Pictures at anExhibition

-- GNOMUS --

Johnson Hong Phuc Nguyen

308220544

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Though the piano may seem to have limited timbre variation, Modest Mussorgsky has been able to

utilize the whole spectrum of this instrument in creating his virtuosic ten movement piano piece:

Pictures at an Exhibition (PAE). At one point in time, Nikolai Rimsky-Korsakov had remarked that this

suite was “untranslatable to any other medium (other than piano)”1, as he felt that Mussorgsky had

a reason to choosing the solo piano, for example the “palpable desperation in the effort of even the

finest pianist during the Coda”2. However with the temptation of having the large orchestral palette

at one’s disposal, many arrangers, like Ravel, have satiated their hunger to transform this solo piece

into their own orchestral masterpiece. Through this essay, and with a focus on Gnomus (First

Movement), I will explore the original use of tone color in Mussorgsky’s work, and how Ravel has

appropriated this work which has become the staple of the PAE’s orchestration.

Even from the first couple of measures (Figure 1), we can see that Mussorgsky is exploiting the lower

more muffled resonance of the piano, as demonstrated by the shared octaves between the hands.

This register naturally evokes a dark, foreboding quality, as we picture a deformed little nutcracker

gnome “clumsily running with its crooked legs.”3

Figure 1 – Mussorgsky, Bars 1 to 6

Comparing these bars to the Orchestration (Figure 2), we see that Ravel has skilfully selected

particular registers for each of the mid and lower instruments. The high rich registers of the cello

and Bassoon are complimented in unison by the lower viola and clarinet (as well as bass clarinet for

balance) mimicking the Right Hand line, and yet adding more tension and depth to the seemingly

simplistic line than what solo piano had provided.

The left hand line is doubled an octave lower on the higher more defined contrabassoon and

contrabass, and doubled a unison in the muzzled registers of the Bassoon and Cello, which creates a

suppressed bass line corresponding to sporadically awkward stumbling of the Gnome.

1 See Maes, Francis, tr. Pomerans, Arnold J. and Erica Pomerans, A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002).2 See Paul Serotsky, Mussorgsky–Ravel Pictures at an Exhibition (New Zealand, 2006) 3 All descriptions of the paintings used, are taken from Stassov’s Mussorgsky. London: J.M. Dent & Sons, 1919.

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Figure 2 – Mussorgsky-Ravel, Bars 1 to 5

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It is also interesting to note the way that Ravel contrasts the second phrase with the livelier,

preceding one in his Orchestration. With the resources Mussorgsky had, he achieved this by a

simple change in dynamic, contrasting the louder forceful phrase with a softer docile one. Ravel here

takes one step further, and strips away the lower winds, leaving the more able and agile instruments

to play the second repetition of the phrase. In addition, Andrew Schartmann writes “he [Ravel]

exploits the superior diversity of the orchestra to further intensify the sense of fragmentation and

unevenness achieved by Mussorgsky.”4

To put this into context, we can see in bar 2 of the Ravel that there are three levels of articulation

that comes into play: the staccato crotchet woodwinds, the quaver strings, and the long resonant

sustain of the horns akin to the long sustained notes of the piano. This tripartite division would not

be possible on a piano, since it does not allow for an individual pitch-class to be played

simultaneously in the same octave. As such, it is by combining these tone colours that Ravel has

highlighted the unevenness of the gnome, and its awkward pursuit with motion.

Mussorgsky presents a new contrasting section, with a more constant

lurching movement, alternating between long and short sustained

notes. We can see that (Figure 3) Mussorgsky is content with the

sonorous descending chords and a muffled bass, and inserts a straight

repetition.

Figure 3 – Mussorgsky, Bars 19 to 38

Ravel however intensifies this image of the Gnome by introducing vastly contrasting timbres with

the repetition of the melody. The warmth of the three flutes and oboes (Figure 4) slowly becomes

more sinister as the progression nears completion, and passes this on to the darker tones of the

clarinet, and then bassoon. The left hand is received by a single tuba line, with a timpani in bar 23

adding variation to the tone colour, as well as forewarning the erratic stall with the offbeat crotchets

at bar 27. The use of pizzicato in the strings mimics the appoggiaturas in the original score,

4 See Andrew Schartmann, Maurice Ravel’s Pictures: Enhancing Mussorgsky’s Most Treasured Compositional Philosophy (Cambridge University: Cambridge Press, 2004).

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accentuating the plodding movements of the gnome, as well as leading on to the following

repetition.

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Figure 4 – Mussorgsky-Ravel, Bars 21 to 28

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Figure 5 – Mussorgsky-Ravel, Bars 29 to 40

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The melody of the theme is craftily designated to the celesta, and combined with the Harp

highlighting the Gnomes sporadic actions (Figure 5). It is apparent that Ravel was meticulous with his

timbre here, as the harp is desired to be played in harmonics which would give this section a more

airy feel to it. Both of these timbral decisions could be connected to the fact that the Gnome was

depicted as a nutcracker, where these lighter percussive tones were characteristic of such objects.

As a result, It comes to no surprise then that the bass line is no longer given to the tuba, as it would

destroy this lighter re-enactment of the theme, rather it is given to the Bass Clarinet since its has a

lighter attack compared to tubas, and still has a great withstanding power as a bass instrument.

Furthermore the repeat sees the addition of glissandi in the strings marked “arco sulla tastier”,

illustrating a gossamer coloristic effect (Figure 5). As this indication required the performer to play

with the bow on the fingerboard, the resultant sound was rather soft, hazy and flimsy leaving

connotations of mystery and fantasy, which constitutes the mythological Gnome portrayed in this

movement. It is these vast changes in tone colour that highlight the Gnome’s spasmodic

movements, repeated ideas had undergone through some form of transformation.

It is perhaps curious why Ravel, in the first “Poco meno mosso, pesante” section that he has elected

not to use any strings. In the original score (Figure 6), it can be observed that the melody and

harmonic structure is all in octaves, which naturally lends itself to the unique voices of the wind

section, with the sonorous warmth of the horn underlying the sections. With emphasis on the first

beat with the timpani and Bass drum, this section accelerates to eventually introduce the strings

playing in unison.

What is peculiar here is that Ravel has marked on the score to portamento between each next note

(Figure 7). This creates a continuous tone, and with the homogenous flavour of the strings, allows a

transitional falling effect. It is at this point where the heavy brass are brought in to propel this

downfall to yet another erratic stall, which leads to a variation on the initial theme. It is intriguing to

notice that Ravel has omitted the Lower woodwinds and strings towards the end of the pesante

section, perhaps to thin out the texture and to make the theme ring out more clearly.

Figure 6 – Mussorgsky, Bars 48 to 54

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Figure 7 – Mussorgsky, Bars 64 to 71

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The last point of interest here is with the treatment

of the trills recapitulation. The piano score provides

very limited information on how to express these

passages (figure 8). Inherently at that register, they

would sound very dark and mysterious. Figure 8 – Mussorgsky, Recapitulation

Ravel has taken this matter into consideration, and he gracefully juggles the ascending and

descending trill patterns by a call and response like manner between Bass Clarinet and Bassoons

(Figure 9). The Bass Clarinet is much more sonorous at the register compared to the rather pathetic

Bassoon; conveying a dominant vs. secondary like dichotomy, much like the stumbling of the

Gnome on its right vs. left foot.

Figure 9 – Mussorgsky-Ravel, Recapitulation

With the penultimate chords expressed as a pseudo fanfare like fashion strictly on brass, as the lines

expands outwards away from one another and quickly builds up speed and intensity, a full tutti

penetrates through this velocissimo passage and abruptly ends the piece, exploiting all the tone

colors at that final hit.

Through this analysis I hope it become apparent that though limited in Mussorgsky’s original work,

Ravel’s meticulous use of tone color has allowed him to transcend mediums and appropriate this

piece for the modern orchestra. Although one may argue if this was what Mussorgsky intended, this

arrangement is exactly that, the ingenious instrumentation supporting Ravel’s interpretation of the

piece. It is such that this orchestration has become the standard, the model for many, and the victim

of questionable reconditions for others.

BiblographyMaes, Francis, tr. Pomerans, Arnold J. and Erica Pomerans, A History of Russian Music:

From Kamarinskaya to Babi Yar (Berkeley, Los Angeles and London: University of California Press, 2002).

Andrew Schartmann, Maurice Ravel’s Pictures: Enhancing Mussorgsky’s Most Treasured Compositional Philosophy

(Cambridge University: Cambridge Press, 2004).

Serotsky, Paul, Mussorgsky–Ravel Pictures at an Exhibition (New Zealand, 2006) Stassov, Vladmir, Mussorgsky. (London: J.M. Dent & Sons, 1919)

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