Editing Boris Godunov (opera) (section)

===Part 1 / Prologue===
[[File:Shishkov - Novodevichiy.jpg|thumb|Shishkov's design for the Novodevichiy Monastery Scene (1870)]]
''Scene 1: The Courtyard of the [[Novodevichy Convent|Novodevichiy Monastery]] near [[Moscow]] (1598)''

There is a brief introduction foreshadowing the 'Dmitriy Motif'. The curtain opens on a crowd in the courtyard of the monastery, where the weary [[regent]] [[Boris Godunov]] has temporarily retired. Nikitich the police officer orders the assembled people to kneel. He goads them to clamor for Boris to accept the throne. They sing a chorus of supplication ("To whom dost thou abandon us, our father?"). The people are bewildered about their purpose and soon fall to bickering with each other, resuming their entreaties only when the policeman threatens them with his club. Their chorus reaches a feverish climax. [[Vasily and Andrey Shchelkalov|Andrey Shchelkalov]], the Secretary of the [[Duma]], appears from inside the convent, informs the people that Boris still refuses the throne of Russia ("Orthodox folk! The boyar is implacable!"), and requests that they pray that he will relent. An approaching procession of pilgrims sings a hymn ("Glory to Thee, Creator on high"), exhorting the people to crush the spirit of anarchy in the land, take up holy icons, and go to meet the Tsar. They disappear into the monastery.
:[''Original 1869 Version only:'' The people discuss the statements of the pilgrims. Many remain bewildered about the identity of this Tsar. The police officer interrupts their discussion, ordering them to appear the next day at the [[Moscow Kremlin]]. The people move on, stoically exclaiming "if we are to wail, we might as well wail at the Kremlin".]

[[File:Bocharov - Cathedral Square.jpg|thumb|left|Bocharov's design for the Cathedral Square Scene (1874)]]
''Scene 2: [[Cathedral Square in Moscow|[Cathedral] Square]] in the [[Moscow Kremlin]] (1598).''

The orchestral introduction is based on bell motifs. From the porch of the [[Cathedral of the Dormition]], [[Vasily IV|Prince Shuysky]] exhorts the people to glorify Tsar Boris. As the people sing a great chorus of praise ("Like the beautiful sun in the sky, glory"), a solemn procession of [[boyar]]s exits the cathedral. The people kneel. Boris appears on the porch of the cathedral. The shouts of "Glory!" reach a climax and subside. Boris delivers a brief [[monologue]] ("My soul grieves") betraying a feeling of ominous foreboding. He prays for God's blessing, and hopes to be a good and just ruler. He invites the people to a great feast, and then proceeds to the [[Cathedral of the Archangel]] to kneel at the tombs of [[List of Russian rulers|Russia's past rulers]]. The people wish Boris a long life ("Glory! Glory! Glory!"). A crowd breaks toward the cathedral. The police officers struggle to maintain order. The people resume their shouts of "Glory!"

In this scene, Mussorgsky has been hailed as ahead of his time musically. His use of the [[whole tone scale]], which uses only whole steps, made the Coronation scene stand out. This technique was replicated by impressionistic composers about 20 years later who noted his success. Mussorgsky also combined different two-beat and three-beat meters to create a unique sound for his composition called polymeters. These techniques were uncommon during this era and were believed to be almost too overwhelming for the public. This led to his rejection on two different occasions by the [[Russian opera|Imperial Opera]] before they decided to perform.<ref>{{cite book|last1=Hoffer|first1=Charles|title=Music Listening Today|date=2012|publisher=Cengage Advantage|pages=228–229|edition=Fourth}}</ref>