Pictures at an Exhibition Ter guilar MODEST PETROVICH MUSSORGSKY arranged by KAZUHITO }=YAMASHITA #I-DNHrAD RESOE Want ae eh7 4xa9374— mi sn teau RCA/RDC-8 QUEM EP =I 84 IHD 7 IA /SIN- 958 Pay 7 2 AMM RCA RVC-2280 CAREW ERIEN 9 IA FID EPI /SIX-BBEE Seay aU PRIEZY 1% +709) RCA/RCL-8014 CR RADED RCA/RCL-8O12 Cae #24 HEBD RCA/RCL-8201 EF e272 VA LD TUT 7/ALR2BO (en bay 9 RRB RCA RCL-8IO OSA E = AUPRIC SIF) RCA RCL-848 (nyt) fEMED RCA/RCL-8370 (74> REA/RCL8379 Pyne RY HOR /UPAOLE Met PDD RCA/RCL-8385 (pure Me RCA/RCL-8595 (a9 / UPI? — + 23 20> RCA RC]-8102 (7A v FFA TAMER RAGED RCA RCL-809 (9 BMD UTM RY FF 5 7 RPSTEBORED RCA /RCL-8A17 (KOM 19650 9 ARES (229 F 8 AUF RIE SMF 1985 RITE PREFACE ‘The guitar is a wonderful instrument, There are infinite possibilities in its expression. Iam very lucky to have found such rich instrument and put my heart into creating music with it. ‘The excellence of the guitar has been mentioned since old times, but it was rapidly proven by great artists who appeared in this century such as maesero Andres Segovia. Moreover, its world is still expanding : the music played on the guitar extends from Renaissance to the present age, and the value of the guitar is recognized little by litte in the fields of solos, concertos, chamber ‘music, ensembles and accompaniments. The problem of limited Tepertoire is gradually being solved by the works of modern composers and excellent arrangements. The art of performance also extends its possibilities. Furthermore, the works include not only small ones, but large pieces are appearing as well. And it ‘seems that the guitar is going tn occupy an important place also in classical music, Under such circumstance, I have always sought, from child hood, possibilities of more large-scale expression than that which ‘exists. Temployed the manner of dynamic and symphonic expres: sion, and tried many other ways in order to give a performance filled with a modern sense and to play longer pieces on the guitar, this most expressive solo instrument. Consequently, I strongly desire now to create the music more closely approaching the essence of art From these thoughts, an idea was born: to play on the guitar {or the first time ever, the whole of "Pictures at an Exhibition”, a representative piano work of M.P. Mussorgsky, a great Russian composer. ‘This idea occured to me the spring before last. Then, I decided tochallenge first by myself a real guitar arrangement of Mussorg sky's work, which took enormous effort. Through this very fascinating music, I wanted to realize my childhood wish. Cer: tainly, I met with various problems beyond expression caused by ‘ny inexperience Since the decision to publish was very difficult for me, follow: fi the precious advice of my father, my most familiar teacher, ‘and Prof. Kajird Kobune, composer and conductor. Afterwards, With the help of the persons concerned, many recitals were held lus recordings and my first publication. I express here my fratitude for their kindness. 1981.8. Kazuhito Yamashita KAZUHITO YAMASHITA 1961 Born in Nagasaki. Has been studying the guitar under his father(Toru Yamashita) 1972 Won first prize at the 18th Kyushu Guitar Musie Concours 1976 Won first prize at the 19th Guitar Concours organized by the Federation of Japan Guitar Assoc 1977 Visited Europe Participated in the Guitar Course of Segovia in the 20th “Mésica en Compostela” Won first prize at the Ramirez Guitar Competition in Spain ; atthe 10th Alessandria International Guitar Competitionin Italy : and at the 19¢h International Guitar Concours in Paris. 1978 The first of yearly recitals throughout Japan from Hokkaido to Okin- 1979 10.Recitals in Paris and Amsterdam. 1980 11.Concert tour in Holland. 1981 Arranged "Pictures at an Exhibition”, and recorded it. His arrangement ‘caused a sensation. 1982 11,Concert tour in Hollando, “Modern Collection”(disk)Won a prize at the Record Academy. 1983 "Pictures at an Exhibtion"Gisk)won the Deutscher Schallplattenpreis 198. Concert tour in Korea. 1984 5Played in concert with Wolfgang Shultela chief flutist of the Viena Phitharmonic Orchestra). 6 Came on a stage sth International Guitar Festival in Toront 8~9Played in concert with Larry Coryelldazz guitarist 9 Played concert in Korea. 11.Played concert with Chamber Orchestra of Leos Janétek Ostrava, 1965.1 Played consert in Taiwan. 3 Gave the first performance of guitar concerto “Pegasus Efect” composed by Takashi Yoshimatsu 9~10.Concert tour in Europe (London, West Germany, Wien) Studied under following professors Kojiro Kobune, J:Thomas, N.Yepes, A.Segovia, Toru takemitsu, Presently, the firt guitarist of the Nagasaki Guitar Ensemble. Belongs to the Nagasaki Guitar Academy, Published 16 LP records, Data for the work *1980,7.13. First performance at the 108th Selon Concert of the Nagasaki Guitar Musie School + From October 1980, performances in many places, for example, at the litte hall ofthe Tokyo Bunka Kaikan(1980.10.15), the Amusterdam Concertgebouw (1980.11.14), andat the Nagasaki Municipal Hall (2980 1123), ‘Toronto, Seoul (1984) .Taibei, London, Mettmann, Wien cages) +1981.3.10 and 1. Recording at the Iruma Municipal Hall +1981, 6.21. Publication of the record and smusical score, +1985. Won the Deutscher Sehallplattenpreis.Pictures at an Exhibition | Table Promenade 6 RESO ER Fane-F 7 Promenade AL POLt—-F Il vecchio castello u 12 ee The Tuileries ML 16 Fatwy—On . Bydlo Iv ia 18 ero Promenade 20 POLF—-F Ballet of the Little Chickens v 21 SRO DS € DIT UTED RY Samuel Goldenberg und Schmuyle et Vi aD: S-wFYANWIEVIS A Market Place in Limoges vu 26 VE-YAOAs ‘Catacombae (Sepulcrum romanum, Con mortuis in lingua mortua) vl nvayF The Hut of Baba-Yaga Ix 32, KAN OHO ee ‘The Bohatyr Gate of Kiev o FLIOKM Explanation for Performance 46 EMRPICTURES AT AN EXHIBITION BRAD Promenade ToLt—Fk Modest Petrovich Mussorgsky (1874) Arranged for Guitar by Allegro giusto, nel modo russico, Kazuhito Yamashita (1980) senza allegrezza, ma poco sostenuto cits A EYEE (141) BFREMWSE1042—506Hper Tt FT attacca I Gnomus cue Sempre vivo Meno vivo ———— ROP pot ae +4 Sempre vivo 1 1 i 1 ' 1 1 1 1 1 1 1 BS t—sis as Pires coeeecp oe SEsessssssa5e attaccaTW II ll vecchio castello a8 He, Andantino molto cantabile e con dolorePromenade Font Moderato non tanto, pesamenteIl The Tuileries Fate ©=G @=D Allegretto non troppo, capriccioso Rp + hh Bf 7h_4IV Bydlo @=G ero @=D Sempre moderato, pesante aT ea20 Promenade Font gra Ol) ee 4 xvi XXIV XMM XVI XXIV ! mm Ro cx Om ow ay OX) av) ox Tranquillo . 7 J im i eI i ae Pog (poco rit. WTR rT * $4 w» mf @ attacca &21 V Ballet of the Little Chickens MOPS EWU HD @=E Scherzino Vivo, leggiero22 ch@------A > B00. (©. = aeO ' un Pizz. pizz. attacca ft P dim. PP24 VI Samuel Goldenberg und Schmuyle =D PS a IONFYANI Le a tade Andante. Grave—energicofost! Pg — af —$—$=——_ =—— Te P poco rit. con dolore HE ee , a tempo mie & ON26 Vl A Market Place in Limoges YEO @=D Allegretto vivo, sempre scherzando @-------- wena seen e rece a —— aw28 nf uy f reFf erese Meno mosso sempre capriccioso poco accel eo OS gee SOO SOO attacca,30 Vil Catacombae 29207 Sepulcrum romanum af P dim. of dim, P dim. Pp31 Cum mortuis in lingua mortua Andante non troppo, con lamento tremolo i @--=-=-=- ih Tt} 4 a a: . OF OUD, ®@eOooOood® @@ ®, @' @---10-- “§ veneer ae tranquillo il canto cantabile, eh | ®32 @=D IX The Hut of Baba-Yaga PPP YO IE Allegro con brio, feroce3435 Andante mosso 2g P - = le 4 lg i non legatoTt = £ ecedadaeageed37 wo pgeeciseaeeeecae Allegro molto roo OTT OF g 4 Aen 2d sity y 2d rd»39 attacea40 X The Bohatyr Gate of Kiev XLTOK" @=D Allegro alla breve, Maestoso, Con grandezza 3b [@va] [@vs](@vi2] dim. (@ 141 [@vawe]----+-----4 rasg.4243 cresc. A a a or or — ® t ® ® ® Q poco a poco pitt cresc.44 Meno mosso, sempre maestoso rrasg. rasg. e 3 crese.45 cresc, poco a poco rall. Grave, sempre allargando rasg. rasg Ub pltmek fede fUtbeecseseeeeceee eee ened 1Otc NOEL Y DAG 2 ED TNT CE aes om wv Rov ay (eae fn 18 ooaoee % ALSH fee RE Ven) sec OHA BITE 3 jv ont x AOMNERTY 3 sean ABA Bt | w cece BA BH pack BEI BIE ch ocho, BEAD TE . © Of (MRED) DEOCWE DEA, AARON LAME BIC RT ELEM L thik, REMI ATRRS Biel te hi, BEMIS VW E-Z EFn—bOkIeEO) “Tambora 427 Oras BFKs@reS oe HN AI ttt Dima pimal:& SBR PVN TAERHORE RS remolo ity RESALE CRRA OMCLEKLED (YF NUDES 8 Ey 2ORMERE SAS) ttl oF ven (U0) OO Ore eoMsO FL-EO (mistEDeL) SMOTMROMAT RE TT oe te Vir oRtn emo ay UAB) 1236 Rtn ett UPAR) 1 1 a we Po mrvraneads 79% 7—¥ ] ~rrasneade seco 9297 F 22 HERE ST MITC dk SIE @EXPLANATION FOR PERFORMANCE Harmonies( . 3 etc.) | Natural harmonics. cM V sseeposition 8) Fingering | posene.-s | Amtiticial harmonics all notated in actual notes. (oom We vee) position t0 be held by left finger. [BY Postion oe touched by gt fine, 188A cooFinger to hold | o «Finger to touch. Vp @ chomomnFingor to play ch -wvonghico, Little finger of the right hand, © @-----Play with fingertips (nails are not used) 2g mmPluck the string with @ and @ and play upwards and vertically against the sound board 2 After letting right fingers go, do not hit the string { against fret board TovwvAfter letting right fingers go, hit the string against fret board Can) -~Tambora, -with ® with @ or @ Left hand slur. --Continue to play rapid arpegio by pima pima ~~ for the length of the note. tremolo ‘Ny ~~Tremolo with the nails of indicated finger (i or ch). (This gives the nails the role of mandolin pick) Tf] Tremolo in chord OQDD-----Tremolo in chord by © @ or @(nails are not used) [_Jindicates the manner of treating unused strings in between played strings. © 9~-~String ¥ Mt +--Position to touch (Do not hold). s2o4 ‘Finger to touch (Do not hold). Mo: oan a = left hand ht hand ! left hand right han Position Position bridge a i Tot tt eado, srasgueado seco. [ -+-~-Double stopping played only by the indicated fingers.