Promenade – Before Tuileries (Pictures at an Exhibition)

Instrumentation

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Musical Terms (7)

• con fuoco Italian
  With fire; with passionate intensity.
  In Mussorgsky's dramatic climaxes — particularly the Great Gate of Kyiv — this calls for full-bodied tone and driven rhythm, not mere loudness. Sustain the energy through phrase endings.
• con lamento Italian
  With lamentation; in a mournful, lamenting style.
  In Cum mortuis in lingua mortua, this direction asks for a hushed, hollow tone. Keep the dynamic very low and let silences speak — this is music for the dead.
• leggiero Italian
  Light, nimble. Indicates a delicate, fleet touch with minimal weight.
  Essential in the Ballet of the Unhatched Chicks. Keep the wrist flexible and fingers close to the keys; the sound should feel almost weightless, like pecking motions.
• Maestoso Italian
  Majestic, stately. A tempo and character marking calling for grandeur and dignity.
  The Great Gate of Kyiv demands a broad, ceremonial weight. Space the chords generously and resist rushing — let the resonance of each sonority fill the hall before moving forward.
• nel modo russico Italian
  In the Russian manner. Mussorgsky's own direction for the opening Promenade, evoking a folk-inflected, slightly irregular gait.
  Avoid strict metronomic evenness — allow subtle agogic freedom that suggests an unhurried, processional walk. The 5/4 and 6/4 alternation should feel natural, not calculated.
• pesante Italian
  Heavy, weighty. Indicates a deliberate, pressing quality of touch.
  Used prominently in Bydlo and the opening Promenade to suggest physical weight and trudging motion. Sink into the keys rather than striking them; feel the mass of the sound.
• Vivo Italian
  Lively, vivacious. A tempo marking indicating a brisk, energetic pace.
  In Gnomus, vivo suggests grotesque energy rather than elegance. Emphasise the jagged, lurching character — angular accents and sudden dynamic contrasts are appropriate.