Noteworthy

“It’s a very popular piece, beautifully composed, and a perfect fit for our season opener,” says Gustavo Gimeno, Music Director of the Toronto Symphony Orchestra (TSO). He’s speaking of Pictures at an Exhibition, a work that has captivated audiences and musicians alike for generations. When Gimeno gestures toward the score on his stand, there’s a spark in his eyes—he knows this piece, and he knows how to make it sing.

As the TSO prepares to lift the curtain on another exhilarating season, the opening-night concert promises more than just music—it offers an immersive journey through sound and image, a fusion of auditory and visual art that will sweep you off your feet. At the heart of this performance is Modest Mussorgsky’s Pictures, a composition that has left an indelible mark on the world of classical music and has inspired multiple interpretations.

“This isn’t just another performance of a classic,” Gimeno adds, leaning forward. “It’s a reimagining, a fresh perspective that challenges both the musicians and the audience to hear the familiar in a new way.”

A Journey through an Imaginary Gallery

Imagine strolling through an art gallery where each painting tells a story, not just through colour and form, but through melody and harmony. This is the essence of Pictures, a piece that Mussorgsky composed in 1874 as a tribute to his friend, the artist Viktor Hartmann. Each movement of the work represents one of Hartmann’s paintings, brought to life through Mussorgsky’s vivid musical imagination.

The original version was for solo piano, but its evocative power quickly led to numerous orchestrations, each offering a new lens through which to view the masterpiece. “Mussorgsky’s music is deeply tied to the Russian soul,” says Gimeno. “And that’s something we wanted to emphasize by choosing Sergei Gorchakov’s orchestration for this performance.”

This lesser-heard version, created in 1954, enhances the piece’s Russian character by emphasizing the lower strings, woodwinds, and brass, giving the music a raw, earthy quality that contrasts with the more refined sound of Ravel’s famous orchestration.

Gimeno’s Bold Choice: A New Sound for a Timeless Work

“I’ve always admired Ravel’s version,” Gimeno admits, “but I feel that Gorchakov’s orchestration brings us closer to Mussorgsky’s original intent. It’s more direct, more visceral, and, in a way, more honest.” This choice reflects Gimeno’s vision for the TSO—one that respects tradition while embracing innovation.

For the musicians, this version of Pictures presents both a challenge and an opportunity. “It’s like taking on a new role in a familiar play,” Gimeno explains. “You know the lines, but now you’re delivering them from a different perspective, with a different voice.” This fresh approach keeps the performance dynamic and engaging, ensuring that both the musicians and the audience see the piece in a new light.

The Visual Inspiration: Hartmann’s Paintings in Sound

Pictures isn’t just music; it’s a vivid narrative brought to life through sound. Each movement corresponds to one of Hartmann’s paintings, from the grotesque “Gnomus” to the grand “Knight’s Gate (in the Ancient Capital, Kiev)”. The piece opens with the unmistakable “Promenade”, a folk-inspired theme that represents the composer—or perhaps the listener—strolling through the gallery, pausing to contemplate each work of art.

“The ‘Promenade’ theme is crucial,” says Gimeno. “It’s the thread that ties the entire piece together, guiding us through the gallery and connecting the different characters and moods of the paintings.” As the theme reappears throughout the work, it reflects the changing emotions of the viewer, mirroring the experience of moving from one painting to the next.

The concert reaches its zenith with the final movement, “The Knight’s Gate (in the Ancient Capital, Kiev)”, inspired by Hartmann’s design for a commemorative gate. Here, Mussorgsky transforms the familiar “Promenade” theme into a majestic processional tune, as if the listener has become part of a grand parade. As Hannah Chan-Hartley, PhD, notes in the TSO program book, “The theme later returns decorated with pealing bells, then a final climactic version brings this musical exhibition to a glorious close.” 

In Gorchakov’s orchestration, these transitions are marked by deeper, more resonant timbres, particularly in the lower strings and brass, creating a soundscape that feels more grounded, more evocative of the landscapes and emotional depth that inspired both Mussorgsky and Hartmann.

A Conversation between Music & Art

Gimeno is particularly excited about how this performance will resonate with the TSO’s audience. “There’s something incredibly powerful about the way Mussorgsky’s and Hartmann’s visions intersect,” he says. “It’s as if the music and the paintings are in conversation with each other, each enhancing the other’s meaning and impact.”

This intersection of music and visual art is what makes Pictures such a compelling choice for the TSO’s season opener. As Gimeno describes it, the piece offers a unique opportunity to explore the connections between different forms of artistic expression, making it a perfect fit for an orchestra that is always looking to push the boundaries of what a concert experience can be.

“In many ways, this piece is about transformation,” Gimeno reflects. “It’s about how art can change the way we see and hear the world around us. And that’s what we want to offer our audience—a chance to see and hear something familiar in a completely new way.”

From Beethoven to Carlos Simon: A Night of Musical Contrasts

The opening concert brings added brilliance with the presence of Jan Lisiecki, one of the TSO’s 2024/25 Spotlight Artists. Born in Calgary in 1995 to Polish parents, Lisiecki has been a rising star in the classical music world since his orchestral début at the tender age of 9. By 15, he was signed to an exclusive recording contract with Deutsche Grammophon, and his recordings have since garnered prestigious awards, including an ECHO Klassik and a JUNO Award.

Lisiecki’s connection to the TSO is deep and enduring; he made his TSO début in 2012 and has performed with the orchestra multiple times since then, most recently in April 2022. His return to the TSO stage for this season opener is highly anticipated, as he brings his unique artistry to Beethoven’s Triple Concerto, where he will be joined by TSO Concertmaster Jonathan Crow and TSO Principal Cello Joseph Johnson.

The program also includes the Canadian Première of Wake Up!, a concerto for orchestra by Carlos Simon. Born in 1986 in Atlanta, Simon writes music characterized by its wide-ranging influences, from jazz and gospel to neo-romanticism. Wake Up! was inspired by a poem by Nepali poet Rajendra Bhandari, warning of the dangers of being “obliviously asleep in a social world” and hailing the power of collective wakefulness.

According to a review from El País, Wake Up! is “a showcase of the timbral and musical possibilities of a symphony orchestra…combining brutal metallic chords with the appealing ambience of film music.” This composition, with its dynamic two-note rhythmic motif serving as a wake-up call, is designed to shake the audience out of complacency, leaving them with the lingering question: “Am I asleep?”

This piece is the first of six concerti for orchestra that the TSO will present this season, highlighting the ensemble’s commitment to showcasing contemporary works alongside classical masterpieces. Simon is the Composer-in-Residence at the Kennedy Center and the inaugural Boston Symphony Orchestra Composer Chair, and his works are celebrated for their boldness and innovation, making him a fitting choice for this season’s opening concert.

Join the Toronto Symphony Orchestra for the season-opening concert on September 25, 26, and 28, 2024, featuring Gustavo Gimeno conducting Mussorgsky’s Pictures at an Exhibition, Beethoven’s Triple Concerto with Jan Lisiecki, and the Canadian Première of Carlos Simon’s Wake Up! For full program details, visit our concert page.