PICTURES AT AN EXHIBITION

SET WORK FOR CXC MUSIC

Listening and Appraising (LIAP)

Orchestrated By: Maurice Ravel

THE COMPOSERS
MODEST MUSSORGSKY (21 March 1839 28 March 1881)
Other Sources state: 9 March 1839- 16 March 1881

Russian From the Romantic period.

THE COMPOSERS (CONTD.)

JOSEPH- MAURICE RAVEL (March 7, 1875 December 28, 1937) French From the 20th Century line of composers specifically IMPRESSIONIST.

ABOUT THE WORK

Pictures at an Exhibition is a suite in ten movements composed for piano by Russian composer Modest Mussorgsky in 1874. It was composed in six weeks.

Orchestration by Ravel began in May of 1922 and completed later that Fall.

ABOUT THE WORK (CONTD.)

The music depicts an imaginary tour of an art collection.
Titles of individual movements allude to works by artist and architect Viktor Hartmann a good friend of the composer.

Viktor Hartmann

INSTRUMENTATION
Piccolo 2 Flutes 2 Oboes English Horn 2 Clarinets Bass Clarinets 2 Bassoons Contra Bassoon Alto Saxophone 4 French Horns 3 Trumpets 3 Trombones Tuba Timpani

INSTRUMENTATION (CONTD.)
PERCUSSION Glockenspiel Tubular Bells Triangle Rattle Whip Cymbals Tambourine Bass Drum Xylophone Gong _______________ Strings Piano 2 Harps Celesta

THE ORCHESTRA SETUP

THE FAMILIES STRINGS WOODWIND BRASS PERCUSSION

THE STRINGS
Violin Viola Cello Double Bass

THE VIOLIN

THE VIOLA

VIOLIN VS VIOLA

THE CELLO

THE CELLO PLAYER

THE DOUBLE BASS

DOUBLE BASS PLAYER

THE HARP

THE HARP PLAYER

THE WOODWINDS
Piccolo Flute Clarinet Oboe English Horn Bassoon Saxophone

THE PICCOLO

THE PICCOLO PLAYER

THE FLUTE

THE FLUTE PLAYER

THE CLARINET

THE CLARINETTIST

THE OBOE

THE OBOIST

THE ENGLISH HORN

THE BASSOON

BASSOON PLAYER

OBOE VS ENGLISH HORN VS BASSOON

THE ALTO SAXOPHONE

ALTO SAXOPHONIST

THE BRASS
Cornet Trumpet Trombone Tuba French Horn

THE CORNET

THE TRUMPET

TRUMPET PLAYER

THE TROMBONE

TROMBONE PLAYER

THE TUBA

TUBA PLAYER

THE FRENCH HORN

FRENCH HORN PLAYER

THE PERCUSSION
Timpani Bass Drum Triangle Xylophone Glockenspiel Tubular Bells Gong Whip Rattle Tambourine

THE TIMPANI

THE BASS DRUM

THE TRIANGLE

THE XYLOPHONE

THE GLOCKENSPIEL

THE TUBULAR BELLS

THE GONG

THE WHIP

THE RATTLE

THE TAMBOURINE

THE CYMBALS

THE KEYBOARDS
Piano Celesta

THE PIANO

THE CELESTA

THE ORCHESTRA

ABOUT THE ERAS

Linage:
Early Music: Medieval & Renaissance Baroque Classical Romantic 20th Century: Impressionist 21st Century

CHARACTERISTICS OF THE ROMANTIC ERA

Romantic (1830 - 1920)
Music from the Romantic period is characterized by its much greater passion and expression than that of earlier periods. Romantic works display an expansion of form (like the key and instrumentation of a piece). Characteristics of Romantic music include:
Freer form and more personal expression of emotion Emphasis on lyrical melodies and themes More modulation (change in key) to unexpected keys: the overall effect of this is that it is harder for the listener to predict what will happen next in the piece

CHARACTERISTICS OF THE ROMANTIC ERA (CONTD.)

More chromaticism and scales other than major/minor Greater variety in pitch, dynamics, and rhythm Less traditional chord progressions Program music: more pieces inspired by literary/artistic sources Greater emphasis on nationalism: many composers infused cultural songs or dances into their works

CHARACTERISTICS OF THE 20TH CENTURY ERA

Contemporary (1920 - present):
The most conspicuous differentiation between classical music in the Contemporary period and in previous periods is the shift in tone. Whereas music from the Common Practice Period was largely tonal, much Contemporary music is atonal. Contemporary classical music can be divided into:
20th-century Contemporary Classical Music:

CHARACTERISTICS OF THE 20TH CENTURY ERA (CONTD.)

Tone Colour: During the 20th century, tone colour has become a more important element of music then it was ever before. It has a major role: creating variety, continuity and mood. In modern music, noise-like and percussive sounds are often used and instruments are often played at the very top or the very bottom of their register. Uncommon playing techniques have become normal. Flutter-tongueing and other special techniques are also employed to make 20th century music distinctive.

CHARACTERISTICS OF THE 20TH CENTURY ERA (CONTD.)

Percussion instruments rose in importance in the 20th century. 20th century composers are interested in unusual rhythms. Celestas, wood block and xylophone are a few. Composers sometimes made use of noise makers such as sirens and typewriters to add colour to the music. Piano is no longer used to provide the lyrical and singing tone of the Romantic. They are now used for percussive or Jazz effect.

CHARACTERISTICS OF THE 20TH CENTURY ERA (CONTD.)

Modern orchestral and chamber works often sound transparent. Individual tone colours are heard clearly. To bring the individuality of the different melodic lines that are played simultaneously. The composer will also assign different parts to instruments of different timbre in order to bring out their colours. In the 20th century, instruments are not place into strict groups. Usage of instruments are all up to the composer's whim. It may be as little as 1 person and it may be as much as one thousand.

CHARACTERISTICS OF THE 20TH CENTURY ERA (CONTD.)

Harmony: Consonance are no longer in use in the 20th century. Dissonance became very important an infact most of the piece is made up of dissonant chords. in the 20th century one would not get the final fufillment one expects. On the whole, 20th century music sound fantasy like, distant and mystifying. Chord Structures: Chords are never as fundemental as it is in previous centuries. Polychords are created by placing one traditional chord over another. Fourth chords are also employed they are chords made up of notes that are a fourth apart instead of the usual three. Tone cluster is also created. Chords are made up of notes who are semitones apart it can be produced by striking on the piano a group of adjacent keys.

CHARACTERISTICS OF THE 20TH CENTURY ERA (CONTD.)

Rhythm: The rhythmic vocabulary of the 20th century was exoanded with increased emphasis on irregularity and unpredictability. Meters can change every bar or so having an effect of imbalance. We may count:1-2-3-4-5, 1-2-3, 1-2-3-4-5, 1-2-3 and so on. Polyrhythm may also be employed. It is similar to Brahm's cross rhythms with one voice playing 1-2, 1-2 and the other voice playing 1-2-3, 1-2-3.

Melody: Melody is very elusive in the 20th century. Composers advocated atonality ( non-melodic sort of composition ) and melodies that can be sung or hummed is very few.

MOVEMENTS IN THE WORK

pauvre (Two Jews one rich and one poor) Promenade V (omitted in orchestral version) 7. Limoges Le March (Limoges Market) 8. Catacombae 9. La cabane sur des pattes de poule (The hut on Chicks legs) 10. La grande porte (the front door) Movements in Focus.

6. Deux juifs lun riche et lautre

LISTENING TO THE WORK

ABOUT THE MOVEMENTS

PROMENADE Key: B-flat major Meter: originally 11/4. Published editions alternate 5/4 and 6/4. Tempo: Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto The only movement with a full structure established (ABA?)

ABOUT THE MOVEMENTS (CONTD.)

PROMENADE Stasov 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 melody and rhythm resemble Russian folk songs. The piece has simple, strong rhythms in asymmetrical meter

ABOUT THE MOVEMENTS (CONTD.)

NO. 1 "GNOMUS (The Gnome) Key: E-flat minor Meter: 3/4 Tempo: alternating "Vivo" and "Meno mosso, pesante" Stasov comment: "A sketch depicting a little gnome, clumsily running with crooked legs."

ABOUT THE MOVEMENTS (CONTD.)

NO. 1 "GNOMUS (The Gnome) 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.

ABOUT THE MOVEMENTS (CONTD.)

[UNTITLED] (INTERLUDE, PROMENADE THEME) Key: A-flat major Meter: alternating 5/4 and 6/4 Tempo: "Moderato commodo assai e con delicatezza" A placid statement of the promenade melody depicts the viewer walking from one display to the next.

ABOUT THE MOVEMENTS (CONTD.)

NO. 2 "IL VECCHIO CASTELLO (The Old Castle) Key: G-sharp minor Meter: 6/8 Tempo: "Andante molto cantabile e con dolore" Stasov comment: "A medieval castle before which a troubadour sings a song." This movement is thought to be based on a watercolor depiction of an Italian castle. Hartmann often placed appropriate human figures in his architectural renderings to suggest scale.

ABOUT THE MOVEMENTS (CONTD.)

[UNTITLED] (INTERLUDE, PROMENADE THEME) Key: B major. Meter: alternating 5/4 and 6/4 Tempo: "Moderato non tanto, pesamente" Another brief statement of the promenade melody (8 measures) gives it more extroversion and weight than before.

ABOUT THE MOVEMENTS (CONTD.)

NO. 3 "TUILERIES" (DISPUTE D'ENFANTS APRS JEUX) :- (Dispute between Children at Play) Key: B major Meter: 4/4 Tempo: "Allegretto non troppo, capriccioso" Stasov comment: "An avenue in the garden of the Tuileries, with a swarm of children and nurses."

ABOUT THE MOVEMENTS (CONTD.)

NO. 3 "TUILERIES" (DISPUTE D'ENFANTS APRS JEUX) :- (Dispute between Children at Play) Hartmann's picture of the Jardin des Tuileries near the Louvre in Paris (France) is now lost. Figures of children quarrelling and playing in the garden were likely added by the artist for scale (see note on No. 2 above). The movement is cast in throughcomposed ternary form (ABA).

ABOUT THE MOVEMENTS (CONTD.)

NO. 4 "BYDO (Cattle) Key: G-sharp minor Meter: 2/4 Tempo: Sempre moderato, pesante. Stasov comment: "A Polish cart on enormous wheels, drawn by oxen." The movement is cast in through-composed ternary form (ABA) with coda. Mussorgsky's original piano version of this movement begins fortissimo (ff), suggesting that the lumbering oxcart's journey begins in the listener's foreground.

ABOUT THE MOVEMENTS (CONTD.)

NO. 4 "BYDO (Cattle) After reaching a climax (con tutta forza) the dynamic marking is abruptly piano (bar 47), followed by a diminuendo to a final pianissimo (ppp), suggesting the oxcart receding into the distance. Arrangements based on Rimsky-Korsakov's edition, such as Ravel's, begin quietly, build gradually (crescendo) to fortissimo, and then undergo a diminuendo, suggesting the oxcart approaching, passing the listener, and then receding.

ABOUT THE MOVEMENTS (CONTD.)

[UNTITLED] (INTERLUDE, PROMENADE THEME) Key: D minor Meter: alternating 5/4, 6/4, 7/4 Tempo: "Tranquillo" A reflective 10-measure presentation of the promenade theme.

ABOUT THE MOVEMENTS (CONTD.)

NO. 5 " " [BALET NEVYLUPIVSHIKHSYA PTENTSOV] (Ballet of the Unhatched Chicks)

Key: F major Meter: 2/4 time Tempo: "Scherzino (vivo, leggiero)" Stasov comment: "Hartmann's design for the dcor of a picturesque scene in the ballet Trilby."

ABOUT THE MOVEMENTS (CONTD.)

NO. 5 " " [BALET NEVYLUPIVSHIKHSYA PTENTSOV] (Ballet of the Unhatched Chicks) Gerald Abraham provides the following details: "Trilby or The Demon of the Heath, a ballet with choreography by Petipa, music by Julius Gerber, and dcor by Hartmann... produced in 1870. The fledglings were canary chicks." The movement is cast in ternary form (ABA) with a literal repeat and terse extension (coda).

SCORE ANALYSIS FOR MORE DETAILS WHILE LISTENING TO THE WORK