Mussorgsky’s composition ‘Pictures At An Exhibition’ was inspired by which painter’s works?
"first met artist, architect, and designer Viktor Hartmann, not long after the latter's return to Russia from abroad. Both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They likely met in the home of the influential critic Vladimir Stasov, who followed both of their careers with interest. According to Stasov's testimony, in 1868, Hartmann gave Mussorgsky two of the pictures that later formed the basis of ""Pictures at an Exhibition"". In 1870, Mussorgsky dedicated the second song (""In the Corner"") of the cycle ""The Nursery"" to Hartmann. Stasov remarked that Hartmann loved Mussorgsky's"
"Pictures at an Exhibition (Stokowski orchestration) Leopold Stokowski's orchestration of ""Pictures at an Exhibition"" by Modest Mussorgsky was completed in 1939 and premiered later that year, on 17 November, by the Philadelphia Orchestra. Mussorgsky's original 1874 composition was a suite for piano, however, the piece has gained most of its fame through the many orchestrations of it that have been produced. The most popular of these arrangements was completed in 1922 by French composer Maurice Ravel. Stokowski introduced the Ravel orchestration of ""Pictures"" to Philadelphia audiences in 1929, but was not fully satisfied with the arrangement, feeling it needed a"
"Exhibition"" based on original manuscripts he consulted in the Russian National Library at St.Petersburg. Hoteev found numerous discrepancies with conventional sheet music editions. He believes his recorded version expresses the composer's original intent. The most important deviations are documented with illustrations from the manuscripts in the accompanying CD booklet. The first musician to arrange Mussorgsky's ""Pictures at an Exhibition"" for orchestra was the Russian composer and conductor Mikhail Tushmalov. 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"
"in bewilderment. Naturally, Mussorgsky noticed their bewilderment and seemed to feel that he 'had gone too far.' He set the illustrations aside without even trying to publish them. Mussorgsky devoted himself exclusively to ""Khovanshchina"". Mussorgsky completed in August the last two songs of ""Without Sun"", based on poems by Golenishchev-Kutuzov, and then resumed work on ""Khovanshchina"", composing the prelude to Act 1 (""Dawn on the Moscow River"") in September. As with most of Mussorgsky's works, ""Pictures at an Exhibition"" has a complicated publication history. Although composed very rapidly, during June 1874, the work did not appear in print until 1886,"
"Mikhail Tushmalov Mikhail Tushmalov ""(Tushmalishvili, Georgian:თუშმალიშვილი)"" (1861 - 1896) was a Russian Georgian opera conductor who held posts in Warsaw and Tiflis (Tbilisi). He died in what is now the nation of Georgia. Tushmalov is most widely discussed today as the first person to have prepared an orchestral version of Modest Mussorgsky's 1874 piano suite ""Pictures at an Exhibition"". Tushmalov's version sets an abridged version of the piece. It may have been completed as early as 1886, when Tushmalov was a student of Rimsky-Korsakov. Reports circulate that Rimsky-Korsakov sketched the beginning of his own orchestration of Mussorgsky's piece, but abandoned"
"others in Russia's art world. The loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped to organize a memorial exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February and March 1874. Mussorgsky lent to the exhibition the two pictures Hartmann had given him, and viewed the show in person. Later in June, two thirds of the way through the composition of the cycle of subjectively pessimistic songs ""Without Sun"", Mussorgsky was inspired to compose ""Pictures at an Exhibition"", quickly completing the score in three weeks (2–22"
"to exhibit, working with a variety of visual and performing artists such as RnB artist Lifford Shillingford. and composer Darryl Yokley, providing artwork for the album 'Pictures at an African Exhibition'. released via Truth Revolution Records in early 2018. The album’s title points to its clear inspiration, Modest Mussorgsky’s famed “Pictures at an Exhibition” where Mussorgsky composed music inspired by the artwork of his friend Viktor Hartmann. The artist produced artwork for the album cover and thirteen original pieces to accompany each album track. These featured as part of a live performance and installation at the Philadelphia Museum of Art."
"International); Kazuki Yamada and the Japan Philharmonic (Exton). Erich Kunzel and the Cincinnati Pops recorded just 'The Great Gate' on its own, complete with the 'optional' organ part at the end, for Telarc. Pictures at an Exhibition (Stokowski orchestration) Leopold Stokowski's orchestration of ""Pictures at an Exhibition"" by Modest Mussorgsky was completed in 1939 and premiered later that year, on 17 November, by the Philadelphia Orchestra. Mussorgsky's original 1874 composition was a suite for piano, however, the piece has gained most of its fame through the many orchestrations of it that have been produced. The most popular of these arrangements"
"the premiere. DC 22128 S Mussorgsky: Pictures at an Exhibition (orch. Tushmalov/Rimsky-Korsakov); Scherzo; Intermezzo in modo classico; Ceremonial March. Marc Andreae, Munich Philharmonic Orchestra. (Acanta Records, 1974) Mikhail Tushmalov Mikhail Tushmalov ""(Tushmalishvili, Georgian:თუშმალიშვილი)"" (1861 - 1896) was a Russian Georgian opera conductor who held posts in Warsaw and Tiflis (Tbilisi). He died in what is now the nation of Georgia. Tushmalov is most widely discussed today as the first person to have prepared an orchestral version of Modest Mussorgsky's 1874 piano suite ""Pictures at an Exhibition"". Tushmalov's version sets an abridged version of the piece. It may have been completed"
"International Theater in New York she choreographed ""Pictures at an Exhibition"", an 1874 suite of piano pieces by Modest Mussorgsky, later orchestrated by Maurice Ravel, and by Ivan Boutnikov. Mussorgsky wrote no ballet music, but two of his compositions inspired Nijinska: ""Night on Bald Mountain"" (Ballets Russes 1924), and here ""Pictures"". Costumes and decor were by Boris Aronson. Aronson was an apprentice of Aleksandra Ekster, Nijinska's designer in Kiev and Paris. Evidently Nijinska was the first to choreograph ""Pictures"". The next ballet to this music was staged by Erika Hanka at the Vienna State Opera (1947), and then by Lopokov"
"more Slavic sound. His version was finished 10 years later, without much of the French influence he saw in Ravel's. Stokowski omits two movements, ""Tuileries"" and ""Limoges,"" because he felt they showed too much French influence and had a suspicion they might have been composed by Nikolai Rimsky-Korsakov, whose 1886 edition was the first published version of Mussorgsky's work. Stokowski transcribed ""Pictures at an Exhibition"" for a large orchestra consisting of the following instruments. Woodwinds Brass Percussion Keyboard Strings Stokowski's opening ""Promenade"" is less showy than Ravel's brass fanfare; it is instead mainly given to low strings and woodwinds, creating"
"for example the ekphrasis of the Shield of Achilles in Homer and other classical examples were certainly an inspiration for the elaborately decorated large serving dishes in silver or silver-gilt, crowded with complicated scenes in relief, that were produced in 16th century Mannerist metalwork. There are a number of examples of ekphrasis in music, of which the best known is probably ""Pictures at an Exhibition"", a suite in ten movements (plus a recurring, varied Promenade) composed for piano by the Russian composer Modest Mussorgsky in 1874, and then very popular in various arrangements for orchestra. The suite is based on"
"of whose project Funtek was seemingly unaware. Ravel's orchestration premiered in October 1922, and is now by far the most-performed of the several orchestrations of the suite. In contrast to other orchestrations, Funtek's adheres closely to Mussorgsky's original piano version. Funtek was married to Finnish soprano Ingeborg Liljeblad. He died in Helsinki. Leo Funtek Leo Funtek (August 21, 1885 — January 13, 1965) was a Slovenian violinist, conductor and arranger. He is best known for work as a music professor and for his 1922 arrangement of Modest Mussorgsky's piano suite ""Pictures at an Exhibition"". Funtek was born in Ljubljana, Slovenia."
"Pictures at an Exhibition (Emerson, Lake & Palmer album) Pictures at an Exhibition is a live album by the English progressive rock band Emerson, Lake & Palmer, released in November 1971 on Island Records. It is a recording of the band's arrangement of ""Pictures at an Exhibition"" by Modest Mussorgsky, performed at Newcastle City Hall on 26 March 1971. Emerson wished to arrange the piece after seeing an orchestral performance of it several years before. He bought a copy of the score, and pitched the idea to Lake and Palmer, who agreed to adapt it. ""Pictures at an Exhibition"" went"
"of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, ""Boléro"" (1928), in which repetition takes the place of development. He made some orchestral arrangements of other composers' music, of which his 1922 version of Mussorgsky's ""Pictures at an Exhibition"" is the best known. As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, two piano concertos, ballet music, two operas and eight song cycles; he"
"abroad in the years 1864 to 1868. Together with Ivan Ropet, Hartmann was one of the first artists to include traditional Russian motifs in his work. Since Vladimir Stasov had introduced him to the circle of Mily Balakirev in 1870, he had been a close friend of the composer Modest Mussorgsky. Following Hartmann's early death from an aneurysm at the age of only 39, an exhibition of over 400 of his paintings was displayed in the Academy of Fine Arts in Saint Petersburg, in February and March 1874. This inspired Mussorgsky to compose his suite ""Pictures at an Exhibition"". Most"
"In 2006, Andrej Hoteev realized a project with colored light, pictures and music at the Greater Hall of the Laeiszhalle Hamburg. As soloist accompanied by Hamburg Symphony Orchestra conducted by Andrey Boreyko he presented the authentic colour light score with Clavier à lumières of Alexander Scriabin's """" rediscovered by himself as well as the original colored light and picture scores by Wassily Kandinsky to Mussorgsky's ""Pictures at an Exhibition"". In 2014, as a result of his research, Andrej Hoteev presented his new CD recording of Mussorgsky's ""Pictures at an Exhibition"" after original manuscripts from the Russian National Library of St.Petersburg."
"Modest Mussorgsky Modest Petrovich Mussorgsky (; – ) was a Russian composer, one of the group known as ""The Five"". He was an innovator of Russian music in the romantic period. He strove to achieve a uniquely Russian musical identity, often in deliberate defiance of the established conventions of Western music. Many of his works were inspired by Russian history, Russian folklore, and other national themes. Such works include the opera ""Boris Godunov"", the orchestral tone poem ""Night on Bald Mountain"" and the piano suite ""Pictures at an Exhibition"". For many years Mussorgsky's works were mainly known in versions revised"
"than isolation and eventual self-destruction. For a time Mussorgsky was able to maintain his creative output: his compositions from 1874 include ""Sunless"", the ""Khovanshchina"" Prelude, and the piano suite ""Pictures at an Exhibition"" (in memory of Hartmann); he also began work on another opera based on Gogol, ""The Fair at Sorochyntsi"" (for which he produced another choral version of ""Night on Bald Mountain""). In the years that followed, Mussorgsky's decline became increasingly steep. Although now part of a new circle of eminent personages that included singers, medical men and actors, he was increasingly unable to resist drinking, and a succession"
"five years after the composer's death, when an edition by the composer's friend and colleague Nikolai Rimsky-Korsakov was published. This edition, however, was not a completely accurate representation of Mussorgsky's score, but presented a revised text that contained a number of errors and misreadings. Only in 1931, marking the 50th anniversary of the composer's death, was ""Pictures at an Exhibition"" published in a scholarly edition in agreement with his manuscript, to be included in Volume 8 of Pavel Lamm's ""M. P. Mussorgsky: Complete Collected Works"" (1939). In 1940, the Italian composer Luigi Dallapiccola published an important critical edition of Mussorgsky's"
"example, that the circle is the most peaceful shape and represents the human soul. These theories are explained in ""Point and Line to Plane"" (see below). Kandinsky's legendary stage design for a performance of Mussorgsky's ""Pictures at an Exhibition"" illustrates his synaesthetic concept of a universal correspondence of forms, colors and musical sounds. In 1928 in the theater of Dessau, Wassily Kandinsky realized the stage production of ""Pictures at an Exhibition"". In 2015 the original designs of the stage elements were animated with modern video technology and synchronized with the music according to the preparatory notes of Kandinsky and the"
"Exposition, Eaux-Fortes et Méandres Exposition, Eaux-Fortes et Méandres is the 8th album released by the French darkwave band Collection d'Arnell Andréa. The concept for the album is based on pianist Modest Mussorgsky's 1874 ""Pictures at an Exhibition"" piano suite, which in Mussorgsky created 10 different piano songs based on Russian artist Viktor Hartmann. The majority of the tracks on ""Exposition, Eaux-Fortes et Méandres"" are based on 19th-century paintings. These paintings had darker themes and included works from Arnold Böcklin's ""Isle of the Dead"", Edward Robert Hughes, and John Everett Millais's ""Ophelia"". The album cover art and title track, ""Les Méandres"","
"son and daughter"""" by Rostislav Vovkushevsky, """"A Boy in Red Jacket"""" by German Yegoshin, and others. Genre painting was presented of """"Children"""" by Piotr Alberti, """"Before entering the stage"""" by Sergei Babkov, """"In the Motning"""" by Oleg Eremeev, """"Sunday at the Volkhov River"""", """"Courtyard"""" by Boris Lavrenko, """"At the house"""" by Oleg Lomakin, """"Rain"""", """"Sundy Day"""", """"Boys"""", """"On the Volga River"""" by Boris Maluev, """"Young mothers"""" by Mikhail Natarevich, """"Old woman at the stove"""" by Yuri Pavlov, """"On the farm"""" by Ivan Savenko, """"Overhaul"""" by Nadezhda Shteinmiller, """"On the pier"""" by Boris Ugarov, """"Lights of new buildings"""" by Igor Veselkin,"
"by the idea and visited the museum three times over the course of six months to conceptualize the work. Ultimately, eight of ""Picture Studies""'s movements would be based on four paintings, three photographs, and one sculpture—all by different artists. The works that inspired the movements are, respectively, Albert Bloch's painting ""The Three Pierrots No. 2,"" Kurt Baasch photograph ""Repetition,"" Vincent Van Gogh's painting ""Olive Orchard,"" Wassily Kandinsky's painting ""Rose with Gray,"" Alexander Calder's sculpture ""Untitled, 1937,"" Joan Miró's painting ""Women at Sunrise,"" Hiroshi Sugimoto photograph ""Atlantic Ocean, Cliffs of Moher,"" and Francis Blake's photograph ""Pigeons in Flight."" ""Picture Studies"" has"
"The Fair at Sorochyntsi The Fair at Sorochyntsi (, ""Sorochinskaya yarmarka"", ""Sorochyntsi Fair"") is a comic opera in three acts by Modest Mussorgsky, composed between 1874 and 1880 in St. Petersburg, Russia. The composer wrote the libretto, which is based on Nikolai Gogol's short story of the same name, from his early (1832) collection of Ukrainian stories ""Evenings on a Farm near Dikanka"". The opera remained unfinished and unperformed at Mussorgsky's death in 1881. Mussorgsky worked on the opera between 1874 and 1880, in competition with his work on ""Khovanshchina"" (1872–1880); both were incomplete at the time of his death"
"collectors. In exposition were presented all genres of contemporary painting: portrait, historical and genre scenes, landscape and cityscape, still life. Historical genre was presented of """"Great Battle of Kursk. Counteroffensive to Belgorod"""" by Yaroslav Krestovsky, """"Stalingrad Battle"""" by Boris Maluev, """"Victory"""" by Evsey Moiseenko, """"A Victory!"""" by Dmitry Oboznenko, """"Lenin!"""" by Alexander Sokolov, """"The Land"""" by Boris Ugarov, and some others. Portrait painting was represented of """"Girl and Sunflowers"""" by Irina Dobrekova, """"Postman"""" by Gevork Kotiantz, """"Portrait of firefighter Gavrilov"""", """"Portrait of firefighter Medvedev"""" by Anatoli Levitin, """"Master of sports Nikolai Kolobov"""", """"Chemist Lubov Timofeeva"""" by Oleg Lomakin, """"Farm worker"
"first of all landscape. Among them ""Volkhov River. Last Snow"" (1967) by Nikolai Timkov, ""Volhov. Windy Day"" (1964) by Leonid Whyshla, ""At the Volhov River"" (1967) by Nikolai Furmankov, ""St. George's Cathedral. Staraya Ladoga"" (1965), ""Spring is Coming"" (1972) by Vladimir Ovchinnikov, ""Spring on the Volkhov River"" (1968) by Lazar Yazgur, ""Memoires"" (1969) by Irina Dobrekova, ""Chernavino Village"" (1968), ""White Night over the Volkhov River"" (1979) by Dmitry Belyaev, ""Street in Staraya Ladoga"" (1962), ""Staraya Ladoga"" (1964), ""At the Volkhov River"" (1964) by Ivan Varichev, ""At the Volkhov River"" (1965) by Boris Ugarov, and other. The paintings were exposed in"
"others. Genre painting was presented by """"Komsomol building"""", """"On Baykal Lake"""" by Dmitry Belyaev, """"Forest weekdays"""" by Nikolai Galakhov, """"Trains Take away the Boys"""", """"Spring again"""", """"Melodies from the Past"""" by Leonid Kabachek, """"Native Place"""" by Engels Kozlov, """"In the Evening"""", """"In Saturday"""" by Jury Kugatch, """"Night Shift"""", """"In the Way"""" by Anatoli Levitin, """"Tractor Drivers"""" by Oleg Lomakin, """"Friends"""", """"Ground"""", """"From the Childhood"""" by Evsey Moiseenko, """"Sun over Again"""" by Yuri Neprintsev, """"Song of Old Evenk"""", """"Path along the River"""" by Vsevolod Petrov-Maslakov, """"Showery Rain"""", """"New Numbers"""", """"New Road"""", """"Morning"""" by Yuri Pimenov, """"On Pier"""" by Alexander Sokolov, """"First"
"are based on Richard Boutin's 1999 painting ""Crepuscule sur la Loire"". Boutin also photographed the band for the album's liner notes. The songs feature vocals, guitar, keyboards, cello, and viola, but also synthesizers and electronic beats. The style has been compared to the Cocteau Twins and Dark Sanctuary. Exposition, Eaux-Fortes et Méandres Exposition, Eaux-Fortes et Méandres is the 8th album released by the French darkwave band Collection d'Arnell Andréa. The concept for the album is based on pianist Modest Mussorgsky's 1874 ""Pictures at an Exhibition"" piano suite, which in Mussorgsky created 10 different piano songs based on Russian artist Viktor"
"of """"Paint of Boats"""" by Ivan Godlevsky, """"At the Gulf"""" by Evsey Moiseenko, """"At the country cottage"""" by Lev Orekhov, ""Nevsky Prospekt"" by Gleb Savinov, and some others. Portrait painting was represented of """"Katya"""" by Olga Bogaevskaya, """"Portrait of young woman"""" by Ivan Godlevsky, """"A Boy"""" by Vera Lubimova, """"Natasha in a chaise longue. Gurzuf"""" by Evsey Moiseenko, """"A Boy in a fur hat"""" by Nina Neratova, and some others. Landscape painting was represented of """"Romantic landscape"""", """"Flowering Almond. A Pathway"""" by Evgenia Antipova, """"Red House. Early Snow"""" by Ivan Godlevsky, """"Courtyard under snow"""", """"Landscape with a fortress. Ancient Izborsk"""""
"primary influences from European and Russian schools of art. His creativity and viewpoint have been attributed to his uniquely Armenian roots. According to Sureniants, he sought to create a union which would have brought together all Armenian artists around the world. The prominent Armenian poet Hovhannes Tumanyan wrote a short poem titled ""In Front of an Aiazovsky painting"" («Այվազովսկու նկարի առջև») in 1893. It is inspired by painting of the sea by Aivazovsky, mostly likely from the 1870s–1890s. It was translated into English in 1917 by Alice Stone Blackwell. Several paintings of Aivazovsky from the National Gallery of Armenia hang"
"Partisan"""" by Semion Rotnitsky, """"Tonia"""" by Boris Ugarov, """"Portrait of a woman - worker of Publishing"""" by Ruben Zakharian, and others. Genre painting was presented of """"Crossing"""" by Nikolai Galakhov, """"At the stables"""" by Abram Grushko, """"Camp of geologists"""" by Alexei Eriomin, """"On the Neva River"""" by Ivan Lavsky, """"Pig farm workers"""", """"Lunch break"""" by Oleg Lomakin, """"Construction"""" by Nikolai Mukho, """"At the breakfast"""", ""In Studio"" by Andrei Mylnikov, """"Rendezvous"""", """"In a walk"""" by Mikhail Natarevich, """"Whistle-stop"""" by Samuil Nevelshtein, """"Wharf in Kizhi Pogost"""" by Dmitry Oboznenko, """"Winter camp on the Neva River"""" by Boris Petrov, """"Cafe Gurzuf"""", """"At the"
"Nikolay Kasatkin Nikolay Alekseyevich Kasatkin (Russian: Николай Алексеевич Касаткин; (13 December 1859, Moscow - 17 December 1930, Moscow) was a Russian painter; considered to be one of the founders of Social Realism in Russia. His father was an engraver and lithographer. From 1873 to 1883 he studied at the Moscow School of Painting, Sculpture and Architecture with Vasily Perov and Illarion Pryanishnikov. Upon graduating, he received a medal for his painting ""Beggars at the Church Door"". In 1891, he began exhibiting with the Peredvizhniki and, from 1894 to 1917, was a teacher at his alma mater. For thirty years, beginning"