More of the music of Modest Mussorgsky (1839-1881)
Reviews and Commentaries for the Music of Mussorgsky
- A superb early London stereo pressing of our favorite solo piano performance of Mussorgsky’s masterful suite, with Double Plus (A++) sound from the first note to the last
- The weight and warmth of side one’s recording from Kingsway Hall is faithfully captured in all its beauty on this very disc
- The orchestral performance of the work is squeezed onto the second side of the record, and that is just not going to work with a 30-minute-long piece of music — the sound is compressed and bass-shy
This vintage London pressing has the kind of Tubey Magical Midrange that modern records can barely BEGIN to reproduce. Folks, that sound is gone and it sure isn’t showing signs of coming back. If you love hearing INTO a recording, actually being able to “see” the performers, and feeling as if you are sitting in the studio with the band, this is the record for you. It’s what vintage all analog recordings are known for — this sound.
If you exclusively play modern repressings of vintage recordings, I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Old records have it — not often, and certainly not always — but maybe one out of a hundred new records do, and those are some pretty long odds.
What The Best Sides Of Pictures At An Exhibition Have To Offer Is Not Hard To Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1967
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with the piano having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We’re Listening For On Pictures At An Exhibition
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Powerful bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around the piano.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Vinyl Condition
Mint Minus Minus and maybe a bit better is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don’t have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that’s certainly your prerogative, but we can’t imagine losing what’s good about this music — the size, the energy, the presence, the clarity, the weight — just to hear it with less background noise.
Pictures at an Exhibition – NPR Background by Ted Libby
As an orchestral showpiece – the form in which it is familiar to most listeners – Pictures at an Exhibition is two times over a work of enlargement. Moussorgsky’s original suite for piano, composed in 1874 as a memorial to the painter Victor Hartmann, took as its point of departure ten pictures displayed at a posthumous exhibition of the artist’s work. Though pianistically crude, Moussorgsky’s renderings of his friend’s images convey their rich fantasy with sincerity and great imaginative force. Ravel’s celebrated orchestration of Pictures at an Exhibition, undertaken in 1922 at the request of conductor Serge Koussevitzky, in turn faithfully amplifies both the wit and deep feeling of Moussorgsky’s tribute.
One is surprised, listening to the orchestral version, to discover that Hartmann’s originals were modest little sketches and watercolors. For example, the Ballet of Chicks in their Shells was inspired by a whimsical costume sketch for a children’s ballet. Moussorgsky had turned that into a lively scene painting, and Ravel’s scoring, with its clucking oboes and scurrying scale passages in the bassoon and strings, transforms the children in their eggshell costumes into real chicks.
The inspiration for The Hut on Fowl’s Legs came from a quaint design for a clock in the shape of cabin built on a chicken’s feet – the unlikely abode of the witch Baba Yaga. Moussorgsky decided to portray the legendary hag’s frightful ride through the air. Ravel marshals the heavy brass and a business like array of percussion to create a thunderous chase.
In The Great Gate of Kiev, the most breathtaking and at the same time most touching part of the suite, Moussorgsky apostrophized his departed friend with a monumental realization of Hartmann’s lopsided, ornately decorated drawing of a city gate in the old Russian style, with a cupola in the shape of a helmet surmounting the gatehouse. Based on the theme Moussorgsky called Promenade – which opens Pictures at an Exhibition and is meant to depict the viewer’s passing from one work to the next – this finale was the composer’s way of saying farewell and, at least in music, giving substance to one of his friend’s fondest dreams. In Ravel’s hands, Moussorgsky’s vision of a gate that was never built becomes one of the architectural wonders of the world, magnificently brought to life by full brass, pulsing strings, pealing bells, and triumphant cymbals.
Wikipedia Commentary and Background
The enduring popularity of Mussorgsky’s Pictures at an Exhibition lies in the satisfaction it offers both at first hearing and in repeated visits. The variety of invention and distinctive character of each movement appeal at once. Visual motives find vivid aural form: clocks, bells, chants, feathers, flames, climb and descent. The piece rewards additional hearings with new relationships constantly to be discovered. The first two movements of the suite–one grand, one grotesque–find mirrored counterparts, and apotheoses, at the end. The suite traces a journey that begins at an art exhibit, but the line between observer and observed vanishes at the Catacombs when the journey takes on a different character. For all the variety individual movements display in musical invention, each springs from a kernel in the opening melody. The Promenade theme provides distinctive “cells” of two and three notes that generate themes and accompaniment figures throughout the piece.
Side One (Piano Version)
Promenade
Gnomus
Il Vecchio Castello
Tuileries
Bydlo
Ballet of the Chicks in Their Shells
Samuel Goldenburg und Schmuyle
The Market Place at Limoges
Catacombs: Con Mortuis in Lingua Mortua
The Hut on Fowl’s Legs
The Great Gate Of Kiev
Side Two (Ravel Orchestration)
Promenade
Gnomus
Il Vecchio Castello
Tuileries
Bydlo
Ballet of the Chicks in Their Shells
Samuel Goldenburg und Schmuyle
The Market Place at Limoges
Catacombs: Con Mortuis in Lingua Mortua
The Hut on Fowl’s Legs
The Great Gate Of Kiev