The suite, subtitled "In Memory of Viktor Hartmann," was composed by Mussorgsky at the age of 35, inspired by a posthumous exhibition held in tribute to his friend, the painter Hartmann (1834-1873), who died prematurely at 39. It was completed in three weeks in June 1874, a remarkably fast pace compared to the time taken for his other works. The publication, edited by Rimsky-Korsakov, took place in Saint Petersburg in 1886, five years after Mussorgsky's death. During this process, many of Mussorgsky's unique compositional techniques were "corrected" as errors, and the publication of the original version had to wait until the complete works of Mussorgsky in 1931. This suite is widely known through orchestral arrangements by Ravel and Rimsky-Korsakov.

Promenade

Marked Allegro giusto, nel modo russico, senza allegrezza, ma poco sostenuto, it features a mixture of 5/4 and 6/4 time signatures. It depicts Mussorgsky walking through Hartmann's posthumous exhibition. This fragment, strongly emphasizing Russian modes, is inserted at various points, often in altered forms. Initially, only the melody is presented as a single line, then it is elaborated with a thick texture, layered in octaves and chords.

Gnomus

It follows attacca from the Promenade. This piece is believed to be inspired by a sketch depicting a gnome walking somewhat awkwardly with crooked legs. The original word "Gnomus" refers to an "earth spirit" in the form of a dwarf. It begins with a low-register unison played by both hands. The piece is filled with high tension.

Promenade (unmarked)

Although not explicitly titled "Promenade," the Promenade that began the suite is inserted here, starting on a different note. It is marked Moderato comodo assai e con delicatezza. This quiet passage features many "p" dynamic markings.

The Old Castle

It follows attacca from an inserted section with Promenade elements. Marked Andantino molto cantabile e con dolce, it is written in 6/8 time. The piece begins with low, resonant open fifths. A melancholic melody is sung over this accompaniment.

Promenade (unmarked)

Although not explicitly titled "Promenade," a section with its elements is inserted here. Again, it starts on a different note. Furthermore, while the first "Promenade" of the suite is 24 measures long, the second "Promenade" inserted before "The Old Castle" is 12 measures, and this time it is 8 measures, indicating a shortening of its length. Here, it is marked Moderato non tanto pesantemente.

Tuileries (Children Quarreling after Play)

It follows attacca from an inserted section with Promenade elements. This piece, marked Allegretto non troppo capriccioso, is believed to be inspired by a painting depicting the tree-lined avenues of the Tuileries Garden in Paris, filled with many children and a governess. Compared to the preceding music, it is characterized by a light rhythm. Additionally, the scalar melodic movements seen in various places contribute to the piece's driving force.

Bydło

This is the music of a Polish ox-drawn cart. "Bydło" in Polish means "cattle" or "human-like cattle," suggesting the "drudgery" of pulling this enormous and heavy vehicle. This piece, marked Sempre moderato pesante, began with "pp" in Rimsky-Korsakov's edited version due to his alterations. However, in the original version, it begins with "ff," expressing the oppressive heaviness more directly. The main line is played robustly in the low register or resonates in the high register, layered in octaves and chords. In either case, dense chords in the low register are continuously reiterated in eighth notes.

Promenade (unmarked)

Although not explicitly titled "Promenade," a section with its elements is inserted here. What is particularly noteworthy here is that its melody begins mid-phrase, as if dragged down and suppressed by "Bydło." It is marked Tranquillo. This Promenade, which mixes 6/4 and 7/4 time signatures, becomes 3/4 in the final measure.

Ballet of the Unhatched Chicks

It follows attacca from the previous piece. This piece is believed to be inspired by Hartmann's illustrations for the stage performance of the ballet "Trilby," depicting canary chicks dancing, clad in eggshells like armor. In this piece, marked Scherzino vivo, leggero, the soft pedal is continuously depressed. The music is carried solely in the high register, passing by like a fleeting breeze.

Samuel Goldenberg and Schmuÿle

It follows attacca from "Ballet of the Unhatched Chicks." At the time this suite was written, Samuel Goldenberg was considered a typical name for a wealthy Jew in Saint Petersburg, while Schmuÿle was a typical name for a poor Jew. In this piece, marked Andante grave, energico, the rhythm, skillfully combining dotted notes and tuplets, is characteristic. Furthermore, repeated single notes and repeated notes in octaves contribute to creating a unique atmosphere.

Promenade

Since the beginning of this suite, sections based on the Promenade have been inserted at various points, but none were explicitly titled as such until now. What is particularly noteworthy here is that it does not begin with a single note but is layered in unison by both hands. Also, the marking at the beginning, Allegro giusto, nel modo russico, poco sostenuto, is almost identical to the "Promenade" that began the suite. The starting note also corresponds to the opening "Promenade," and it begins with "f."

Limoges. The Market (The Great News)

It follows attacca from the "Promenade." This piece is believed to be inspired by a painting depicting French women fiercely arguing in a market in Limoges, an old city in southwestern France. In this piece, marked Allegretto vivo, sempre scherzando, "f" is the predominant dynamic, and the frequent sforzandos convey the lively bustle of the market.

Catacombs (Roman Tomb)

Catacombs are communal burial grounds dug underground. Although "Roman" is specified, the painting that inspired this piece is believed to depict Hartmann himself gazing intently at the Paris catacombs with lantern light. This piece, marked Largo, is written in 3/4 time and primarily consists of dotted half notes. It is also often accompanied by fermatas. The dynamic changes are wide-ranging, and despite being only 30 measures long, it leaves a profound and memorable impression.

Con mortuis in lingua mortua (With the Dead in a Dead Language)

It follows attacca from "Catacombs (Roman Tomb)." In the autograph manuscript, the phrase for this piece, "Con mortuis in lingua mortua," is merely appended as a very small note. It is written in Latin. Although marked Andante non troppo, con lamento, the time signature is not explicitly stated. Nevertheless, six quarter notes are regularly arranged in each measure. This piece, only 21 measures long, also leaves a profound impression with the deep sound of "pp" tremolo, similar to the preceding "Catacombs (Roman Tomb)."

The Hut on Fowl's Legs (Baba-Yaga)

In Hartmann's sketch, which is believed to have inspired this piece, a clock in the shape of a witch's hut stands on fowl's legs. Mussorgsky added "Baba-Yaga," who travels in a mortar. "Baba-Yaga" is a gaunt sorceress who lives in the forest, catches people, and eats their flesh; she is said to travel in an iron mortar, propelling herself with a pestle and sweeping away her tracks with a broom. The original title of this piece also means "a rickety hut that could be blown away." This piece, written in 2/4 time and marked Allegro con brio, feroce, largely builds a homophonic texture primarily based on unison in both hands. In sections that do not conform to this, it covers a very wide range. From the latter half, it becomes Allegro molto, and the driving force increases further.

The Great Gate of Kiev (in the Capital City, Kiev)

It follows attacca from "The Hut on Fowl's Legs (Baba-Yaga)." Hartmann's preliminary sketch, which is believed to have inspired this piece, depicts a gate for the city of Kiev in an Old Russian stone architectural style, with Slavic helmet-shaped domes. However, this design was ultimately never realized. Hartmann's primary profession was an architect, and he also worked on stage designs and costume designs, not just sketches and watercolors. It is marked Allegro alla breve, maestoso con grandezza. It is the largest in scale within the suite, and its musical content can be described as grand. Overall, the sound is created by massive chords, and octaves are also frequently used. From the latter half, it becomes Meno mosso, sempre maestoso, and in the concluding section, it becomes Grave, sempre allargando, concluding the entire suite with a magnificent sound.