manuscripts containing all the extant music composed for the Mlada of 1872. Roles Princess Voyslava, daughter of Mstivoy Mstivoy, Prince of Retra Svyatokhna, later transformed into the goddess Morena Yaromir, Prince of Arkona, Voyslava's fiancé, formerly betrothed to Mlada A Ruthenian Lumir, a Czech singer A Priest The High Priest Chernobog Mlada Chorus, silent roles, corps de ballet: Maidens, people, hunters, merchants, Polabians, Novgorodians, devils, witches, dwarves Synopsis Time: The 9th to 10th centuries Place: The land of the Polabian Slavs, between the Baltic Sea coast and the Elbe River. Note: Certain elements of the plot below are conjectural, owing to the paucity of documentation of the 1872 project, and are taken from the plots of Minkus' ballet (1879) and Rimsky-Korsakov's complete operatic setting (1890). Act 1 The castle of Mstivoy, Prince of Retra Voyslava has killed Mlada, Yaromir's bride, to have him for herself. With the help of Morena, the goddess of the underworld, she has captivated Yaromir. But he sees the murder in his dreams. Act 2 The plain near Retra on the banks of Lake Dolinskoye At the midsummer festival the people dance, however the spirit of Mlada intervenes between Yaromir and Voyslava. Act 3 Night. A gorge on Mount Triglav By night Mlada leads Yaromir up Mount Triglav, where the dead gather, before the Witches' Sabbath in which Yaromir is shown a vision of Cleopatra. Act 4 Outside the Temple of Radegast in Retra Yaromir, at the Temple of Radegast, is shown by the spirits that Voyslava is guilty. She confesses her sin and he kills her. Morena, with whom Voyslava had made a compact, destroys the temple and the city of Retra, but Yaromir is united with Mlada in heaven. Subsequent use of musical materials Most of the composers used their music from the 1872 project in later works. Cui The only extended unrecycled music from The Mighty Handful's collaborative Mlada is Act 1, which was composed by Cui (except for inserted dance music assigned to Minkus). Although Cui borrowed a terzetto from it for his revision of Prisoner of the Caucasus in 1881-1882, the remainder of the act was not appropriated for other works. Late in life (1911) he edited and published Act 1 and dedicated it to the memory of Borodin, Mussorgsky, and Rimsky-Korsakov. Mussorgsky Mussorgsky contributed four numbers—two borrowed from previous works and two newly composed for Mlada. All of them would