Pictures at an Exhibition: Part 1 [extraction] [Ravel/ Rogers 2025 edition] Cover Image

Pictures at an Exhibition: Part 1 [extraction] [Ravel/ Rogers 2025 edition]: Full Orchestra, Ensemble Works, Conductor Score & Parts

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Pictures at an Exhibition: Part 1 [extraction] [Ravel/ Rogers 2025 edition] Cover Image
Pictures at an Exhibition: Part 1 [extraction] [Ravel/ Rogers 2025 edition]: Full Orchestra, Ensemble Works, Conductor Score & Parts

Pictures at an Exhibition: Part 1 [extraction] [Ravel/ Rogers 2025 edition]: Full Orchestra, Ensemble Works, Conductor Score & Parts

By Modest Mussorgsky, ed./arr. Maurice Ravel/R. Mark Rogers

Item: 36-E202690
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Pictures at an Exhibition: Part 1 [extraction] [Ravel/ Rogers 2025 edition]: Full Orchestra, Ensemble Works, Conductor Score

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Description
Modest Mussorgsky (1839-1881) composed Pictures at an Exhibition for solo piano as a musical depiction of a tour through an exhibition of paintings by his late friend Viktor Hartman. The most commonly performed version of the piece is an orchestration by Maurice Ravel. In fact, Ravel's orchestration drew enough attention to the once-obscure piece to place it in the modern piano repertoire. Ravel based his orchestration on Rimsky-Korsakov's version of Mussorgsky's score published after Mussorgsky's death. Ravel's choices of featured instruments for color are widely admired, including a trumpet representing a peasant in "Samuel Goldenberg and Schmüyle" and a saxophone representing a minstrel in "The Old Castle". Ravel's orchestration of Pictures at an Exhibition premiered in Paris on October 19, 1922. This 2025 edition by Mark Rogers of Mussorgsky's Pictures at an Exhibition, as orchestrated by Maurice Ravel, consists of an entirely newly engraved score and parts. Players will appreciate the fact that combined parts from the first edition (for example 1st and 2nd Flutes on the same part) have been separated, entirely eliminating unworkable page turns that have vexed players for nearly a century. The edition is based on the original French score and parts and later sources. Ravel's original rehearsal numbers are retained so that this edition is entirely compatible with old scores which conductors may wish to use, and measure numbers have been added as a tool for additional negotiation around the score. The Bass Clarinet in A has been transposed to B-flat, and supplemental parts for clarinets and trumpets in B-flat, and bassoons and trombones in bass clef have been added. Incorrect notes and inconsistent articulations have been clarified as needed. For those wanting to perform only a section of the complete work, five extracted parts are also available. This Part 1 includes: 1. Promenade 1; 2. I. Gnomus; 3. Promenade; 4. II. The Old Castle (Il Vechio Castello). Instrumentation: 3(3rd d. Picc).3(3rd d. EH).2+BCl.2+CBsn: Asax: 4.3.3.1: Timp.Perc(4). Clst.2Hp(2nd opt.): Str (9.8.7.6.5 in set). The complete original published Ravel edition is also available from Edwin F. Kalmus.

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Additional Details
Series: Kalmus Masterworks Library
Publisher: Keiser Productions, Inc.
UPC: 612735542214
SKU: 36-E202690
Instrumentation: 3(3rd dPicc).3(3rd dEH).2+BCl.2+CBsn: Asax: 4.3.3.1: Timp.Perc(4). Clst.2Hp(2nd opt.): Str (9.8.7.6.5 in set)

More about this title

About the Composer: Modest Mussorgsky

Modest Mussorgsky (1839-1881) was a Russian composer who defied the conservatory establishment of his time, creating a body of work that prioritized bold orchestral color and nationalist character over formal convention. His Pictures at an Exhibition emerged from a deeply personal place: a memorial to his friend Viktor Hartman, a talented architect and painter whose sudden death in 1884 left Mussorgsky searching for a way to honor his memory through music. The piece remains a cornerstone of the orchestral repertoire, though it was Maurice Ravel's orchestration, not Mussorgsky's original piano version, that elevated it to the canonical status it enjoys today.

Mussorgsky's influence on orchestration and program music cannot be overstated. His willingness to use unconventional instrumental combinations and his gift for depicting vivid scenes through sound shaped generations of composers. In the classroom and rehearsal room, his work demonstrates how musical imagination can transcend technical limitations and how the orchestra itself becomes a storytelling instrument.

Why we love this

This 2025 Rogers edition finally solves a practical problem that has plagued orchestras for nearly a century: unworkable page turns caused by combined parts. Beyond that practical relief, conductors gain immediate access to a score of unprecedented clarity while maintaining compatibility with existing conducting materials. The separation of divided parts (such as 1st and 2nd Flutes) and the addition of measure numbers transform this masterwork into something genuinely usable in the 21st-century rehearsal room.

What to expect

Pictures at an Exhibition is a journey through color, mood, and painterly detail. Ravel's orchestration pulses with instrumental character: a trumpet becomes a peasant's defiant cry, a saxophone evokes a minstrel's longing, and the full orchestra swells with architectural grandeur during the Great Gate of Kiev. The work moves between intimacy and spectacle, asking the orchestra to paint with sound.

Who it's for

This edition serves orchestras of all sizes that perform the Ravel orchestration, from educational ensembles to professional orchestras. The Rogers engraving is particularly valuable for conductors tired of wrestling with historical page-turn issues, and for section leaders who need clarity in their part writing.

How to get the most out of it

  • Invest time in the brass section balance during the Gnomus movement and "Samuel Goldenberg and Schmüyle." Ravel's orchestration gives the trumpet and tuba prominent roles, and their relationships must feel intentional rather than accidental.
  • Coordinate closely with your four percussionists during the Promenade sections and Catacombs. Ravel distributes color across the ensemble deliberately; lapses in ensemble cohesion here undermine the movement's narrative momentum.
  • Mark safe entrance points for each section using the measure numbers provided in this edition. The sweeping transitions between tableaux benefit from precise alignment, especially in larger orchestral configurations.

How to use it

Program this work as a concert centerpiece or opening statement. Its length and structural clarity make it ideal for showcasing ensemble strength, and its popularity with audiences ensures genuine engagement. This is equally at home in a thematic concert examining orchestral tone color or as part of a Russian music retrospective.

Skills your students will build

  • Managing extended sectional independence within a unified orchestral texture
  • Responding to rapid instrumental color changes and the theatrical pacing they demand
  • Reading a newly engraved score with added measure numbers while maintaining knowledge of traditional rehearsal numbers
  • Balancing exposed solos (trumpet in Goldenberg, saxophone in The Old Castle, harp passages) with surrounding ensemble textures

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