NIGHT ON BALD MOUNTAIN (1867) (CA. 9 MIN) MODEST MUSSORGSKY/ORCH. STOKOWSKI (1839-1881)
INSIDE STORY
ARR ANG ED BY NIKOL AI RIMSK Y-KORSAKOV (1844-1908) AND LEOPOLD STOKOWSKI (1882-1977)
The mountain referred to in the title of Mussorgsky’s tone poem, well known in Russian legend, is Mount Triglav, near Kiev, reputed to be the site of the annual witches’ sabbath that occurs on St. John’s Night, June 23-24, the eve of the Feast of St. John the Baptist. The sinister god Chernobog, the devil himself in disguise, presides over the demonic revelries. The score contains the following synopsis of the action: “Subterranean sounds of supernatural voices ... Appearance of the spirits of darkness, followed by that of Satan himself ... Glorification of Satan and celebration of the Black Mass ... The Sabbath Revels ... At the height of the orgies the bell of the village church, sounding in the distance, disperses the spirits of darkness ... Daybreak.” The mood of the music is dark, unearthly and more than a little weird. In 1940, Leopold Stokowski, Music Director of The Philadelphia Orchestra, arranged Night on Bald Mountain based on a version from 1868 by Nikolai Rimsky-Korsakov, which that ensemble had premiered in America during its 1906-1907 season. Stokowski’s orchestration was intended to emphasize what one reviewer called CONTINUED ON PAGE 186
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This project funded in part by generous grants from the Town of Vail and the Vail Valley Foundation. Antlers at Vail and Vail Cascade Resort & Spa are the official homes of The Philadelphia Orchestra while in residence at Bravo! Vail.
THE SYNESTHESIA PHENOMENON Many composers and musicians throughout history have reported experiencing music as more than just an auditory experience; that is, when they hear music they often experience other sensory stimulations. This phenomenon, known as synesthesia, is defined simply as a blending of the senses. Both Rimsky-Korsakov and Sibelius are reported synesthetes, and both “saw” color when they heard music. Rimsky-Korsakov associated specific musical keys with colors; for example, for him the key of C Major was white, and B Major was a gloomy dark blue with a steel shine. Sibelius also saw color when he heard music, but music also evoked other sensations – he said that his Sixth Symphony reminded him of the scent of the first snow. Once he realized that others did not experience music in this way, however, he quickly stopped speaking about the colors in public, instead speaking only in private and swearing his confidants to secrecy. 99