to observe cuts the composer made in the 1872 version. Critics argue that the practice of restoring the St. Basil's scene and all the cuts that Mussorgsky made when revising the opera—that is, creating a "supersaturated" version—can have negative consequences, believing that it destroys the symmetrical scene structure of the Revised Version, it undermines the composer's carefully devised and subtle system of leitmotiv deployment, and results in the overexposure of the Dmitriy motive. Versions by other hands Nikolay Rimsky-Korsakov (1896) After Mussorgsky's death in 1881, his friend Nikolay Rimsky-Korsakov undertook to put his scores in order, completing and editing Khovanshchina for publication (1883), reconstructing Night on Bald Mountain (1886), and "correcting" some songs. Next, he turned to Boris. He experimented first with the Polonaise, temporarily scoring it for a Wagner-sized orchestra in 1889. In 1892 he revised the Coronation Scene, and, working from the 1874 Vocal Score, completed the remainder of the opera, although with significant cuts, by 1896. Nikolay Rimsky-Korsakov (1908) In the spring of 1906, Rimsky-Korsakov revised and orchestrated several passages omitted in the 1896 revision: "Pimen's story of Tsars Ivan and Fyodor" (Cell Scene) "Over the map of the Muscovite land" (Terem Scene) "The story of the parrot" (Terem Scene) "The chiming clock" (Terem Scene) "The scene of the False Dmitriy with Rangoni at the fountain" (Fountain Scene) "The False Dmitriy's soliloquy after the Polonaise" (Fountain Scene) Rimsky-Korsakov compiled a new edition in 1908, this time restoring the cuts, and making some significant changes: He omitted the end of the Novodievichy Scene, so that it ends with the Pilgrims' Chorus. (As does the 1874 vocal score.) He added some music to the Coronation Scene, because producer Sergey Dyagilev wanted more stage spectacle for the Paris premiere. The additions are a 40 bar insert placed before Boris's monologue, and a 16 bar insert following it, both of which are based on the bell motifs that open the scene and on the "Slava" theme. He altered the dynamics of the end of the Inn Scene, making the conclusion loud and bombastic, perhaps because he was dissatisfied that all of Mussorgsky's scenes with the exception of the Coronation Scene end quietly. He similarly altered the conclusion of the Fountain Scene, replacing Mussorgsky's quiet moonlit trio with a grand peroration combining the 6 note descending theme that opens the scene, the 5 note rhythmic figure that opens the Polonaise, and the