Mussorgsky: Pictures at an Exhibition (piano version) (Tableaux d'une exposition, Kartinki s vystavki)

This page lists all recordings of Pictures at an Exhibition (piano version) (Tableaux d'une exposition, Kartinki s vystavki), by Modest Petrovich Mussorgsky (1839-81) on CD, SACD, DVD, Blu-ray & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Conrad Tao: Pictures

Conrad Tao: Pictures


Carter, E:

Two Thoughts About the Piano

Lang, D:

cage

Wed

Mussorgsky:

Pictures at an Exhibition (piano version)

Takemitsu:

Les yeux clos II

Tao:

A walk (for Emilio)


Conrad Tao (piano)

The new album combines Mussorgsky’s masterwork for piano Pictures at an Exhibition with contemporary vignettes from Elliott Carter, David Lang, Toru Takemitsu and a work by Conrad Tao himself in a world premiere recording.

At just 22 years of age Conrad Tao is already a seasoned performer, multi-award winner and festival curator, with a unique approach to programming. Dubbed a musician of “probing intellect and open-hearted vision” by the New York Times, a “thoughtful and mature composer” by NPR, and “ferociously talented” by Time Out New York, his many awards include being a Presidential Scholar in the Arts, the National Foundation for Advancement in the Arts Young Arts gold medal-winner, a Gilmore Young Artist and recipient of an Avery Fisher Career Grant. He has not only established his reputation as a concert pianist of great critical acclaim, but he is also a hugely talented composer, with commissions from groups including the Hong Kong Philharmonic Orchestra and the Dallas Symphony Orchestra, for whom he write a work to commemorate the 50th anniversary of the assassination of John F Kennedy.

Warner Classics - 2564605694

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Kaleidoscope: Khatia Buniatishvili

Kaleidoscope: Khatia Buniatishvili


Mussorgsky:

Pictures at an Exhibition (piano version)

Ravel:

La Valse

Stravinsky:

Three Movements from Petrushka


Khatia Buniatishvili's new recording Kaleidoscope, a unique combination of masterful and challenging pieces, shows her true virtuosic playing and features the well-loved Pictures at an Exhibition by Modest Mussorgsky, Ravel's La Valse and Stravinsky's Petruschka.

Given that these pieces all have an orchestral version, the pianist must bring out this larger palette of colours on a single instrument. Khatia does just that, painting her own picture of the pieces, how they are interwoven and the special characters she wants to emphasize.

There is a strong sense of character about the programme - it is music to be seen as well as heard, and it takes in other art forms as well: dance, puppetry and painting. The movement and colours of these other art forms are encapsulated in Khatia’s playing and the album’s title, Kaleidoscope.

“Khatia Buniatishvili offers a very individual and often imaginative account of Musorgsky's Pictures at an Exhibition. Whereas most pianists stride through the opening 'Promenade' with a real sense of purpose, Buniatishvili is much more pensive, presenting the musical argument in veiled colours…[and] in 'The Great Gate of Kiev' Buniatishvili is careful to build up the dramatic intensity rather than going all out for power-house playing” BBC Music Magazine, March 2016 ****

“[this] interpretation of Pictures…provokes thoughts about darkness that lies behind some of Mussorgsky's imagery, though lively scenes such as 'Tuileries' and the 'Ballet of the Unhatched Chicks' lack nothing in brio, lightness and high spirits” Gramophone Magazine, March 2016

Sony - 88875170032

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Mussorgsky: Pictures at an Exhibition

Mussorgsky: Pictures at an Exhibition


Mussorgsky:

Pictures at an Exhibition

arr. Ravel

Berliner Philharmoniker, Carlo Maria Giulini

Pictures at an Exhibition (piano version)

Yefim Bronfman (piano)


Sony musicforyou - 88875070952

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Russian Recital: Jorge Federico Osorio

Russian Recital: Jorge Federico Osorio


Mussorgsky:

Pictures at an Exhibition (piano version)

Prokofiev:

Piano Sonata No. 6 in A major, Op. 82

Romeo & Juliet before parting

Shostakovich:

Prelude & Fugue for piano, Op. 87 No. 24 in D minor


Jorge Federico Osorio (piano)

Internationally admired concert pianist Jorge Federico Osorio, praised by The New York Times for “the sweep and freshness of his readings,” offers a riveting and richly pictorial recital on his first-ever recording of Russian masterworks for solo piano. Mussorgsky’s original piano setting of his popular Pictures at an Exhibition anchors an absorbing program that includes Prokofiev’s Sixth Sonata and Romeo and Juliet Before Parting, plus Shostakovich’s Prelude and Fugue No. 24 in D minor.

Osorio recently performed Pictures at an Exhibition to great acclaim at Orchestra Hall in Chicago and for the University of California at Berkeley’s Cal Performances series. The Chicago Tribune applauded his “unruffled mastery,” while San Francisco Classical Voice admired his “remarkable ability to navigate a sea of ardor without losing control.” “One of the more elegant and accomplished pianists on the planet” (Los Angeles Times), Osorio’s pianism is a unique, cosmopolitan blend of Russian and French influences. After graduating from the National Conservatory in his native Mexico City, Osorio worked with Jacob Milstein at the Moscow Conservatory and, before that, with Bernard Flavigny and Monique Haas at the Paris Conservatory.Russian Recital is the pianist’s sixth Cedille Records album. It joins a distinguished discography that includes releases on the Artek, ASV, CBS, EMI, IMP, and Naxos labels.

Cedille - CDR90000153

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$15.25

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Mussorgsky: Pictures at an Exhibition

Mussorgsky: Pictures at an Exhibition


Mussorgsky:

Pictures at an Exhibition (piano version)

Schumann:

Fantasie in C major, Op. 17


Paul Lewis (piano)

Paul Lewis talks to Presto's Katherine Cooper about the recording here.

In 1870, the architect, sculptor and painter Viktor Hartmann (born in 1834) was invited by Vladimir Stasov, the most influential Russian art critic of his time, to join the ‘Group of Five’, a St Petersburg-based circle of composers that, in addition to Mussorgsky, included Borodin, Balakirev, Cui, and Rimsky-Korsakov. The members of this ‘Mighty Handful’ had set themselves the spiritual task of establishing a national Russian music free of western influences. Just three years later, in August 1873, Hartmann died of an aneurysm; he was not yet 40. ‘What misfortune! O greatly suffering Russian art!’ wrote the deeply affected Mussorgsky, lamenting the loss of his friend. Along with Stasov, he championed the cause of a memorial exhibition in honour of his intellectual fellow-spirit. Stimulated by this much-admired retrospective, in the spring of 1874, which presented some 400 pictures from different phases of the artist’s creative career, Mussorgsky decided to erect a musical monument to the dead man as well. He threw himself feverishly into the work. When the piano cycle was completed on 22 June 1874, the manuscript bore the inscription: ‘Dedicated to Vladimir Vasilievich Stasov. Pictures at an Exhibition. In Memory of Viktor Hartmann.’ Mussorgsky created here something subtler and more ambivalent than Hartmann’s paintings might suggest. Alongside the dazzling virtuosity they call for, Paul Lewis’s unexpected coupling reveals the purely musical qualities of these two 19th-century masterpieces.

“Lewis possesses the palette of pianistic colour and the immediacy of impulse to animate and crystallise the moods of the individual miniatures, coupled with the long view that unites them into a multifaceted but fully integrated whole. The magnificence of his achievement here is replicated in Schumann’s C major Fantasie.” The Telegraph, 1st February 2015

“His directness of approach is heightened by the in-your-face closeness of the recorded sound…the resulting rawness highlights the originality of the music.” Irish Times, 6th February 2015

“Lewis has quite a spring in his step, and he emphasises the sense of leading to each Picture by not tracking the Promenades separately...The Schumann (perhaps a strange coupling) has much to recommend it. It is more contained than some; but Lewis's haloed sound and unfailing sense of thoughtfulness is winning.” Gramophone Magazine, March 2015

“Lewis parades [the Schumann's] heroic gestures in bold style, but he is also dynamically modulated - the music and what it may be about comes first...and his manner in slower sections is seductive if also organically fitting...As for the canvases, Lewis is vivid with them, and his approach is enjoyable and admirable...Lewis's account, overall, is very impressive and recommendable.” International Record Review, March 2015

“Lewis has a natural empathy for Schumann, revelling in the first movement's impulsive changes of mood and projecting wonderfully calm inner reflection at the outset of the third. He emphasises the cogency of Mussorgsky's Pictures with a performance of granitic strength and wonderful tonal variety.” BBC Music Magazine, April 2015 *****

“I liked his fearless approach – it is like a young gazelle outrunning its competitors … Lewis brings his beautiful singing tone to the tender last movement [of the Schumann].” Pianist Magazine, April/May 2015

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Lazar Berman plays Chopin: Polonaises & Mussorgsky: Pictures at an Exhibition

Lazar Berman plays Chopin: Polonaises & Mussorgsky: Pictures at an Exhibition


Chopin:

Polonaise No. 1 in C sharp minor, Op. 26 No. 1

Polonaise No. 2 in E flat minor, Op. 26 No. 2

Polonaise No. 3 in A major, Op. 40 No. 1 'Military'

Polonaise No. 4 in C minor, Op. 40, No. 2

Polonaise No. 5 in F sharp minor, Op. 44

Polonaise No. 6 in A flat major, Op. 53 'Héroïque'

Mussorgsky:

Pictures at an Exhibition (piano version)


Lazar Berman (piano)

Lazar Berman, a bear of a man whom The Times of London called ‘one of the last unabashed exponents of the Romantic tradition of Russian pianism’, was known for the power of his playing and for his prodigious technique, but was also capable of great delicacy at the keyboard. The core of his repertoire was the great Romantic and post-Romantic works, from Beethoven to Prokofiev and Shostakovich. Emil Gilels referred to him as a ‘phenomenon of the musical world’. Eloquence presents his complete Deutsche Grammophon recordings over five titles.

Lazar Berman did not like competitions. In the 1956 Queen Elisabeth Competition in Brussels, his first trip to the West, he placed only fifth. An experience in a Chopin competition left a bitter taste; as a result, he subsequently refused to play Chopin, explaining that ‘Of course I used to play him, but many years ago I entered for a Chopin competition in Warsaw and I did not qualify. It was a tremendous blow to my pride, and I vowed that I would never play him again.’ Nevertheless, in 1979 Berman was persuaded to set down this version of Chopin’s mature Polonaises, leaving us feeling much the poorer for the lack of other recordings from him of this composer. Mussorgsky’s suite Pictures at an Exhibition was perhaps his most fully realized masterpiece. Berman’s view of the work is detailed, clearly sculpted, energizing, but never over-the top.

“Full-blooded playing offering both muscularity and lyrical repose in the Chopin Polonaises. Pictures is equally impressive, though the occasional fortissimo passage sounds a bit brittle.” BBC Music Magazine, February 2015 ****

“astonishing dynamic range of the performances ... bold rhythmic demarcation of thematic sections and delineation of figures, and generally pyromaniacal heroics ... if you like your vodka straight and your Chopin flambé, this disc is your man” Fanfare (Chopin)

“Berman has a warm, romantic heart and can produce big, full tone without any hard edge. Moreover he appreciates that these pieces are not just dances but patriotic tone-poems embodying what the late Arthur Hedley once described as pride in the past” Gramophone Magazine (Chopin)

“distinguished new recording … the pianism is breathtaking … DG’s recording accords with Berman’s acuity and refined shadings” Gramophone Magazine (Mussorgsky)

Australian Eloquence - ELQ4807074

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Musorgsky & Prokofiev: Pictures, Sarcasms & Visions

Musorgsky & Prokofiev: Pictures, Sarcasms & Visions


Mussorgsky:

Pictures at an Exhibition (piano version)

Prokofiev:

Sarcasms (5), Op. 17

Visions fugitives, Op. 22


Steven Osborne has become one of the most valuable pianists recording today. His recent complete Rachmaninov Preludes release was critically acclaimed as the greatest modern version since Ashkenazy. Now he turns to further cornerstones of the Russian repertoire in this recording of Musorgsky’s Pictures from an Exhibition (a work which has been in Osborne’s concert repertoire for many years), and two sets of Prokofiev’s miniatures.

Musorgsky’s masterpiece is one of the most popular programmatic works of the 19th century. Yet it is also a great pianistic challenge, with the spectacular textures of the climactic movement ‘The Great Gate of Kiev’ requiring the highest technical accomplishments.

David Fanning writes of Prokofiev’s Visions fugitives: ‘Prokofiev supplies snapshots of his most characteristic moods—sometimes grotesque, sometimes incantatory and mystical, sometimes simply poetic, sometimes aggressively assertive, sometimes so delicately poised as to allow the performer and the listener to make up their own minds.’ Osborne’s subtle, yet brilliant use of colour and characterization makes him the ideal performer of this set. Sarcasms—as befits the title—is an experimental, provocative work, performed by Osborne with biting humour.

Read Presto's complete review of this disc here.

“resplendently startling, cobwebs blown off...From the beginning you sense Osborne’s dynamism and fresh imagination: I can’t recall when I last heard the introductory Promenade sound so purposeful. But the best jewels reside in the picture segments themselves...the technical challenges of the cycle’s last movements (Catacombs, Great Gate of Kiev and all) bring plenty of virtuoso excitements, vividly captured in the recording.” The Times, 25th January 2013 ****

“He paces Mussorgsky's great suite faultlessly, never forcing anything, but ratcheting up the excitement notch by notch until it's all discharged in a sumptuous account of the final Great Gate of Kiev...Osborne is suitably laconic and severe in the Sarcasms, gentler and more suggestive in the Visions Fugitives; both are beautifully judged.” The Guardian, 31st January 2013 ****

“Osborne strides out with healthy determination in the opening Promenade, and then gives a superb performance that shows how atmospheric Musorgsky’s maverick piano writing can be...Osborne has the sensitivity and inspiration, not to mention the pianistic resources, to bring each of the pictures to life in a way that has palpable perspective and subtle characterisation.” The Telegraph, 1st February 2013 *****

“The great virtue of Osborne’s magisterial performance is that you never miss the orchestral upholstery — he conceives the work in quasi-orchestral terms, lavishing an astounding palette of colour and moods on the various pieces...The experimental Prokofiev pieces, Visions fugitives and Sarcasms, are dazzlingly done.” Sunday Times, 17th February 2013

“Throughout this enthralling and warmly recorded performance, Osborne maximises colour and atmosphere, yet manages to achieve a freshness of approach without recourse to idiosyncratic mannerisms. Every movement is brilliantly characterised as a result of Osborne's imaginative approach to keyboard texture.” BBC Music Magazine, March 2013

“Osborne's sensitive, dynamic recording is a joy...He gives us elegantly arched and flowing phrases, an effortless handle on the many virtuosic demands, and a nuanced, sympathetic touch that produces deft, light vivaciousness one moment and firm sobriety the next...In short, the beauty and variety of Mussorgsky's Pictures are presented in all their glory here” Charlotte Gardner, bbc.co.uk, 19th February 2013

“here, once more, is an ideal blend of fidelity to the score, with a subtle and distinctive rather than overbearing musical personality. In the Musorgsky everything is as musicianly as it is technically immaculate....in the more weighty numbers, there is power without brutality so that what so easily degenerates into a mere uproar is so finely graded that you forget the essentially percussive nature of the writing.” Gramophone Magazine, March 2013

“Following the piano score while listening to Osborne’s recording, one will see that the pianist meticulously carries out Mussorgsky’s instructions as to tempo, pedalling, and dynamics. However, more than that, he characterizes each of the movements very well, too.” MusicWeb International, 20th May 2013

“his care over the smallest details of phrasing and articulation throughout suggests a highly intelligent, thoughtful interpretation that aims to be more than just a showy series of programmatic events...The range of dynamics Osborne achieves is also really quite something, from the relentless fff of Bydlo to the hushed pianissimo of the catacombs in Con mortuis in lingua mortua.” James Longstaffe, Presto Classical, 21st January 2013

Presto Disc of the Week

21st January 2013

GGramophone Awards 2013

Winner - Instrumental

GGramophone Magazine

Editor's Choice - March 2013

BBC Music Magazine

Disc of the month - March 2013

Hyperion - CDA67896

(CD)

$14.25

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Katya Apekisheva plays Mussorgsky & Shostakovich

Katya Apekisheva plays Mussorgsky & Shostakovich


Mussorgsky:

Pictures at an Exhibition (piano version)

Shostakovich:

Preludes for piano (24), Op. 34 (complete)


Katya Apekisheva makes her solo ONYX debut with the work that brought the house down at her recent recital in London’s Wigmore Hall. Katya has appeared on disc for ONYX accompanying Maxim Rysanov, ONYX4033 Brahms Viola, and regularly performs with Jack Liebeck and Natalie Clein.

“Apekisheva certainly takes nothing for granted and brings several individual touches to Pictures...As a whole, though, Apekisheva's interpretation comes across as over-calculating and deliberate...Generally Apekisheva is more successful with Shostakovich's Preludes...The virtuosic numbers sparkle, and Apekisheva demonstrates, compared with her Pictures, a more subtle musicianship.” BBC Music Magazine, August 2012 ***

“the whole performance [of Pictures] has a sweep and structure that is utterly compelling. The 24 Shostakovich Preludes...make surprisingly apt companions...Apekishiva handles all their lyrical, parodic and virtuoso (try No. 5) aspects with sensitivity and aplomb by turns.” Gramophone Magazine, September 2012

Onyx - ONYX4085

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Sviatoslav Richter plays Mussorgsky & Prokofiev

Sviatoslav Richter plays Mussorgsky & Prokofiev


Mussorgsky:

Pictures at an Exhibition (piano version)

Prokofiev:

Piano Sonata No. 7 in B flat major, Op. 83

Piano Concerto No. 1 in D flat major, Op. 10

Prague Symphony Orchestra, Karel Ancerl


Sviatoslav Richter gives idiomatic studio performances of Mussorgsky and Prokofiev. The first piano concerto features the Prague Symphony Orchestra conducted by Karel Ancerl.

70 minutes + at super budget price.

‘This is a real knock-out of a performance.’ Gramophone of Mussorgsky

‘Richter, it need hardly be said, plays all this music gloriously well.’ Gramophone of Prokofiev Sonata

Regis - RRC1373

(CD)

$8.50

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Sviatoslav Richter in the 1950s, Vol. 2

Sviatoslav Richter in the 1950s, Vol. 2


Mussorgsky:

Pictures at an Exhibition (piano version)

Schumann:

Abegg Variations, Op. 1

Aufschwung, Op. 12, No. 2

Warum, Op. 12, No. 3

Nicht schnell, Op. 12 No. 7

Humoreske, Op. 20

Scriabin:

Piano Sonata No. 6, Op. 62

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

U.S.S.R. State Symphony Orchestra, Nathan Rachlin


“The sound on these discs is not great, and there is a fair amount of audience noise, but neither problem is so bad that it interferes seriously with our appreciation. They are essential for Richter fans, fascinating for those interested in following the development of a great artist, and very re” American Record Guide, May/June 1997

“There are claws beneath the velvet passages in this chipper Tchaikovsky Concerto as well; and although his Scriabin Sixth and his Schumann Humoresque both manifest a remarkable sympathy for the music’s mercurial swings, there is an underlying edge to both works that is apt to keep you off balance...Richter aficionados should find them an invaluable supplement to their collections. Highly recommended.” Fanfare, May/June 1997

“This is not the famous, and extraordinary, 1958 Sofia Pictures, taped in gritty mono before a Bulgarian audience apparently celebrating a bronchitis festival. Rather, this is a fresh sounding 1952 mono version, taped before a nearly silent Moscow crowd. This Moscow version is much easier to listen to; it sounds, to my ears, more nuanced and coherent..By any rational standard, this is a superb performance.” The Listener, Summer 1997

Parnassus Sviatoslav Richter in the 1950s - PACD96003/4

(CD - 2 discs)

$14.75

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