Moussorgsky & Ravel - Pictures At An Exhibition - Fritz Reiner (2LP,  45RPM, 200g)
Moussorgsky & Ravel - Pictures At An Exhibition - Fritz Reiner (2LP,  45RPM, 200g)
Moussorgsky & Ravel - Pictures At An Exhibition - Fritz Reiner (2LP,  45RPM, 200g)
Moussorgsky & Ravel - Pictures At An Exhibition - Fritz Reiner (2LP,  45RPM, 200g)

Moussorgsky & Ravel - Pictures At An Exhibition - Fritz Reiner (2LP, 45RPM, 200g)

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Composed by Modest Petrovich Mussorgsky

Orchestrated by Maurice Ravel

Chicago Symphony Orchestra

Conductor Fritz Reiner


2 LPs, Deluxe gatefold jacket from Stoughton Printing

Original analog Master tape : YES

Heavy Press : 200g

Record color : black

Speed : 45RPM

Size : 12”

Stereo

Studio

Record Press :  Quality Record Pressings

Label :  Analogue Productions

Original Label :  RCA Victor Red Seal

Recorded in 1957 at Chicago's Orchestra Hall

Engineered by Sergio Marcotulli

Remastered by Ryan Smith at Sterling Sound

Originally released in 1958

Reissued in 2017

 

Tracks :

  1. Promenade
  2. Gnomus
  3. Promenade
  4. Il Vecchio Castello
  5. Promenade
  6. Tuileries
  7. Bydlo
  8. Promenade
  9. Ballet of the Chicks in Their Shells
  10. Samuel Goldenburg und Schmuyle
  11. The Market Place at Limoges
  12. Catacombae, Sepulchrum Romanum
  13. Con Mortuis in Lingua Mortua
  14. The Hut on Fowl's Legs
  15. The Great Gate of Kiev

 

Reviews :

Another sonic and musical blockbuster from the unbeatable combo of Reiner and RCA (and Mohr & Layton). Recorded in 1957 at Chicago's Orchestra Hall; the original analog session tapes were used in mastering for LPs. Mussorgsky's inspiration for Pictures was the death of his dear friend, the architect and visual artist Victor Hartman. Having died at age 39, Hartman had not yet had the opportunity to realize any of his architectural visions, and Mussorgsky was angered that his friend would have no legacy. The Architects' Society arranged an exhibition of some of Hartman's sketches — some of architecture, others of characters or scenes from everyday life. The tribute was enough to give Mussorgsky ideas for his composition, but not enough to give Hartman any lasting place in history. Today, of all of the sketches that were captured in music, only six can be positively identified.

The piece is known today primarily through the orchestral version created by Maurice Ravel in 1922. In fact, the work had already been orchestrated multiple times, by a variety of lesser names. Some conductors today find that Ravel's version, in spite of its color, sacrifices some of the coarse nature inherent in Mussorgsky's piano original. Furthermore, Ravel worked from Rimsky-Korsakov's edited version of the piano part - the only one available at the time - which changed some notes and rhythms.

None of the orchestrations, however, change the fundamental spirit of the piece. Mussorgsky imagines himself making his way down the hallway that showcased his late friend's work, with his stately procession represented by the Promenade that opens the piece and returns several times. Upon stopping at each image, he reflects on what he sees. Between the early movements, the promenade returns regularly, as Mussorgsky is conscious of moving from one scene to the next. As the work progresses, however, he becomes less aware of the interval between pictures, and more immersed in the continuous psychological experience of moving from one state of mind to the next. By the end, the composer sees himself transformed by the connection with Hartman through his visual expressions of Russian pride and humanity.

 

AllMusic :

Discogs : 4.56 / 5

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