When I was starting to listen to classical music the chance of
hearing the original (piano) version of Pictures was a
rare thing. One would have thought that the music only existed
thanks to Maurice Ravel. I remember reading that the reason pianists
seldom played the work was because it was unpianistic. Perhaps
it doesn’t lay easily under the hands but it certainly isn’t unplayable.
It suffered because of the obviously orchestral colouring which
the composer sought. The strangest idea I ever heard was that
the piano version was, in reality, a very full sketch for an orchestral
version which Mussorgsky never got round to making. I now wonder
if excuses were being made for Ravel’s orchestration.
As
a piano work Pictures at an Exhibition is now seen
as the masterpiece it so obviously is. To be sure, it needs
a pianist with a huge technique to get round the, admittedly,
sometimes crazy writing, but the result, in performance, is
quite exhilarating. Marshev has the technique for this work
and he gives a very fine performance indeed. What’s more,
he has obviously given much thought as to how to present the
piece. His performances of the Promenade, which appears
five (and a half) times is given quite deadpan; he knows that
this isn’t the most important music here and he won’t allow
it to overshadow the pictures themselves. This is an excellent
idea and I welcome it. Marshev sometimes takes liberties with
the tempi and dynamic markings but he is always in control
of what he is doing. Thus Gnomus might not be the most
malevolent and nasty fellow but he’s slippery and quite unfriendly
and the Old Castle is creepily dark and haunted – more
Bates Motel than Clifford’s Tower. Marshev never overstates
anything and thus The Grand Gate of Kiev is well sustained
but never allowed to become overblown. This is a fine performance
indeed and well worth having but my first choices still rest
with Sviatoslav Richter (The Sofia recital 25 February 1958
– magnificently re-mastered on Philips PHCP-9597 (coupled
with Schubert, Liszt and Rachmaninov miniatures)) and the
two Horowitz versions. The latter can be heard on RCA Gold
Seal 09026605262 – coupled with miniatures (1947 studio recording)
and 603212RG (the hair-raising 1951 Carnegie Hall recital
- coupled with a live 1943 Tchaikovsky 1st Concerto
with Toscanini – where he touches up the writing and plays
even more notes than Mussorgsky wrote but he plays at white
heat. Be warned, although quite outstanding, his interpretations
are not for everyone and anyone wanting a more thoughtful
and straightforward account will be very well pleased with
Marshev.
Jan
Wagner’s performance of the orchestral version is just about
right. He is one of the few conductors who understand this
to be what it is; a French work based on a Russian original.
As with Rimsky’s tamperings with Mussorgsky’s works, where
he rounded out all the jagged edges, Ravel has done the same
for Pictures. This orchestration is colourful and entertaining
but it is far too “gentlemanly” for this rugged music. But
it’s enjoyable enough and I know it gives a lot of pleasure.
Like Marshev, Wagner never allows the music to become bloated
and he keeps a firm hand on the performance.
This
is a good coupling and anyone interested in both versions
of this score will be well pleased with the disk. The recorded
sound is crisp and clear for Marshev but a little recessed
for Wagner, but everything is clearly audible, with the most
discreet positioning of the percussion. A delightful disk.
Bob
Briggs
