Mussorgsky: Pictures at an Exhibition (recording of the Century: Fritz Reiner, Chicago / Remastered)

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Modest Mussorgsky (1839-1881) Pictures at an Exhibition (orchestra; ravel transcription)
00:00 I. Promenade: allegro giusto, nel modo russico, senza allegrezza, ma poso sostenuto (2025 Remastered, Chicago 1957)
01:48 Il. Gnomus: sempre vivo (2025 Remastered, Chicago 1957)
04:21 III. Promenade: moderato comodo assai e con delicatezza (2025 Remastered, Chicago 1957)
05:27 IV. The Old Castle: andantino molto cantabile e con dolore (2025 Remastered, Chicago 1957)
09:54 V. Promenade: moderato non tanto, pesamente (2025 Remastered, Chicago 1957)
10:29 VI. The Tuileries Garden: allegretto non troppo, capriccioso (2025 Remastered, Chicago 1957)
11:28 VII. Bydlo: sempre moderato, pesante (2025 Remastered, Chicago 1957)
14:54 VIII. Promenade: tranquillo (2025 Remastered, Chicago 1957)
15:38 IX. Ballet of the Unhatched Chicks: scherzino vivo, leggiero trio (2025 Remastered, Chicago 1957)
16:50 X. Samuel Goldenberg and Schmuyle: andante grave, energico andantino (2025 Remastered, Chicago 1957)
19:03 XI. The Market place at Limoges: allegro vivo, sempre scherzando (2025 Remastered, Chicago 1957)
20:22 XII. Catacombae. Sepulcrum Romanum: largo (2025 Remastered, Chicago 1957)
22:19 XIII. Con mortuis in lingua mortua: andante non troppo, con lamento (2025 Remastered, Chicago 1957)
24:18 XIV. Baba-Yagá. The Hut on Fowls Legs: allegro con brio, feroce andante mosso, allegro molto (2025 Remastered, Chicago 1957)
27:47 XV. The Great Gate of Kiev: allegro alla breve maestoso con grandezza (2025 Remastered, Chicago 1957)

Chicago Symphony Orchestra
Conductor: Fritz Reiner
Recorded in 1957, at Chicago (stéréo)
New mastering in 2025 by AB for https://classicalmusicreference.com/
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In the 1860s a wave of aesthetic nationalism swept through Russia. Architects like Victor Hartmann abandoned the classic domes and columns that had given St. Petersburg a Roman air and went in for structure and ornament based on medieval and contemporary folk styles. Composers like Modest Mussorgsky sought the materials of a new idiom in Russian folk music and the subjects for opera and song in Russian history and in the life about them. It is scarcely surprising, therefore, that Hartmann and Mussorgsky were friends.

Hartmann died in 1873, and in the spring of the following year about 400 of his works were displayed in the rooms of the St. Petersburg Society of Architects. Mussorgsky attended the Hartmann memorial exhibition, to which he had lent some drawings from his own collection, and wrote a suite for piano inspired by ten of the things he saw there. No one paid much attention to this work until 1922, when Ravel orchestrated it at the request of Serge Koussevitzky. For half a century, therefore, no special reason existed for interest in the work of Hartmann. His drawings were scattered, most of them disappeared, and several of Mussorgsky's biographers have stated that they are all beyond recovery. The writer of these lines, however, had the good fortune to locate about seventy of the 400 pictures that were in the exhibition Mussorgsky saw. The most important of these may be found in The Musical Quarterly for July 1939, and in an illustrated edition of the original piano score published by the International Music Company of New York.

After having released two legendary piano interpretations of Pictures at an Exhibition by Sviatoslav Richter, it was only natural to publish the iconic orchestral version of this sumptuous work. Fritz Reiner brings out the finest details of the score, and the power of the Chicago Symphony Orchestra—renowned for its brass section—is here in a state of grace. The remastering is exceptional.

🔥🎧 Album available // Mussorgsky: Pictures at an Exhibition by Fritz Reiner
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Other Album available // Mussorgsky: Pictures at an Exhibition by Sviatoslav Richter at Sofia
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