# Pictures at an Exhibition: Ravel vs. Stokowski [vs. others]



## Rondo

Whenever I listen to an orchestration of _Pictures_ it's usually Ravel's arrangement. While casually listening to the radio one night I heard an arrangement of a different variety, Stokowski's (along with his arrangement of _Boris Godunov_--). A very different approach. I'm in the process of looking into a recording of this arrangement, so, for now, I will hold my opinion as to which is better.

So, what are your thoughts or opinions of these two arrangements?


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## nickgray

I prefer Stokowski's arrangement. Ravel's orchestration is too... Ravelish  and I don't really understand Ravel, to be honest.


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## Lang

I much prefer the Stokowski.


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## ladyrebecca

Can anyone articulate what about either arrangement one prefers?


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## Lang

Well, in my case it is that I feel Ravel is too refined for 'Pictures'. His arrangement 'civilizes' the music, and to my mind takes away some of its character. A case in point, which I have mentioned before, is the final reprise of 'The Great Gate of Kiev', where, in the piano part, there is a conflict between the F of the second chord and the pedal Eb underneath it. Ravel removes that dissonance, and to my mind weakens the music. I do love Ravel, but in this case there seems to be a clash of sensibilities. Stokowski's arrangement has a genuine Russian 'feel' to it, and seems to be preferable to me.


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## PostMinimalist

The ultimate arrangement of this work is by Ralph Burns! It's on an old recording called 'The Masters Revisited'. He not only orchestrates the work but rethinks the whole piece. OK it's got cuban dance rythms, jazz chords and masses of bizarre percussion but the over all effect is that he has the guts to change things and restructure stuff. It's not just a transcription like the others who slavishly respect Mosoursky's piano score down to the last note. 

Don't get me wrong. I love the Ravel and use it as reference in my own work but it is a mere 'moving the notes from white paper to cream paper' exercise however masterfully done. Stokovsky (Stokes) has always been fun and his transcriptions of Paderewski, Liszt and Bach are always great to play and marvelous thundering examples of mid 20th century orchestral technique but the leave me a bit empty because the orchestration is the no. 1 feature and you're so 'blown away' by the sheer magnitude of the sound that the music gets a bit lost. 

Orchestration, transcription and arranging have slightly different meanings so I could say:

for transcription: Ravel
for orchestration: Stokes 
for arrangement: Burns
for odd transcription: Phillip Jones (Brass ensemble) 

FC


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## alvarohenrique

Have you ever heard this one 



 ?


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## bassClef

I'm only familiar with the Ravel version but I'm keen to hear the Stokowski. I'll seek it out.


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## Chi_townPhilly

I know I've mentioned in the past that Leonard Slatkin conducted a "composite" rendition of orchestrations for _Pictures at an Exhibition."_ I was in attendance at one of those events. This thread made me scramble for my old performance program. In it, they listed orchestrators of 'Pictures,' and that information, highly abridged, is re-iterated here:

*Mikhail Tushmalov*- pupil of Rimsky-Korsakov- the first
*Henry Wood*- the legendary British conductor (also, like Stokowski, "orchestrated" Bach's _Toccata & Fugue in D-Minor_ BWV 565)
*Maurice Ravel*- needs no introduction
*Leonidas Leonardi*- Ravel's orchestration was originally a Koussevitzky commission, and for a time Serge had exclusivity of use. In the pre-depression years, Leonardi's was the version available to those not named Koussevitzky.
*Lucien Caillet*- otherwise best known for his work scoring Hollywood films
*Leopold Stokowski*- also needs no introduction
*Sergei Gorchakov*- proved durable as a radio-conductor in the Soviet Union
*Lawrence Leonard*- took tutelage with Nadia Boulanger (and Ravel!)- best known as a pit-conductor for Broadway musicals, and studio-conductor of film music.
*Vladimir Ashkenazy*- the world-famous pianist/conductor

Of course, I recognize that this is NOT a totally comprehensive list...


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## Lang

jezbo said:


> I'm only familiar with the Ravel version but I'm keen to hear the Stokowski. I'll seek it out.


Bear in mind that Stokowski didn't orchestrate all the pieces, so there are gaps.


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## nickgray

alvarohenrique said:


> Have you ever heard this one
> 
> 
> 
> ?


Yeah, he's a brilliant guy! I also have his Dvorak's Ninth symphony transcription, which is brilliant too. But... I think those kinds of transcriptions fall under the "fascinating" category - you listen to them two or three times and go back to the regular ones.


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## Rondo

alvarohenrique said:


> Have you ever heard this one
> 
> 
> 
> ?


I had a feeling that the inclusion of "[vs. others]" in the title would yield some pretty interesting results.  Thanks for sharing that one!


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## David DeBoor Canfield

*Ikva*

Dear Pictures Lovers & Bloggers, I am not a blogger myself (no time), and consequently will not see any further responses to this thread, but I came across this site with its discussion of the various arrangements of Mussorgsky's "Pictures" and could not resist joining this blog site for the express purpose of introducing those of you who love this work as I do (it is my favorite piece of music) to the organization I founded a couple of years ago devoted to the promotion of Pictures in all of its manifold arrangements (more than 300 to date). The organization is called IKVA (=International Kartinki s Vystavki Association) and has members all around the world. There is no membership fee--all you have to do to join is to write me at [email protected] and let me know that you'd like to receive our occasional newsletters (via email only) and updates to our "Pictures" recordings listings. One of the lists comprises all of the piano recordings known to me (currently more than 330 different recorded performances). Another list compiles all of the more than 300 arrangements, with all known recordings (about 600) thereof. IKVA also maintains smaller lists of works inspired by (or quoting) Pictures, and films using portions of or the entire work.

IKVA will eventually also publish (electronically) an encyclopedia devoted to the work, which will contain biographies of the various arrangers, articles about the work, as well as a concert roster of all known performances (yes, a large undertaking!) and reviews.

I am happy to answer any questions you might have about the work, its various arrangements, recordings, etc., but only off-line (privately) to the above email address.

So this first blog posting will also be the last post you will see from me, but I hope that some of you will want to join IKVA, and I will look forward to hearing from you.

Best regards,
David DeBoor Canfield

One listing


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## KScott

For many years I grew up with the Ravel transcription - didn't we all? - and thought it was the perfect representation of Mussorgsky until I heard Stoki's powerhouse transcription under his baton on Decca/London Phase-4. Years later, I heard the arrangement in concert with Mehli Mehta conducting the National Orchestral Association at Carnegie Hall, and was still thrilled by it!

I echo Stoki's sentiments regarding Ravel - too French, and not extolling the Slavic power and blood that he saw in the score. And yet there are faults with his score, some of which need major correcting.

Like Ravel, Stokowski did not use Mussorgsky's urtext piano score; in Stoki's case, he not only looked at the Rimsky-Korsakov edition (which smoothed out the voicings and harmonizations), but also that of Harold Bauer, who made numerous cuts in some of the movements, removed the big _Promenade_ reprise, and I believe also omitted the same two movements (_Tuilleries_ and _Market Place at Limoges_) Stokowski did in his orchestration. Perhaps both men were "convinced" that these movements were not written by Mussorgsky, but by Rimsky-Korsakov.

Moreover, the opening Promenade's 5/4 and 6/4 meters are simplified, so that they are broken up into 3/4 and 2/4. While this may simplify things for some players, it does rob the work of its unique rhythmic character, especially since it is played by the first violins. And while Stoki does crib Ravel in one or two sections (most notably _Samuel Goldenberg & Schmuyle_), his view of _Bydlo_ and _The Hut on the Fowl's Legs_ anticipate some of Bernard Herrmann's most bizarre orchestrations for his Harryhausen scores. (Herrmann was a great friend and admirer of Stokowski.)

In spite of some of its flaws and cuts, I prefer Stokowski to Ravel anyday. And that said, the best recordings out there are those by Oliver Knussen, Jose Serebrier and Matthias Bamert. Stoki's own recording was on CD back in the late 80s, but is now out of print.

In terms of other orchestrations, there is one by the conductor Walter Goehr that has not been played, and no one has mentioned the equally vivid one by Leo Funtek, which many people also consider superior to Ravel's.

For band aficionados, there is a sterling transcription by Mark Hindsley, but this one mirrors the Ravel orchestration rather closely in spots, so it really should be titled Mussorgsky-Ravel-Hindsley.


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## Aggelos

This page here has nice info concerning the instrumentations
http://www.mola-inc.org/Mussorgsky.htm

http://img25.imageshack.us/img25/4649/pictures1q.jpg
http://img23.imageshack.us/img23/6201/pictures2o.jpg

My favourite orchestrations so far are by Leopold Stokowski and Sir Henry Wood. Both orchestrations brought tears tp my eyes when I was listening to them.
Actually, I am very curious to hear the Ravel pupil, Leonidas Leonardi. But it seems that "nobody" is recording his orchestration. From that orchestration, Leonard Slatkin included the "Tuileries" movement in his first compilation. He remarked at the time that the orchestration "seemed like a rushed job" and it is notable he has not returned to it.

As for Walter Goehr, the Promenade between "Gnomus" and "The Old Castle" was recorded by conductor Leonard Slatkin in his second compilation.
http://www.naxos.com/catalogue/item.asp?item_code=8.570716


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## Aggelos

Mussorgsky arranged by Douglas Gamley in the fiml Asylum.


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## Yosser

*Ravel/mussorgsky*

I recall listening to an interview with Ashkenazy about this subject. He made the same point other posters have made, that Ravel's orchestration of 'Pictures' is superb, but is 'not Mussorgsky'. He referred to a 'muddiness of the Russian soul' that is all too present in Mussorgsky's composition, but is 'unmuddied' in Ravel's orchestration.

Ashkenazy was not in any way denigrating the Ravel orchestration, rather praising it. Ravel was possibly the greatest orchestrator ever, and it is only to be expected that any work conceived for the piano that he orchestrates will carry his stamp on it. Enjoy both, Ashkenazy says, Mussorgsky's piano composition and Ravel's transcription of it.

Small detail. Ravel was not French. He was a Basque. If you didn't know that, don't worry. I once asked the (then) Basque Minister of Culture why more fuss was not made in the Basque Region of Ravel's heritage. It turned out the Minister didn't know either.


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## Aggelos

Ravel's orchestration was/is a masterly work. Ravel was a consummate master of the orchestral resources/forces.
But there's room for more approaches in this work(Pictures at an Exhibition). There's room for more orchestrations, beside Ravel. By the way I still don't like the gallic saxophone in "the Old Castel".
I prefer to hear Stokowski, Wood & Leonard: Stokowski's english horn, Wood's off stage eyphonium, and Leonard's piano + wind machine, surely gratify my "acoustical whims" 


By the way, I've just heard Lawrence Leonard's orchestration for piano & orchestra and I must say that it is fabulous-superb! A rarity that every pianist should listen to, especially if he/she loves Mussorgsky's original.


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## Tapkaara

Aggelos said:


> Ravel's orchestration was/is a masterly work. Ravel was a consummate master of the orchestral resources/forces.
> But there's room for more approaches in this work(Pictures at an Exhibition). There's room for more orchestrations, beside Ravel. By the way I still don't like the gallic saxophone in "the Old Castel".
> I prefer to hear Stokowski, Wood & Leonard: Stokowski's english horn, Wood's off stage eyphonium, and Leonard's piano + wind machine, surely gratify my "acoustical whims"
> 
> By the way, I've just heard Lawrence Leonard's orchestration for piano & orchestra and I must say that it is fabulous-superb! A rarity that every pianist should listen to, especially if he/she loves Mussorgsky's original.


Have you heard Ashkenazy's orchestration. I place his above Stokowski's.


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## Aggelos

Tapkaara said:


> Have you heard Ashkenazy's orchestration.


Yes. 
I was astonished by Ashkenazy's Baba-Yaga. It is tremendously vulgar, ferocious, nightmarish, grotesque, monstrous, dreadful, tenebrous. It's the real deal.
I wouldn't place Ashkenazy's above Stokowski, Wood & Leonard though...

Does anybody have more info about Leonidas Leonardi's orchestration (except the instrumentation)?


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## Tapkaara

Stoki's is a very good orchestration and certainly more "Russian" than Ravel's. I just don;t like Stoki's handling of the Great Gate. His orchestration is less opulent that Ravel's here, or Ashkenazy's for that matter. Personally, I think this part of the work is where all the stops need to come out and Stokowsky fails here. He's holding back. I suppose he tried to instill a refined dignity instead of an over-the-top glory-fest, but I will take the latter.


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## Aggelos

Why is Stokowski less opulent than Ravel? 
Stokowski's orchestration for the finale is sumptuous and tremendously enriched. You hear quadruple wind and brass, a large percussion section, a full string band and all of them underpinned by an organ. That's what I'd call a grandiloquent climax.

By the way I've just acquired the following CD.
http://www.musicweb-international.com/classrev/2005/Aug05/Pictures_pines_2564619542.htm

Superb! Fabulous! Epic! 
Since we're talking about the "Great Gate of Kiev", you gotta hear Douglas Gamley's orchestration for orchestra, chorus & organ. That's a resplendent glorification of the Great Gate.


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## Tapkaara

Aggelos said:


> Why is Stokowski less opulent than Ravel?
> Stokowski's orchestration for the finale is sumptuous and tremendously enriched. You hear quadruple wind and brass, a large percussion section, a full string band and all of them underpinned by an organ. That's what I'd call a grandiloquent climax.


Well, perhaps it's the recording I have. I have the Serebrier/Bournemouth recording of Stoki's Pictures orchestration. I don't remember hearing an organ. And if it's quarduple-wind and brass, it doesn't come off as sounding like it. Perhaps you can suggest a better recording of Stoki's Pictures?


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## Aggelos

Tapkaara said:


> Well, perhaps it's the recording I have. I have the Serebrier/Bournemouth recording of Stoki's Pictures orchestration. I don't remember hearing an organ. And if it's quarduple-wind and brass, it doesn't come off as sounding like it. Perhaps you can suggest a better recording of Stoki's Pictures?


Nooooooooooooo! Serebrier-Stokowski-Mussorgsky is not recommended! 
Serebrier omitted the organ from "The Great Gate". Plus the whole performance was dull-boring-schmaltzy
... Serebrier also omitted the electric bass from the Bach-Stokowski Fugue In C Minor (from the Well-Tempered Clavier I).

I recommend these:
http://www.chandos.net/details06.asp?CNumber=CHAN 9445

Only the "Great Gate of Kiev" is included in this one.
http://www.concordmusicgroup.com/albums/The-Fantastic-Stokowski/

http://www.musicweb-international.com/classrev/2004/Oct04/Mussorgsky_Stokowski.htm


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## bdelykleon

I heard sometime ago a transcription of this work for a wind group, it was amazing.

But I must say wI still prefer the original Version. Ravel is too latin, to brilliant for Mussorgsky, just look at the strange, dark orchestration of Boris Godunov.


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## Library Bob

post-minimalist said:


> The ultimate arrangement of this work is by Ralph Burns! It's on an old recording called 'The Masters Revisited'. He not only orchestrates the work but rethinks the whole piece. OK it's got cuban dance rythms, jazz chords and masses of bizarre percussion but the over all effect is that he has the guts to change things and restructure stuff. It's not just a transcription like the others who slavishly respect Mosoursky's piano score down to the last note.FC


And then, of course, there's Emerson, Lake, and Palmer's version, which elevated the work to hit parade status in the early 1970's.

I agree with most of the others on this thread. While Ravel's transcription is properly majestic, Stokowski's, even though it does cut part of it, gets to the guts of the music, Slavic soul speaking to Slavic soul, so to speak.

That doesn't mean, however, that I can't enjoy each on its own terms...and I do.


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## Cyclops

jezbo said:


> I'm only familiar with the Ravel version but I'm keen to hear the Stokowski. I'll seek it out.


Same here! Oh and the electronic version by Tomita!


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## Aggelos

For those who were gratified by Stokowski's transcription, I would heartily recommend to listen to Henry Wood's orchestration as well. 
Henry Wood won't disappoint you. Henry Wood's Pictures were brilliantly recorded on this CD. Superb audio quality from the Lyrita guys. They were recorded in January 1990, and the CD came out 17 years later (in 2007). Better late, than never.
http://www.lyrita.co.uk/cgi-bin/lyrita_build.pl?filename=SRCD0216.txt

Also remember that Henry Wood's Pictures came 7 years before Ravel's. Thus Henry Wood didn't have to compete with Ravel's shadow. Henry Wood withdrew his orchestration when Ravel's gained popularity, though... Inferiority complex, someone might guess?!...


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## Tapkaara

I ordered and received the Sir Henry Wood recording. I liked it quite a bit. His orchestration of Gnomus is the best I've ever heard. His Great Gate is monolithic...

(By the way, his orchestration of Bach's Toccata and Fugue was revelatory.)


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## Aggelos

Tapkaara said:


> I ordered and received the Sir Henry Wood recording. I liked it quite a bit. His orchestration of Gnomus is the best I've ever heard. His Great Gate is monolithic...
> 
> (By the way, his orchestration of Bach's Toccata and Fugue was revelatory.)


By saying that you liked it quite a bit, I'm guessing that you're not a fan of the gargantuan orchestral sound.
Wood was an adept of grand orchestration.
Wood's Gnomus with the rattle was nightmarish. Unforgettable...
Didn't you like Wood's "Bydlo" or "Samuel Goldenberg & Schmuyle"?
The camel bells in "Bydlo"....

Bach-Wood is a rich orchestral sonority- cannot stop listening to that -. I've stopped listening to Bach-Stokowski's Toccata&Fugue and Bach-Skrowaczewski's Toccata&Fugue after discovering Wood.
The whole CD with the Henry Wood Orchestrations rendered me speechless, I must say.


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## Tapkaara

Aggelos said:


> By saying that you liked it quite a bit, I'm guessing that you're not a fan of the gargantuan orchestral sound.


I guess I should have said I wet myself with orgasmic euphoria. Of course I'm a fan of the big orchestral sound! The whole disc was outstanding.

All of it: Bydlo, Catacombae, etc. And the other orchestrations of Grieg, Chopin, etc. all superb. It's actually one of the more exciting discs I've purchased in a while.

Now that I have heard 4 orchestrations: Ravel, Stokowski, Ashzenazy and Wood, I'm really going to have to think if I have a favorite. They are all so good and lend different things to the score. It would be really hard for me to pick one.

Though, I think the two that most ACCURATELY stick to the original mood of the piano score are Ashkenazy and Wood.


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## Scott Good

Neat thread!

When I studied orchestration, the Ravel and Stokowski versions of the final section were compared with the premise that Ravel was good and Stokowski was bad! And certainly, there are some very silly choices he made. But, I only listened to the last movement, so, don't want to make a general judgment.

Btw, I have played this piece with trombone choir!!! Ha ha!

Also, on the plus for Stokowski, have your heard his "rethinking" of Night on Bald Mountain!! That rocks!


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## Tapkaara

Scott Good said:


> Neat thread!
> 
> When I studied orchestration, the Ravel and Stokowski versions of the final section were compared with the premise that Ravel was good and Stokowski was bad! And certainly, there are some very silly choices he made. But, I only listened to the last movement, so, don't want to make a general judgment.
> 
> Btw, I have played this piece with trombone choir!!! Ha ha!
> 
> Also, on the plus for Stokowski, have your heard his "rethinking" of Night on Bald Mountain!! That rocks!


I prefer Rimsky-Korsakov's Bald Mountain to Stoki's, but Mussprgsky's original is the one that takes the cake for me. It's the most violent and vulgar of the lot with odd orchestration and Russian folk tunes. It's as bizarre a piece ever written and I love it.

The is also The Dream of the Peasant Gritzko which is an arrangement of Bald Moutain by Mussorgsky for baritone and choir. That was Rimsky-Korsakov's main reference when he produced his version of the work.


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## Mirror Image

Rondo said:


> Whenever I listen to an orchestration of _Pictures_ it's usually Ravel's arrangement. While casually listening to the radio one night I heard an arrangement of a different variety, Stokowski's (along with his arrangement of _Boris Godunov_--). A very different approach. I'm in the process of looking into a recording of this arrangement, so, for now, I will hold my opinion as to which is better.
> 
> So, what are your thoughts or opinions of these two arrangements?


I've never been a big fan of Mussorgsky, but Ravel's orchestration makes his work certainly more enjoyable for me.


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## Scott Good

Tapkaara said:


> I prefer Rimsky-Korsakov's Bald Mountain to Stoki's, but Mussprgsky's original is the one that takes the cake for me. It's the most violent and vulgar of the lot with odd orchestration and Russian folk tunes. It's as bizarre a piece ever written and I love it.
> 
> The is also The Dream of the Peasant Gritzko which is an arrangement of Bald Moutain by Mussorgsky for baritone and choir. That was Rimsky-Korsakov's main reference when he produced his version of the work.


Ya, I think I like the original best, but, I thought the re-orchestration was a hoot when I heard it.

Yes, a great piece - so viceral and overt. The opening is terrifying.


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## Tapkaara

Scott Good said:


> Ya, I think I like the original best, but, I thought the re-orchestration was a hoot when I heard it.
> 
> Yes, a great piece - so viceral and overt. The opening is terrifying.


So great to know you are a huge fan of Bald Mountain. Certainly on of my favorite tone poems by any composer.

I'll tell ya though, doesn't matter whose version I hear...the images from Fantasia of Chernabog atop his mountain are always present when I am listening.


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## Aggelos

Tapkaara said:


> I guess I should have said I wet myself with orgasmic euphoria. Of course I'm a fan of the big orchestral sound! The whole disc was outstanding.
> 
> All of it: Bydlo, Catacombae, etc. And the other orchestrations of Grieg, Chopin, etc. all superb. It's actually one of the more exciting discs I've purchased in a while.
> 
> Now that I have heard 4 orchestrations: Ravel, Stokowski, Ashzenazy and Wood, I'm really going to have to think if I have a favorite. They are all so good and lend different things to the score. It would be really hard for me to pick one.


Ya, the Henry Wood disc was one my best purchases for 2009.
Actualluy every new orchestration gives a new point of view to Mussorgsky's work
Thus we have
Leo Funteck's view
http://www.bis.se/naxos.php?aID=BIS-CD-325

Sergei Gortchakov's view
http://www.amazon.co.uk/gp/product/B001LBPVHO/ref=dm_sp_alb

Lawrence Leonard's view
http://www.musicweb-international.com/classrev/2001/June01/Mussorgsky_Pictures.htm

We have a compilation by Jukka-Pekka Saraste combining the orchestrations of Sergei Gortschakov and Leo Funtek
http://www.crotchet.co.uk/8573884322.html
http://warnerclassics.com/release.php?release=2972

Actually I am holding my breath for the orchestration of Leonidas Leonardi (the Ravel pupil). His orchestration requires massive symphonic forces: 2 flutes & 1 piccolo, 2 oboes & 1 cor anglais, 2 clarinets & 1 bassclarinet, 2 bassoons & 1 contra-bassoon, 1 soprano
saxophone, 2 alto saxophones, 3 tenor saxophones, 8 horns, 4 trumpets & 2 cornets, 3 trombones, 2 bass tubas, 2 harps, piano, glockenspiel, celeste, bells, clashed cymbals, suspended cymbals, snare-drum, triangle, tam-tam, bass drum, timpani and strings.
*But it seems nobody is going to record Leonardi, and the most important nobody ever has.*
Leonard Slatkin included some Leonardi in his first compilation which was.
1. Promenade (Lawrence Leonard)
2. Gnomus (Vladimir Ashkenazy)
3. Promenade (Lucien Caillet)
4. The Old Castle (Sergei Gorchakov)
5. Promenade (Leonidas Leonardi)
6. Tuilleries (Leonidas Leonardi)
7. Bydlo (Henry Wood)
8. Promenade (Lucien Caillet)
9. Ballet of the chicks (Lucien Caillet)
10.Goldenberg (Sergei Gorchakov)
11.Promenade (Lucien Caillet)
12.Limoges (Mikhail Tushmalov)
13.Catacombs (Leopold Stokowski)
14.Con Mortuis (Henry Wood)
15.Baba Yaga (Mauriece Ravel)
16.Great Gate (Maurice Ravel)

Guys, please send e-mails to Leonard Slatkin and tell him to record the Leonidas Leonardi orchestration
http://www.leonardslatkin.com/



Scott Good said:


> Neat thread!
> 
> When I studied orchestration, the Ravel and Stokowski versions of the final section were compared with the premise that Ravel was good and Stokowski was bad! And certainly, there are some very silly choices he made. But, I only listened to the last movement, so, don't want to make a general judgment.
> 
> Btw, I have played this piece with trombone choir!!! Ha ha!
> 
> Also, on the plus for Stokowski, have your heard his "rethinking" of Night on Bald Mountain!! That rocks!


Those who teach orchestration, usually say that Leopold Stokowski's orchestrations are a bad example. They point out that Stokowski's transcriptions show you what you should *not* do when you are orchestrating.
Therefore it's obvious that they will praise Ravel and bash Stokowski. Or praise Rimsky-Korsakov and bash Stokowski (for "Night on the Bald Mountain"). etc...
Howerver we still love Stokowski!


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## Aggelos

I am reviving this thread after a period of slumber.
I purchased recently this CD:









http://www.crotchet.co.uk/8573884322.html
http://warnerclassics.com/release.php?release=2972

I was wondering if we could make a petition or something for various labels to record Leonidas Leonardi's orchestration for "Pictures at an Exhibition"?. What do you think guys?
This orchestation of Leonardi has never been recorded.
And he was one of Ravel's students afterall....

http://www.schirmer.com/default.aspx?TabId=2420&State_2874=2&workId_2874=31287
http://www.bach-cantatas.com/Lib/Leonardi-Leon.htm


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## Huilunsoittaja

I think Stokowski's indeed sounds more "Russian," because that's what he intended anyway. But I think Ravel has some "Russian" stylization, especially with the clarinets and the lower strings (pizzicato). After all, he was an admirer of Russian music just as much.


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## Aramis

I vote for Mussorgsky.


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## Aggelos

I had listening on the CD.
Features composite suite by Jukka-Pekka Saraste. He combined orchestrations of Sergei Gortchakov and Leo Funtek.

1. Promenade (Leo Funtek)
2. Gnomus (Sergei Gortchakov)
3. Promenade II (Leo Funtek)
4. The Old Castle (Leo Funtek)
5. Promenade III (Sergei Gortchakov)
6. Tuilleries (Leo Funtek)
7. Bydlo (Sergei Gortchakov)
8. Promenade IV (Leo Funtek)
9. Ballet of the chicks (Sergei Gortchakov)
10.Goldenberg (Leo Funtek)
11.Promenade V (Leo Funtek)
12.Limoges (Sergei Gortchakov)
13.Catacombs (Leopold Stokowski)
14.Con Mortuis (Sergei Gortchakov)
15.Baba Yaga (Leo Funtek)
16.Great Gate (Sergei Gortchakov)


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## Sebastien Melmoth

Michel Béroff's Pictures are most satisfactory; doubleplus bonus Smith's Balakirev:

http://www.amazon.com/Balakirev-Mus...=sr_1_1?ie=UTF8&s=music&qid=1271291362&sr=1-1


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## Eusebius12

Ravel's orchestration of the Pictures is very true to Ravel, but it has nothing whatever to do with Mussorgsky...the Stokowski is ok but much more recent arrangements, sometimes by little known Russians, have much more Russian, earthy qualities. I can't stand the Ravel arrangement any more, it is far too pretty, gallic and superficial.


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## Aggelos

Eusebius12 said:


> I can't stand the Ravel arrangement any more, it is far too pretty, gallic and superficial.


Well it's time we focused more on Leonidas Leonardi (Ravel's pupil).
http://www.geocities.jp/qqbjj485/XPX/X-compi.htm

*OK, let's talk! More Leonidas Leonardi!*

Shall we create a group on facebook about Leonidas Leonardi??


----------



## SalieriIsInnocent

I have the Jose Serebrier one. 









It is pretty good, but I guess I grew up too long with the ravel one, so this CD is rarely played.


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## Eusebius12

Aggelos said:


> Well it's time we focused more on Leonidas Leonardi (Ravel's pupil).
> http://www.geocities.jp/qqbjj485/XPX/X-compi.htm
> 
> *OK, let's talk! More Leonidas Leonardi!*
> 
> Shall we create a group on facebook about Leonidas Leonardi??


Ok ...

but first, who is he 

I am assuming a Greek/Italian, by the name.......


----------



## Aggelos

Eusebius12 said:


> Ok ...
> 
> but first, who is he
> 
> I am assuming a Greek/Italian, by the name.......


http://www.bach-cantatas.com/Lib/Leonardi-Leon.htm

Leonid Leonardi when he was in Russia, then Leonidas Leonardi when he was in France, and later on when he crossed the Atlantic to go to America he became Leon Leonardi.



SalieriIsInnocent said:


> I have the Jose Serebrier one.
> 
> 
> 
> 
> 
> 
> 
> 
> 
> It is pretty good, but I guess I grew up too long with the ravel one, so this CD is rarely played.


I wouldn't recommend that particular Serebrier CD. I am Stokowski fan and I haven't played that CDs for years.

*I recommend*
http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=CHAN 9445

http://www.jpc.de/jpcng/classic/det...lder-einer-Ausstellung-Orch-Fass/hnum/7931189


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## Aggelos

*I guess there is no love for Leonidas Leonardi... *

Apropos of Ravel & "Pictures at an Exhibition", this CD is pure sickness!!!










http://www.sa-cd.net/showtitle/1716
http://www.mofi.com/store/pc/viewPrd.asp?idproduct=28&idcategory=0


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## Aggelos

I've found this old article by Edward Johnson (June 1981)
http://www.gramophone.net/Issue/Pag...anglais+is+a+much+better+choice+of+instrument.



> "Not just another recording of Pictures . ." says the Philips advertisement in the March issue, but for one listener, at least, I fear it is. For here is yet another recording of the Ravel orchestration, Well, it may be the most popular but is it necessarily the best? Stokowski made his own orchestration and aimed at a much more Russian style because, he said, Ravel's was "too Gallic". Toscanini, too, must have had his own doubts about Ravel's scoring since he himself touched up the percussion here and there, re-wrote the timpani part in "Bydlo" and altered the brass parts in the finale. And is anyone really convinced by Ravel's corny saxophone in "The Old Castle", the only place in the whole piece, incidentally, where the poor player has anything to do. Surely Stokowski's cor anglais is a much better choice of instrument.
> 
> So could we not have a new orchestral look at Pictures on record? There have admittedly been stereo recordings of the Stokowski and Tushmalov versions, and an excellent pre-war set of Lucien Cailliet's arrangement conducted by Ormandy. But would it really be a commercial disaster to have, say, a recording of Sir Henry Wood's orchestration, described by Gordon Jacob as "superior in picturesqueness to the Ravel", with its off-stage camel-bells in "Bydlo" and grand organ in "The Great Gate of Kiev". Or how about the various versions by *Sir Granville Bantock, Leonidas Leonardi, Walter Goehr, Leo Funtek, or perhaps another Russian, such as Gortschakov or Golovanov?* (It's a pity that Carlo Maria Giulini hasn't kept his own orchestration of Pictures: he did it as a 'student exercise' many years ago but has apparently destroyed the score).
> 
> But perhaps the most interesting version is one of the most recent, made for Boosey and Hawkes by Lawrence Leonard. It not only corrects all the mistakes perpetrated in various editions over the years, but also retains the original piano parts in a kind of concerto role. Thus, in "The Old Castle", the piano plays the melody to an imaginative accompaniment of muted strings and the gentle murmurings of a wind machine! This Leonard orchestration would certainly be my first choice for a new recording, but anything would be a welcome change from the Ravel.


And Granville Bantock as well? 
That' a new one!  Should be interesting to see a recording in the future for the Bantock version.....

_Leonidas Leonardi huzzah!_
http://i168.photobucket.com/albums/u197/Aggelos_05/Leonardi.jpg


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## MattTheTubaGuy

I am currently listening to the L. Slatkin collection of orchestral arrangements of Pictures on Naxos, so I get a different orchestral interpretation for each movement.


----------



## Tapkaara

Aggelos said:


> http://www.bach-cantatas.com/Lib/Leonardi-Leon.htm
> 
> Leonid Leonardi when he was in Russia, then Leonidas Leonardi when he was in France, and later on when he crossed the Atlantic to go to America he became Leon Leonardi.
> 
> I wouldn't recommend that particular Serebrier CD. I am Stokowski fan and I haven't played that CDs for years.
> 
> *I recommend*
> http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=CHAN 9445
> 
> http://www.jpc.de/jpcng/classic/det...lder-einer-Ausstellung-Orch-Fass/hnum/7931189


I'm curious. What's wrong with this recording? I personally love it.


----------



## Aggelos

Tapkaara said:


> I'm curious. What's wrong with this recording? I personally love it.


Dull, tepid, mundane, stodge, prosaic interpretations for Murssorgsky's works. 
The interpretation for "Night on Bare Mountain" tends to be idiotic, boring, colourless, draggy, dullish, humdrum!
Listen to the other CDs I have recommended and you'll come to understand.









http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=CHAN 9445









http://www.musicweb-international.com/classrev/2004/Oct04/Mussorgsky_Stokowski.htm



MattTheTubaGuy said:


> I am currently listening to the L. Slatkin collection of orchestral arrangements of Pictures on Naxos, so I get a different orchestral interpretation for each movement.


Another example to avoid a Naxos CD. The attractive point of the Naxos CDs is that they are cheap. 
However the Leonard Slatkin CD on Naxos has a flaw: bad recording engineering.
Try this one, and you'll come to understand what I am talking about. 
It's cheap as well.








http://www.musicweb-international.com/classrev/2005/Aug05/Pictures_pines_2564619542.htm

*Be bound to remember the BBC Proms 2010. 
Look what we've got for "Pictures at an Exhibition"! Sir Henry Wood!...
http://www.bbc.co.uk/proms/2010/whatson/0209.shtml#prom63*

*I must say that I am rooting for Leonidas Leonardi!
http://i168.photobucket.com/albums/u197/Aggelos_05/Leonardi.jpg*


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## Tapkaara

I also have the Knussen/Cleveland record and I thought it stinks. Dull sound and a undistinguished performance. Haven't heard the Chandos, but the Naxos wins for me here.


----------



## Aggelos

Tapkaara said:


> I also have the Knussen/Cleveland record and I thought it stinks. Dull sound and a undistinguished performance. Haven't heard the Chandos, but the Naxos wins for me here.


Then get the Chandos! It doesn't stink!

*I present you Leonidas Leonardi!
*











> _A new version of "Pictures" was commissioned by the publishers of Mussorgsky's
> piano original (W. Bessel & Co., Paris) since they were quite taken aback by the
> enormous success of the Ravel version following its premiere in 1922 under
> Koussevitzky's direction. They'd assumed that Koussevitzky's commission would
> not be a success so they asked an orchestration pupil of Ravel himself, Leonidas
> Leonardi (1901-1967) to provide them with an orchestral version of their own
> which would out-do Ravel's.
> 
> Leonardi duly obliged, dedicated his arrangement to Stravinsky, and conducted
> the premiere himself with the Lamoureux Orchestra in Paris on 15 June 1924. The
> US Premiere took place when the New York Symphony Orchestra played it on 4
> December 1924 under the baton of Walter Damrosch.
> 
> The score requires 2 flutes, piccolo, 2 oboes, cor anglais, 2 clarinets, bass
> clarinet, 2 bassoons, contra-bassoon, 8 horns, 4 trumpets, 2 cornets, soprano
> saxophone, 2 alto saxophones, 3 tenor saxophones, 3 trombones, 2 bass tubas, 2
> harps, piano, glockenspiel, celeste, bells, clashed cymbals, suspended cymbals,
> snare-drum, triangle, tam-tam, bass drum, timpani, and strings, specified as 20
> first violins, 16 second violins, 12 violas, 10 cellos and 9 double-basses.
> 
> Leonardi crossed the Atlantic at about this time to pursue a career as a piano
> recitalist, composer, conductor and arranger. He graduated to Broadway musicals,
> one of which, "Bloomer Girl", produced in 1944, he conducted on American Decca
> in the 'original cast' recording.
> 
> *Text by Edward Johnson*.
> _


----------



## Aggelos

Nice review, but you need to pay to see/read it all
http://goliath.ecnext.com/coms2/gi_0199-4844720/Moussorgsky-Pictures-at-an-Exhibition.html

Does anyone know anything concerning the "six-disc St Louis set celebrating Leonard Slatkin's 17-years' run"?



> _
> MOUSSORGSKY: Pictures at an Exhibition; RESPIGHI: Pines of Rome BBC Symphony & Chorus/ Leonard Slatkin; BBC Wales/ Tadaaki Otaka-Warner 61954-58 min
> 
> Some years ago, Leonard Slatkin took up the Gorchakov arrangement of Moussorgsky's Pictures at an Exhibition because it is more Slavic than the standard Ravel orchestration, and then he was stimulated to check out other orchestrations. The resulting suite, combining arrangements by Lawrence Leonard, Vladimir Ashkenazy, Lucien Cailliet, Sergei Gorchakov, Leonidas Leonardi, Sir Henry Wood, Michail Tushmalov, Leopold Stokowski, and closing out with Ravel's 'Baba Yaga' and 'Great Gate of Kiev', Slatkin played often to great acclaim. Although he never recorded it commercially, *it was included in the six-disc St Louis set celebrating Slatkin's 17-year run with the orchestra, *reviewed by Tom Godell (Jan/Feb 1996, p 203).
> 
> Since then he has had second thoughts on the subject, stimulated in no small part by *Edward Johnson*, doyen of the Leopold Stokowski Society, who urged Slatkin to take a look at the wildly over-the-top 'Great Gate' by the Australian composer and arranger Douglas Gamley. It calls for organ and men's chorus, along with a huge consort of brass and bells. No sooner did Johnson send a copy of it to Slatkin--it was recorded by Charles Gerhardt early on for Reader's Digest-- then Slatkin Emailed him back, "Love the Gamley ... Find the score!" From such acorns do mighty oaks grow.
> 
> Slatkin has retained only one section from the earlier montage, Cailliet's 'Ballet of the Unhatched Chicks'. A rundown follows, including comparisons with other recordings where possible:
> 
> Promenade 1 (Ellison). The name may sound Welsh, but Ellison is an American, a structural engineer by trade, born in 1957 and currently violinist in the Fort Worth Orchestra. In his transcription each section is styled after a different composer, ranging from Scheherazade and Die Meistersinger to the 1812 (though his orchestration does not include a part for cannon...!) In the opening 'Promenade' he emulates Britten's Young Person's Guide to the Orchestra, introducing the choirs one by one beginning with the percussion--the familiar theme is first heard in the tubular bells. From here he works his way up to full orchestra and even remembers to pay homage to Purcell's Abdelazar--listen for the nattering bassoon beginning at 0:40--"not the same phrase used by Britten" says annotator David Nice, though the part at 0:44 certainly does sound familiar! This seems to me an interesting if not entirely convincing effect; I'd like to hear what he does with the other pictures!
> 
> Gnomus (Gorchakov). Here at least we're on familiar ground, as Gorchakov's darkly Slavic Pictures has been recorded a couple of times, first by Kurt Masur (Teldec; May/June 1992) and later by Karl Anton Rickenbacher (RCA; July/Aug 2002), the latter unfortunately padded out with commentary by Peter Ustinov. Gorchakov makes of Hartmann's gnome a far more sinister figure than Ravel, and Slatkin's broad tempos only heighten the awkward movement and malevolent character of the little fellow. But the bass line comes across better with Masur--even more so the deep-throated gong-and actually I like Rickenbacher best of all once you program out Ustinov's insufferable ramblings. (Or we could have Slatkin record the whole thing.)
> 
> Promenade 2 (Goehr). Goehr of course is far better known as a conductor; but he also compiled a Pictures that adds a vibraphone to the usual mix of percussion (you won't hear it here). This he put together for use by smaller orchestras, and the introspective mood of strings, winds, and muted brass, beginning with solo viola, makes for a calming influence after the fearsome gnome's antics.
> 
> The Old Castle (Naoumoff). I dismissed the Naoumoff as a turgid mess when Alcar brought it out a few years back (July/Aug 2002). It is ostensibly a sort of piano concerto, but the orchestra has all the good tunes, with the piano pretty much relegated to commentary. Naoumoff eschews Ravel's familiar tenor sax in favor of alto flute for the amorous bard; but here the piano is so far forward you can hardly hear the flute. Worse, it sounds like a cocktail lounge piano. You might want to skip this track.
> 
> Promenade 3 & Tuileries (Van Keulen). No, I never heard of him either, but this wind band arrangement by the bass clarinetist Van Keulen--born in 1943, same as me--shows what can be done without strings or percussion, stark Russian brooding in the 'Promenade' contrasting effectively with the Gallic delicacy of the Tuileries gardens and children at play. Perhaps some of our more enterprising wind ensembles might look into this one.
> 
> Bydlo (Ashkenazy). The Russian-born Ashkenazy wanted to return the Pictures to its Slavic roots and also correct the numerous mistakes that cropped up in the Rimsky edition and were dutifully recreated by Ravel. In 'Bydlo' Moussorgsky intended to have the Polish oxcart fortissimo from the start. I approve of Ravel having it slowly approach, wheel past, and fade into the distance, but Ashkenazy will have none of it, and he makes that clear right off the bat with four French horns blaring away.
> _
> Slatkin...
> 
> _
> *2nd Sep 2004*
> Ravel has more or less cornered the market when it comes to the orchestration of Mussorgsky's Pictures at an Exhibition. It has become a classic.
> But there are well over two dozen other versions and, last night, Leonard Slatkin, celebrating his 60th birthday, guided the BBC Symphony Orchestra through a collage of assorted arrangements.
> 
> Before the interval, he conducted excerpts from Britten's The Prince of the Pagodas that caught the ballet's sensuousness, stealth and sparkle, and Michael Collins was the agile soloist in John Corigliano's cleverly written Clarinet Concerto, a virtuoso piece that seemed to demand an awful lot of effort for such innocuous results.
> 
> However, the Mussorgsky sequence was worth doing as a jeu d'esprit. There are 10 pictures and several linking "promenades" in the original piano suite - 15 items in all, each played here in an arrangement by a different composer.
> It is odd that Rimsky-Korsakov never had a go at it: he was quick enough to apply his orchestral brush to other Mussorgsky scores when he thought them too primitive, and Pictures might be thought to have been an irresistible temptation.
> But, in this instance, he passed the buck to Mikhail Tushmalov, who, by the 1880s, had already produced the first orchestral elaboration. One of the ones that followed, in 1915, was by none other than the founder of the Proms, Sir Henry Wood. And if his great lumbering orchestration of "Two Polish Jews, One Rich, One Poor" is anything to go by, it is hardly surprising that he suppressed his version after hearing the Ravel.
> 
> Even when Ravel's score had taken a hold, others still felt free to have their say, including that uninhibited arch-transcriber Leopold Stokowski, whose account of "The Hut on Fowl's Legs" could certainly not be accused of good taste. Indeed, with the exception of the chirpy "Ballet of the Unhatched Chicks" by Lucien Cailliet, none of the orchestrations here had Ravel's finesse.
> 
> And after the excesses of Douglas Gamley's "Great Gate of Kiev" (with organ and chorus), nobody could feel guilty about preferring the stark realities of Mussorgsky's original._


----------



## Aggelos

*
Dear friends, it is time!!
I was waiting for this very moment!
Finally LEONIDAS LEONARDI EXPOSED! 
LEONIDAS LEONARDI UNVEILED!

And Mikhail Tushmalov also unveiled!! *

_Awesomeness!!!!!

Do you guys remember Leonardi Slatkin's 1st composite suite for "Pictures at an Exhibition"? 
He had been performing it round the world with many orchestras until 2003, but he never recorded it commercially. 
Finally we get to see his performance at BBC Proms 1991 with the Philharmonia Orchestra! 
ENJOY!!!!!

Lewis Foreman writes



At a Promenade Concert on Monday, August 19th 1991 we heard Leonard Slatkin's brilliant first compilation from nine different orchestrations of Mussorgsky's Pictures at an Exhibition, a remarkably successful initiative, reminding us, as it did, of how many arrangements there have been of this evocative score. Then he went for extracts from Lawrence Leonard's version for piano and orchestra, from Ashkenazy, Lucien Cailliet, Sergey Gorchakov, Leonidas Leonardi, Sir Henry Wood, Mikhail Tushmalov, Stokowski and Ravel.
It was the indefatigable Edward Johnson, champion of Leopold Stokowski, we had to thank for getting Slatkin interested and finding some of the scores. Now Slatkin has done it again with a new - in many ways more way-out - compilation including versions by Ellison, Gorchakov, Walter Goehr, Naoumoff, Geert van Keulen, Ashkenazy, Simpson, Cailliet, Wood, Lawrence Leonard, Leo Funtek, Boyd, Ravel and the Australian composer/arranger Douglas Gamley.

Slatkin's first compilation, although he played it round the world, has never been commercially released, which makes it all the more pleasing to welcome his second version on this CD from the 2004 Proms at the Royal Albert Hall. 
..............

Click to expand...

_*
Leonard Slatkin's 1st composite suite was :
1. Promenade (Lawrence Leonard)
2. Gnomus (Vladimir Ashkenazy)
3. Promenade II(Lucien Cailliet)
4. The Old Castle (Sergei Gorchakov)
5. Promenade III (Leonidas Leonardi)
6. Tuileries (Leonidas Leonardi)
7. Bydlo (Sir Henry Wood)
8. Promenade IV (Lucien Cailliet)
9. Ballet of the unhatched chicks (Lucien Cailliet)
10. 2 Polish-Jews, One Rich, the other Poor (Sergei Gorchakov)
11.Promenade V (Lucien Cailliet)
12.Limoges ; the Market (Mikhail Tushmalov)
13.Catacombs (Leopold Stokowski)
14.Cum Mortuis in Lingua Mortua (Sir Henry Wood)
15.Baba Yaga (Maurice Ravel)
16.Great Gate of Kiev (Maurice Ravel)

*encore* --> Great Gate of Kiev (Sir Henry Wood)
*
_Youtube member "ltwvw" has uploaded the 1st composite suite (many thanks to him!  )_


Introduction by Leonard Slatkin





Part1 ( Promenade I, Gnomus, Promenade II, Old Castle)





Part 2 (Promenade III, Tuileries, Bydlo, Promenade IV, Polish Jews )





Part 3 ( Promenade V, Limoges, Catacombs, Cum Mortuis )





Part 4 (Baba-Yaga, The Grate Gate of Kiev )





Great Gate of Kiev (Sir Henry Wood)







_Because this is an extremely worthy rarity, remember keepvid to grab it!!_
http://keepvid.com/


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## Aggelos

More "Pictures" frenzy!

*Pianist Joanna MacGregor interviewing several people, including Leonard Slatkin, Vladimir Ashkenazy, Edward Johnson (doyen of Leopold Stokowski Society) and Lawrence Leonard about the several orchestrations for "Pictures at an Exhibition".

Part1





Part2




*


----------



## Aggelos

*Mikhail Tushmalov version with conductor Marc Andrae!*





http://www.marcandreae.ch/lp09.html


----------



## Aggelos

Mussorgsky / Sir Henry Wood : Pictures at an Exhibition from the BBC Proms 2010

part 1





part 2





part 3


----------



## Ravellian

Ravel, no question.


----------



## Aggelos

Ravellian said:


> Ravel, no question.


Leonidas Leonardi, no question! :tiphat:





http://www.lucksmusic.net/cat-symph/showdetailMain.asp?CatalogNo=08431


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## myaskovsky2002

How comes Rimsky didn't change this? He always "tuched up" others' stuff....LOL Moussorgsky...did he know orchestration or he didn't and if he didn't why the speak about Boris composed just by him...I think I need an explanation...

Martin


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## Aggelos

He changed and edited the piano version. Since Mikhail Toushmaloff was a Rimsky-Korsakov pupil, I guess that Rimsky "supervised" the Toushmaloff version. Besides Rimsky conducted the premire of the Toushmaloff version. Here an excerpt of it.





Leondias Leonardi FTW!!


----------



## Aggelos

Mussorgsky / Sir Henry Wood 









Leonidas Leonardi FTW!


----------



## Aggelos

Leonard Slatkin speaks to the audience, prior to his performance of the 1st compendium suite.


> I don't know how many times you've heard Pictures at an Exhibition, either on recording or live... Certainly it is one of the most familiar works to any concert audience. *Because it so familiar it is very easy to take it for granted - we play it, you listen to it. You hear it in the same way, time and time again, with minor subtle differences. Tonight that will all change*. You've noticed in your program that instead of being the traditional Mussorgsky-Ravel, it is Mussorgsky and 9 other orchestrators. Prior to Ravel, doing his orchestration, at least two others had a hand at transcribing Mussorgsky's work for orchestra and in my research over the last few years I found no less than 21 different orchestral versions of this piece. This is not the time to go into "why?" so many people have chosen to orchestrate, but rather to illustrate what some of the differences are -some of the choices that these orchestrators have made.................
> 
> Listen to his speech here!
> http://www.sendspace.com/file/btbhgq


http://www.bach-cantatas.com/Lib/Cailliet-Lucien.htm
http://www.bach-cantatas.com/Lib/Leonardi-Leon.htm

http://www.geocities.jp/qqbjj485/XPX/X-orch.htm
http://www.geocities.jp/qqbjj485/XPX/X-compi.htm


----------



## Orange Soda King

My friend's teacher made a piano concerto arrangement of this work! I haven't heard it yet.

The guy's name is something Naoumoff...


----------



## Aggelos

Orange Soda King said:


> My friend's teacher made a piano concerto arrangement of this work! I haven't heard it yet.
> 
> The guy's name is something Naoumoff...


That is correct - Emile Naoumoff.
It comes in the form of Paraphrase, Orchestration and Cadenzas.



> Orch. NAOUMOFF, Emile (b Sofia, Bulgaria, 20 February 1962)
> "Pictures at an Exhibition - the Piano Concerto : Paraphrase, Orchestration, and Cadenzas by Emile Naoumoff for piano and orchestra Dur. 40'
> Piano solo -3[1/alto,2, 3/picc] 3[1.2.Eh] 3[1in Bb/A, 2 in Bb/Eb, bcl], 3[1.2.cbn] - 4 3inC 3 0 - tmp+3 perc (chimes, 2 tam-tams - med.& low, glock, lowbell, field drum[?]) - str
> 
> Pub: B. Schotts Söhne ©1991 Score and Parts on rental. U.S. rental agent Schott/EAMDLLC. NYC.
> Reduction for 2 pianos 4 hands ED 8499 HL 49008055 $41.95
> #3426 Moussorgsky, Modest. Naoumoff-Mussorgsky - Pictures at an Exhibition, The Piano Concerto; 2 pianos 4 hands edition.
> 
> ―In April 1994 Mstislav Rostropovich and the National (DC) Symphony Orchestra with Mr. Naoumoff as soloist, presided over the world premiere of Emile Naoumoff's new version in the form of a large-scale piano concerto. In concerto style with some added music, for piano and orchestra.
> ―A French critic wrote about Emil Naoumoff's orchestration of "Pictures at an Exhibition": "When he took hold of this mythical work, Naoumoff forgot the arrangements of a Ravel or an Ashkenazy and transformed it triumphantly into a true piano concerto [...]. A work whose success is easily explained by its color, panache, radiance, and supreme fidelity to the spirit of the original, and which may well prompt other pianists to adopt it into their repertoires!" (from Pierre Petit's article "Du Panache" which appeared in "Le Figaro.)
> 
> Recording:
> Igor Blaschkow conductor, Deutsches Symphony Orchestra Berlin, for Wergo Label (Germany).
> Pictures at an Exhibition - The Piano Concerto
> Composer: Modeste Moussorgsky - Emile Naoumoff Interpreter: Emile Naoumoff Booklet writer: Emile Naoumoff Conductor: Igor Blaschkow Orchestra: Deutsches Symphonie-Orchester Berlin
> Paraphrase, Orchestration, and Cadenzas by Emile Naoumoff
> Pub:Wergo Edition: CD Available from the Schott website: Order number: ALC 51062


You'll find some Naoumoff in the following as well :









http://www.musicweb-international.com/classrev/2008/Dec08/Mussorgsky_Liszt_8570716.htm
http://www.musicweb-international.com/classrev/2008/oct08/Mussorgsky_Liszt_8570716.htm









http://www.musicweb-international.com/classrev/2005/Aug05/Pictures_pines_2564619542.htm

*But before Naoumoff, there was Lawrence Leonard *with his piano concerto version. Without paraphrases and cadenzas, he is more faithful to Mussorgsky's original text.



> Arr. LEONARD, [Frank] Lawrence (b. London 22 August 1923; d. 4 January 2001)
> Dates per http://www.mvdaily.com/articles/l/l/lawrence-leonard.htm
> [His own listing in International Who's who in Music and Musicians' Directory 2000-2001 gives b. 22 Aug.1928 not the 1923 given on the website.] [Dates given on the Slatkin recording b.1926 (sic) - d. 1991(sic)]
> Moussorgsky, Modeste: Pictures at an Exhibition arr. Lawrence Leonard for piano and orchestra (1975, pub. 1977) Dur.29'
> 3[1.2.3/pic] 2[1.2/Eh] 2[1.2/bcl] 2[1.2/cbn] - 4 3 3 1 - tmp+3perc (tubular bells, xyl, cyms, susp.cym, tam-tam, claves, whip, bd, sd, wind machine) - str
> 
> Pub: Boosey & Hawkes NY (©1977) - Score and Parts on rental
> Pub: Fazer Music Inc Edition for 2 Pianos 4 Hands [2nd Piano is a reduction of the orchestra parts] Product Codes: M060038525 ---- 0014950068355 $38.38
> 
> Reviews:
> http://www.musicweb-international.com/mwork_index/mussorg_pict.htm
> 
> ―Yet another Pictures at an Exhibition, I hear you say! Well, yes, but this is a somewhat different affair for here is (the late) *Lawrence Leonard's* rarely heard arrangement for piano and orchestra made [published] in 1977. As a whole it is a quite satisfying compromise preserving most of the piano original (the opening Promenade, less spectacular than Ravel's, is for orchestra alone). In most other movements the original material is shared by piano and orchestra in a "concerto-like" manner. It would be idle to list all the differences between Lawrence's arrangement and, say, Ravel's (which is by far the most popular). However some may be singled out. For example The Old Castle dispenses with Ravel's saxophone and opts for cello and piano with soft sustaining harmonies including a suggestion of wind (wind machine or soft roll on suspended cymbals, we are not told) or Goldenberg and Schmuyle, Goldenberg being given a ponderous, pompous orchestral garment and the piano original kept for the wailing Schmuyle (quite effective indeed). Some movements may sound less impressive than in Ravel's version, e.g. Bydlo, The Catacombs or even The Great Gate of Kiev; but all in all Lawrence's arrangement is well worth having for a change from Ravel's ubiquitous version.-- Hubert Culot
> 
> Recording:
> Tamas Ungar, piano, with Geoffrey Simon and the Philharmonia Orchestra for Cala CACD1030
> http://www.musicweb-international.com/classrev/2001/June01/Mussorgsky_Pictures.htm
> http://www.calarecords.com/acatalog/info_CACD1030.html


*A Clinton Nieweg Chart for orchestrations and arrangements. A must-have.*
http://www.mola-inc.org/Nieweg%20Charts/MussorgskyPictures.pdf


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## Aggelos

Peter Breiner's orchestration
http://www.theclassicalshop.net/Details.aspx?CatalogueNumber=NX%203016

Arr. and orchestrated: BREINER, Peter (b. Humenné, in former Czechoslovakia, present day Slovakia
July 3, 1957)
Mussorgsky: Pictures at an Exhibition
5[1.2.3.4/afl.pic] 5[1.2.3.4.Eh] 5[1.2.3.4.bcl] 5[1.2.3.4.cbn] - 4 4 4[1.2.3.btb] 1- tmp+7perc(sd, bd, tri,
cym crash, cym susp, tam-tam, anvil, temple blks, cabasa, tambrin , tubular bells, glock, xyl, mar, vib] -
hp, pf, cel - str.
http://www.mola-inc.org/Nieweg Charts/MussorgskyPictures.pdf

Breiner's Bydlo





Breiner's Great Gate

__
https://soundcloud.com/naxosusa%2Fpictures-at-an-exhibition-la


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## drpraetorus

I'm partial to the Askenazi version. Ravel is too french in his technique. I wish Rimsky had done one and also Shostakovich.


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## moody

I don't really know why all the above matters,the original piano version is superior.


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## Turangalîla

I agree, I like the piano version better than any orchestration, but I think that the Ravel orchestration is far superior to any of the others.


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## Arsakes

I have the Stokowski one it's very good. 'Gate of Kiev' movement could be better though.

I have a single track of 'Gate of Kiev' from a video game and it seems it is a Naxos CD. It's the best conducted Gate of Kiev ever! the only thing I know about it is: Naxos 550051-(track 15)

Both Stokowski and the unknown are orchestral.


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## Aggelos

Arsakes said:


> I have a single track of 'Gate of Kiev' from a video game and it seems it is a Naxos CD. It's the best conducted Gate of Kiev ever! the only thing I know about it is: Naxos 550051-(track 15)
> 
> Both Stokowski and the unknown are orchestral.


http://www.naxos.com/catalogue/item.asp?item_code=8.550051


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## DavidA

I remember hearing and seeing Stokowski conduct Pictures on the TV about 50 years ago. I think is orchestration works as well as any but I do prefer the piano version, especially when played by Richter. Mind you Horowitz in his touched up version is as electrifying as well.


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## moody

Arsakes said:


> I have the Stokowski one it's very good. 'Gate of Kiev' movement could be better though.
> 
> I have a single track of 'Gate of Kiev' from a video game and it seems it is a Naxos CD. It's the best conducted Gate of Kiev ever! the only thing I know about it is: Naxos 550051-(track 15)
> 
> Both Stokowski and the unknown are orchestral.


Stokowski omited two of the pictures in his version.


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## Arsakes

Aggelos said:


> http://www.naxos.com/catalogue/item.asp?item_code=8.550051


I forgot to reply. Thanks 

I can identify this games' other tracks as well there. ('Hearts of Iron I' and 'Victoria')


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## Toddlertoddy

Does anyone else hate Stokowski's Baba-Yaga? It is probably the most annoying piece of music I have heard (or maybe the recording I had was really bad)


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## Aggelos

Toddlertoddy said:


> Does anyone else hate Stokowski's Baba-Yaga? It is probably the most annoying piece of music I have heard


Isn't this the point? 
Baba-Yaga has to be grotesque, freakish, hideous and misshapen...





Guys, you should try Peter Breiner's orchestration ; makes the versions by Leopold Stokowski and Henry Wood sound ascetic, austere, spartan and frugal.


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## Toddlertoddy

Aggelos said:


> Isn't this the point?
> Baba-Yaga has to be grotesque, freakish, hideous and misshapen...
> 
> 
> 
> 
> 
> Guys, you should try Peter Breiner's orchestration ; makes the versions by Leopold Stokowski and Henry Wood sound ascetic, austere, spartan and frugal.


It's like he changed colours every measure for the sake of changing colours every measure as opposed to creating something grotesque. He made it too frivolous and almost student-like. Some parts sound like the chick movement, which it shouldn't.


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## Aggelos

In my opinion, a very Slavic approach is the following. Let alone, that the score is public domain and available to anybody.

*Mikhail Tushmalov 's orchestration*







> This was the first orchestration of "Pictures at an Exhibition" and was made by Mikhail Tushmalov, a pupil of Rimsky-Korsakov. It was not absolutely complete, since it omitted all but the first of the 'Promenades' as well as several of the 'Pictures'. The ones that remain are 'The Old Castle', 'Ballet of the Chicks', 'Samuel Goldenberg and Schmuyle', 'Market Place in Limoges', 'The Catacombs', 'Baba Yaga' and 'The Great Gate of Kiev'.This version was given its first performance in 1891 with Rimsky-Korsakov conducting. Its only recording to date has been by the Munich Philharmonic under Marc Andrae on the BASF label.
> 
> Arr. TUSHMALOV, Mikhail (b. 1861-d. in what is now the nation of Georgia 1896)
> Pub: Bessel - Reprint Edwin F. Kalmus
> Pictures at an Exhibition [Suite] Arr. Tushmalov (ca. 1886, published 1891, rev. 1900
> "Instrumentation by M. Tushmalov with collaboration by N. Rimsky-Korsakov." [sic ?]
> (Three "Pictures" and four Promenades omitted)
> Dur. 20' to 24'50"
> 3[1.2.pic] 3[1.2.Eh] 3[1.2.bcl] 2 - 4 2 3 1 - tmp+5 perc(glock, tri, cym, sus cym, bd, tamtam, chime in Eb: octave unspecified) - hp - orchestra pf - str
> 
> The orchestration by Mikhail Tushmalov is actually a suite (which should be obvious with a duration of 20 minutes), and omits all Promenades except the one preceding Limoges in the original (which opens the suite), plus omits Gnomus, Tuileries, and Bydlo. He also cut out three bars from Limoges for some reason. Though the Kalmus score mentions Rimsky-Korsakov on the cover, it seems unlikely that Rimsky had much of a hand in Tushmalov's suite orchestration wise. Rimsky conducted the premiere in 1891.‖ -- (T.T.)
> The eight movement Suite:
> 1. Promenade 5
> 2. Il vecchio castello
> 3. Ballet de poussins dans leurs coques
> 4. Samuel Goldenberg und Schmuyle
> 5a. Limoges, le marche
> 5b. Catacombe
> 6a. La cabane sur des pattes de poule
> 6b. La porte des bohatyrs de Kiew


http://imslp.org/wiki/Pictures_at_an_Exhibition_(Mussorgsky,_Modest)#For_Orchestra_.28Tushmalov.29

Furthermore, there are indications that another version by conductor *Fabien Sevitzky* (nephew of Sergei Koussevitzky - the person who commissioned Ravel to orchestrate Pictures at an Exhibition) existed once (or still exists?).
Mussorgsky / Fabien Sevitzky : Pictures at an Exhibition, (duration : 24:00 )
Instrumentation : 3 (3rd alt with picc), 2+1, Eb cl, 2+1, 2+1 - 4,4,3,1 - timp, 3perc, bells, cel, glock - hp - pf - str.


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## Flamme

I have Pictures at an Exibition by Alexis Weissenberg, Herbert Von Karajan,
Orchestre de Paris and Vladimir Ashkenazy, Philharmonia Orchestra
Mussorgsky


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## Aggelos

Mussorgsky (orch. Sir Henry Wood ) 'Pictures at an Exhibition' - Complete Proms 2010 Performance 




For a Proms concert in 2010 at London's Royal Albert Hall, Sir Henry Wood's arrangement was given a rare revival by the BBC National Orchestra of Wales under its Associate Guest Conductor, Francois-Xavier Roth.


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## Art Rock

In my blog I compared 19 different versions (original, various orchestrations, versions for organ, guitar, jazz band, rock band, and so on). I still prefer the original piano version and the Ravel orchestration.


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## Aggelos

Art Rock said:


> In my blog I compared 19 different versions (original, various orchestrations, versions for organ, guitar, jazz band, rock band, and so on). I still prefer the original piano version and the Ravel orchestration.


Very nice... 
But what about Leonard Slatkin's 1st compendium suite?




In my opinion Slatkin's 1st compendium suite bears considerable importance. It can be remarked that Slaktin's 2nd pastiche with 15 orchestrator was a little bit bemusing and befuddling. Certainly, the star was the revival of the campy Douglas Gamley orchestration. Gamley's old recording can be found here.




While in contrast, Slatkin's 1st pastiche with 9 orchestrators was more solid. Lucien Cailliet was also fantastic in Slatkin's 1st pastiche. So did Leonidas Leonardi.

Moussorgsky-Naoumoff : 2 Pianos version!!





Emile Naoumoff's version for piano and orchestra.









Sergei Gortchakov (begins 12:12)

















http://www.mola-inc.org/Nieweg Charts/MussorgskyPictures.pdf


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## techniquest

> In my blog I compared 19 different versions (original, various orchestrations, versions for organ, guitar, jazz band, rock band, and so on). I still prefer the original piano version and the Ravel orchestration.


Hmm, this makes for interesting reading; I can't agree with you on the Tomita recording however as I see it as a superb 'orchestration' of the work which offers a totally different interpretation of each picture. Unusually for electronic, synthesised music, it still has the depth of feeling, atmosphere and emotion that we expect from symphony orchestra interpretations as well as some very surprising and unusual moments. 'Catacombs' is especially powerful while 'Limoges' with a sound like upturned saucepans is one of the most intriguing.
Of the orchestral versions I have heard, I still prefer the Ravel, though the Henry Wood orchestration is absolutely fascinating.


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## Aggelos

Vladimir Ashkenazy conducts the Leo Funtek orchestration




http://www.medici.tv/#!/modest-muss...hibition-christopher-nupen-vladimir-ashkenazy



> Orch. FUNTEK, Leo (b. Ljubljana, Slovenia 21August 1885; d. Helsinki, Finland 13 January 1965)
> Moussorgsky, Modeste - Pictures at an Exhibition / Näyttelykuvia (1874)
> (Orchestrated by Leo Funtek 1922) Premiere Helsinki December 14th, 1922. Dur. 38'
> 4 3 4 3 - 6 4 4 1 - tmp+3perc - 2hp -pf, cel - str
> First orchestration of the complete work - All Promenades included.
> Pub: Espoo: Fazer Music © 1990[1995] Warner/ Chappell Music Finland Oy (formerly Fazer Music, Inc.) Listed at Fennica Gehrman Music Pub. U.S. rental agent Boosey & Hawkes -
> 
> Published in July 1922, just months before the Ravel orchestration, of whose project Funtek was seemingly unaware. In contrast to other orchestrations, Funtek's adheres closely to Mussorgsky's original piano version ‖ -- Russ, Michael (1992). Musorgsky "Pictures at an exhibition‖ Cambridge University Press. p.7. Mussorgsky's original piano version is printed below the orchestral score.
> Movements and Durations:
> Promenade 1 1'41"
> 1. Gnomus 2'59"
> Promenade 2 1'01"
> 2. The Old Castle 4'58"
> Promenade 3 031'
> 3. Tuileries 1'07"
> 4. Bydlo 3'20"
> Promenade 4 0'45"
> 5. Ballet of the Chicks in Their Eggs 1'18"
> 6. Two Polish Jews - rich and poor 2'45"
> Promenade 5 0'45"
> 7. Limoges le marché 1'21"
> 8. Catacombae 1'50"
> 9. Con mortuis in lingua mortua 2'13"
> 10. The Hut on Fowl's Legs (Baba Yaga) 3'23"
> 11. The Great Gate of Kiev 6'52"


Lucien Cailliet's orchestration







> Orch. CAILLIET, Lucien (b. Chalon Sur Marne, France 27 May 1891; d. Los Angeles, CA 3 Jan. 1985)
> ―Tableaux d'une Exhibition‖, Orchestrated by Lucien Cailliet (1937) Dur. 27'34"
> Commission by Eugene Ormandy, Music Director, The Philadelphia Orchestra
> 3[1.2.3/pic] 3[1.2.Eh] 5or 4[1.2.3. bcl (+opt. contrabass cl)] 3[1.2.cbn] - 4 4 3 1 - tmp+8 perc (glock, xylo, chimes, sd, tri, cym, wdblk, tam-tam, bd) -2 hp - str
> 
> The unpublished manuscript set of parts was in The Philadelphia Orchestra library as of 1996, but many sections were not currently in playable condition and the score and parts do not match. Only the sections used in the compilation by Slatkin are in playable shape.‖ -- Clinton F. Nieweg, Principal Librarian, (ret.) The Philadelphia Orchestra


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## Aggelos

Mussorgsky-Stokowski 'Pictures at an Exhibition' - U.K. Premiere 




For his Proms debut at the Royal Albert Hall, with the BBC Symphony Orchestra on 23 July 1963, Stokowski was asked by William Glock, the BBC's Controller of Music, to conclude the concert with his own orchestration of Mussorgsky's 'Pictures at an Exhibition' in its UK Premiere. The programme also included Britten's 'Variations and Fugue on a Theme of Purcell' and Beethoven's 7th Symphony, both of which have been released on CD by BBC Legends.

Yamada Kazuki conducts Mussorgsky-Stokowski Pictures
The CD is scheduled to be released on February the 20th. Stokowski Pictures are coupled with Ravel's La Valse and Debussy's Prelude to the Afternoon of a Faun.
Stokowski's Pictures were recorded the last November.
http://www.octavia.co.jp/shop/exton/005768.html









http://viole.lib.net/kartinki_s_vystavki/instrumentation.html


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## Aggelos

Mussorgsky / Vaclav Smetacek : Bydlo













http://www.rozhlas.cz/publishing/classical/_zprava/159438
instrumentation : 2[1/pic, 2/pic] 2[1.2/Eh] 2[1.2/bcl] 2 - 4[F] 4[C] 3 1 - tmp+perc(xyl, cym, bd, small sd, tri, glsp, chimes, tam tam) - str.
One of the composers who set about orchestrating Pictures from an Exhibition was also the conductor Václav Smetáček "in whose life, composing was somewhat of a Cinderella, and when he did embark upon something, it was always from an external impulse only." His instrumentation of Pictures from an Exhibition was composed to be broadcast by the radio station Radiojournal at the outbreak of World War Two, at a time when Ravel was already on the list of forbidden composers. 
http://en.wikipedia.org/wiki/Václav_Smetáček


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## sharik

Rondo said:


> Whenever I listen to an orchestration of _Pictures_ it's usually Ravel's arrangement


because Ravel's is the best - he captured the feel of it Mussorgsky meant to express, as if Rimsky Korsakov himself would have orchestrated it.


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## mikey

Lang said:


> Well, in my case it is that I feel Ravel is too refined for 'Pictures'. His arrangement 'civilizes' the music, and to my mind takes away some of its character. A case in point, which I have mentioned before, is the final reprise of 'The Great Gate of Kiev', where, in the piano part, there is a conflict between the F of the second chord and the pedal Eb underneath it. Ravel removes that dissonance, and to my mind weakens the music. I do love Ravel, but in this case there seems to be a clash of sensibilities. Stokowski's arrangement has a genuine Russian 'feel' to it, and seems to be preferable to me.


Actually Ravel doesn't gloss over that dissonance if it's the one I'm thinking of. IT's just cleverly voiced between the trombones and the db's. Stokowski on the other hand does according to the score I was just followed. (He also leaves out the a below the gmin chord in catacombes). Not to say I don't like certain aspects of the Stokowski, all the different versions are at the very least interesting. (especially Gamley's wacked out Great Gate)


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## Aggelos

For a Proms concert in London's Royal Albert Hall in 1991, Leonard Slatkin introduced his own edition of Mussorgsky's 'Pictures at an Exhibition.' It featured the various 'Promenades' and 'Pictures' in different arrangements by an assortment of orchestrators. Ravel's version is the best known but other arrangers of Mussorgsky's piano work were Leopold Stokowski, Sir Henry Wood, Vladimir Ashkenazy, Mikhail Tushmalov, Lawrence Leonard, Lucien Cailliet, Sergei Gorchakov and *Leonidas Leonardi*, all of whom were featured in Slatkin's performance. As an encore, he brought the house down with Sir Henry Wood's version of 'The Great Gate of Kiev.'

The television relay of the concert was preceded by a short documentary which featured Slatkin discussing the work with pianist Joanna MacGregor, as well as contributions from Vladimir Ashkenazy and Lawrence Leonard, two of the arrangers featured in his compendium.



> Mussorgsky`s ``Pictures at an Exhibition`` is so familiar to concertgoers in the Ravel orchestration that it comes as a shock to realize there are at least 19 other symphonic versions of the piano suite. Many of these have been lost to history, probably for good reason. But wouldn`t it be nice, just once, to hear the best of the others, if only to gain a new perspective on a warhorse some of us would prefer never hearing again?
> 
> That was the theory behind Leonard Slatkin`s experiment in comparative music appreciation with the Chicago Symphony at Thursday night`s subscription concert in Orchestra Hall. Our guest conductor`s tour of the Hartmann gallery drew on orchestrations by nine musicians, including Ravel.
> 
> Chronologically, Slatkin`s sequence begins with Mikhail Tushmalov, a student of Rimsky-Korsakov`s who prepared the first known orchestration of the suite. In that form it entered the CSO repertory in 1920, two years before Serge Koussevitzky commissioned the Ravel version. It ends with Vladimir Ashkenazy, whose scoring dates from 1982. In between are such familiar figures as Leopold Stokowski and Henry Wood, as well as such relatively obscure musicians as Leonidas Leonardi.
> 
> There are gains and losses. Lucien Caillet`s light, dancey treatment of the unhatched chicks` ballet is funnier than Ravel`s. Wood`s version of
> 
> ``Bydlo`` tosses in the distant clanging of bells, a very Russian effect that builds to a massive climax before fading into the distance. And for sheer, eerie power and Technicolored sonic splendor, no ``Catacombs`` can top Stokowski`s.
> 
> On the other hand, I found the initial statement of the Promenade, as scored by one Lawrence Leonard, a dreadful piece of Hollywood bombast-Give me Ravel`s dapper ``walking`` trumpet any day. And Soviet composer Sergei Gorchakov`s interchanging of the solo instruments favored by Ravel in ``The Old Castle`` and ``Goldenberg and Schmuyle`` is not so striking an idea as to alter one`s preference for the Ravel. The Mussorgsky-Slatkin ``Pictures`` is a musical crazy-quilt, and inevitably the differences in style are telling.
> 
> In any case, I applaud Slatkin for his enterprise and the CSO for being such enthusiastic sports about the whole thing. The crowd seemed to find it a welcome departure from routine.
> 
> http://articles.chicagotribune.com/...0000_1_leonard-slatkin-ravel-sergei-gorchakov


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## EdwardBast

Below are links to most of the Gorchakov orchestration. There are many aspects of this version I prefer to Ravel's. The melody of The Old Castle given to the strange doubling of muted trumpet and English Horn is (IMO) much better than saxophone, for example. Schmuyle's begging here is pathetic rather than insistent - the difference between using soprano sax and double reeds rather than muted trumpet. In general, the Gortchakov doesn't sound over-precious; strikes me as closer to the spirit of Mussorgsky.

Unfortunately, whoever edited these videos cut the performance into 15 minute units without regard to the beginnings and endings of the individual pieces - and the good citizens of Omsk have a few ensemble problems . . .


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## Orfeo

EdwardBast said:


> Below are links to most of the Gorchakov orchestration. There are many aspects of this version I prefer to Ravel's. The melody of The Old Castle given to the strange doubling of muted trumpet and English Horn is (IMO) much better than saxophone, for example. Schmuyle's begging here is pathetic rather than insistent - the difference between using soprano sax and double reeds rather than muted trumpet. In general, the Gortchakov doesn't sound over-precious; strikes me as closer to the spirit of Mussorgsky.
> 
> Unfortunately, whoever edited these videos cut the performance into 15 minute units without regard to the beginnings and endings of the individual pieces - and the good citizens of Omsk have a few ensemble problems . . .


It looks like someone attached the beginning of Pictures after Night on Bare Mountain on the same clip.





And then uploaded the ending of Pictures as part four.


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## bigshot

Chi_townPhilly said:


> *Lucien Caillet*- otherwise best known for his work scoring Hollywood films
> *Leopold Stokowski*- also needs no introduction


Caillet worked as an assistant to Stokowski at Philadelphia on Stokowski's transcriptions, including the Mussorgsky ones. After Stoki left Philadelphia, Caillet stayed on in Philadelphia as Ormandy's house arranger.


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## Aggelos

Lucien Caill*i*et version can be considered as an effective alternative to Ravel were it not for the problems involved in obtaining the materials from the PO library and their condition.

Cailliet's version was made for reasons similar to Leonidas Leonardi : Koussevitzky's quasi-ownership of the Ravel version left the Philadelphia Orchestra in the lurch, thus Eugene Ormandy, then at the very beginning of his long association with the orchestra, commissioned a new version from Cailliet, then on the payroll as a staff orchestrator. Cailliet mentioned in Jason Klein's dissertation "A Comparative Analysis of Several Orchestration" that he was advised to avoid some of the effects of the master. So he felt that he was about as free as a bird in a cage when preparing his orchestration.



> Orch. CAILLIET, Lucien (b. Chalon Sur Marne, France 27 May 1891; d. Los Angeles, CA 3 Jan. 1985)
> ―Tableaux d'une Exhibition‖, Orchestrated by Lucien Cailliet (1937) Dur. 27'34"
> Commission by Eugene Ormandy, Music Director, The Philadelphia Orchestra
> 3[1.2.3/pic] 3[1.2.Eh] 5or 4[1.2.3. bcl (+opt. contrabass cl)] 3[1.2.cbn] - 4 4 3 1 - tmp+8 perc (glock, xylo, chimes, sd, tri, cym, wdblk, tam-tam, bd) -2 hp - str
> 
> The unpublished manuscript set of parts was in The Philadelphia Orchestra library as of 1996, but many sections were not currently in playable condition and the score and parts do not match. Only the sections used in the compilation by Leonard Slatkin are in playable shape. -- C. F. Nieweg, Principal Librarian, (ret.) The Philadelphia Orchestra


And Peter Breiner is out in CD and Blu-Ray
















http://www.sa-cd.net/showtitle/9424
http://www.musicweb-international.com/classrev/2014/Feb14/Mussorgsky_pictures_8573016.htm
http://www.musicweb-international.com/classrev/2014/Mar14/Mussorgsky_pictures_NBD0036.htm


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## hpowders

Heard them all. Ravel's is the best. Simple as that.


----------



## NeptunetheMystic07

Yosser said:


> I recall listening to an interview with Ashkenazy about this subject. He made the same point other posters have made, that Ravel's orchestration of 'Pictures' is superb, but is 'not Mussorgsky'. He referred to a 'muddiness of the Russian soul' that is all too present in Mussorgsky's composition, but is 'unmuddied' in Ravel's orchestration.
> 
> Ashkenazy was not in any way denigrating the Ravel orchestration, rather praising it. Ravel was possibly the greatest orchestrator ever, and it is only to be expected that any work conceived for the piano that he orchestrates will carry his stamp on it. Enjoy both, Ashkenazy says, Mussorgsky's piano composition and Ravel's transcription of it.
> 
> Small detail. Ravel was not French. He was a Basque. If you didn't know that, don't worry. I once asked the (then) Basque Minister of Culture why more fuss was not made in the Basque Region of Ravel's heritage. It turned out the Minister didn't know either.


I beg to differ with Mr. Ashkenazy. Recently, I have come across a manuscript score of the Ravel orchestration made by a copyist working for Les Editions Russes. Several annontations evidently by Maurice himself, show that the arranger has understood Modeste's humor and mindset most excellently (the beginning of "Tuileries" for example). I believe Maurice was attempting to find his own way, through pure orchestral color, of conveying it. The manuscript may be found via the Morgan Library, and can be easily Bingged/Googled, etc.


----------



## Aggelos

These are the programme notes for the Leonidas Leonardi version, when it was performed by the New York Philharmonic Orchestra under the baton of Walter Damrosch back in 1924.










*Luck's Music Library Leonidas Leonardi Version*

Sergei Gorchakov version performed by Kurt Masur.
The instrumentation is as following : 3d1pic, 3d1eh, 3dsop sax+bcl, 2+cbn - 4, 3, 3, 2 - timpani, 5 percussion snare drum, bass drum, triangle, cymbals, tam-tam, woodblock, chimes, glockenspiel, xylophone harp, celesta and strings.





From the Gewandhaus in Leipzig, Germany, Leipzig Gewandhaus Orchestra, Kurt Masur - conductor
*Modest Mussorgsky - Pictures at an Exhibition
Orchestration: Sergei Petrovitch Gortchakov*

https://www.sikorski.de/475/en/0/a/0/orchestral_music/1003050_bilder_einer_ausstellung_fuer_orchester.ht ml

https://imslp.org/wiki/Orchestrations_and_Arrangements_of_Mussorgsky%27s_ %27Pictures_at_an_Exhibition%27


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## Allegro Con Brio

Is there any other work that is more popular in an orchestral transcription than the original? I’m no fan of this work, but I find listening to the original piano version much more satisfying.


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## consuono

Allegro Con Brio said:


> Is there any other work that is more popular in an orchestral transcription than the original? I'm no fan of this work, but I find listening to the original piano version much more satisfying.


Maybe Brahms' Haydn Variations, maybe some by Ravel like Le Tombeau de Couperin. Of course those were both orchestrated by the original composers. I like the original piano version of the Mussorgsky (especially Horowitz from the early 50s I think) but I think the orchestration by Ravel gives the final two movements more punch. I haven't listened to any other orchestrations yet.


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## Allegro Con Brio

consuono said:


> Maybe Brahms' Haydn Variations, maybe some by Ravel like Le Tombeau de Couperin. Of course those were both orchestrated by the original composers. I like the original piano version of the Mussorgsky (especially Horowitz from the early 50s I think) but I think the orchestration by Ravel gives the final two movements more punch. I haven't listened to any other orchestrations yet.


The Haydn Variations were originally written as an orchestral work and later transcribed for two pianos - in fact it was the first independent theme-and-variations work for orchestra ever written. Ravel's orchestrations of his piano works are lovely, but again I find them even more evocative on the solo instrument, from which he extracts sonic possibilities to rival anything an orchestra could produce. But maybe I'm just biased as a pianist.


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## consuono

I can tell you though that I'd rather listen to the Mussorgsky on the piano than try to play it. It can be a knuckle-buster.


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## Aggelos

Allegro Con Brio said:


> Is there any other work that is more popular in an orchestral transcription than the original? I'm no fan of this work, but I find listening to the original piano version much more satisfying.


Toccata and Fugue in D Minor, BWV 565. 
Think about it... How much is the original organ work heard in concert, instead of it presented in some for of transcription (orchestral, piano and whatnot).

Let's go again guys. *Leonard Slatkin's 1st Compendium Suite.*














For a Proms concert in London's Royal Albert Hall in 1991, Leonard Slatkin introduced his own edition of Mussorgsky's 'Pictures at an Exhibition.' It featured the various 'Promenades' and 'Pictures' in different arrangements by an assortment of orchestrators. Ravel's version is the best known but other arrangers of Mussorgsky's piano work were Leopold Stokowski, Sir Henry Wood, Vladimir Ashkenazy, Mikhail Tushmalov, Lawrence Leonard, Lucien Cailliet, Sergei Gorchakov and Leonidas Leonardi, all of whom were featured in Slatkin's performance. As an encore, he brought the house down with Sir Henry Wood's version of 'The Great Gate of Kiev.'

The television relay of the concert was preceded by a short documentary which featured Slatkin discussing the work with pianist Joanna MacGregor, as well as contributions from Vladimir Ashkenazy and Lawrence Leonard, two of the arrangers featured in his compendium. 
0:00:40 Feature Documentary
0:12:30 Slatkin Discussion
0:19:15 Philharmonia Proms Performance
0:55:00 Henry Wood Encore


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## consuono

Aggelos said:


> Toccata and Fugue in D Minor, BWV 565.
> Think about it... How much is the original organ work heard in concert, instead of it presented in some for of transcription (orchestral, piano and whatnot).
> ...


I don't like orchestrations of that one in particular, but you know (and not to go off on a tangent here too much) there are orchestrations of the Bach C minor Passacaglia and Fugue that I would much rather hear than the original keyboard version (whether it was organ or pedal harpsichord), especially the one by René Leibowitz.


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## Aggelos

consuono said:


> I don't like orchestrations of that one in particular, but you know (and not to go off on a tangent here too much) there are orchestrations of the Bach C minor Passacaglia and Fugue that I would much rather hear than the original keyboard version (whether it was organ or pedal harpsichord), especially the one by René Leibowitz.


Well you're straight up my alley. Haven't I praised Leibowitz enough here?
Leibowitz's Passacalgia and Fugue orchestration is of equal calibre as Arnold Schönberg's and Anton Webern's Bach orchestrations. 
Bach Symphonic Transcriptions


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## Aggelos

This is the concert program of Boston Symphony Orchestra, Season 44 (1924-1925).
They also mention the Leonidas Leonardi version.

http://collections.bso.org/digital/collection/PROG/id/182926/rec/1


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