Moussorgsky originally designated this work as "an attempt at dramatic music set to prose." The fragment, with its sincere and forcible declamation, is interesting as showing a phase in the evolution of his genius immediately preceding the composition of _Boris Godounov_. The four scenes which it comprises consist of conversations on the subject of marriage carried on between four sharply defined and contrasted characters: Podkolessin, a court councillor and petty official in the Civil Service; Kocharev, his friend; Tekla Ivanovna, a professional match-maker, and Stepan, Podkolessin's servant. Rimsky-Korsakov, who often heard the music sung and played by its author, says in his preface to the work that it should be executed _à piacere_; that is to say, that for each individual a particular and characteristic _tempo_ must be observed: for Podkolessin--a good-natured, vain and vacillating creature--a slow and lazy time throughout; a more rapid movement for his energetic friend Kocharev, who literally pushes him into matrimony; for the Match-maker a moderate _tempo_, somewhat restrained, but alert; and for Stepan rather a slow time. Stassov thought highly of this work, and believed that as traditional prejudices vanished, and opera became a more natural form of art, this prose comedy, the music of which fits closely as a glove to every passing feeling and gesture suggested by the text, would come to be highly appreciated. One more unfinished opera engages our attention before we pass on to consider Moussorgsky's two masterpieces. Fragments, consisting of an introduction and several "Comic Scenes," based upon Gogol's "The Fair at Sorochinsi," have been recently published by Bessel, with Russian text only. The subject is peculiarly racy and the humour not very comprehensible to those ignorant of Malo-Russian life; but the music, though primitive, is highly characteristic, and may be commended to the notice of all who wish to study Moussorgsky in as full a light as possible. The idea of basing a music-drama on Poushkin's tragedy "Boris Godounov" was suggested by Prof. Nikolsky. From September 1868, to June 1870, Moussorgsky was engaged upon this work. Each act as it was finished was tried in a small circle of musical friends, the composer singing all the male rôles in turn, while Alexandra Pourgold (afterwards Mme. Molas) created the women's parts. Dargomijsky, who heard a portion of it before his death in 1869, declared that Moussorgsky had entirely surpassed him in his own sphere.