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''Salammbô'' ((ロシア語:Саламбо, ''Salambo'') (title: ''The Libyan'' ((ロシア語:Ливиец, ''Liviyets'')) )) is an unfinished opera in 4 acts by Modest Mussorgsky. The fragmentary Russian language libretto was written by the composer, and is based on the novel ''Salammbô'' (1862) by Gustave Flaubert, but includes verses taken from poems by Vasiliy Zhukovsky, Apollon Maykov, Aleksandr Polezhayev, and other Russian poets.〔Calvocoressi, Abraham (1974: pg. 97)〕 ''Salammbô'' was Mussorgsky's first major attempt at an opera.〔Lloyd-Jones (1974: pg. 2)〕 He worked on the project from 1863 to 1866, completing six numbers before losing interest. ==Composition history== The Russian translation of Flaubert's 1862 novel was published serially in the Saint Petersburg journal ''Otechestvennye Zapiski'' in 1863, and was read with enthusiasm by the six members of the commune in which the composer was then living.〔Calvocoressi, Abraham (1974: pg. 18)〕 Mussorgsky was likely influenced in his choice of subject by having recently heard Aleksandr Serov's ''Judith'', which premiered on 16 May 1863, and which shares with ''Salammbô'' an exotic setting and similar narrative details.〔Calvocoressi, Abraham (1974: pg. 98)〕 The unfinished vocal score consists of three scenes and three separate numbers: Two numbers (No.2 and No.5) were orchestrated by the composer. The chorus of priestesses and warriors (Act 2, Scene 2, Episode 3: "After the theft of the Zaimph") is a reworking of the "Scene in the Temple: Chorus of the People", the only surviving number from ''Oedipus in Athens'' (1858-1861), Mussorgsky's earliest stage-work.〔Calvocoressi, Abraham (1974: pp. 95, 102)〕〔Orlova, Pekelis (1971: pg. 41)〕 In Mathô's monologue in the dungeon (the passage "I shall die alone"), the text is borrowed from the poem ''Song of the Captive Iroquois'', by Alexander Polezhayev. The theme of this passage, accompanying a new text, was recycled in 1877 in the chorus ''Joshua'' (Subsequent use of musical materials in this article for more details ).〔Calvocoressi, Abraham (1974: pp. 106, 182-183)〕 Mussorgsky's orchestration in ''Salammbô'' is quite ahead of its time. One example of a modern idea is, in the projected scoring for the "Hymn to Tanit" (Act 2, Scene 2), the abundance and variety of percussion, in addition to a mixture of pianos, harps, and glockenspiels of a sort which only reappeared fifty years later. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Salammbô (Mussorgsky)」の詳細全文を読む スポンサード リンク
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