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Contents 1 Performances 1. Performer Pages Philharmonia Orchestra orchestra. Angel Records , Javascript is required for this feature. The music is full of longing, and Ravel's choice of a solo saxophone to represent the singer's voice gives the beautiful main theme a particularly exotic presence.
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A vigorous reprise of the Promenade leads to Tuileries. In the painting children play and quarrel in the famous gardens in Paris. Here Mussorgsky gives us music that is capricious and almost shrill, musically imitating the animated squabbles of schoolchildren at play.
A plangent middle section interrupts, followed by what is an obvious reorganization of the games toward the end of the movement. Bydlo , a Polish word meaning "cattle," is the title of the next section, based on a painting of an ox cart. Through Mussorgsky, we hear the cart approach, pass, and struggle laboriously into the distance. At first a solo tuba represents the heavy, sagging wagon; later other instruments take over the melody to share the load and eventually it is the horn that offers the last trace of the tune as it fades.
Élégie, Op.24 (Fauré, Gabriel)
Once again the Promenade theme leads us to another painting. This time the theme jogs along with great energy until toward the end we hear a brief foreshadowing of the following movement, as the composer has caught a passing glimpse of a painting that stops him for a better viewing. Ballet of the Chicks in Their Shells is filled with a fanciful, frenetic energy that is instantly engaging.
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First we hear the powerful plutocrat, proud of the contents of his purse. Next, in a stuttering trumpet solo that demands extreme virtuosity to perform, we hear Schmuyle the beggar asking "please, just a kopyeck! Marketplace at Limoges is a musical portrait of women bantering and bartering in a busy market.
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The women gossip and quarrel with gusto, and we hear the ensuing chaos. The next movement, Catacombs , abruptly transforms the mood. Hartmann's painting of himself and two friends in the Catacombs below Paris was somber, even sinister; and Mussorgsky skillfully conveys that eerie feeling. In the following movement, Cum mortuis in lingua morta , Mussorgsky imagines the skulls in the Catacombs glowing from within, and the music takes an even more surreal turn. The final free-standing return to the Promenade theme shows the composer musically contemplating mortality. He and we now reach Baba yaga , based on Hartman's drawing for a fantastical clock.
Baba yaga is a witch in Russian folklore whose hut in a forest clearing has no windows or doors, and twirls about on chicken legs. She travels in a magical flying mortar, using the pestle as an oar to propel her through the air, and uses the mortar and pestle to grind her victims' bones into a fine paste.
Mussorgsky's music captures the legend and brings it to gruesome musical life. From this, we move directly into the final movement, The Great Gate of Kiev , and a total shift of mood and character. The movement was inspired by Hartman's drawing for a design contest for a gate commemorating Tsar Aleksandr's escape from assassins. In his design, one side of the triumphal gate is a tall bell tower. Bells were omnipresent in Russian society, used for celebration, commemoration, warning, or public mourning, and Mussorgsky incorporates bell sounds into this movement to represent that national custom.
The arch of the gate, drawn in the shape of an historical Russian military helmet, prompts the imposing military style of the music. In it we also hear a flamboyant extension of the Promenade theme, as though the composer himself is striding through the mighty gate, into the painting and so into Russian history. The music rises to a magnificent furor, punctuated by bass drum, tubular bells, and tam tam, and the work comes to a victorious close.
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