   '''''Pictures at an Exhibition''''' (, ''Kartinki s vystavki &amp;ndash; Vospominaniye o Viktore Gartmane'', &quot;Pictures from an Exhibition &amp;ndash; A Remembrance of Viktor Hartmann&quot;) is a famous suite in ten movements composed for piano by Modest Mussorgsky in 1874.  The suite is Mussorgsky's most famous piano composition, and has become a showpiece for virtuoso pianists. It has become further known through various orchestrations and arrangements produced by other musicians and composers, with Ravel's arrangement being the most recorded and performed.  ==Composition history==  (1834–1873)]] It was probably in 1870 that Mussorgsky met artist and architect Viktor Hartmann. Both men were devoted to the cause of an intrinsically Russian art and quickly became friends. Their meeting was likely arranged by the influential critic Vladimir Stasov who followed both of their careers with interest.  Hartmann died from an aneurysm in 1873. The sudden loss of the artist, aged only 39, shook Mussorgsky along with others in Russia's art world. Stasov helped organize an exhibition of over 400 Hartmann works in the Academy of Fine Arts in Saint Petersburg, Russia in February and March 1874. Mussorgsky lent works from his personal collection to the exhibit and viewed the show in person. Fired by the experience, he composed ''Pictures at an Exhibition'' in six weeks. The music depicts an imaginary tour of an art collection. Titles of individual movements allude to works by Hartmann; Mussorgsky used ''Hartmann'' as a working title during the work's composition.  He described the experience to Stasov in June 1874: &quot;''Hartmann'' is seething as ''Boris'' was. Sounds and ideas float in the air and my scribbling can hardly keep pace with them.&quot;Calvocoressi (1956, p. 182).  Mussorgsky based his musical material on drawings and watercolours by Hartmann produced mostly during the artist's travels abroad. Locales include Poland, France and Italy; the final movement depicts an architectural design for the capital city of Ukraine. Today most of the pictures from the Hartmann exhibit are lost, making it impossible to be sure in many cases which Hartmann works Mussorgsky had in mind. Musicologist Alfred Frankenstein, in a 1939 article for ''The Musical Quarterly'', claimed to have identified seven pictures by catalogue number. ''Two Jews: Rich, and Poor'' (Frankenstein suggested two separate portraits, still extant, as the basis for ''Samuel Goldenberg und Schmuyle''), ''Gnomus'', ''Tuileries'' (now lost), ''Ballet of the Unhatched Chicks'' (a ballet costume design), ''Catacombae'', ''The Hut on Hen's Legs'' (''Baba Yaga''), and ''The Bogatyr Gates''.  Mussorgsky links the suite's movements in a way that depicts the viewer's own progress through the exhibition. Two &quot;Promenade&quot; movements stand as portals to the suite's main sections. Their regular pace and irregular meter depicts the act of walking. Three untitled interludes present shorter statements of this theme, varying the mood, colour and key in each to suggest reflection on a work just seen or anticipation of a new work glimpsed. Mussorgsky wrote to Stasov: &quot;My physiognomy can be seen in the interludes.&quot; A turn is taken in the work at the &quot;Catacombae&quot; when the ''Promenade'' theme stops functioning as merely a linking device and becomes, in &quot;Cum mortuis&quot;, an integral element of the movement itself. The theme reaches its apotheosis in the suite's finale, ''The Bogatyr Gates.''  ==Publication history==  As with most of Mussorgsky's works, ''Pictures at an Exhibition'' has a complicated publication history. Although composed very rapidly (during June 2–22, 1874), the work did not appear in print until 1886 (five years after the composer's death), when an edition by the composer's great friend Nikolai Rimsky-Korsakov was published. This publication, moreover, was not a completely accurate representation of Mussorgsky's score, but presented an edited and revised text that had been reworked to a certain amount, as well as containing a substantial number of errors and misreadings.  Only in 1931, more than half a century after the work's composition, was ''Pictures at an Exhibition'' published in a scholarly edition in agreement with the composer's manuscript. In 1940, the Italian composer Luigi Dallapiccola published an important critical edition of Mussorgsky's work with extensive commentary. Mussorgsky's hand-written manuscript was published in facsimile in 1975.  ==Gallery of Hartmann's pictures== The surviving works by Hartmann that can be shown with any certainty to have been used by Mussorgsky in assembling his suite, along with their titles,Gordeyeva (1984: p. 339) are as follows:   No. 5''Sketch of theatre costumes for the ballet ''Trilby'' No. 6a''Jew in a fur cap'' No. 6b''Sandomir Jew'' No. 8''Paris catacombs (with the figures of V. A. Hartmann, V. A. Kenel, and a guide, holding a lantern)'' No. 9''The hut of Baba-Yaga on hen's legs&amp;ndash;clock in the Russian Style''  No. 10''Project for a city gate in Kiev&amp;ndash;main façade''     ''Note:'' Mussorgsky owned the two pictures that together inspired No. 6, the Two Jews. The title of No. 6b, as provided by the Soviet editors of his letters, is ''«Сандомирский [еврей]»'' (, Sandomir Jew). The bracketed word ''yevrey'' (derived from the word ''Hebrew'') is the sanitized form of the original word, very likely ''жид'' (''zhid'' or ''yid''). Mussorgsky, like many Russian intellectuals of his day, habitually used antisemitic epithets in his correspondence.Taruskin (1993: pp. 379-383)  ==Movements== Vladimir Stasov's program, identified below,Calvocoressi and Abraham (1946, pp. 172–73). and the six known extant pictures suggest that the ten pieces comprising the suite correspond to eleven pictures by Hartmann, with ''Samuel Goldenberg und Schmuÿle'' accounting for two. The five ''Promenade'' movements, consisting of an introduction and four links, are not numbered among the ten pictures. The 2nd, 3rd, and 4th ''Promenade'' movements are untitled in the composer's manuscript.  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 &quot;cells&quot; of two and three notes that generate themes and accompaniment figures throughout the piece.  The recording accompanying this explanation is by the Skidmore College Orchestra and provided courtesy of [ Musopen].  ===Promenade=== (French)   Key: B-flat major  Meter: originally 11/4. Published editions alternate 5/4 and 6/4.  Tempo: ''Allegro giusto, nel modo russico; senza allegrezza, ma poco sostenuto''  Stasov comment: In this piece Mussorgsky depicts himself &quot;roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention, and at times sadly, thinking of his departed friend.&quot;  The melody and rhythm resemble Russian folk songs. The piece has simple, strong rhythms in asymmetrical meter.    ===No. 1 &quot;Gnomus&quot;=== (Latin, ''The Gnome''):   Key: E-flat minor  Meter: 3/4  Tempo: alternating &quot;Vivo&quot; and &quot;Meno mosso, pesante&quot;  Stasov comment: &quot;A sketch depicting a little gnome, clumsily running with crooked legs.&quot;  Hartmann's sketch, now lost, is thought to represent a design for a nutcracker displaying large teeth. The lurching music, in contrasting tempos with frequent stops and starts, suggests the movements of the gnome.  ===[Untitled] (Interlude, Promenade theme)===   Key: A-flat major  Meter: alternating 5/4 and 6/4  Tempo: &quot;Moderato commodo assai e con delicatezza&quot;  A placid statement of the promenade melody depicts the viewer walking from one display to the next.  ===No. 2 &quot;Il vecchio castello&quot;=== (Italian, ''The Old Castle''):   Key: G-sharp minor  Meter: 6/8  Tempo: &quot;Andante molto cantabile e con dolore&quot;  Stasov comment: &quot;A medieval castle before which a troubadour sings a song.&quot;  This movement is thought to be based on a watercolor depiction of an Italian castle. Hartmann often placed appropriate human figures in his architectural renderings to suggest scale.Frankenstein (1939, p. 282).  ===[Untitled] (Interlude, Promenade theme)===   Key: B major.  Meter: alternating 5/4 and 6/4  Tempo: &quot;Moderato non tanto, pesamente&quot;  Another brief statement of the promenade melody (8 measures) gives it more extroversion and weight than before.  ===No. 3 &quot;Tuileries&quot; (Dispute d'enfants après jeux)=== (French, ''Tuileries (Dispute between Children at Play)'')   Key: B major  Meter: 4/4  Tempo: &quot;Allegretto non troppo, capriccioso&quot;  Stasov comment: &quot;An avenue in the garden of the Tuileries, with a swarm of children and nurses.&quot;  Hartmann's picture of the Jardin des Tuileries near the Louvre in Paris (France) is now lost. Figures of children quarrelling and playing in the garden were likely added by the artist for scale (see note on No. 2 above).  The movement is cast in through-composed ternary form (ABA).  ===No. 4 &quot;Bydło&quot;=== (Polish, ''Cattle'')   Key: G-sharp minor  Meter: 2/4  Tempo: Sempre moderato, pesante.  Stasov comment: &quot;A Polish cart on enormous wheels, drawn by oxen.&quot;  The movement is cast in through-composed ternary form (ABA) with coda. Mussorgsky's original piano version of this movement begins ''fortissimo'' ('''''ff'''''), suggesting that the lumbering oxcart's journey begins in the listener's foreground. After reaching a climax (''con tutta forza'') the dynamic marking is abruptly ''piano'' (bar 47), followed by a ''diminuendo'' to a final ''pianissimo'' ('''''ppp'''''), suggesting the oxcart receding into the distance. Arrangements based on Rimsky-Korsakov's edition, such as Ravel's, begin quietly, build gradually (''crescendo'') to ''fortissimo'', and then undergo a ''diminuendo'', suggesting the oxcart approaching, passing the listener, and then receding.  ===[Untitled] (Interlude, Promenade theme)===   Key: D minor  Meter: alternating 5/4, 6/4, 7/4  Tempo: &quot;Tranquillo&quot;  A reflective 10-measure presentation of the promenade theme.  ===No. 5 &quot;Балет невылупившихся птенцов&quot; [Balet nevylupivshikhsya ptentsov]=== (Russian, ''Ballet of the Unhatched Chicks'')   Key: F major  Meter: 2/4 time  Tempo: &quot;Scherzino (vivo, leggiero)&quot;  Stasov comment: &quot;Hartmann's design for the décor of a picturesque scene in the ballet ''Trilby''.&quot;  Gerald Abraham provides the following details: &quot;''Trilby'' or ''The Demon of the Heath'', a ballet with choreography by Petipa, music by Julius Gerber, and décor by Hartmann... produced in 1870. The fledglings were canary chicks.&quot;  The movement is cast in ternary form (ABA) with a literal repeat and terse extension (coda).  ===No. 6 &quot;Samuel&quot; Goldenberg und &quot;Schmuÿle&quot;=== (Yiddish, ''Samuel Goldenberg and Schmuÿle'')   Key: B-flat minor  Meter: 4/4 time  Tempo: &quot;Andante. Grave energico&quot; and &quot;Andantino&quot;  Stasov comment: &quot;Two Jews: Rich and Poor&quot; ()  Stasov's explanatory title elucidates the personal names used in Mussorgsky's original manuscript. Published versions display various combinations, such as &quot;Two Polish Jews, Rich and Poor (Samuel Goldenberg and Schmuyle)&quot;. The movement is thought to be based on two separate extant portraits.  The use of augmented second intervals approximate Jewish modes such as the Phrygian dominant scale. The movement is in ternary form (A|B|A+B): #Andante, grave energico (Theme 1 &quot;Samuel Goldenberg&quot;) #Andantino (Theme 2 &quot;Schmuÿle&quot;) #Andante, grave energico (Themes 1 and 2 in counterpoint) #Coda  ===Promenade=== Key: B-flat major.  Meter: originally 11/4. Published editions alternate 5/4 and 6/4.  Tempo: ''Allegro giusto, nel modo russico; poco sostenuto.''  A nearly bar-for-bar restatement of the opening promenade. Differences are slight: condensed second half, block chords voiced more fully. Structurally the movement acts as a reboot, giving listeners another hearing of the opening material before these are developed in the second half of the suite. Its appearance at this point in the programmatic narrative suggests that Mussorgsky's exhibition viewer stands in an economic middle ground between the wealth of Goldenberg and the poverty of Schmuÿle.  Many arrangements, including Ravel's orchestral version, omit this movement.  ===No. 7 &quot;Limoges, le marché&quot; (La grande nouvelle)=== (French, ''The Market at Limoges (The Great News)'')   Key: E-flat major  Meter: 4/4  Tempo: ''Allegretto vivo, sempre scherzando''  Stasov comment: &quot;French women quarreling violently in the market.&quot;  Limoges is a city in central France. Mussorgsky originally provided two paragraphs in French that described a marketplace discussion (the 'great news'), but soon removed them.  The movement is a scherzo in through-composed ternary form (ABA). A scurrying coda leads without a break into the next movement.  ===No. 8 &quot;Catacombæ&quot; (Sepulcrum romanum) and &quot;Cum mortuis in lingua mortua&quot;=== (Latin, ''The Catacombs (Roman sepulcher)'') and (Latin, ''With the Dead in a Dead Language'')  ''Note'': The original published title's ''Con mortuis'' is correctly rendered in Latin as ''Cum mortuis''.   Key: B minor  Meter: 3/4 (Sepulcrum) 6/4 (Cum mortuis)  Tempo: &quot;Largo&quot; (Sepulcrum) &quot;Andante non troppo con lamento&quot; (Cum mortuis)  Stasov comment: &quot;Hartmann represented himself examining the Paris catacombs by the light of a lantern.&quot;  The movement is in two distinct parts. Its two sections consist of a nearly static ''Largo'' consisting of a sequence of block chords, with elegiac lines adding a touch of melancholy, and a more flowing, gloomy &quot;Andante&quot; that introduces the &quot;Promenade&quot; theme into the scene.  The first section's alternating loud and soft chords evoke the grandeur, stillness, and echo of the catacombs. The second section suggests a merging of observer and scene as the observer descends into the catacombs. Mussorgsky's manuscript of ''The Catacombs'' displays two pencilled notes, in Russian: &quot;NB – Latin text: With the dead in a dead language&quot; and, along the right margin, &quot;Well may it be in Latin! The creative spirit of the dead Hartmann leads me towards the skulls, invokes them; the skulls begin to glow softly from within.&quot;  ===No. 9 &quot;Избушка на курьих ножках&quot; (Баба-Яга) [Izbushka na kuryikh nozhkakh (Baba-Yagá)]=== (Russian, ''The Hut on Fowl's Legs (Baba-Yagá)'')   Key: C minor  Meter: 2/4  Tempo: &quot;Allegro con brio, feroce&quot; and &quot;Andante mosso&quot;  Stasov comment: &quot;Hartmann's drawing depicted a clock in the form of Baba-Yagá's hut on fowl's legs. Mussorgsky added the witch's flight in a mortar.&quot;  A scherzo ''feroce'' with a slower middle section. Motives in this movement evoke the bells of a large clock and the whirlwind sounds of a chase. Structurally the movement mirrors the grotesque qualities of &quot;Gnomus&quot; on a grand scale. The central andante is one of the more demanding portions of the suite for the pianist, as it features a 16th note triplet tremolo throughout.  The movement is cast in ternary form (ABA): #Allegro con brio, feroce #Andante mosso #Allegro molto (a nearly literal repeat) #Coda  The coda leads without a break to the final movement of the suite.  ===No. 10 &quot;Богатырские ворота&quot; (В стольном городе во Киеве) [Bogatyrskiye vorota (V stolnom gorode vo Kiyeve)]=== (Russian, ''The Bogatyr Gates (in the Capital in Kiev)'') '''''  Key: E-flat major  Meter: 4/4  Tempo: &quot;Maestoso, con grandezza&quot; and broadening to the end.  Stasov comment: &quot;Hartmann's sketch was his design for city gates at Kiev in the ancient Russian massive style with a cupola shaped like a slavonic helmet.&quot;  Bogatyrs are heroes that appear in Russian epics called bylinas. The title of this movement is commonly translated as &quot;The Great Gate of Kiev&quot; and sometimes as &quot;The Heroes' Gate at Kiev.&quot;  Hartmann designed a monumental gate for Tsar Alexander II to commemorate the monarch's narrow escape from an assassination attempt on April 4, 1866. Hartmann regarded his design as the best work he had done. His design won the national competition but plans to build the structure were later cancelled.  The movement features a grand main theme that exalts the opening promenade much as &quot;Baba Yaga&quot; amplified &quot;Gnomus&quot;; also like that movement it evens out the meter of its earlier counterpart. The solemn secondary theme is based on a baptismal hymn from the repertory of Russian Orthodox chant.  The movement is cast as a broad rondo in two main sections: ABAB|CADA. The first half of the movement sets up the expectation of an ABABA pattern. The interruption of this pattern with new music just before its expected conclusion gives the rest of the movement the feeling of a vast extension. This extended leave-taking acts as a coda for the suite as a whole. #A Main Theme (&quot;forte&quot;) Tempo: &quot;Maestoso&quot; #B Hymn Theme (''piano'') (A-flat minor) #A Main Theme (&quot;forte&quot;) Descending and ascending scale figures suggest carillons. #B Hymn Theme (''piano'') (E-flat minor) #C Interlude/Transition [under &quot;forte&quot;]. &quot;Promenade&quot; theme recalled. Suggestions of clockwork, bells, ascent. #A Main Theme (''fortissimo'') Triplet figuration. Tempo: ''Meno mosso, sempre maestoso.'' #D Interlude/Transition (&quot;mezzo forte&quot; with crescendo) Triplets. #A Main Theme (''fortissimo'') Tempo: ''Grave, Sempre allargando.'' Rhythm slows to a standstill by the final cadence.  ==Arrangements and interpretations== The opening bars of Tushmalov's orchestration of ''Pictures at an Exhibition''. The first musician to arrange Mussorgsky's ''Pictures at an Exhibition'' for orchestra was the little-known Russian composer and conductor Mikhail Tushmalov (1861–1896). However, his version (first performed in 1891 and possibly produced as early as 1886 when he was a student of Rimsky-Korsakov) does not include the entire suite: Only seven of the ten &quot;pictures&quot; are present, leaving out ''Gnomus'', ''Tuileries'', and ''Bydło'', and all the ''Promenades'' are omitted except for the last one, which is used in place of the first.  The next orchestration was that undertaken by the British conductor Henry Wood in 1915. He recorded it on a pair of acoustic Columbia 78rpm discs in 1920. However, he withdrew his version when Maurice Ravel's orchestration was published and banned every public performance in the 1930s in deference to Ravel's superior work. Wood's arrangement has also been recorded by the London Philharmonic under Nicholas Braithwaite and issued on the Lyrita label. It omits all but the first of the ''Promenade''-based movements and features extensive re-composition elsewhere. Wood's orchestration was once described by Gordon Jacob as &quot;superior in picturesqueness to the Ravel&quot;, with its off-stage camel-bells in &quot;Bydlo&quot; and grand organ in &quot;The Great Gate of Kiev&quot;.  The first person to orchestrate the piece in its entirety was the Slovenian-born conductor and violinist Leo Funtek, who finished his version in 1922 while living and working in Finland.  The version by Maurice Ravel, also produced in 1922, represents a virtuoso effort by a master colourist. The orchestration, commissioned by Serge Koussevitzky, has proved the most popular in the concert hall and on record. Ravel omits the ''Promenade'' between ''&quot;Samuel&quot; Goldenberg und &quot;Schmuÿle&quot;'' and ''Limoges'' and applies artistic license to some particulars of dynamics and notation. Koussevitzky's commission gave him sole conducting rights for several years. He published Ravel's score himself and in 1930 made the first recording of it with the Boston Symphony Orchestra.  Most arrangements made since Ravel's version are indebted to his choice of instrumental colours. The exclusive nature of his commission, though, prompted the release of a number of contemporary versions by other arrangers. An orchestral version by Leonidas Leonardi, a Ravel student, requires even larger forces than Ravel's. The Leonardi version was commissioned by W. Bessel &amp; Co., Paris (publishers of Mussorgsky's piano original) since they were quite taken aback by the enormous success of the Maurice Ravel version following its premiere in 1922 under Serge Koussevitzky's direction. At that time, W. Bessel were still jealously guarding their rights in Mussorgsky's works, and they reluctantly gave Serge Koussevitzky permission to perform Ravel's independently-created orchestral version, on the condition that he would not allow anyone else to conduct it. Their conviction was that an arrangement of one of their piano publications would bring  no commercial advantage. That Bessel were mistaken became evident as the Ravel orchestration proved ever more successful. Thereafter, W. Bessel &amp; Co. approached a precocious 21-year-old Russian-born pianist named Leonidas Leonardi (1901–1967) (a.k.a. Leon Leonardi or Leonid Leonardi) to provide them with an orchestral version of their own which would surpass Ravel's. Leonardi dedicated his orchestration to Igor Stravinsky, and conducted the premiere himself with the Lamoureux Orchestra in Paris on 15 June 1924. The US premiere took place when the New York Symphony Orchestra played it on 4 December 1924 under the baton of Walter Damrosch. Subsequently it has lapsed into obscurity and no recording exists for it, except for the third promenade and Tuileries , which was used in Leonard Slatkin's first compilation version, included in the St. Louis Symphony set, &quot;The Slatkin Years 6 CD Set&quot;.  Another arrangement appeared when Eugene Ormandy took over the Philadelphia Orchestra in 1936 following Leopold Stokowski's decision to resign the conductorship. Ormandy wanted a version of ''Pictures'' of his own and commissioned Lucien Cailliet, the Philadelphia Orchestra's 'house arranger' and a member of the woodwind section, to produce one. This version was premiered and recorded by Ormandy in 1937. Walter Goehr, on the other hand, published a version in 1942 for smaller forces than Ravel but curiously dropped ''Gnomus'' altogether and made ''Limoges'' the first &quot;picture&quot;.  The conductor Leopold Stokowski had introduced Ravel's version to Philadelphia audiences in November 1929; ten years later he produced his own very free orchestration (incorporating much re-composition), aiming for what he called a more 'Slavic' orchestral sound instead of Ravel's more 'Gallic' approach. Stokowski revised his version over the years and made three gramophone recordings of it (1939, 1941 and 1965). The score, finally published in 1971, has since been recorded by other conductors, including Matthias Bamert, Gennady Rozhdestvensky, Oliver Knussen and José Serebrier.  Although Ravel's version is most often performed and recorded, a number of conductors have made their own changes to the scoring, including Arturo Toscanini, Nicolai Golovanov and Djong Victorin Yu. Conductor and pianist Vladimir Ashkenazy has produced his own orchestral arrangement, expressing dissatisfaction with Ravel's interpretive liberties and perpetuation of early printing errors.Parrott and Ashkenazy (1984, p. 164). The conductor Leonard Slatkin has performed 'compendium' versions, in which each ''Promenade'' and &quot;picture&quot; is interpreted by a different orchestral arranger.  Many other orchestrations and arrangements of ''Pictures'' have been made. Most show debts to Ravel; the original piano composition is, of course, frequently performed and recorded. A version for chamber orchestra exists, made by Taiwanese composer Chao Ching-Wen. Elgar Howarth arranged it for the Philip Jones Brass Ensemble in the 1970s. Kazuhito Yamashita wrote an adaptation for solo classical guitar. Excerpts have also been recorded, including a 78 rpm disc of ''The Old Castle'' and ''Catacombs'' orchestrated by Sir Granville Bantock, and a spectacular version of ''The Great Gate of Kiev'' was scored by Douglas Gamley for full symphony orchestra, male voice choir and organ.  The suite has inspired homages in a broad range of musical styles. A version featured in two albums by the British trio ''Emerson, Lake &amp; Palmer'' incorporates elements of progressive rock, jazz and folk music (1971/2008). An electronic music adaptation by Isao Tomita was done in 1975. A heavy metal arrangement of the entire suite was released by German band ''Mekong Delta''; another metal band, Armored Saint, utilised the ''Great Gate of Kiev'''s main theme as the introduction to the track ''March of the Saint''. In 2002, electronic musician-composer Amon Tobin paraphrased ''Gnomus'' for the track ''Back From Space'' on his album ''Out from Out Where''. In 2003, guitarist-composer Trevor Rabin released his electric guitar adaptation of ''Promenade'', once intended for the Yes album ''Big Generator'', and later included on his demo album ''90124''. In 2005 Animusic 2 was released with an orchestration which was titled &quot;Cathedral Pictures&quot;. It is based on the Emerson, Lake, &amp; Palmer version so there are only three movements: The first Promenade, Hut on Fowl Legs, and The Great Gate at Kiev.  ===Orchestral arrangements=== A listing of orchestral arrangements of ''Pictures at an Exhibition'':  * Mikhail Tushmalov (ca. 1886; three &quot;pictures&quot; and four ''Promenades'' omitted: recorded by Marc Andrae and the Munich Philharmonic for BASF) * Henry Wood (1915; four ''Promenades'' omitted: recorded by Nicholas Braithwaite and the London Philharmonic for Lyrita) * Leo Funtek (1922; all Promenades included: recorded by Leif Segerstam and the Finnish Radio Symphony for BIS; Also on Teldec Laser-disc with Vladimir Ashkenazy conducting the Swedish Radio Symphony Orchestra) * Maurice Ravel (1922; the fifth ''Promenade'' omitted) * Giuseppe Becce (1922; for &quot;salon-orchestra&quot;. No ''Promenades'' are included at all, and only some of the ''Pictures''.) * Leonidas Leonardi (1924; published by Breitkopf &amp; Härtel; Leonard Slatkin has &quot;revived&quot; a part of the Leonardi version by using Promenade III &amp; Tuileries in his 1st &quot;compendium&quot; suite of &quot;Pictures at an Exhibition&quot; ) * Lucien Cailliet (1937: recorded by Eugene Ormandy and the Philadelphia Orchestra for RCA and reissued on Biddulph) * Leopold Stokowski (1939; third ''Promenade'', ''Tuileries'', fifth ''Promenade'' and ''Limoges'' omitted. Three recordings conducted by Stokowski: with the Philadelphia Orchestra, All-American Youth Orchestra, and New Philharmonia) * Walter Goehr (1942; ''Gnomus'' omitted; includes a subsidiary part for piano) * Sergei Gorchakov (1954: recorded by Kurt Masur and the London Philharmonic for Teldec;  Also recorded with Karl Anton Rickenbacher, conducting the Cracow Radio Symphony, for the RCA Records. A live 1980 performance by the Leningrad Academic Symphony Orchestra under Konstantin Simeonov was recorded by Melodya.) * Nikolai Golovanov (A heavily edited version of Ravel's orchestration in which Golovanov omits all but the first of the Promenades was recorded for Melodya) * Daniel Walter (1959) * Helmut Brandenburg (ca. 1970) * Lawrence Leonard (1977; for piano and orchestra; recorded by Tamas Ungar, piano, with Geoffrey Simon and the Philharmonia Orchestra for Cala) * Vladimir Ashkenazy (1982: recorded by Ashkenazy and the Philharmonia Orchestra for Decca/London) * Pung Siu-Wen (ca. 1983; for orchestra of Chinese instruments) * Alan Gout (1990; for chamber orchestra) * Thomas Wilbrandt (1992) * Djong Victorin Yu (1993; amended Ravel version: recorded by the arranger with the Philharmonia for IMP) * Emile Naoumoff (ca. 1994, in concerto style with some added music, for piano and orchestra ; recorded with Igor Blaschkow, conducting the Deutsches Symphony Orchestra Berlin, for Wergo) * Byrwec Ellison (1995; in the style of various composers ; Promenade I included in Leonard Slatkin's 2nd &quot;compendium&quot; suite for Warner Classics only) * Mekong Delta (1997; for group and orchestra) * Carl Simpson (1997;  Promenade IV included in Leonard Slatkin's 2nd &quot;compendium&quot; suite for Warner Classics and Naxos) * Julian Yu (2002; for chamber orchestra) * Jason Wright Wingate (2003; orchestra, organ and chorus) * Chao Ching-Wen (2005 for chamber orchestra) * Michael Allen (2007) * Hanspeter Gmur (date unknown) * Misao Kitazume (date unknown) * Hidemaro Konoye (date unknown) * Leonard Slatkin Two 'compendium' versions, the 2nd of which he recorded with the BBC Symphony Orchestra for Warner Classics live at the BBC Proms on 1 September 2004; The other recording was with the Nashville Symphony for Naxos Records. * Clarice Assad (2008, for the New Century Chamber Orchestra) * Václav Smetáček (date unknown; a performance with Gennady Rozhdestvensky conducting the Prague Symphony Orchestra on 28 October 2004 has been issued on the Don Industriale label) * Jukka-Pekka Saraste created a performing edition of his own, combining the orchestrations of Leo Funtek and Sergei Gorchakov; He recorded it with the Toronto Symphony Orchestra for Finlandia Records, a division  of Warner Music Group)   ===Arrangements for other forces=== A listing of arrangements of ''Pictures at an Exhibition'' for performing forces other than orchestra:   * Giuseppe Becce (1930; for piano trio) * Vladimir Horowitz (1946; revised version for solo piano. His performance of this arrangement at a 1951 concert in Carnegie Hall has been described as one of the greatest piano performances of all time)Dubal (2004, p. ). * Rudolf Wurthner (ca. 1954; for accordion orchestra; abridged version) * Ralph Burns (1957; for jazz orchestra) * Erik Leidzen (ca. 1960; for large wind ensemble) * Allyn Ferguson (ca. 1963; for jazz orchestra) * Mark Hindsley (ca. 1963; for large wind ensemble) * Dale Eymann (ca. 1965; for large wind ensemble; ''The Bogatyr Gates'' only) * Calvin Hampton (1967; for organ) * B. Futerman (ca. 1968; Russian folk instruments orchestra, ''The Bogatyr Gates'' only) * Roger Boutry (ca. 1970; for large wind ensemble) * Emerson, Lake &amp; Palmer (1971; rock group, lyrics written by Greg Lake); see ''Pictures at an Exhibition'' (album) * Harry van Hoof (ca. 1972; brass ensemble; ''The Bogatyr Gates'' only) * Isao Tomita (1975; for synthesizer) * Oskar Gottlieb Blarr (1976; for organ) * Elgar Howarth (ca. 1977; for brass ensemble) * Ray Barretto (1979; ''The Old Castle'' for Latin-jazz band) * Arthur Wills (1970s; for organ) * Dr. Keith Chapman (1970s; for the Wanamaker organ) * Jon Faddis (1978; for Trumpet, in his solo album, &quot;Good and Plenty&quot; with the track name &quot;Promenade&quot;) * Günther Kaunzinger (1980; for organ) * Kazuhito Yamashita (1980; for classical guitar) * Elgar Howarth (1981; for brass band) * Reginald Haché (1982; for two pianos) * Hugh Lawson (1983; for jazz trio) * Henk de Vlieger (1984; for 14 percussion players, celesta and harp) * Arie Abbenes &amp; Herman Jeurissen (ca. 1984; for carillon &amp; band; ''The Bogatyr Gates'' only) * James Curnow (1985; for large wind ensemble; abridged version) * Jan Hala (ca. 1988; for guitar and pop orchestra; ''Baba-Yaga'' only) * Jean Guillou (ca. 1988; for organ) * Michael Briel (ca. 1988; for Commodore Amiga - the &quot;16bit pictures at an exhibition&quot;) * Heinz Wallisch (ca. 1989; for two guitars) * Simon Wright (1991; for large wind ensemble) * Yuri Chernov (ca. 1991; for Russian folk instrument orchestra; ''The Bogatyr Gates'' only) * Jevgenija Lisicina (ca. 1991; for three pipe organs; ca. 1997 for organ and 14 percussion instruments) * Gert van Keulen (1992; for band) * Hans Wilhelm Plate (1993; for 44 grand pianos and one prepared piano) * Jim Prime &amp; Thom Hannum (ca. 1994; for brass quintet and large wind ensemble; abridged version) * Hans-Karsten Raecke (ca. 1994; for chorus, vocal soloists, synthesizers, brass and percussion) * Tangerine Dream (1994; ''Promenade'' for trumpet, saxophone, horns and synthesizer; on their ''Turn of the Tides'' album) * Friedrich Lips (c. 1994; on the Russian accordion, the bayan) * Trevor Parks (1994; for two pianos and wind band) * Elmar Rothe (1995; for three guitars) * Sergei Sidelnikov (1996; for synthesizer) * Mekong Delta (band) (1997; for metal band) * Stan Funicelli (1998; Hut of the Baba Yaga and the Great Gate of Kiev; for 3 guitars in New Standard Tuning) * Joachim Linckelmann (ca. 1999 for wind quintet) * Tohru Takahashi (1999; for band) * Michael Allen (2000; for brass ensemble, recorded by the Burning River Brass) * Vladimir Boyashov (ca. 2000 for Russian folk orchestra) * Christian Lindberg (ca. 2000; for trombone and piano) * Simon Proctor (ca. 2000; for euphonium &amp; tuba quartet, retitled ''Miniatures at an Exhibition'')) * Larry Clark (2001; for beginning band, Promenade and Great Gate of Kiev) * Tim Seddon (ca. 2002 two pianos) * Clare &amp; Brent Fisher (2004; for jazz big band) * Carl Simpson (2004; for wind orchestra) * Wayne Lytle, for the DVD Animusic 2 under the title ''Cathedral Pictures'' (2005; for synthesizer; ''Promenade'', ''Baba Yaga'' and ''The Bogatyr Gates'') * Cameron Carpenter (2006, for organ) * Sergei V. Korschmin (2006; for brass ensemble) * Walter Hilgers (2006; for large brass ensemble, percussion, and two harps) * David Aydelott (2006; for marching band) * Joseph Kreines (2006; for band, commissioned by the Timber Creek High School Wind Ensemble) * Massimo Gabba (2006; for organ) * Howard Perlman (2006; for trombone quartet; ''The Great Gate of Kiev'' only) * Glass Duo (2007; for glass harp) * Adam Berces (2007; for synthesizer - 'Pictures at an Exxhibition' album) * Nicholas Sprenger and Co-Arranger Carter Page (2007; for electric 7-string guitar and electric 4-string bass guitar, Shortened versions of ''Promenade'', ''The Old Castle'', ''Bydlo'' and a reprise of ''Promenade'' in place of ''The Great Gate Of Kiev'' for the Experimental/Avant-Garde/Metal band KHAZM) * Mauricio Romero (2007; complete transcription for double bass alone) * Tony Matthews (2007; complete transcription for Brass Quintet) * Erin Ponto (2007; complete transcription for 2 harps) * Merlin Patterson (2008–2011; complete transcription for wind ensemble) * Slav de Hren (2008; for a punk-jazz band and vocal ensemble. Some of the pieces are complete transcriptions, others are improvisations on the original theme) * Friendly Rich (2009; arranged for avant-garde cabaret jazz ensemble) * Tangerine Trees (from April 2009; for electronics) * The Synthonic Orchestra, Band &amp; Choir (released 10/12/2009 on Studio Electra label).  Arrangement for full orchestra and piano, with added instrumentation, choir, and synthesizer.  * Duke Ellington (date unknown; for jazz big band) * John Boyd (date unknown; for large wind ensemble) * William John Coury III (date unknown; for percussion ensemble) * Hirokazu Hiraishi (date unknown; for brass octet and three percussion players) * Dag Jensen (date unknown; for four bassoons and contrabassoon) * Vyacheslav Rozanov (date unknown; for bayan orchestra; ''The Old Castle'' only) * William Schmidt (date unknown; for saxophone choir); * Andres Segovia (date unknown; for guitar; ''The Old Castle'' only) * Elias Seppälä (date unknown; for band) * Atsushi Sugahara (date unknown; for percussion ensemble) * Michael Sweeney (date unknown; for large wind ensemble) * Ward Swingle (date unknown; for vocal ensemble, double bass and percussion; ''Limoges'' only) * Akira Yodo (date unknown; for clarinet choir) * Doug Herrington (2010; for Cy-Creek marching band) * Christiaan Janssen (2010; for fanfare band) * Eugene Ratner (2010; the whole cycle is arranged for 10 Brass and 6 Percussion players. The transcription features pitched percussion instruments (glockenspiel, vibraphone, xylophone, marimba and bass marimba), up to three of which are used at the same time.  This creates an effect  imitating the woodwinds and strings in Ravel's orchestration    ==Notes==   