The Structure of “Pictures at an Exhibition” at a glance
Originally composed by Modest Moussorgsky for solo piano. It comprised 10 pictures illustrated in
separated movements and connected by the Promenade theme which leads us through the gallery from one
picture to the next. Orchestrated by Maurice Ravel in 1922 (France)
i) Promenade 1
(24 bars)
ii) Gnomus
iii) Promenade II
(12 bars)
iv) Il Vecchio
Castello
Tonality: Eb minor
Instruments: strings –
Tonality: Bb Major
low-pitched, clarinets
Instruments: Brass,
bassoons (woodwinds),
woodwinds, strings
percussion – drum,
(Trumpet opens)
Form: Call and response cymbals, whip,
xylophone, celesta
No Percussion Meter:
membranophones nor
Rhythm: syncopated
idiophones
patterns, Jumpy, wild
Meter: 5/4 and 6/4
Tempo: Allegro giusto – Tempo: vivo & meno
mosso, pesante
strictly fast
Dynamics: f –mf-p- mf - Mood: eerie, ominouscreated by unusual
f
sound effects, dissonant
Articulations: lots of
harmonies, muted
accents, tenuto, slurs
brass,syncopated chords,
chromatic passages
Tonality: Ab Major
This is similar to the 1st
Instruments: Brass (
horn alone), woodwinds,
strings (1st & 2nd violins
only)
**(French Horn opens)
No Percussion membranophones nor
idiophones
Meter: 5/4 and 6/4
Tempo: Moderato,
delicate with ‘ritard’ at
end
Dynamics: p – mf-p
Articulations: slurs,
Tonality: G# minor
Form: Based on a tonic
pedal throughout
(played by bassoon,
cello, double bass)
imitation, call &
response
Meter: 6/8
Tempo: "Andante molto
cantabile e con dolore"
Instruments: **Two
bassoons set the rhythm
and the haunting
troubador melody is
played by alto sax
Articulation: slurs,
appoggiatura ornaments,
pizz, arco,
v) Promenade III
vi) Tuileries
vii) Bydlo
viii) Promenade IV
(8 bars) (heavy)
(children at play)
(polish ox-cart on huge
wheels drawn by cattle)
(10 bars)
Tonality: B Major
Instruments: Brass,
woodwinds, strings +
harp (Trumpet opens
accompanied by
woodwinds)
Meter: 5/4 and 6/4 & 4/4
No Percussion membranophones nor
idiophones
Tempo: Moderato and
* pesante
Dynamics: f – mf (ends
Ritardando)
Articulations: pizz. &
arco in strings
Tonality: B Major
Meter: 4/4
Rhythm: many
semiquaver passages in
flutes & oboes
Form: Scherzo, Trio,
Scherzo (Ternary ABA)
Tempo: "Allegretto non
troppo, capriccioso"
Instruments: Brass – (2
french horns),
woodwinds (2 flutes,
oboes, clarinets
bassoons),
strings, harp and triangle
Dynamics: p –ff-pp-mfpp-p-mf-f-ff-p-pp
*Music begins with high
woodwinds
Tonality: G# Minor
Meter: 2/4
Rhythm: lots of
quavers,
**Ostinato in strings
Form:Ternary (ABA)
with coda.
Instruments: Brass,
woodwinds, strings +
harp (Tuba, bassoons
and strings prominent)
Tempo: Sempre
moderato, pesante
Dynamics: pp –mf-f-fffmf-p-mp-pp-ppp
Music begins softly with
2 Bassoons, tuba, cellos
and double basses
Key: D minor
Instruments: Brass,
woodwinds, strings +
harp and triangle (Flutes,
oboe, clarinet open)
One idiophone - triangle
Tempo: Tranquillo
Rhythm: stately
Meter: 5/4, 6/4, and 7/4
& 3/4
Dynamics: p –mf-f-p- pp
Articulations: legato,
strings without mutes,
arco & pizzicato at
times,
Articulations: staccato
Articulation: tenuto
ix) Ballet des Poussins dans leurs coques
Tonality: F Major
Meter: 2/4
Form: Scherzino (mini scherzo and trio), Ternary (ABA). Has a trio section with predominately
chromatic harmony. Ends with a Coda
Rhythm: syncopated pecking chords with acciaccaturas which give the impression of tiny pecking at the
egg-shells in the flute and oboe passages, lots of quavers and rests, chromatic scale runs, cluster chords
Instruments:
Articulations: trills in violin and clarinet passages, pizz., high staccato notes in woodwind
Dynamics: pp – mp-mf-pp
N.B there is also a tonic pedal used in this piece.
Some Points to note
1. Basis for the work:
A desire by Modest Mussorgsky to translate the visual images of Hartmann’s exhibition into aural pictures.
A desire to pay tribute in sound to his deceased friend.
2. Features of the orchestration that is typical of the period:
Romantic Era – Scoring for large orchestra, inclusion of non-traditional orchestral instruments (celesta,
whip or rattle, and saxophone), wide dynamic changes – (ppp – fff). Harp was also new.
3. How the opening Promenade differs from the others:
brassy timbre, faster tempo, thick texture, heavily accented opening, the key, the length – it’s the longest
promenade
4. To determine the title of an extract – (i) Observe the Time signature (ii) the Key signature and (iii)
observe the notes used to help you recall the tune.
5. Era of Work: Romantic period (1825 – 1900)
The Romantic period was ushered in by artists who expressed themselves freely and personally.
There was a strong desire to release emotion and achieve freedom in the music.
New music forms emerged:
i) the art song, (lied) which combined Romantic poetry with voice and piano;
ii) stylised piano music such as the waltz, mazurka, polonaise, and etude (study piece);
iii) piano music in free form such as the fantasy, arabesque, rhapsody, romanza, ballade and
nocturne; and
iv) symphonic works such as the tone poem (descriptive piece). Programmatic content was
expressed in tone poems by Liszt and others, and in symphonic works such as Berlioz’s
Symphony Fantastique, and in piano music such as Mussorgsky’s Pictures at an Exhibition
(later orchestrated by Maurice Ravel in 1923).
v) Nationalism is prevalent in works like Chopin’s polonaises and mazurkas. Other examples are
Liszt’s Hungarian Rhapsodies, Smetana’s The Bartered Bride and The Moldau, Borodin’s
Prince Igor and Rimsky-Korsakov’s Scheherezade.
vi) The music of the Romantic period mostly contained warm, personal melodies; expressive
indications (espressivo, dolce, con amore, con fuoco,) implied interpretive freedom (rubato) and
harmonic colour (new chords such as the ninth) Colour was intensified by improvements in
instruments, particularly the piano.
6. Some features of the music include the following:
MELODY: Long, lyrical melodies with irregular phrases; Wide, somewhat angular skips;
extensive use of chromaticism; vivid contrasts; a variety of melodic ideas within one movement.
RHYTHM: Frequent changes in both tempo and time signatures.
TEXTURE: Almost entirely homophonic.
TIMBRE: A great variety of tone colour; woodwind and brass sections of the orchestra
increased; many special orchestral effects introduced; rich and colourful orchestration. Tuba
added to the brass family. Valves were invented, giving the brass more flexibility. Composers
wrote for woodwind instruments in threes of even fours. The piccolo, cor anglais, bass clarinet and
double bassoon were added. More varied percussion (e.g. bongos, whip, timpanis) were added. A
larger range of pitch and volume was now possible. New combinations of instruments were brought
about
7. PROGRAMME MUSIC
As links were formed between music, painting and literature, composers started to compose programme
music. - music that tells a story. (The opposite is absolute music - music without a story.) There are three
main types of programme music for orchestra:
1. The Programme Symphony - e.g. Beethoven's Pastoral Symphony, The Symphonic Fantastique
(About a young man who is in love. He dreams about her, and she becomes a melody in his mind.
This melody is an 'idée fixe', it keeps coming round again, a recurring theme. It is by Berlioz,)
2. The Concert Overture - It is a one movement programme piece for orchestra, intended for
performance at a concert. E.g. Fingal's Cave by Mendelssohn, Tchaikovsky's 1812 Overture, Romeo
and Juliet.
3. The Symphonic Poem (the Tone Poem) - was invented by Liszt. It is a one movement programme
piece for orchestra. Liszt used a device called thematic transformation (a basic theme that is
continually being changed in mood and character, like the 'idée fixe'). Liszt wrote a thematic piece
called Hamlet. Other examples are: Danse Macabre (by Saint-Saëns), Vltava (by Smetana), A Night
on the Bare Mountain (by Mussorgsky), The Sorcerer's Apprentice (by Dukas.
4. Incidental Music : It is music specially composed to be heard at certain points during the performance of
a play. (To set the mood, to cover the scenery changed or as background music)
8. The Main Characteristics of Romantic Music
1.
2.
3.
4.
5.
6.
7.
8.
9.
Freedom of form and design. It was more personal and emotional.
Song-like melodies (lyrical), as well as many chromatic harmonies and discords.
Dramatic contrasts of dynamics and pitch.
Big orchestras, due mainly to brass and the invention of the valve.
Wide variety of pieces (i.e. songs up to five hour Wagner operas)
Programme music (music that tells a story)
Shape was brought to work through the use of recurring themes.
Great technical virtuosity.
Nationalism (a reaction against German influence)
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