The suite is Mussorgsky's most famous piano composition, and has become a showpiece for virtuoso pianists. It has become further known through various orchestrations and arrangements produced by other musicians and composers, with Maurice Ravel 's version for full symphony orchestra being by far the most recorded and performed.
The composition is based on pictures by the artist, architect, and designer Viktor Hartmann. It was probably in that Mussorgsky first met Hartmann, not Metamorphosis Two - Oni Sakti - Oni Sakti Plays Philip Glass (File, Album) after the latter's return to Russia from abroad.
Both men were devoted to the cause of an intrinsically Russian art No. 3 In G Major - Chopin* - Evgeny Kissin* - 24 Preludes Op. 28 / Sonata No. 2, Op. 35 / Polonaise, quickly became friends. They likely met in the home of the influential critic Vladimir Stasovwho followed both of their careers with interest.
According to Stasov's testimony, inHartmann gave Mussorgsky two of the pictures that later formed the basis of Pictures at an Exhibition. Stasov remarked that Hartmann loved Mussorgsky's compositions, and particularly liked the "Scene by the Fountain" in his opera Boris Godunov. Mussorgsky abandoned the scene in his original version, but at the requests of Stasov and Hartmann, he reworked it for Act 3 in his revision of The years —74 are associated with the staging of Boris Godunovthe zenith of Mussorgsky's Divertimento In C Major KV 188 For 5 Trumpets & 4 Timpani - Mozart* - Serenades & Divertimenti For W as a composer—at least from the standpoint of public acclaim.
Mussorgsky's distant relative, friend, and roommate during this period, Arseniy Golenishchev-Kutuzovdescribing the January premiere of the opera, remarked: "During the winter, there were, I think, nine performances, and each time the theatre was sold out, each time the public tumultuously called for Mussorgsky.
Other circumstances conspired to dampen Mussorgsky's spirits. The disintegration of The Mighty Handful and their failure to understand his artistic goals contributed to the isolation he experienced as an outsider in Saint Petersburg's musical establishment. Golenishchev-Kutuzov wrote: "[The Mighty Handful's] banner was held by Mussorgsky alone; all the other members had left it and pursued his own path The loss of the artist, aged only 39, plunged the composer into deep despair.
Mussorgsky lent to the exhibition the two pictures Hartmann had given him, and viewed the show in person. I want to work more quickly and steadily. My physiognomy can be seen in the interludes. The music depicts his tour of the exhibition, with each of the ten numbers of the suite serving as a musical illustration of an individual work by Hartmann. Five days after finishing the composition, he wrote on the title page of the manuscript a tribute to Vladimir Stasov, to whom the work is dedicated.
One month later, he added an indication that he intended to have it published. Golenishchev-Kutuzov gives the following perhaps biased  account of the work's reception among Mussorgsky's friends and colleagues and an explanation for his failure to follow through on his plans to publish it:.
Soon, with the composition of the musical illustrations for Pictures from an Exhibition by the architect Hartmann, he reached the acme of that musical radicalism, to whose 'new shores' and to whose 'unfathomed depths' the admirers of his 'Peepshows' and 'Savishnas' had pushed him so diligently. In music for these illustrations, as Mussorgsky called them, he represented [chicks], children, Baba Yaga in her wooden house on chicken legs, catacombs, gates, and even rattling carts.
All this was not done jokingly, but 'seriously'. There was no end to the enthusiasm shown by his devotees; but many of Mussorgsky's friends, on the other hand, and especially the comrade composers, were seriously puzzled and, listening to the 'novelty,' shook their heads in bewilderment.
Naturally, Mussorgsky noticed their bewilderment and seemed to feel that he 'had gone too far. Mussorgsky devoted himself exclusively to Khovanshchina. As with most The Hut On Fowls Legs - Modest Mussorgsky - Pictures At An Exhibition Mussorgsky's works, Pictures at an Exhibition has a complicated publication history.
Although composed very rapidly, during Junethe work did not appear in print untilfive years after the composer's death, when an edition by the composer's friend and colleague Nikolai Rimsky-Korsakov was published. This edition, however, was not a completely accurate representation of Mussorgsky's score but presented a revised text that contained a number of errors and misreadings.
Only inmarking the 50th anniversary of the composer's death, was Pictures at an Exhibition published in a scholarly edition in agreement with his manuscript, to be included in Volume 8 of Pavel Lamm's M.
Mussorgsky: Complete Collected Works Inthe Italian composer Luigi Dallapiccola published an important critical edition of Mussorgsky's work with extensive commentary. Mussorgsky based his musical material on Compliments On Your Kiss - Sly & Robbie Present The Taxi Gang - Hail Up The Taxi and watercolours by Hartmann produced mostly during the artist's travels abroad.
Today most of the pictures from the Hartmann exhibition are lost, making it impossible to be sure in many cases which Hartmann works Mussorgsky had in mind.
The surviving works that can be shown with certainty to have been used by Mussorgsky in assembling his Washed Ashore - Adam Pacione - From Stills To Motion, along with their titles, are as follows: .
Note: Mussorgsky owned the two pictures that together inspired No. The title of No. The bracketed word yevrey lit. The five Promenades are not numbered with the ten pictures and consist in the composer's manuscript of two titled movements and three untitled interludes appended to the 1st, 2nd, and 4th pictures.
Mussorgsky links the suite's movements The Hut On Fowls Legs - Modest Mussorgsky - Pictures At An Exhibition a way that depicts the viewer's own progress through the exhibition.
Two Promenade movements stand as portals to the suite's main sections. Their regular pace and irregular meter depicts the act of walking. Three untitled interludes present shorter statements of The Hut On Fowls Legs - Modest Mussorgsky - Pictures At An Exhibition themevarying the mood, colour, and key in each to suggest reflection on a work just seen or anticipation of a new work glimpsed.
A turn is taken in the work at the "Catacombae" when the Promenade theme stops functioning as merely a linking device and becomes, in "Cum mortuis", an integral element of the movement itself. The theme reaches its apotheosis in the suite's finale, "The Bogatyr Gates".
The first two movements of the suite—one grand, one grotesque—find mirrored counterparts, and apotheoses, at the end. The suite traces a journey that begins at an art exhibition, but the line between observer and observed vanishes at the Catacombs when the journey takes on a different character. Vladimir Stasov 's comment: In this piece Mussorgsky 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.
The piece has simple, strong rhythms in asymmetrical meter. The first four measures are shown below. Hartmann's sketch, now lost, is thought to represent a design for a nutcracker displaying large teeth. The lurching music, in contrasting tempos with frequent stops and starts, suggests the movements of the gnome.
A placid statement of the promenade melody depicts the viewer walking from one display to the next. This movement is thought to be based on a watercolor depiction of an Italian castle and is portrayed in Ravel's orchestration by an alto saxophone solo.
Hartmann often placed appropriate human figures in his architectural renderings to suggest scale. Another brief statement of the promenade melody 8 measures gives it more extroversion and weight than before. Stasov's comment: "An avenue in the garden of the Tuileries, with a swarm of children and nurses. Figures of children quarrelling and playing in the garden were likely added by the artist for scale see note on No.
The movement is cast in through-composed ternary form ABA. The movement is cast in through-composed ternary form ABA with coda.
Mussorgsky's original piano version of this movement begins fortissimo ffsuggesting that the lumbering oxcart 's journey begins in the listener's foreground. After reaching a climax con tutta forzathe dynamic marking is abruptly piano bar 47followed by a diminuendo to a final pianississimo pppsuggesting the oxcart receding into the distance. Rimsky-Korsakov 's edition, and arrangements based on it The Hut On Fowls Legs - Modest Mussorgsky - Pictures At An Exhibition as Ravel's, begin quietly, build gradually crescendo to fortissimo and then undergo a diminuendosuggesting the oxcart approaching, passing the listener, and then receding.
A reflective measure presentation of the promenade theme. The fledglings were canary chicks. The movement is cast in ternary form ABA with a literal repeat and terse extension coda. Stasov's explanatory title elucidates the personal names used in Mussorgsky's original manuscript. The movement is thought to be based on two separate extant portraits. The use of augmented second intervals approximates Jewish modes such as the Phrygian dominant scale.
A nearly bar-for-bar restatement of the opening promenade. Differences are slight: condensed second half, block chords voiced more fully. Structurally, the movement acts as a reprise, giving listeners another hearing of the opening material before these are developed in the second half of the suite.
Limoges is a city in central France. Mussorgsky originally provided two paragraphs in French that described a marketplace discussion the 'great news'but subsequently crossed them out in the manuscript. The movement is a scherzo in through-composed ternary form ABA. A scurrying coda leads without a break into the next movement.
Stasov's comment: "Hartmann represented himself examining The Hut On Fowls Legs - Modest Mussorgsky - Pictures At An Exhibition Paris catacombs by the light of a lantern. The movement is in two distinct parts. Its two sections consist of a nearly static Largo consisting of a sequence of block chords with elegiac lines adding a touch of melancholy and a more flowing, gloomy Andante that introduces the Promenade theme into the scene. The first section's alternating loud and soft chords evoke the grandeur, stillness, and echo of the catacombs.
The second section suggests a merging of observer and scene as the observer descends into the catacombs. Mussorgsky's manuscript of "Catacombs" shown right displays two pencilled notes, in Russian: "NB — Latin text: With the dead in a dead language" and, along the right margin, "Well may it be in Latin! The creative spirit of the dead Hartmann leads me towards the skulls, invokes them; the skulls begin to glow softly. Stasov's comment: "Hartmann's drawing depicted a clock in the form of Baba Yaga 's hut on fowl's legs.
Mussorgsky added the witch's flight in a mortar. A scherzo marked Feroce with a slower middle section.
Motives in this movement evoke the bells of a large clock and the whirlwind sounds of a chase. Structurally, the movement mirrors the grotesque qualities of "Gnomus" on a grand scale. The movement is cast in ternary form ABA :. Stasov's comment: "Hartmann's sketch was his design for city gates at Kiev in the ancient Russian massive style with a cupola shaped like a slavonic helmet.
Bogatyrs are heroes that appear in Russian epics called bylinas. Hartmann designed a monumental gate for Tsar Alexander II to commemorate the monarch's narrow escape from an assassination attempt on April 4, Hartmann regarded his design as the best work he had done. His design won the national competition but plans to build the structure were later cancelled.
The movement's grand main theme exalts the opening Promenade much as "Baba Yaga" amplified "Gnomus"; also like that movement, it evens out the meter of its earlier counterpart. The solemn secondary theme is based on a baptismal hymn from the repertory of Russian Orthodox chant. The interruption of this pattern with new music just before its expected conclusion gives the rest of the movement the feeling of a vast extension.