SN-02144 Tableaux d'une Exposition (Pictures at an Exhibition) - SEUDDEUTSCHE PHILHARMONIE SYMPHONY conducted by Prof. Ernest Breitner

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Promenade - Allegro guisto, nel modo russico; senza allegrezza, ma poco sostenuto
I. Gnomus
Promenade - Moderato comodo e con delicatezza
II. Il vecchio castello
Promenade - Moderato non tanto, pesamente
III.Tuileries (Dispute d'enfants après jeux)
IV. Bydlo
Promenade - Tranquillo
V. Ballet des poussins dans leurs coques
VI. Samuel Goldenberg und Schmuyle
VII. Limoges - Le Marché
VIII. Catacombæ (Sepulcrum Romanum)
Con mortuis in lingua mortua
IX. La Cabane sur des pattes de poule (BABA YAGA)
X. La grande porte de Kiev

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Around 1850, with the spirit of nationalism sweeping across Europe, several young Russian artists banded together to rid their art of foreign influences in order to establish a distinctive nationalist character for their works. Leading this movement was a group of composers known as "The Five," whose members included Modest Mussorgsky, Nikolai Rimsky-Korsakov, César Cui, Alexander Borodin and Mily Balakirev. Among the allies that "The Five" found in other fields was the artist and architect Victor Hartmann, with whom Mussorgsky became close personal friends. Hartmann's premature death at 39 stunned the composer and the entire Russian artistic community. Vladimir Stassov, a noted critic and the journalistic champion of the Russian arts movement, organized a memorial exhibit of Hartmann's work in February 1874, and it was under the inspiration of that showing that Mussorgsky conceived his Pictures at an Exhibition, a suite of ten piano pieces. The movements mostly depict sketches, watercolors and architectural designs shown publicly at the Hartmann exhibit, though Mussorgsky based two or three sections on canvases that he had been shown privately by the artist before his death. The composer linked his sketches together with a musical "Promenade" in which he depicted his own rotund self shuffling in an uneven meter from one picture to the next. Though Mussorgsky was not given to much excitement over his own creations, he took special delight in this one, but the score remained unpublished until 1886, five years after Mussorgsky's death. The original version generated little interest among pianists, but over two dozen composers were seized by a compulsion to orchestrate it. By far the most famous was by Maurice Ravel. Commissioned by Serge Koussevitzky in 1922, his was a propitious choice

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