Ravel’s (1875-1937) orchestration of Modesto Mussorgsky’s (1839-1881) second movement Gnomus (1874), seems to be loyal and accurate rhythmically, although the sforzando marks seemed to be substituted by accented notes. Ravel seems to exploit the possibility of the techniques, timber and colour of the orchestra to create a brighter and more meaningful work. The tuba con sordino on bar 19 creates a mysterious atmosphere. Ravel applies the technique of pizzicato to recreate and affect the Gnome’s comical and, on occasions, grazioso character, as an example in bar 17. The divisi in bars 29-36 exemplifies how Ravel provides ground and force to the composition using the bass and cello instruments. A third flute, in section 12 bar 7, is identified as a flute III, perhaps meaning that a piccolo should be playing that part. Regarding extended techniques, I have noticed sus tasto, portamento, glissando and other extended techniques that enhance the listening experience and perception of the title. Overall, I have not seen any changes rhythmically; however, the choice of instrumentation and the distribution of the chords seems to be what makes the piece more interesting than the original version.
Orchestration and Arrangement 