General Info about the Idea:: Modest Mussorgsky was a classical composer who has written inspired by the visit to an exhibition of the painter friend Hartmann a very famous piece of classical music. "Pictures at an Exhibition / Pictures at an Exhibition" The piece describes on musical paths to visit an exhibition. The individual "tracks" of the work, so to speak pictures which are visible from the audience in the spirit. Connected are the "images" are connected by the "Promenade", a musical bridge. So you migrates in the spirit of one image to another. The individual images (tracks) are called: The gnome, The Old Castle, Tuileries (A park in Paris), Bydlo (The oxcart), The Ballet of the Chicks in theirt Shells, Samuel "Goldenberg and" Schmuyle "Limoges (A Mark's Square), The Catacombs, The Cave Baba Yaga, The Great Gate of Kiev
For the individual definitions I quote times Wikipedia: It starts with the "Promenade" which returns slightly changed between subsequent pieces. Mussorgsky himself said that the Promenade representing himself as perambulating between the exhibits to look at them. The promenade surfaced repeatedly in situation-adapted variants on the reconciliation between the pieces. "Gnomus" is the first picture: A dwarf who scampers awkwardly on misshapen legs. The music portrays different forms of movement of gnome: wild flailing gestures, punctuated by stock stiffer solidification, crazy jumps, bizarre limp and stumble, darkly menacing crawl, which is interrupted by eruptive shaker cases. A fortissimo outburst combines the "Slow design" with a lamentoartigen chromatic downward movement so that the impression of a well-threatening as pained Estimates torturing arises. Against the backdrop of eerie eerie trills and runs in the bass region, the limping stumble miserable creature increases to glaringly dissonant cry cramps before - after acting as a scare general pause - the gnome disappears with a bizarre zigzag run. This run is the way with its two rules: con tutta forza (with all his strength) and Velocissimo (very familiar) a particularly difficult technical challenge game. "Il Vecchio Castello" - "The Old Castle" was decorated by Stassow with the addition: "Before a singing troubadour is". It is a quiet romance melancholy nature (Andantino molto cantabile e con dolore). The accompaniment and the prelude and interludes between the stanzas reminiscent of the game of a medieval hurdy-gurdy with her by sounding drone bass. "Tuileries" give the afternoon image of the famous parks in Paris again: kids jumping around, which are insistently but vainly urged by their governesses. The unctuous words of the teachers are interrupted by cheerful interjections of not taming children. "Bydlo" is a heavy Polish oxcart. Cumbersome and broad he comes; the piece presents the monotonous rolling wheels and the dull plodding steps of oxen are acoustically. Although to be played from the beginning fortissimo, a further increase by chordal expansion of the sentence and the provision con Tutta forza (carried out in the middle of the piece with all Force). Towards the end the music is always quieter and quieter (perdendosi): the strange vehicle loses itself in the distance. "Ballet of the Unhatched Chicks": Hartmann's picture shows a costume design for the staging of a ballet entitled Trilby. The music is characterized with many proposals and trills the image of feathery, mercurial chicks around trippeln hilarious, pecking and chirping. "Samuel 'Goldberg, Schmuyle'" Two Jews: one rich and ponderous, the other arm and torn. The motive to "Samuel" Goldenberg is correspondingly broad and weighty, Goldberg "speaks" with booming bass. Quite different "Schmuyle": It is distinguished by a pesky whining and nagging. The repetitions in his right hand are highly technical. At the end of the piece both motifs are brought together: the left hand plays Goldberg, the right Schmuyle. The dispute between the two increases and ends abruptly with the glaring dissonance of an augmented triad. The lamenting chromatic final passage (con dolore) suggests the image of the apparently inferior Schmuyle who slinks like a drowned rat, while him the "winner" past sends some abruptly thrown threatening gestures. "Limoges" is a reflection of everyday bustle of the market: Animated tangle, screaming seller, contending market women. At the end, the pace of the whole piece continuous staccato movement accelerates to a wild swirls with accelerando screwed upwards and then abruptly (attacca) crashes into the depths of the catacombs described in the next picture. "Catacombae" and "Cum mortuis in lingua mortua" represent a transition Hartmanns through the catacombs. The piece this reflects a sombre mood, which can easily arise in the Catacombs of Paris in the face of stacked bones and skulls. Long echoing chords sound sometimes with brutal shocking force fortissimo, sometimes they reverberate softly, eerily out of the mysterious depths of the vaults. Before the part "Con mortuis in lingua mortua" stands in Autograph following note Mussorgsky: "The Latin text reads: with the dead in a dead language which is already says the Latin text - The creative spirit of the dead Hartmann leads me to the skulls.? and calls on it and the skull shine gently on ". In the music Mussorgsky seems itself to call the skull: Against the backdrop of shimmering tremolos in the treble a minor variant of the Promenade theme is heard alternately in the central position (invocation) and darker bass region (answer from the dead). With "mystical" sounding chords the piece, immersed in the omnipresent tremolo, which remains the only one left at the end and its always quieter fading away fades away - if it is done without holes and dynamic outliers - also to the pianistic problems is one with which the entire cycle is abundantly peppered. "The Hut on Fowl's feet": Baba Yaga is a witch of Russian folk tale. She lives in a dark forest, where they lie in wait for unsuspecting passers-by, luring them into her hut and eats. My house stands on chicken feet, so that it can turn to the incoming to the input, regardless of the direction they come from. She herself does not ride around on a broom, but on a mortar, she drives to the ram. Its weighty tamping determines the character of the wild witches Ritts, the Musorgsky in the corner parts of this piece describes, while the eerie atmosphere of the forest thicket is conjured up in the midsection. For the mating calls of eerie witch Mussorgsky used the "devil interval" tritone. "The Great Gate of Kiev" refers to the graphic design Hartmanns for a gate with a bell tower and a small church in the interior. Through a full grip and Bass proposals "overweight" styled theme Mussorgsky describes the majestic size of the gate. If you repeat this thread occur added octave scale figures, which allude to the rich ornamentation. The religious aspect is indicated by two inserted episodes in four-part chorale. Bell-like chords in the bass rock through supervention of successively accelerated central and upper parts to a hearty peal, in which finally emerges quasi apothetisch the Promenade theme. After a further increase in the opening theme again appears in a form which utilizes the maximum sonority of the piano, even tried to blow up and the previous "bell ringing" involving. After another increase passage that swells the ringing until the noisy din, the piece with a monumental apotheosis of the main theme and powerful final chords ends.