the nineteenth century. As you listen to the clip below, notice the ways instrumental voices are combined and the resulting sense of color. For example, listen to the unique texture created by the combination of string tremolos and pizzicatos around the 0:35 mark, and the following splashes of color in the cymbals. Notice the personas which emerge from the clarinet and flute solos in the “daybreak” music at the end. Throughout this passage (beginning at 7:40), the repeated, almost hypnotic bass pizzicatos suggest a distant, ominous funeral procession, subtly reminding us of the terror of the night. Listen to the shimmering purity of the final chord, as it alternates between strings and woodwinds, evoking a colorful sonic kaleidoscope.
Russian nationalism is central to both versions. Mussorgsky and Rimsky-Korsakov were both part of a circle of five composers (“The Russian Five”) who were dedicated to the promotion of a distinctly Russian style of music. Regarding the composition of Night on Bald Mountain, Mussorgsky wrote in a letter,
The form and character of the composition are Russian and original … I wrote St. John’s Eve quickly, straight away in full score, I wrote it in about twelve days, glory to God … While at work on St. John’s Eve I didn’t sleep at night and actually finished the work on the eve of St. John’s Day, it seethed within me so, and I simply didn’t know what was happening within me … I see in my wicked prank an independent Russian product, free from German profundity and routine, and, like Savishna, grown on our native fields and nurtured on Russian bread.
What qualities make this music, or any music, sound uniquely Russian? Folk music is a starting point. While there may be few overt folk references in Night on Bald Mountain, there are occasional ornamental grace notes which suggest eastern folk influence (for example, 1:56 in the woodwinds). This type of ornament pops up throughout Russian music, even in the flute line at the end of Stravinsky’s The Firebird.
Another detail which feels distinctly “Russian” is the repetition of a small melodic fragment while the music around it changes (Listen at 2:47 and notice the ascending brass scale which follows, something we hear in Tchaikovsky).
Here is the Rimsky-Korsakov version, performed by the New York Philharmonic and Leonard Bernstein:
Now it’s your turn…
Now that you’ve heard both versions, which one do you prefer and why? If you can’t decide between the two, what aspects of the music do you find most interesting? Share your thoughts in the comment thread below.
1 thought on “Two Nights on Bald Mountain”
I cannot but wonder how many people have ever heard the original version of this work, entirely by the composer. No serious listener should decide that the Rimsky-Korsakov is really better without hearing it. The greatest difference lies in the entirely new middle quiet section that Rimsky composed.We owe him a lot for popularizing this work, but not without knowing the source composer’s version.