Uploaded May 2025 | Updated September 2026, 2 weeks ago
London Philharmonic Orchestra conducted by Nicholas Braithwaite.
I - Promenade. Allegro giusto, nel modo rustico, senza allegrezza, ma poco sostenuto - (attacca): 0:00
II - 1. The Gnome. Sempre vivo: 1:25
III - 2. The Old Castle. Andantino molto cantabile e con dolore: 3:59
IV - 3. Tuileries (Children's Quarrel After Games). Allegretto non troppo, capriccioso: 7:37
V - 4. Cattle. Sempre moderato, pesante: 8:39
VI - 5. Ballet of the Unhatched Chicks: Scherzino. vivo, leggiero: 12:28
VII - 6. Samuel Goldenberg and Schmuÿle. Andante - Andante grave: 13:48
VIII - 7. Limoges. The Market (The Great News). Allegretto vivo, sempre scherzando - (attacca): 16:05
IX - 8. The Catacombs (Roman Tomb). Largo: 17:21
X - 9. The Hut on Hen's Legs (Baba-Yaga). Allegro con brio, feroce - Andante mosso - Allegro molto - (attacca): 22:50
XI - 10. The Great Gate of Kiev. Allegro alla breve. Maestoso. Con grandezza: 25:20
Mussorgsky's "Pictures at an Exhibition" was composed between June 2-22 of 1874, during his creative peak after the premiere of the opera "Goris Godunov". It was written after the death of Russian artist and close friend Viktor Hartmann, after which an exhibition of Hartmann’s pictures was organised in the Academy of Fine Arts in St Petersburg. Mussorgsky went to the exhibition and was inspired to compose his piano piece in memory of his friend. Both Mussorgsky and Hartmann, as kindred spirits, were part of an emerging Nationalistic trend in Russian art. It was probably premiered by Mussorgsky himself in one of his piano recitals.
"Pictures at an Exhibition" describes someone walking round the exhibition and looking at the pictures, by far Mussorgsky's most ambitious solo piano piece. The ten pictures that are musically described were drawings and watercolours. Vladimir Stasov, to whom the work is dedicated, wrote brief descriptions for each section. Some of Hartmann’s original pictures are now lost, but six have been identified with the movements of Mussorgsky’s suite. It was published in 1886, five years after Mussorgsky's death in a version slightly edited by Rimsky-Korsakov. The original version was restored in a 1931 critical edition.
As early as 1886, many composers and musicians have realised several arrangements for virtually any kind of combination of instruments and ensembles. The first notable one was realised by British conductor Sir Henry Wood, realised in 1915 and performed a few times. After Maurice Ravel realized his own orchestration in 1922, Wood withdrew the score and banned every public performance in the 1930s in deference to Ravel's work. All but the first of the Promenade movements were omitted and other passages extensively re-composed. Wood's orchestration was once described by Gordon Jacob as "superior to Ravel's in picturesqueness and vividness", with its off-stage camel-bells in "Cattle" and grand organ in "The Great Gate of Kiev".
The work opens with a "Promenade" in 5/4; a portrayal of the composer himself walking from one painting to the next. The first picture is "Gnomus," inspired by a design for a toy nutcracker that Hartmann drew in 1869. It leads to "The Old Castle," a mysterious, lonely evocation built on pedal nones. "Tuileries" is inspired by a watercolor of children at play in the garden of the Tuileries. This bright and impressionistic piece is followed by the heavy tread of "Cattle" (a Polish oxcart). The "Ballet of the Unhatched Chicks" is a wildly imaginative scherzo. A stern melody in a Jewish-music-derived scale opens "Samuel Goldenberg and Schmuyle," in which a wealthy Jew is portrayed by a severe theme contrasted by a lamenting one from the poor jew.
The rapid patter of haggling housewives characterizes "The Market Place in Limoges." In another sudden change in mood, "Catacombs," which pictures Hartmann himself touring a vast catacomb of skulls, is rendered in naked chord progressions. "The Hut on Fowl's Legs (Baba-Yaga)" was inspired by Hartmann's design for a fourteenth century-style clock in the shape of a witch's hat. Mussorgsky transforms it into a miniature tone poem about Baba Yaga, the legendary Russian witch who devoured the souls of children. After a grand flourish, the work ends with "The Great Gate of Kiev," inspired by a never-implemented design Hartmann submitted to an architecture competition. Pictures of an Exhibition comes to a close with a majestic series of chords.
Pictures: Remaining pictures by Hartmann.
Sources: tinyurl.com/ysovtzs2 an tinyurl.com/yrwh886u
Score: tinyurl.com/y9utobbb
London Philharmonic Orchestra conducted by Nicholas Braithwaite.
I - Promenade. Allegro giusto, nel modo rustico, senza allegrezza, ma poco sostenuto - (attacca): 0:00
II - 1. The Gnome. Sempre vivo: 1:25
III - 2. The Old Castle. Andantino molto cantabile e con dolore: 3:59
IV - 3. Tuileries (Children's Quarrel After Games). Allegretto non troppo, capriccioso: 7:37
V - 4. Cattle. Sempre moderato, pesante: 8:39
VI - 5. Ballet of the Unhatched Chicks: Scherzino. vivo, leggiero: 12:28
VII - 6. Samuel Goldenberg and Schmuÿle. Andante - Andante grave: 13:48
VIII - 7. Limoges. The Market (The Great News). Allegretto vivo, sempre scherzando - (attacca): 16:05
IX - 8. The Catacombs (Roman Tomb). Largo: 17:21
X - 9. The Hut on Hen's Legs (Baba-Yaga). Allegro con brio, feroce - Andante mosso - Allegro molto - (attacca): 22:50
XI - 10. The Great Gate of Kiev. Allegro alla breve. Maestoso. Con grandezza: 25:20
Mussorgsky's "Pictures at an Exhibition" was composed between June 2-22 of 1874, during his creative peak after the premiere of the opera "Goris Godunov". It was written after the death of Russian artist and close friend Viktor Hartmann, after which an exhibition of Hartmann’s pictures was organised in the Academy of Fine Arts in St Petersburg. Mussorgsky went to the exhibition and was inspired to compose his piano piece in memory of his friend. Both Mussorgsky and Hartmann, as kindred spirits, were part of an emerging Nationalistic trend in Russian art. It was probably premiered by Mussorgsky himself in one of his piano recitals.
"Pictures at an Exhibition" describes someone walking round the exhibition and looking at the pictures, by far Mussorgsky's most ambitious solo piano piece. The ten pictures that are musically described were drawings and watercolours. Vladimir Stasov, to whom the work is dedicated, wrote brief descriptions for each section. Some of Hartmann’s original pictures are now lost, but six have been identified with the movements of Mussorgsky’s suite. It was published in 1886, five years after Mussorgsky's death in a version slightly edited by Rimsky-Korsakov. The original version was restored in a 1931 critical edition.
As early as 1886, many composers and musicians have realised several arrangements for virtually any kind of combination of instruments and ensembles. The first notable one was realised by British conductor Sir Henry Wood, realised in 1915 and performed a few times. After Maurice Ravel realized his own orchestration in 1922, Wood withdrew the score and banned every public performance in the 1930s in deference to Ravel's work. All but the first of the Promenade movements were omitted and other passages extensively re-composed. Wood's orchestration was once described by Gordon Jacob as "superior to Ravel's in picturesqueness and vividness", with its off-stage camel-bells in "Cattle" and grand organ in "The Great Gate of Kiev".
The work opens with a "Promenade" in 5/4; a portrayal of the composer himself walking from one painting to the next. The first picture is "Gnomus," inspired by a design for a toy nutcracker that Hartmann drew in 1869. It leads to "The Old Castle," a mysterious, lonely evocation built on pedal nones. "Tuileries" is inspired by a watercolor of children at play in the garden of the Tuileries. This bright and impressionistic piece is followed by the heavy tread of "Cattle" (a Polish oxcart). The "Ballet of the Unhatched Chicks" is a wildly imaginative scherzo. A stern melody in a Jewish-music-derived scale opens "Samuel Goldenberg and Schmuyle," in which a wealthy Jew is portrayed by a severe theme contrasted by a lamenting one from the poor jew.
The rapid patter of haggling housewives characterizes "The Market Place in Limoges." In another sudden change in mood, "Catacombs," which pictures Hartmann himself touring a vast catacomb of skulls, is rendered in naked chord progressions. "The Hut on Fowl's Legs (Baba-Yaga)" was inspired by Hartmann's design for a fourteenth century-style clock in the shape of a witch's hat. Mussorgsky transforms it into a miniature tone poem about Baba Yaga, the legendary Russian witch who devoured the souls of children. After a grand flourish, the work ends with "The Great Gate of Kiev," inspired by a never-implemented design Hartmann submitted to an architecture competition. Pictures of an Exhibition comes to a close with a majestic series of chords.
Pictures: Remaining pictures by Hartmann.
Sources: tinyurl.com/ysovtzs2 an tinyurl.com/yrwh886u
Score: tinyurl.com/y9utobbb
