to compose the incidental ballet music. Who the initiator of this order was, I do not know. I suspect here the influence of Lukashevich, an official of the Board of Directors of the Theatres, who had begun to gain power under Gedeonov... I also believe that the connection had not happened without V. V. Stasov's having something to do with it. The four of us were invited to Gedeonov's for a joint deliberation on the work. Act 1, as the most dramatic, was entrusted to the most dramatic composer—Cui; Act 4, a mixture of the dramatic and poetic, to Borodin; Acts 2 and 3 were distributed between Mussorgsky and myself. Some portions of Act 2 (folk-wise choruses) were assigned to me; the first half of Act 3 (flight of shadows and appearance of Mlada) was reserved for me; while Mussorgsky undertook the second half—appearance of Chernobog, for which he wanted to utilize his Night on Bald Mountain, heretofore unused. The thought of Mlada and the few sketches I made for it took me away from The Maid of Pskov and the work on The Stone Guest. Cui composed the whole first act of Mlada rather rapidly. Borodin, who had been somewhat disappointed in writing Prince Igor, now took much of the suitable material from it, composed some new music also, and thus wrote almost the whole draft of Act 4. Mussorgsky composed the 'March of the Princes' on a Russian theme (subsequently published separately, with the 'Trio alla Turca'), as well as some other portions of Act 2; he also made suitable changes in his Night on the Bare Mountain and adapted it for Chernobog's appearance in Act 3 of Mlada. On the other hand, my notes of the chorus in Act 2 and the flight of shadows in Act 3 were still uncompleted and nothing would come of them, owing to a certain haziness and indefiniteness in the task of writing music to a scenario insufficiently worked out. Gedeonov's scheme was not destined to be realized. Soon he left the post of Director of the Imperial Theatres and vanished from sight. The Mlada affair dropped into oblivion, and all of us turned to the work we had left for it; whatever we had composed for Mlada found its way into other compositions later." «Тогдашний директор императорских театров Гедеонов задумал осуществить произведение, соединяющее в себе балет, оперу и феерию. С