Note – it would be a good idea to consult the chapters on 'The Growth of the Orchestra' and 'Music of the Romantic Period' in the Study Area before studying this analysis.

After the sudden death of the painter and architect Viktor Hartman, a shocked Mussorgsky attended a memorial exhibition of Hartman's work in 1874. Completed in the same year, Pictures at an Exhibition is a musical exploration of some of Hartman's works as well as the depiction of an observer moving from one work to another. By doing this, Mussorgsky also creates a meditation on the death of a dear friend and a celebration of his life.

Ravel's orchestration, based on Rimsky-Korsakov's 1886 edition, was commissioned by the conductor Sergey Koussevitzky in 1920, who premiered it in Paris after its completion in 1922.

Ravel's arrangement is not an orchestral equivalent of the original piano version. The detailed dynamic markings, the complex manipulation of a huge range of orchestral timbres, and the multilayered articulation of contrasts constitute a departure from the deliberate austerity of Mussorgsky's piano writing. By doing so, Ravel is furthering the latent content and vitality of Hartman's works as depicted in Pictures.

Promenade I

Ravel's first masterstroke is the use of the C trumpet to present the most important line of the piece: the initial phrase of the Promenade. Ravel understood this first promenade as depicting wonder and praise towards the art of Viktor Hartman, as well as Mussorgsky's making his way through the exhibition. The trumpet has a strong ceremonial and voice-like quality, which also empathises with Mussorgsky's intention to celebrate Hartman's life and art. Ravel also reinforces the delineation of this initial phrase as the first part of a "call and response" type of phrasing; the solo trumpet is followed by a choral "response" from the brass section. In a reference to antiphonal singing, Ravel introduces the string section in a variation of the main Promenade line (00:32). After the first tutti (00:47) there is a new dialogue based on shorter phrases, which Ravel emphasises by alternating woodwind with double bass pizzicato and bowed strings.

The last antiphonal juxtaposition of instrumental forces happens in between the brass and the whole orchestra (01:25). It is of particular interest to notice how carefully Ravel deals with the brass: he only introduces the third trombone at the end, and excludes the second trombone throughout the Promenade, which finishes with the tutti response to the brass section call.

Gnomus

In this piece, based on Hartman's design for a nutcracker, Ravel emphasises Mussorgsky's depiction of a Gnome-like fantasy.

The initial figure of Gnomus, suggesting a kind of grotesque spasm, is arranged for low strings and low woodwind, alternated with the suspense inducing sustained notes on the horns. The third execution of the phrase is extended by an abruptly ascending figure, which Ravel assigned to the high woodwind and the strings (00:10). This is followed by a more theme-like second figure on the high register (00:22). Ravel brilliantly brings out the strongly atmospheric nature of this section by first using a wide range of timbres. The top line is arranged for high woodwinds, with the melodic accents reinforced by pizzicato strings, xylophone and timpani, suspended over sustained low notes on the tuba and the first trombone. The restatement of that section is re-orchestrated for the more audacious timbral combination of celesta, harp, glissandi violin harmonics, and bass clarinet (00:30). The "gnomus walk" passage that follows is arranged for a powerful combination of woodwind and horn, disrupted by interpolations of a thicker orchestration of the initial figure. (00:51)

Ravel's taste for orchestral effects is once more in evidence when a more melodic variant of the gnomus walk is suspended over an extended descending glissandi on the strings (01:43). The top part has a much more metallic sound due to the combined timbres of muted trumpets and cymbal trills. A whip attack leads into a contrasting section based on low trills and short chromatic motives layered on the bottom of the second section woodwind figure (02:11). For this Ravel uses a dialogue between the bassoon and the bass clarinet supported by the double bass and cello. The muted brass section combined with rattles act as a short bridge (02:28), leading to an ascending stepping line, which Ravel theatrically emphasises by adding a snare drum part.

Promenade II

Also in antiphonal form, the mood of the promenade is now expressing the wondering spectator's increasingly reflective mood. Ravel therefore arranges the call and response passage for the gentler timbres of the horn and the woodwind, plus an enigmatic epilogue-like ending for clarinets and high violin.

Il Vecchio Castello

The lost painting depicted a medieval castle with a troubadour singing.

Unaware of the presence of figures in the painting, Ravel interpreted this piece as a wordless serenade. Hence the melodic line is arranged for the slightly more unusual (in 1922) voice-like sound of the saxophone.

Despite the relative simplicity of this arrangement, Ravel still avoids using primary orchestral colours. The bassoons play the introductory phrase, which later on develops as a countermelody to the main melodic part.

The Sicilian rhythm is played throughout the piece alternately by the low strings and the bassoon. Together with the woodwind, the gradually expanding strings take charge of the countermelody, building up a thick texture of divisi strings, which is distinctive of Ravel's orchestration style. (01:11). Despite the Russian nature of the melodic line, Ravel's use of strings inspires a sort of Mediterranean melancholy, which strongly resembles the feel of Sicilian folk music or Sicilian inspired slow movements in classical music.

Ravel's taste for compound timbres is reflected in the use of English horn-flute to replace the saxophone, when the main melody comes back (02:05), followed by flute-clarinet (02:13), oboe-bassoon (02:27) and clarinet-clarinet in octaves (03:13).

In Promenade III the trumpet is treated as a soloist, in dialogue with a choral response scored for divisi strings and woodwind (00:11). Suggesting unison singing, the woodwinds colour the comeback of the trumpet part (00:17), leading to a final mysterious commentary on the strings, based on the unpredictable change to pizzicato playing (00:30).

Tuileries

The lost picture portrayed a group of children with a nurse, playing in the Tuileries Gardens in Paris.

The children were only a detail, which Mussorgsky decided to treat as the main subject matter. Ravel, who shared with Mussorgsky a love for children, chooses the lighter colours of the woodwind, which sensitively depict the movement and joy of child-play as well giving clear articulation to Mussorgsky's use of speech forms in his melodies (compare the first motive to the words "Nanya, Nanya"). Characteristically, Ravel uses a compound woodwind sound for the top line made of flute and oboe. The melodic contrasts of the middle section are delineated by bringing in the string section, with occasional woodwind interruptions, duplicated by the harp (00:25).

Bydlo

Bydlo is Polish for cattle. We know from Vladimir Stasov, the "Mighty Five's" artistic adviser, that Mussorgsky's intention was to depict a Polish cart pulled by oxen, but there are no records of it being depicted in any paintings. This imagined picture could be Musorgsky's own invention, to generate a contrasting "narrative twist", if we understand the observation of different pictures as a representation of states of mind.

Following Rimsky-Korsakov's version, which edits out the initial ff, Ravel constructs a magnificent crescendo that also leads to the gradual unfolding of orchestral colours.

The original thick left hand chords are initially scored for the heavy combination of low strings, harp, bassoon and contrabassoon; reinforcing the portrayal of a huge cart pulled by oxen. The melodic line, which does not bear reminiscences of Polish folk music, is imaginatively scored for tuba, which successfully refines the characterisation of the rough singing voice of a cart driver.

As the crescendo develops, the divisi strings and the first bassoon continue the melodic part (01:05), and the rest of the woodwind with the harp play the more sustained chordal structures.

After a brief impasse (01:43), another crescendo brings a climaxing melody on the high strings, horn, high woodwind, viola and bass clarinet in octaves (01:56). The drama and tension in this passage is reinforced by snare drum roll, timpani, and bass drum, before a brief reprise of the initial melodic line brings back the initial orchestral colours (02:22).

The Promenade IV resembles a dialogue between the different blocks of a choir, each of which is scored for a different timbral combination. At the end, all voices and timbres come together in octave duplication followed by a playful anticipatory extract of the next movement suggesting Mussorgsky's refreshing glance at a new Hartman work after a period of reflection.

Ballet Of The Chicks In Their Shells

Based on a costume design for the ballet Trilbi, described as "canary chicks, enclosed in eggs as in suits of armours" in the exhibition catalogue.

The staccato piano writing is arranged for woodwind with violin pizzicato and harp, whereas the strings add on in the middle trio section (00:32). The combination of staccato and legato articulations in the first section reinforces the portrayal of the walking chicks, whereas the trills in the middle section on the violins represent the movement of the feathers. Finally, the addition of the tambourine and the celesta to the violin figure helps to convey the sound of the chicks breaking the shells (00:37)

Samuel Goldenberg And Schmuyle

This is based on a set of two pictures, one depicting a rich Jew, the other a poor Jew.

Mussorgsky's characterization required an arrangement that reflected the pathology of the individual characters as well as the tragic nature of their relationship. Ravel understood this piece not only as a dialogue between the rich and the poor, but also between the powerful and the vulnerable, the tyrant and the victim. The slightly oriental Goldenberg figure is scored for the strings, clarinets and bassoon in octaves. The music is assertive and speech-like, and Ravel adds detail to accents and articulation marks.

Contrary to this, the Schmuyle figure is scored for the thinner and more fragile sound of muted trumpets (00:44). In order to perform this passage, trumpet players need to use fast triple tonguing, a potential technical obstacle, which makes the passage sound more unstable. Instrumental difficulty as a means for expression was familiar to Ravel and not infrequent in his writing.

There is an obvious attempt to align both parts against each other without any thematic merging, so there are no combinations between the established orchestral colours (01:27). After a peak in tension, Schmuyle is exhausted, and a weakened Goldenberg part prevails, just to regain strength again towards the end. Ravel reinforces this by adding horns and two trombones to the melodic line; another example of Ravel's strategic and sparse use of the brass section.

Note: Ravel does not use the Promenade which happens at this point in the original, possibly to keep the momentum of the dramatic continuity of the set and to clear the way for the cross-referencing effect of promenade material appearances in Cum Mortuis and in Kiev.

Limoges - The Market Place

The original drawing was described as "Old women quarrelling at the fair in Limoges".

Again, Ravel's orchestration shows an empathy with Mussorgsky's genius for characterisation. For the start of the piece Ravel opted for the "call for attention" effect of the horns, followed by the juxtaposition of timbral opposites that Ravel uses to contour the fast melodic dialogues, portraying the quick high-pitched chatting and the loud calls and shouts of a busy market.

In the first section, we hear strings against winds (00:10) and low register against high register reinforced with offbeat percussive attacks (00:16).

In the middle section (00:23), the faster and more complex timbral dialogues feature the incorporation of the celesta and the glockenspiel.

Catacombae

This is based on a watercolour that depicted three men examining a Parisian catacomb by lamplight.

The non-pianistic nature of the left hand part, and the presence of dynamic changes over sustained notes in the piano original, suggest that Mussorgsky possibly intended to orchestrate this piece, or that the piano writing bears an orchestral conception. Ravel uses the entire brass section, coloured by bassoons, clarinets and double bass. Using this very dense combination of dark and incisive timbres, Ravel not only reflects the mystery and threat of death (a very Mussorgskian obsession) but also the sheer size and thickness of a catacomb.

Cum Mortuis In Lingua Mortua

Mussorgsky wrote: "with Hartman's genius�the skulls begin to glow".

Cum Mortuis empathises with the resurgent life within the picture. A lyrical promenade injects some familiarity within the dark environment of the catacombs. Ravel accurately uses a dialogue of registers and timbres similar to that of the fourth Promenade, with the very effective addition of the harp (01:16), possibly to symbolize the light when "the skulls begin to glow".

The Hut On Fowls' Legs, "Baba-Yaga"

This movement is based on Hartman's design for a clock in the shape of Baba-Yaga's Hut on Hen's Legs.

For the mechanical "clock-like" quality of the initial figures in the first section, which depicts Baba Yaga's ride in her mortar, Ravel uses timpani and bass drum to reinforce a solid combination of strings, bassoons and clarinets. The oboe and the flute (in combination with violin pizzicato) are reserved to orchestrate the high-register figure (00:18) which leads into the main melodic part, arranged for horns and trumpets (00:24) This is followed by a fast melodic dialogue (00:29) which is delineated by the change from pizzicato to tremolo bowing in the viola and violin, paralleled by an alternation of cymbal and tambourine in the percussion section. The sustained notes on the brass, the melodic duplication on the woodwind and the harmonic support of the harp make this fragment a masterpiece of orchestral colouring. At the end of the section, Ravel creates some breathing space by adding two bars of solo trumpet.

The quieter middle section (01:07), depicting Baba Yaga hidden in the forest, starts with an austere clarinet tremolo with a combination of bassoon and double-bass pizzicato playing the original left hand melody. The muted second violin continue the tremolo while a combination of woodwind, violin pizzicato and harp play the high-pitched figure (01:44), which is later played by woodwind, xylophone and violin, as the tremolo moves down to the viola and cello, before the return of the first section.

The Great Gate Of Kiev

Based on a gate designed for a competition at Kiev to commemorate Tzar's Alexander II's escape from assassination, it is a celebration of old Russian grandiose architectural style, with bells and a cupola in the form of a Slavonic helmet.

This monumental combination of hymns, bell sounds and Promenade motives, exploits the might of combined orchestral forces like no other movement. Ravel parallels Mussorgsky's thematic cross-references with his own restatements of previously heard orchestration ideas.

The main ceremonial theme, which resembles the Promenade motive, is initially arranged as a huge fanfare, with all the brass section reinforced by bassoons, timpani and bass drum. The woodwind and the full string section are added in the restatement of the theme (00:40), before only bassoons and clarinets are left to emulate a four-part choir in Mussorgsky's reworking of "As You Are Baptized By Christ" (00:56). In the second account of the main theme, Ravel arranges the decorating bell-like quaver figures for two harps combined with strings and woodwind (01:26).

The restatement of the four-part hymn, now coloured with flutes (01:58), leads to a prolonged bridge originally based on the emulation of bell sounds. Ravel introduces a proper bell to the percussion section, which now is made of sounds of the same family: the tam-tam (orchestral gong) and the cymbal (02:30). The ostinato quaver figure is arranged for a dense web of divisi strings, which provides the perfect timbral environment for the triumphal restatement of the Promenade motive (02:52). Ravel scores this for a combination of flutes, clarinets, horns and glockenspiel, putting together the timbres of previous references to hymns, bell-sounds and Promenade restatements.

After a climax, a semiquaver passage acts as a bridge towards the third account of the main theme, based on triplet rhythm (03:21). Later on, a quieter transitional passage takes us to the heroic last passage of the whole piece (03:48). The sheer magnitude and richness of colour of the fully stretched orchestral sound bears only few parallels in any orchestral writing prior to 1922. Ravel now brings a combination of triangle, cymbal, timpani, bass drum, tam-tam and bells to pulsate the last execution of the theme. Having built up such a huge complex of sound, Ravel adds two extra bars at the end of the piece in order to prolong the last chord, and give extra space for the orchestral sound to resonate.

Final Comments

It could be argued that by producing such an ambitious arrangement, Ravel is contradicting and misleading the social concerns that lay behind Mussorgsky's 'musical realism'. In addition, Ravel is seemingly undermining Mussorgsky's crucial depiction of 'Russianness'.

However, Ravel's obsessively detailed descriptions of movement and nature in music, his sensitivity to folk traditions, and his astonishing musical story-telling technique, make him another kind of 'realistic' composer. Therefore, this orchestral version of Pictures is the combination of two complementary takes on musical realism: the social-populist and the pragmatic-'plastic'.

Finally, bearing in mind the variety of languages and cultures referenced in Pictures, it can be argued that Ravel was not undermining Pictures' Russianness, but emphasizing Pictures' worldliness. Ravel's internationalising arrangement brings to the surface one of the piece's latent qualities.

"Paint your village and you will paint the world", wrote Mussorgsky's compatriot Chekov, defining a unique quality of Pictures. Ravel's orchestration illuminates the folk-like austerity of Pictures with the strident stage-like cosmopolitan lights that it needed to be noticed by the rest of the world.

Recommended Listening

Bibliography