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 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.
Instrumentation
Stokowski transcribed Pictures at an Exhibition for a large orchestra consisting of the following instruments.
Woodwinds
4 flutes (the second doubling alto flute; the third and fourth doubling piccolos) 3 oboes 1 English horn 3 clarinets in B and A (the third doubling clarinet in E) 1 bass clarinet in B 3 bassoons 1 contrabassoon
Brass
8 horns in F
4 trumpets in C
3 trombones
1 bass trombone
1 tuba (or euphonium)
Percussion
6 timpani
snare drum
tambourine
triangle
cymbals
bass drum
tam-tam
marimbaphone (or xylophone) vibraphone (or glockenspiel) tubular bells
Keyboard
1 pipe organ
1 celesta (or piano)
Strings
2 harps
violin I
violin II
viola
cello
double bass
Movements
I. Promenade
Stokowski's opening "Promenade" is less showy than Ravel's brass fanfare; it is instead mainly given to low strings and woodwinds, creating deep, chorale-like textures. The brass do not enter until near the end.
II. Gnomus
The kaleidoscopic orchestration of this grotesque movement recalls Stokowski's version of Night on Bald Mountain. Muted brasses are featured quite prominently, as is the xylophone. Stokowski's canvas depends more on strange woodwind and brass sounds than Ravel's percussion (including whip).
III. Promenade
A bassoon replaces Ravel's horn in this movement, and alternates with mysterious string tremolos. The end fades into the next section.
IV. The Old Castle
After a desolate opening of bassoon and low strings, the English horn enters with the troubador's song. Muted strings contribute to the dreamy texture, as does the relentless pulse of the timpani.
V. Bydło
The low strings bear the heavy burden of the ox-cart, with the melody carried by horns and tuba. The climax is ushered in by an overwhelming percussion crescendo, the melody in the violins, trumpets, horns and the ox-cart in the timpani. Stokowski follows Mussorgsky's original score here by having the movement start fortissimo, instead of Ravel's pianissimo.
VI. Promenade
The mysterious string tremolos reappear in this section, having the bulk of the melody. Flutes enter at the end, anticipating the next movement.
VII. Ballet of the Unhatched Chicks
Stokowski, like Ravel, uses mainly woodwind textures here; however, the two orchestrations manage to sound completely different. Stokowski's arrangement does not smooth over the dissonances as Ravel's does: it accentuates them. The string tremolos reappear in the middle section, alternating with a squeaking oboe.
VIII. Samuel Goldenberg and Schmuÿle
This is the only of Stokowski's movements that owes much to Ravel. However, it does have some colors of its own: A flute alternates with the muted trumpet in the poor man's plea, and the return of the pompous "rich man" theme uses ominous trombone glissandos to great effect.
IX. Catacombs
Stokowski's heritage as an organist is very apparent in this section, with brass choirs piled on top of one another in gigantic chords. The section contains a number of spooky effects, such as the violins' glissandos and the presence of bass drum and gong.
X. Cum mortis in lingua mortua
The string tremolos return more ominously than ever in this movement, although the orchestration is not as dark as Ravel's. The sentimental second section features a solo violin, with frequent use of portamento.