Pictures at an Exhibition
Arranged
for Strings
by Jacques Cohen
conductor’s Score
N.M.O. 13021B
Copyright © 2010 by Norsk Musikforlag A/S, Oslo.
Uten skriftlig tillatelse fra copyright-innehaveren, er kopiering eller annen mangfoldiggjøring av denne bok, eller deler av denne, forbudt ved lov av 12. mai 1961 nr. 2 OM OPPHAVSRETT TIL ÅNDSVERK (Åndsverkloven), med endringer, nå sist ved Lov av 23. juni 1995 nr. 37 (i kraft 30. juni 1995).
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All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the permission of the publisher.
N.M.O. 13021B
ISMN 979-0-065-12307-3
Cover photograph of St Michael’s Golden-Domed Monastery in Kiev. Copyright © by Michelle Taylor
Published in the following editions:
For sale:
Study Score (A4) (N.M.O.13021A /ISMN 979-0-065-12306-6)
On hire: Conductor’s Score (A3) (N.M.O. 13021B / ISMN 979-0-065-12307-3) Orchestral parts (N.M.O. 13021C / ISMN 979-0-065-12308-0)
Mussorgsky
Pictures at an Exhibition
Programme Note
In 1874 Mussorgsky visited a commemorative exhibition of 400 pictures by his friend Victor Hartmann (1834-1873) and afterwards (within a mere 20 days!) wrote a piano suite describing 10 of them. Hartmann may not have been the greatest of artists but his pictures – some of which still survive – inspired music of exceptional brilliance and originality. Indeed, such is the power of the music that countless arrangers have been unable to resist transcribing it for orchestra, brass band, wind band, organ and even accordions – to the extent that one could easily overlook the fact that this masterpiece was originally conceived for solo piano!
This string orchestra transcription was made in 2009 for the Isis Ensemble which has performed it several times and a recording is scheduled for release in 2012. A string version has several advantages: it can sustain the harmonies more than the piano, but at the same time, whilst it cannot compete with the might and vast spectrum of a symphony orchestra, its more consistent tone colour brings it closer to the original piano version so that the chords are always clear. This moreover means that the quintessential Russianness of the music is more immediately apparent.
Promenade: This prelude, which reappears as an interlude throughout the suite, represents the composer strolling from picture to picture. As the suite progresses, however, it emerges less frequently as the viewer becomes less aware of himself and more involved in the pictures. Indeed, after its 5th official rendition, its 2 remaining appearances are integrated into the pictures themselves. It has been suggested that the irregular, changing meter reflects the composer’s uneven gait, but it seems more likely that this trait, more commonly associated with 20th century music, is attributable to the influence of Russian folksong.
Gnomus (The Gnome): The design for a wooden nutcracker that inspired this extraordinary composition must have been a fearful creature. A unique juxtaposition of alternately fast and slow music punctuated by abrupt silences builds up to a terrifying climax. The whole short movement is pervaded by a mood of menace. A more subdued Promenade follows.
Il vecchio castello (The Old Castle): A melancholy troubadour sings nostalgically by a medieval Italian castle on a mysterious, warm summer evening. This movement is notable for its sad, beautiful melody underpinned throughout by a drone. Promenade follows.
Tuileries: This delightful miniature depicts children quarreling in the famous Parisian gardens. The
In memory of Viktor Hartmann 1874 Pictures at an Exhibition
Copyright © 2010 by Norsk Musikforlag A/S, Oslo. N.M.O. 13021B
(1) Gnomus (The Gnome)
Moderato commodo assai e con delicatezza
(2) Il vecchio castello (The Old Castle)
(3) Tuileries (Children quarrelling after play)
Allegretto non troppo, capriccioso
Violoncello
Contrabass