Pictures at an Exhibition Ir guitar MODEST PETROVICH MUSSORGSKY arranged by KAZUHITO =YAMASHITA 4I-ORHO RESO WF eo apaxa777em Tac sno RCA/RDC- 8 (irene y449 1p 229 7SIK-958 COS Eo 2mm RCA RVC-280 Germ e994 PAID e299 /SIK-8K8 ort REAP RCL ee. wR oIm) RCA/RCL-042 7 Dall RCA/RCL-8301 Lopes ery ay) Fa7 77 ALR 088 Cook nay 189 —tBD REA/RCL-B COREE UP RERMFD RCA RCL- AME Cora) SERB REA RCL-ASTO OPP» REA/ ROLES ao 7 RAUF RR MID REA /RCL- B86 Crem RCA/RCL-AS6 Gia urr Wa >) — => 9 20> RCARCI-8102 Dee FEF AT UPRERM EID RCA/RCL-809 CFF MD UFR F427 HOREREDRCA/RCL-BT KORY 19058 9 RIE C29 FE AUPRIEEMEND NSE RATE PREFACE. The guitar is a wonderful instrument. There are invite possibilities in ts expression, Iam very lucky to have found such rich instrument and pat my heart into ereating 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 sill expanding: the music played on the guitar extends from Renaissance to the present age, and the value of the guitar is recognized litle by little in the fields of solos, concertos, chamber ‘musi, ensembles and accompaniments. The problem of limited tepertore 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. employed the manner of dynamic and symphonic expres: sion, and tried many other ways in order ta ive a performance fled 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, forthe frst time ever, the whole of "Pictures at an Exhibition”, & ‘Tepeesentative piano work of MP. Mussorgsky, a great Russian compose. ‘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, ! wanted to realize my childhood wish, Cer: ‘tainly, I met with various problems beyond expression caused by inexperience Since the decision to publish was very difficult for me, I follow: ff the precious advice of my father, my most familiar teacher, sand Prof. Kojiré Kobune, composer and conductor. Afterwards With the help ofthe persons concerned, many recitals were held ius recordings and my first publication. I express here my sratitude for their kindness 1981.6. Kazuhito Yamashita 1961 Born in Nagasaki, Hat been studying the guitar under his father(Tort Yamashita 1918 Won frst prize at the 1th Guitar Concours organized by the Federation of Japan Guitar Associaton. 1977 Visited Burope-Partiipated inthe Gitar Cours of Segovia i the 200 oMdsica en Compostela Won first prize atthe Ramires Guitar Competition in Spain: atthe 108% Alessandria Intemational Guitar Competitionn Italy and atthe 1h 1918 The first of yearly recitals throughout Japan from Hokkaido to Okla 1979 10Recttale in Paria and Amsterdam, 190 1.Concert tour in Holland 1961 Arranged “Pictures at an Exhibition”, and recorded it His arrangement cavaed a sensation “Modern Collecton”(iskiwon a prize atthe Record Academy. 1983 "Pictures at an Exhibition”Wiskiwon che Deutscher Schallplatenpreis 1986 5 Played in concert with Wollgang Shultxa chief Outist of the Viena Philharmonic Orchestra 5.Came on a stage ith International Gitar Festival in Toront S~#Played in concert with Larry Coryelijaze guitarist 1LPlayed concert with Chamber Orchertra of Leot Jandéek Ostrava 1985 1-Piayed consert in Taiwan, 8.Gave the first performance of guitar concerto “Pegasus Etec” compored by Takashi Yoohimateu, 9~10Concert tour in Europe (London, West Germany. Wien) Studied under following professors Kojiro Kobune, J.Thomas, N.Yepes, ASegovia, Tors takemite, Presently, the frst guitare ofthe Nagaski Guitar Ensemble Belongs to the Nagssali Guitar Academy. Published 16 LP records, 980.7.18 Fist performance at the 108th Salon Concert of the + From October 1980, performances ia many places, forexample, at the ite hal ofthe Tokyo Bunks Kaikan (19801015). the Amurterdam Concertgebouw (1980.11.14), anda the Nagasaki Municipal Hal 1980, 1123), Toronto, Seoul (1980) Taide, London, Mettmann, Wien +1981, 6 21.” Publication ofthe record and musical score 11982. Won the Deutscher Schalptactenprei.Pictures at an Exhibition | Table Promenade 6 RWROR BR Fone 1 Grom . cee Promenade: 1 et 1 vechiocastell a 2 aime The Tuileries a a __ 6 FAtWy-—O# 6 Promenade 0 FOAF-F Ballet of the Little Chickens RODSEVTLOGOMY Samuel Goldenberg und Schmuyle ‘Catacomibae (Sepulcrum romanum, Con mortuis in lingua mortua) vu ngayd ‘The Hut of Baba-Yaga BX, ee KON PHO ‘The Bohatyr Gate of Kiev +LIOKM Explanation for Performance wiiPICTURES t AN EXHIBITION BRED Promenade 7out—* Modest Petrovich Mussorgsky (1874) Arranged for Guitar by Allegro giusto, nel modo russico, Kazuhito Yamashita (1980) senza allegrezza, ma poco sostenuto SS REF ES (HH) BF AASG1042 — 5065rere Tee ttt + I Gnomus Sempre vivo Meno vivo pha ma ae a re: ff f~lY “NL Sempre vivoPoco meno mosso, pesante @ a 2 yy 7 a fe T sy wet pt pT Gert Te a Poco meno mosso, pesante k=Poco a poco accelerando it ee T Sempre vivo eae f Fe ®Promenade Font @=0 Moderato commodo assai e con delicatezza aes attaccaII Il vecchio castello a8 me Andantino molto cantabile e con dolore@=6 Promenade @=D ToLt—F Moderato non tanto, pesamente = 7 f OO (0) r 2 IV Sq dim. ¢ rit. pow ® o> YD:Il The Tuileries Fad MO @@ G D Allegretto non troppo, capricciosoIV Bydlo =G ero =D Sempre moderato, pesante Br mn nnnCha (i 7T oer oF T r That Tl aii oe wx DF bBigwl pies pize, Pizz.20 Promenade FoLt—F ©: © ww Tif, attacea Ly ss 6e8: 8 & 2 & SsV Ballet of the Little Chickens MO LOUIE HD @=E Scherzino Vivo, leggiero2223 a , No = Sia. ize, pizz, attacea t PGi ppVI Samuel Goldenberg und Schmuyle =D PR aR IONFY ANI bv a bath Andante. Grave—energico25 gee Tape 2... @ ore of -_—_—_ = crese. fe26 vil A Market Place in Limoges Ye-2 207 @=D Allegretto vivo, sempre scherzandofg © f f oF28aitacca30 Vil Catacombae AeArT Sepulcrum romanum o oe oe gy st CO at Padim. ef v dim, Pdim. P31 Cum mortuis in lingua mortua Andante non troppo, con lamento tremolo iQsesseee neg Tt 8 a 1 a tb tranguillo il-canto cantabile, ox s oo Sate i @----1®32 IX The Hut of Baba-Yaga AONE @=D Allegro con brio, feroce 43. 5 334 ig mi" ai aiAndante mosso 35 ‘fe ® non legato eatyy yy y Ww yp « mipsrs 5 soe 2 Cefet fp : ote 4 a = cir TH te ¢ oe | 0i——)b @pgieiereeeeecrs PP SQoesdddessegeaea™ Allegro molto Ry Po ge ve ad cresc. Py ried td rt 739 attacca40 X The Bohatyr Gate of Kiev XZ7OK @=D Allegro alla breve, Maestoso, Con grandezza a oo00 @ 3b] {[@va] [@vw3}== [ow] (Oway [ows] towel tim. (@ 14] [@vawe]----------42 (Oxm2] dim, [@x2]43 ar or —| ® a poco a poco pitt crese. % & ew44 Meno mosso, sempre maestoso rasg, ase, 3 oresc.45 Grave, sempre allargando rasg. Nt: 7 [1-4 {plth-aputl—- rag vase Ntded pitied thd pithexam DOELY DA EI NEC ames “mW RvaL aan NETS o2aoee % ATR {oom ven Ae OWA SHY Y a> Sow nt oe BROMNERL Yay been 92 0h i MNS pe dew ToT oh oechico, BEAD E & DO BSR (MIR BED te) PL en QeOvet oka, AMICON L MM ERIE fete L te, RAMI RS Poe LR, RERBICN TOMA ULE 2 Een hos &EO) Tambora 9» Ores BNUOCeS Heit 29 — ttt Dima Pima k SBR UNA CHRORS EIS remolo Sty RENE Ci EE) OMESSRLEG (VK DYES SEY 2OBMEMCSAS Tt] toh eto (0) Sere KomHO KLED RiMDEL) MORRR OMA ABE TT Oe vet MNEKVar AGL) AEN oth GRAB) seme graneado F954 P—F rasgueado seco 329 P—K-¥3 7; I Ca NIE ck SME @EXPLANATION FOR PERFORMANCE, Harmonies . sete} | Natural harmonics. all notated in actual notes. MWY ssnmsposition (028 Oc Fingering | Seaeee.String | Antificiat harmonies | (om iv vis) «position to be held by left finger. Xv 301 3 «Position to be touched by right finger. A886 souPinger to hold. | o “Finger to touch, Boa chvnnnn-Finger to play, chico, Little finger of the right hand. Play with fingertips (nails are not used) 2 4 sPluck 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 Tov-oAfter letting right fingers go, hit the string against fret board Camb] --Tambora. with ® with @ or @ Left hand slur. “Continue to play rapid arpegio by pima pima for the length of the note. tremolo TWN Tremolo with the nails of indicated finger (ior «t. (This gives the nails the role of mandolin pick). 11] Tremolo in chord. O0O)---Tremola in chord by @@ or @{nails are not used [Jindicates the manner of treating unused strings in between played strings @O-String ¥ Wi ~---Position to touch (Do not hold) 429400-Finger to touch (Do not hold). 1 1 a Q¥ left hand right hand position position aie el Tee Y coeranead, | ---rnrassueado seco Double stopping played only by the indicated fingers.