Pictures at an Exhibition

By Modest Mussorgsky

BORN : March 21, 1839, in Karevo, Pskov, Russia

DIED : March 28, 1881, in St. Petersburg

Ω COMPOSED : for piano in 1874; orchestrated by Ravel, 1922

Ω WORLD PREMIERE : No public performance of the solo piano suite was recorded during Mussorgsky’s life. The world premiere of Ravel’s orchestration of the suite happened on October 19, 1922, in Paris, conducted by Serge Koussevitzky.

Ω CLEVELAND ORCHESTRA PREMIERE : October 29, 1931, under the direction of Nikolai Sokoloff

Ω ORCHESTRATION : 3 flutes (one doubling piccolo), 3 oboes (one doubling english horn), 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, side drum, triangle, tam-tam, whip, xylophone, glockenspiel, rattle, tubular bells), celeste, 2 harps, and strings

Ω DURATION : about 35 minutes

“WHAT A TERRIBLE BLOW!” exclaimed Modest Mussorgsky in a letter to the critic Vladimir Stasov in 1874. He then proceeded to paraphrase a famous passage from Shakespeare’s King Lear: “Why should a dog, a horse, a rat, live on, when creatures like Hartmann must die?”

Viktor Hartmann, a gifted architect and painter and a close friend of Mussorgsky’s, had recently died at age 39. A commemorative exhibit of his paintings inspired Mussorgsky to pay musical tribute to his friend — a piano suite based on the composer’s impressions of the paintings. The suite was not performed or published during the composer’s lifetime, and it did not become universally known until Maurice Ravel orchestrated it in 1922. What’s more, originally written for piano, Pictures at an Exhibition did not become a regular part of the piano repertoire until the middle of the 20th century, after it had already been popularized by symphony orchestras.

From its conception, the original piece cried out for orchestration, partly because its piano writing was not idiomatic — Mussorgsky did not have the gift that composers such as Schumann, Chopin, or Liszt had for creating music that fits the instrument so perfectly. But mostly because its sharply profiled and contrasting musical characteristics could be underscored to great effect when divided out among the sections of a full orchestra. Other composers had already orchestrated it, but Ravel’s 1922 version enchanted the world.

It is understandable why Ravel, who had often translated visual images into his own music, was enthusiastic about Mussorgsky’s piece. He had known Pictures at an Exhibition as a work for solo piano since at least 1900, having played it through with his friends at informal musical evenings. He and fellow French composer Claude Debussy agreed that Mussorgsky was one of the most important composers from recent generations.

In his piano cycle, Mussorgsky composed musical illustrations of 10 of Hartmann’s pictures. The pictures are connected — in the first half of the work at any rate — by a melody called

“Promenade,” which depicts a visitor strolling through the gallery, from picture to picture. With each passing image, this melody changes as if the impression left by the last picture lingers musically as the visitor proceeds to the next painting. The first picture, “Gnomus,” represents a toy nutcracker in the shape of a dwarf. The strange and unpredictable movements of this creature are depicted vividly. Then we hear the “Promenade” and are ushered into “Il vecchio castello” (The Old Castle), where a troubadour voices a wistful song in a medieval court. In Ravel’s orchestration, this haunting melody is played by the alto saxophone.

The next picture — preceded again by the “Promenade” — is evocatively titled in French: “Tuileries (Dispute d’enfants après jeux)” (Tuileries: Dispute between Children at Play) and shows rowdy children fooling around in Paris’s famous gardens. It is followed immediately —  with no interlude — by “Bydlo,” a Polish oxcart, slowly approaching and then driving away as its ponderous melody crescendos before fading out.

A more lyrical but shorter “Promenade” leads into the first Russian-titled movement, “Balet nevylupivshikhsya ptentsov” (Ballet of the Unhatched Chicks in Their Shells). This scene is based on Hartmann’s designs for the ballet Trilbi at the Mariinsky Theater in St. Petersburg. In the ballet, a group of children appeared dressed as canaries; others were said to have been “enclosed in eggs as in suits of armor,” with their legs sticking out of the eggshells.

The next picture is titled “Samuel Goldenberg and Schmuÿle.” Hartmann had painted a number of characters from the Jewish ghetto in Sandomierz, Poland, including a rich man in a fur hat and a poor one sitting with his head bent. This movement is traditionally believed to represent an argument between the two men. The rich man, Goldenberg, is represented by a slow-moving unison melody stressing the interval of the augmented second (a frequent interval used in certain forms of Jewish chant and folk music, with which Mussorgsky was familiar). The poor man, Schmuÿle, is characterized by a plaintive theme whose repeated notes seem to choke up with emotion. When the two themes are played simultaneously in Ravel’s orche- stration, Goldenberg’s commands the entire string section, while Schmuÿle’s is intoned by a single muted trumpet.

“Limoges le marché (La grande nouvelle)” (“Limoges, the Market: The Big News”) portrays the hustle and bustle of an openair market in France where people are busy gossiping and quarrelling. Mussorgsky’s original manuscript contained a more detailed program which, although crossed out by the composer, provides amusing context: “The big news: Monsieur de Puissangeot has just recovered his cow ‘Fugitive.’ But the good wives of Limoges are not interested in this incident because Madame de Remboursac has acquired very fine porcelain dentures, while Monsieur de Panta-Pantaléon is still troubled by his obtrusive nose that remains as red as a peony.”

What a contrast to immediately go from this bustling market to the “Catacombs.” Hartmann’s watercolor shows the artist, a friend, and their guide, holding a lantern, as together they examine the underground burial chambers in Paris. On the right, one can see a large pile of skulls which, in Mussorgsky’s imagination, suddenly begins to glow. When the “Promenade” theme appears next, it is completely transfigured, and an inscription in the score reads: “Cum mortuis in lingua mortua” (“With the dead in a dead language,” though Mussorgsky mistook the Latin ‘com’ with the Italian ‘cum’).

The next section, “Izbushka na kuryikh nozhkakh (Baba-Yaga)” (“The Hut on Fowl’s Legs: Baba Yaga”), evokes the witch of Russian folktales. According to legend, Baba Yaga lures children into her hut before eating them. According to one retelling of the story, she “crushes their bones in the giant mortar in which she rides through the woods, propelling herself with the pestle and covering her tracks with a broomstick.” Hartmann designed a clock in the form of the famous hut; it survives only as a sketch.

Mussorgsky’s movement — whose rhythm has something of the ticking of a giant clock — has a mysterioussounding middle section, after which the wilder and louder first material returns.

The “witch music” continues directly into the grand finale, “Bogatyrskie vorotá (vo stolnom gorode vo Kieve)” (“The Knight’s Gate in the Ancient Capital, Kiev,” but most often known as “The Great Gate of Kiev”), inspired by an ambitious design that was submitted for a competition but never realized. For this immense architectural structure, Mussorgsky provided a grandiose melody resembling a church hymn and presented in rich harmonies. This theme alternates with a more subdued second melody, harmonized like a chorale. Near the end, the “Promenade” theme is heard, leading directly into the magnificent final climax that symbolizes, in many ways, the grandeur of old Russia.

— Peter Laki

Franz Welser-Möst, Music Director

kelvin smith family chair

In addition to his commitment to Cleveland, Mr. Welser-Möst enjoys a particularly close and productive relationship with the Vienna Philharmonic as a guest conductor. He has conducted its celebrated New Year’s Concert three times, and regularly leads the orchestra at home in Vienna, as well as on tours.

FRANZ WELSER-MÖST is among today’s most distinguished conductors. The 2022–23 season marks his 21st year as Music Director of The Cleveland Orchestra. With the future of their acclaimed partnership extended to 2027, he will be the longest-serving musical leader in the ensemble’s history. The New York Times has declared Cleveland under Mr. Welser-Möst’s direction to be “America’s most brilliant orchestra,” praising its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

With Mr. Welser-Möst, The Cleveland Orchestra has been praised for its inventive programming, ongoing support of new music, and innovative work in presenting operas. To date, the Orchestra and Mr. Welser-Möst have been showcased around the world in 20 international tours together. In 2020, the ensemble launched its own recording label and new streaming broadcast platform to share its artistry globally.

Mr. Welser-Möst is also a regular guest at the Salzburg Festival where he has led a series of acclaimed opera productions, including Rusalka, Der Rosenkavalier, Fidelio, Die Liebe der Danae, Aribert Reimann’s opera Lear, and Richard Strauss’s Salome. In 2020, he conducted Strauss’s Elektra on the 100th anniversary of its premiere. He has since returned to Salzburg to conduct additional performances of Elektra in 2021 and Giacomo Puccini’s Il Trittico in 2022.

In 2019, Mr. Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts. Other honors include The Cleveland Orchestra’s Distinguished Service Award, two Cleveland Arts Prize citations, the Vienna Philharmonic’s “Ring of Honor,” recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, and the Kilenyi Medal from the Bruckner Society of America.

ICELANDIC PIANIST Víkingur Ólafsson has made a profound impact with his remarkable combination of highest-level musicianship and visionary programs. His recordings for Deutsche Grammophon — Philip Glass Piano Works (2017), Johann Sebastian Bach (2018), Debussy Rameau (2020), and Mozart & Contemporaries (2021) — captured the public and critical imagination and have led to career streams of more than 400 million. His latest album, From Afar, was released in October 2022.

One of the most sought-after artists of today, Mr. Ólafsson has received multiple awards including the Rolf Schock Prize for music (2022), Gramophone magazine Artist of the Year, Opus Klassik Solo Recording Instrumental (twice), and Album of the Year at the BBC Music Magazine Awards.

Mr. Ólafsson continues to perform as artist-in-residence with many of the world’s top orchestras, concert halls, and festivals, and work with today’s greatest composers. In the 2022–23 season, he performs with orchestras including Philharmonia Orchestra, Concertgebouworkest, Czech Philharmonic Orchestra, New York Philharmonic, Berliner Philharmoniker, The Cleveland Orchestra, London and Bergen Philharmonic Orchestras, Toronto Symphony Orchestra, and Orchestre symphonique de Montréal.

A captivating communicator both onand offstage, Mr. Ólafsson has brought his significant talents to broadcast, having presented several of his own series for television and radio. He was artist-inresidence for three months on BBC Radio 4’s flagship arts program, Front Row. Broadcasting live during lockdown from an empty Harpa concert hall in Reykjavík, he reached millions of listeners around the world.

Maria Schneider Orchestra

SUNDAY, MARCH 12 • 4 PM

Playing from her Grammy-winning jazz album Data Lords

JEAN-YVES THIBAUDET

THURSDAY, MARCH 30 • 7:30 PM

Playing Debussy Préludes, Book I and II

CHENERY AUDITORIUM, KALAMAZOO TICKETS START AT $35

MARIA JOÃO PIRES & PARTITURA PIANISTS

SUNDAY, MAY 21 • 4 PM

RENÉE FLEMING EVGENY KISSIN

SATURDAY, MAY 27 • 8 PM

NOW IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of music director Franz WelserMöst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamberlike musical cohesion.

Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned it into one of the most admired globally.

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming broadcast series In Focus, the podcast On a Personal Note, and its own recording label, a new chapter in the Orchestra’s long and distinguished recording and broadcast history. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2022/23 season marks Franz

Welser-Möst’s 21st year as music director, a period in which The Cleveland Orchestra earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of acclaimed opera presentations.

Since 1918, seven music directors —

Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world.