So, have you got your copies to hand?
Over the next few weeks, we will be having a listen to both the original Piano interpretation as well as Ravel's Orchestral reworking of this great piece, as we 'Promenade' together around the Academy of Fine Arts of 1870's St Petersberg. We will be viewing 10 of the over 400 works created by Viktor Hartmann, a close friend of Modest Mussorgsky, displayed there the year after the artist's untimely death in 1873, at the premature age of 39 from an aneuyrism.
The pictures we will be considering are:
1) Gnomus (The Gnome)
2) Il vecchio castello (The Old Castle)
3) The Tuileries Gardens: A dispute between children at play
4) Bydlo (Cattle)
5) The Ballet of the Unhatched Chickens
6) Samuel Goldberg & Schmuyle: Two Jews, Rich & Poor
7) The Market-place at Limoges: Two Women quarreling violently in the market
8) The Catacombs/ Cum mortuis in lingua mortua (With the dead in a dead language)
9) (Baba Yaga's) Hut on Fowl's legs
and finally:
10) The Great Gate of Kiev (The Bogatyr Gate)
interspersed with 5 thematic 'Promenade' interludes of differing lengths and forms, to allow us to walk to different sections of the gallery.
Over the next week, more detailed introductory notes will be prepared by myself to help us in this discovery, but I hope this will at least get the topic up and running. I would like everyone to initially concentrate on listening to and commenting on the original Piano version of this work; we can move to the orchestral version, a little later on.
On a personal note, I have been meeting myself coming backwards at work over the past 3/4 weeks, which has taken me away from Tir Na, but I will ensure that the spare time I do have will be dedicated to the development of this thread.
April: Mussorgsky: Pictures At An Exhibition
Re: April: Mussorgsky: Pictures At An Exhibition
These paintings, which we can consider together during the month, are the surviving works by Hartmann which were used as Mussorgsky's inspiration as a theme for his pictures...
A costume sketch for canary chicks, used in the ballet 'Trilby' was the inspiration for 'The Ballet of the unhatched chicks'.
Samuel Goldenberg & Schmuyle: The Rich Jew & The Poor Jew
The Paris Catacombs (Roman Sepulchre)
The Hut of Baba Yaga on Fowl's legs: A clock in the Russian Style.
The Great Gate of Kiev: The main facade view of a building project for a Great Gate in Kiev.
Interestingly, it is believed that Mussorgsky actually owned two of these paintings; the Rich Jew & the Poor Jew, in his own collection.
A costume sketch for canary chicks, used in the ballet 'Trilby' was the inspiration for 'The Ballet of the unhatched chicks'.
Samuel Goldenberg & Schmuyle: The Rich Jew & The Poor Jew
The Paris Catacombs (Roman Sepulchre)
The Hut of Baba Yaga on Fowl's legs: A clock in the Russian Style.
The Great Gate of Kiev: The main facade view of a building project for a Great Gate in Kiev.
Interestingly, it is believed that Mussorgsky actually owned two of these paintings; the Rich Jew & the Poor Jew, in his own collection.
Re: April: Mussorgsky: Pictures At An Exhibition
Well Jared, that is a great start to April's project, well done.
"To appreciate the greatness of the Masters is to keep faith in the greatness of humanity." - Wilhelm Furtwängler
Re: April: Mussorgsky: Pictures At An Exhibition
A great start indeed. I can't believe I'd never thought to look up those pictures before!
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Re: April: Mussorgsky: Pictures At An Exhibition
A great start to the thread.
'Pictures' is a great introduction to solo piano music. Its quite varied and not too long [about 30-35 minutes]. Also, it is usually combined with with other piano music which can be quite interesting. So sometimes if you buy a new copy of pictures you get some other interestig music as well. By the way its just about all the piano music Mussorgsky wrote.
I first heard the piano version about 35 years ago -- it was Lazar Berman playing on Deutche Gramophone [an LP] and I still think that is the best version ever. I purchased various other CD versions and most were a disappointment compared with Berman [who -- finally -- is availabele on CD and at a bargain price].
james
'Pictures' is a great introduction to solo piano music. Its quite varied and not too long [about 30-35 minutes]. Also, it is usually combined with with other piano music which can be quite interesting. So sometimes if you buy a new copy of pictures you get some other interestig music as well. By the way its just about all the piano music Mussorgsky wrote.
I first heard the piano version about 35 years ago -- it was Lazar Berman playing on Deutche Gramophone [an LP] and I still think that is the best version ever. I purchased various other CD versions and most were a disappointment compared with Berman [who -- finally -- is availabele on CD and at a bargain price].
james
"Change is Possible" [Parking Meter in Dundrum Shopping Centre]
Re: April: Mussorgsky: Pictures At An Exhibition
Not a favourite work of mine Jared, in either version, but I hope to be educated out of my ignorance. You have already answered what would have been an initial question of mine i.e. what were the "pictures".
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: April: Mussorgsky: Pictures At An Exhibition
Are we ready to ‘Promenade’?
You will note that ‘Pictures’ includes five separate mini-sections entitled ‘Promenade’, each one subtly different from the last. May I suggest you play these through together, without the pictures themselves? They should be Nos 1, 3, 5, 8 & 11 on most disks. This activity will hopefully accentuate the subtle variations which Mussorgsky employs.
So, what do the ‘Promenade’ sections represent? Well, as stated in the introduction, he is walking through an exhibition of paintings by his late friend, Hartmann in the Academy of Fine Arts. It is important to understand that this was no provincial gallery, as the image below demonstrates:
The exhibition housed approximately 400 pictures and so the composer possibly didn’t have either the time or inclination to view one picture after another in a methodical manner, rather roving around the gallery when an image of interest caught his eye, at the end of a wing. In a manner typical of the Romantic tradition, the ‘Promenade’ movements express an enthusiastic passion, mingled with greater introspection, whilst he wanders; contemplating the images he has seen.
The programme we are to consider was put together by Vladimir Stasov, from Mussorgsky’s manuscript, where he incorporated a leading, introductory Promenade movement as Mussorgsky enters the gallery, followed by four untitled links. The main thematic melody and rhythm however, is taken from traditional Russian Folk-tunes as was common amongst ‘The Mighty Handful’. I think you’ll agree that the rhythms are simple, strong and highly memorable, which has at least partly accounted for the continued popularity of the piece, since its inception, 138 years ago!
more to follow...
You will note that ‘Pictures’ includes five separate mini-sections entitled ‘Promenade’, each one subtly different from the last. May I suggest you play these through together, without the pictures themselves? They should be Nos 1, 3, 5, 8 & 11 on most disks. This activity will hopefully accentuate the subtle variations which Mussorgsky employs.
So, what do the ‘Promenade’ sections represent? Well, as stated in the introduction, he is walking through an exhibition of paintings by his late friend, Hartmann in the Academy of Fine Arts. It is important to understand that this was no provincial gallery, as the image below demonstrates:
The exhibition housed approximately 400 pictures and so the composer possibly didn’t have either the time or inclination to view one picture after another in a methodical manner, rather roving around the gallery when an image of interest caught his eye, at the end of a wing. In a manner typical of the Romantic tradition, the ‘Promenade’ movements express an enthusiastic passion, mingled with greater introspection, whilst he wanders; contemplating the images he has seen.
The programme we are to consider was put together by Vladimir Stasov, from Mussorgsky’s manuscript, where he incorporated a leading, introductory Promenade movement as Mussorgsky enters the gallery, followed by four untitled links. The main thematic melody and rhythm however, is taken from traditional Russian Folk-tunes as was common amongst ‘The Mighty Handful’. I think you’ll agree that the rhythms are simple, strong and highly memorable, which has at least partly accounted for the continued popularity of the piece, since its inception, 138 years ago!
more to follow...
Re: April: Mussorgsky: Pictures At An Exhibition
Wikipedia has an interesting article and also a link to a free copy of the Piano score ...
http://imslp.org/wiki/Pictures_at_an_Ex ... trovich%29
from the International Music Score Library.
Here are the first two bars of the opening [from Wikipedia] ...
The interesting is that the first bar is in 5/4 time and the second is in 6/4 time.
james
http://imslp.org/wiki/Pictures_at_an_Ex ... trovich%29
from the International Music Score Library.
Here are the first two bars of the opening [from Wikipedia] ...
The interesting is that the first bar is in 5/4 time and the second is in 6/4 time.
james
"Change is Possible" [Parking Meter in Dundrum Shopping Centre]
Re: April: Mussorgsky: Pictures At An Exhibition
That's actually bars 3 and 4, but carry on, this is great stuff!
Nerdcave: ...is no more!
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Re: April: Mussorgsky: Pictures At An Exhibition
Introductory Promenade: B-flat major, Tempo: ‘Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto’. [1.32]
In his notes, Stasov comments that Mussorgsky here depicts himself “Roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention and at times sadly, thinking of his departed friend."
We can imagine the strident leading notes of the right hand, take us up the steps into the main hallway, as the vista opens out before us, of the many and varied works on display; a visual intensity encapsulated by the left’s reprise. The melodic theme sees the composer move between the first works, gradually building in intensity, as his senses are filed with emotion.
Promenade Interlude 1: A-flat major, Tempo: ‘Moderato commodo assai e con delicatezza’. [0.51]
This more placid portrayal of the promenade theme, suggests how once in the heart of the exhibition, the composer walks more slowly from one display to the next. The interlude here is certainly more reflective, with a serene elegance as the Composer sees a depiction of ‘The Old Castle’ on the wall and moves across the gallery toward it.
Promenade Interlude 2: B major, Tempo: ‘Moderato non tanto, pesamente’. [0.29]
The briefest of the interludes included is nevertheless one of the most strident, perhaps as the composer has seen ‘The Tuileries Gardens’ (The Russian Intelligencia were at the time Pro-French) and heads in its direction. His senses have perhaps been overcome with a desire to visit the gardens, whilst simultaneously being intrigued by the dispute between playing children.
Promenade Interlude 3: D minor, Tempo: ‘Tranquillo’. [0.42]
Tranquil? Well, he has just moved away from a picture of Cattle (or rather, a Polish cart on enormous wheels, drawn by oxen) has put the composer in a more reflective mood, as pastoral scenes do, for many of us. The tempo has slowed and the notes are played with sensitivity and delicacy.
Promenade Interlude 4: (a return to the opening) B-flat major, Tempo: ‘Allegro giusto, nel modo russico; poco sostenuto’.[1.24]
Only a cursory hearing would be required for us to understand that this Interlude is musically the most faithful to the opening Promenade. Musically it is almost a bar by bar repeat of the opening, with slight differences, most notably a slightly condensed second half.
It is interesting that we are only half way around the exhibition, with five paintings still to view. Stasov comments that the ‘Promenade’ takes place between the two pictures of the Jews, Samuel Goldenberg & Schmuyle, as we stand in the economic middle ground between the wealth of one and the poverty of the other.
A final observation of interest is that Ravel’s later orchestration of this work omits this final promenade completely.
So, now play the ‘Promenades’ yourself, and imagine moving through the gallery whilst considering some of the picture in my second post….
In his notes, Stasov comments that Mussorgsky here depicts himself “Roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention and at times sadly, thinking of his departed friend."
We can imagine the strident leading notes of the right hand, take us up the steps into the main hallway, as the vista opens out before us, of the many and varied works on display; a visual intensity encapsulated by the left’s reprise. The melodic theme sees the composer move between the first works, gradually building in intensity, as his senses are filed with emotion.
Promenade Interlude 1: A-flat major, Tempo: ‘Moderato commodo assai e con delicatezza’. [0.51]
This more placid portrayal of the promenade theme, suggests how once in the heart of the exhibition, the composer walks more slowly from one display to the next. The interlude here is certainly more reflective, with a serene elegance as the Composer sees a depiction of ‘The Old Castle’ on the wall and moves across the gallery toward it.
Promenade Interlude 2: B major, Tempo: ‘Moderato non tanto, pesamente’. [0.29]
The briefest of the interludes included is nevertheless one of the most strident, perhaps as the composer has seen ‘The Tuileries Gardens’ (The Russian Intelligencia were at the time Pro-French) and heads in its direction. His senses have perhaps been overcome with a desire to visit the gardens, whilst simultaneously being intrigued by the dispute between playing children.
Promenade Interlude 3: D minor, Tempo: ‘Tranquillo’. [0.42]
Tranquil? Well, he has just moved away from a picture of Cattle (or rather, a Polish cart on enormous wheels, drawn by oxen) has put the composer in a more reflective mood, as pastoral scenes do, for many of us. The tempo has slowed and the notes are played with sensitivity and delicacy.
Promenade Interlude 4: (a return to the opening) B-flat major, Tempo: ‘Allegro giusto, nel modo russico; poco sostenuto’.[1.24]
Only a cursory hearing would be required for us to understand that this Interlude is musically the most faithful to the opening Promenade. Musically it is almost a bar by bar repeat of the opening, with slight differences, most notably a slightly condensed second half.
It is interesting that we are only half way around the exhibition, with five paintings still to view. Stasov comments that the ‘Promenade’ takes place between the two pictures of the Jews, Samuel Goldenberg & Schmuyle, as we stand in the economic middle ground between the wealth of one and the poverty of the other.
A final observation of interest is that Ravel’s later orchestration of this work omits this final promenade completely.
So, now play the ‘Promenades’ yourself, and imagine moving through the gallery whilst considering some of the picture in my second post….