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COM Sweden www. Buy in Switzerland Musikvertrieb AG www. Buy in United Kingdom Amazon www. Pianists have wrestled with the unpianistic corners of his most famous work since he composed it in in memory of his friend, the painter Viktor Hartmann, who had died the previous year. Mussorgsky portrayed some of Hartmann's pictures in music when they were displayed at an exhibition in Saint Petersburg. The composer and conductor Igor Markevitch was a celebrated interpreter of Pictures, and this is his third recording.

Nevertheless the piano score leaves ample opportunity to. More Less.

Track list

Track list Disk 1. Pictures at an Exhibition: No.

Mussorgsky: Pictures at an Exhibition & other piano works

Sepulcrum romanum — Con mortuis in lingua mortua. Pictures at an Exhibition: Promenade 4 - No. They begin to glow from within with a gentle luminescence. Baba Yaga is a folkloric Russian witch famous for dining on crushed-up human bones, and she indeed lived in a hut perched on fowl's legs. Note that Hartmann's rendering is as a clock!

Rory Guy ventures that the music "seems also to suggest the witch's flight through the night sky in search of mortal prey. It was never built, but Hartmann's six designs for it stimulated Mussorgsky to conceive an even more imposing edifice in music, quoting an ancient liturgical theme, and suggesting a procession, bells, chanting, and triumphant celebration. It seems only logical to complete this portion of our program with the second "half- Pictures.

So don't tell anybody, but I've discreetly slipped in the first-half files for each. Promenade No. EMI, recorded Oct. Wthis week's installment begins with "Samuel Goldenberg and Schmuyle" No. We hear our "preview" team -- William Kapell performing the piano version, George Szell and the Cleveland Orchestra performing the Ravel orchestral version -- in the first and last of tomorrow's second-half pictures.

I remember this, and I always will. There are new lovers now on the same silent hill, looking on the same blue sea.

Thursday, January 30, 2003

And I know Tom and I are a part of them all -- and they're all a part of Tom and me. Daly's first song in Gilbert and Sullivan's The Sorcerer , I suggested that while the ballad itself, "Time was when love and I were well-acquainted," is quite lovely, it's the introductory recitative, "The air is filled with amatory numbers," that really gets to me, that rises to the level of musical magic. I would say the same thing about Anna's remembrance of her dead husband in The King and I.

While the song proper, "Hello, young lovers," is just fine, and became justly famous, the emotional dynamite is in the introduction, or verse, or recitative -- however composer Richard Rodgers thought of it.

Track Listing

Melodically and harmonically, what Rodgers does here looks ridiculously simple, even obvious. The only thing is that nobody else did it, or I think could have done it -- with a tip of the hat to the simple but simply magical orchestration of Robert Russell Bennett. Rodgers's lyric-writing partner Oscar Hammerstein II could write corny, and I think there are traces of that in the song, but not here.

The words are not only simple and beautiful but emotionally explosive. It's all so stunningly written that the performers don't have to do much more than, well, just do it, unless you count the small I'm being ironic matter of meaning it, as it seems to me Valerie Masterson does so hauntingly in this recording.

Mussorgsky Samuel Goldenberg and Schmuyle Piano Tutorial

Now we're going to jump back to and hear, well, not quite the full scene, but more of the early scene from The Pirates of Penzance , starting from the moment when young Frederic announces his ex-piratical presence to General Stanley's daughters, who are about to roll up their stockings, unaware that they're in the presence of gasp a man! Mabel, "O sisters deaf to pity's name". Decca, recorded Dec. I hate to waste them, though. As you may have suspected from "Poor wandering one," these are not among Masterson's happier recordings that "Poor wandering one" is significantly less easily and luminously sung than the and ones we've also heard tonight , which I suspect reflects the conditions of haste and lack of care under which they were made.

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I did kind of want to have Violetta's " Sempre libera " on hand here, since a lot of people think Sullivan had it in mind when he wrote "Poor wandering one," but, well, you can't always get what you want. I still don't know when we're going to get to the promised Valerie Masterson post. Given his history with the pictures, I think it's worth hearing Alfred Frankenstein out on the subject of them, their creator, and the composer who brings us here today.

The Music, Pictures at an Exhibition – Malden Creates, LLC

Modest Petrovich Mussorgsky was a composer of genius totally devoted to the Russian nationalist ideal. Viktor Alexandrovich Hartmann [left] was an architect and designer of ordinary talent, but he was equally devoted to the nationalist ideal. Consequently he and Mussorgsky were friends, and when Hartmann died at the age of 39 and a memorial exhibition of his works was held in St.

Petersburg -- this was in the fall of -- Mussorgsky attended, selected ten of the pictures on exhibition as springboards or pretexts for piano pieces of his own, and thereby immortalized Hartmann in a completely falsified guise. Hartmann's ideas were modest, essentially conventional and small-scaled. Mussorgsky's ideas were immense, iconoclastic and grandiose.

Mussorgsky made Hartmann over in his own image; and many, seeing Hartmann as Hartmann for the first time, are shocked and disappointed. Let it be said at once: the pictures commemorated in this exhibition are not huge, romantic canvases in gold frames. They are actually not paintings at all, at least in the ordinary sense of that word. Many are architectural drawings. Some are costume sketches for the ballet, and one is a design for a clock.

Now we don't have to go along with this all the way. The pictures we can see don't strike me as exactly "conventional" I think you could get away with calling them "weird" , and "grandiose" as Mussorgsky's imagination may have been, his musical pictures are in fact immensely "small-scaled.

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  • As I wrote in last night's preview , Mussorgsky's musical pictures are such tiny, finely chiseled miniatures that at least in my experience they tend to whiz by too quickly for proper appreciation, which is why I'd like to really take our time with them, to allow each to really register. Just to clarify I hope! The two Sandomir Jews of No. Mussorgsky gave numbers only to the ten "pictures. He gave no title to the four "promenades" that follow the opening one, which presumably offer snapshots of the exhibition-goer.

    The last Promenade, between Nos.

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    Although Pictures isn't a piece I've collected intensively, I think I've "made do" pretty well.