Authors present for the first time the unknown Mussorgsky’s composition for the male choir and piano (1859), later called by V. G. Karatygin “Marsh Shamil”. The characteristics of the autograph and musical style of the choir are given; a vast historical context is revealed; on the basis of the surviving author’s piano score, the full musical text was reconstructed for the first time (published in the Appendix to this article). Parallels with fragments of Ts. A. Cui’s opera “The Prisoner of the Caucasus” (1858) serve as a tool for a musicalhistorical analysis of Mussorgsky’s work. A chronicle of meetings of the emerging Balakirev circle against the background of simultaneously occurring events in the political life of the Russian Empire (the victorious end of the Caucasian War and the appearance of the captive Imam Shamil in St. Petersburg) was compiled. The connections of the melody of the Mussorgsky choir with ritual chants (zakir-dhikrs) are investigated. It is suggested that “Shamil” was conceived by the author as a variant of a larger musical and dramatic composition. A different name is proposed— the Shamil Suite Choir.
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