(Born at Sontsovka, Russia, April 24, 1891)
The ancient Scythians, wildly savage, had horrid manners and customs. Herodotus tells us at pleasing length how they sacrificed one in a hundred of their enemies to Mars; how in battle they scalped their foes and drank their blood; how they burned false prophets among their many soothsayers; how they strangled servants of their dead king and seated them upon horses stuffed with chaff to place about the monument. Truly a splendidly barbarous folk.
And in his Scythian suite, Prokofieff has written superbly barbaric music.
This music is something more than roaring, blaring dissonance; something more than eccentric experimentation in harmonic schemes and daring orchestration. The suite is deftly planned; broadly conceived; carried out with rare dramatic intensity.
No matter how wild this music is, there is admirable method in the madness; there is a refreshing mastery in the developmentof the composer’s purpose. He knew what he wanted; he gained his effects. They are not episodic, spasmodic, but skillfully continuous. The third movement, “Night,” is perhaps the most remarkable in the revelation of poetically dramatic feeling. There is “the blackness of darkness”—a night in which Nature herself shudders and is afraid; a night when the Demon is master, and strange, sinister deeds are wrought. Compare this movement with the magnificentfinalewith its amazing climax.
This suite was composed in 1914. The first performance was at the Imperial Maryinski Theater, Petrograd, on January 29, 1916. The composer conducted.
The suite is scored for piccolo, three flutes, three oboes, English horn, three clarinets, bass clarinet, three bassoons, double bassoon, eight horns, four trumpets, four trombones, bass tuba, kettledrums, bass drum, side drum, tambourine, cymbals, triangle, celesta, xylophone, bells, two harps, pianoforte, and strings.
The four movements have this programme:
I. Invocation to Veles and Ala.Allegro feroce, 4-4 time. The music describes an invocation to the sun, worshiped by the Scythians as their highest deity, named Veles. This invocation is followed by the sacrifice to the beloved idol, Ala, the daughter of Veles.
II. The Evil-God and dance of the pagan monsters.Allegro sostenuto, 4-4 time. The Evil-God summons the seven pagan monsters from their subterranean realms and, surrounded by them, dances a delirious dance.
III. Night.Andantino, 4-4 time. The Evil-God comes to Ala in the darkness. Great harm befalls her. The moon rays fall upon Ala, and the moon-maidens descend to bring her consolation.
IV. Lolli’s pursuit of the Evil-God and the sunrise.Tempestuoso, 4-4 time. Lolli, a Scythian hero, went forth to save Ala. He fights the Evil-God. In the uneven battle with the latter, Lolli would have perished, but the Sun-God rises with the passing of night and smites the evil deity. With the description of the sunrise the suite comes to an end.
Scythia is a name that has been applied to different countries at different times. The Scythia described by Herodotus comprised the southeastern parts of Europe between the Carpathian Mountains and the river Tanaïs (now Don). Herodotus gives a graphic and singularly interesting account of these wild, barbaric nomads in the fourth book of his history. We are interested here only with what he has to say about their religion:
“They propitiate the following gods only: Vesta, most of all; then Jupiter, deeming the Earth to be the wife of Jupiter; after these, Apollo, and Venus Urania, and Hercules and Mars. All the Scythians acknowledge these, but those who are called Royal Scythians sacrifice also to Neptune. Vesta in the Scythian language is named Tabiti; Jupiter is, in my opinion, very rightly called Papæus; the Earth, Apia; Apollo, Œtosyrus; Venus Urania, Artimposa; and Neptune, Thamimasadas. They are not accustomed to erect images, altars, and temples, except to Mars; to him they are accustomed.” Then follows a minute description of the manner in which they sacrificed cattle and enemies taken prisoners, the latter to Mars. “Swine they never use, nor suffer them to be reared in their country.”
Prokofieff’s symphony is a delightful little work, fresh, melodious, vivacious, with significant themes; masterly, not pedantic treatment of them; charming orchestration achieved by apparently simple means, but showing consummate skill. The first movement and thefinaleare in many measures truly Mozartean in mood, thelarghettoand the gavotte are more modern but in no way agressively contradictory.
This symphony, begun in 1916, was completed in 1917. The first performance was at Leningrad by the orchestra now known as theState Orchestra. The first performance in the United States was at a concert of the Russian Symphony Orchestra in New York, in December, 1918.
The symphony, scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings, is dedicated to Boris Assafieff, who, as Igor Gleboff, has written much about music. “The composer’s idea in writing this work was to catch the spirit of Mozart and to put down that which, if he were living now, Mozart might put into his scores.”[41]
I.Allegro, D major, 4-4 time. The chief theme is given to the first violins. A transitional passage has material for the flutes. Development follows. The second theme is for first violins. The development begins with use of the first subject. The transitional measures are taken up, later the second theme. The recapitulation opens in C major (strings). Then follows the transitional passage (D major) for the flute. The second theme is again for the strings. There is a shortcoda.
II.Larghetto, A major, 2-2 time. First violins announce the chief theme. There are episodes.
III.Gavotta:Non troppo allegro, D major, 4-4 time. The subject is given at once to strings and wood-wind. The trio is in G major (flutes and clarinets above an organ point for violoncellos and double basses). This subject is repeated by the strings.
IV.Finale:Molto vivace, D major, 2-2 time. The first theme is for the strings; the second, A major, for wood-wind.
(Born at Onega in the government of Novgorod, April 1, 1873)
The composition is a long one; it lasts about an hour. The first two movements seem by far the strongest, architecturally and emotionally. The third movement seems insufferably long drawn out and sentimental. The fourth movement gains on a second hearing—has a more decided profile, and seems less episodic.
The reasons for the popularity of this symphony are not far to seek. The themes are eminently melodious, and some of them are of singular beauty; there is rich coloring; there are beautiful nuances in color; there is impressive sonority; there are frequent and sharp contrasts in sentiment, rhythm, expression; there is stirring vitality. Mr. Rachmaninoff in this symphony is romantic in the old and accustomed forms. He does not surprise or perplex by experiments in harmony; his form is essentially academic and traditional. Here is another case of new wine in old leather bottles, but first of all the bottles were put in thorough order, patched, strengthened, cleaned.
Instantaneous popularity often indicates some weakness in a composition. It will be interesting to watch the life of this symphony. There was a time when Raff’sLenorewas as rapturously applauded. The most extravagant things were said about it. Raff too had uncommon contrapuntal skill; he too was a fecund melodist; he too had a pretty sense of color in his day. And what, pray, has become of Raff’sLenore? It is in the great cemetery of orchestral compositions buried snugly with its heroine and her Wilhelm.
Let us enjoy, however, the gifts the gods give us and not indulge ourselves in gloomy thoughts. Mr. Rachmaninoff has written beautiful and eloquent music in this symphony. He has shown technical skill and revealed an emotional side that he has concealed in other compositions. Whether he would show inspiration outside of traditional forms; whether he has imagination in sufficient degree to shape wondrous thoughts in a freer form and be a law not only to himself but to his hearers—these questions we shall call unnecessary.
This symphony, composed at Dresden, was played at Moscow at a concert of the Imperial Russian Music Society in the course of the season of 1908-09. The composer conducted.
The symphony, dedicated to S. Tanéïev, is scored for three flutes (and piccolo), three oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, snare drum, bass drum, cymbals, glockenspiel, and the usual strings.
There is an introduction,largo, 4-4, to the first movement. Violoncellos and double basses give an indication of the chief motive. Sustained chords of wind instruments follow, and over them appears the leading thought of the symphony (violins). The solo for the basses is repeated a third lower, and again chords for wind instruments follow. (These passages for wind instruments are used reminiscently in the second movement.) The violin theme is now more broadly developed, and after a shortcrescendoa phrase for the English horn leads to the main portion of the first movement,allegro moderato, E minor, 2-2.
The first theme,molto espressivo, of the first movement, enters after four measures of prelude and is given to the violins. A motive in triplets for basses,poco a poco più vivo, is added. This leads to a section,moderato, in which, after preluding, a theme in G major is sung by violins. This becomes more passionate, and leads to a close in G major with a melody for violoncellos. The chief theme of the symphony is developed in the working out, by solo violin, by the rest of the strings and by wood-wind instruments. There is a noticeable rhythmic figure for violas, and this slackening of the pace brings the return of the chief theme of the movement with an elaboratecrescendo. There are fanfares for the brass, and a horn-call is freely used. There is an agitatedcoda.
Second movement,allegro molto, A minor, 2-2. The theme begins with horns and is carried out by violins, while there are characteristic figures for wood-wind instruments. The first section is constructed simply and clearly from portions of this theme. There is a melodious section,moderato(violins in octaves, violas, and violoncelloscantabile), and then the energetic rhythmic figure brings in the repetition of the first portion of the movement. The trio,meno mosso, begins with a design for second violins, and its development includes march-like harmonies for the brass. There is a free repetition of thescherzoportion, and at the end a reminiscence of the theme for brass in the introduction.
The third movement,adagio, A major, 4-4, is in song form, and there are three leading melodies in succession. The chief one is given to the first violins; the clarinet has an expressive air; the third melody is for oboes and violins. In the middle section there is a return to the chief theme of the symphony. It occurs in dialogue form, and it also appears at the end of the repetition of the first section.
Thefinale,allegro vivace, begins with a lively introduction which is rhythmically developed out of the first jubilant motive for full orchestra. There is a march theme for wind instruments. The second theme is for strings, D major, and is in lyric mood. Many of the melodic figures heard before enter in thefinale. The climax of passion is reached when the brass sounds forth the bass motive of the introductorylargo, and at the end theadagiotheme is sung against the dance motive of thefinale.
The concerto is of uneven worth. The first movement is labored and has little marked character. It might have been written by any German, technically well-trained, who was acquainted with the music of Tchaikovsky. Theadagioand thefinalehave more racial spirit and are well designed to win the favor of the crowd; theadagioby its agreeable sentiment, thefinaleby the sharply defined themes, the hustle and rush, thecrescendoof excitement, with the apotheosis, full vigor of the orchestra with a long, sweepingcantilena, an obvious tune—truly anad captandum finale.
This concerto was performed for the first time at a concert of the Philharmonic Society of Moscow, October 14, 1901, when the composer was the pianist. The concerto gained for the composer, in 1904, the Glinka prize of 500 roubles, founded by the publisher Belaïev. Published in 1901, it is dedicated to N. Dahl.
The orchestral portion of the concerto is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones and bass tuba, kettledrums, bass drum, cymbals, and the usual strings.
Rachmaninoff has composed four pianoforte concertos: No. 1, F sharp minor, Op. 1, was written in 1890-91 and revised in 1917; No. 2, in C minor, 1900; No. 3, in D minor, 1909; No. 4, in G minor, 1927.
There follows a description of the Second concerto:
I.Moderato, C minor, 2-2. Introductory chords for the pianoforte lead to the exposition of the first theme, which is given to the strings while the pianoforte has anarpeggiofigure in accompaniment. There is a short orchestral interlude, and the second theme, E flat major, is announced by the pianoforte. The presentation of this subject endswith acodain which there is passage-work for the pianoforte while there is a suggestion of the first theme in the brass choir. The section of development begins with a working out of the first motive, at first in the orchestra. In the recapitulation,maestoso, alla marcia, the chief theme is given to the strings, while there are chords for the brass and a counter theme for the solo instrument. The horns take the second theme in augmentation,moderato, A flat major. The material for thecoda, meno mosso, is taken from the chief theme, and the pianoforte has passage-work.
II.Adagio sostenuto, E major, 4-4. There is a short introduction with sustained harmonies for strings. These harmonies are soon reinforced by wind instruments. The pianoforte enters with a figure over which the flute and then the clarinet announce the theme on which the movement is built. The opening phrase for the clarinet has much significance in this respect. The pianoforte now has the theme, and the accompaniment of a broken chord figure is given to violins (pizzicato) and clarinets. The pace is quickened for the working out of the subject and for episodic material. There is acadenzafor the pianoforte, after which there is a repetition in part of the opening section. Thecodacontains a new musical thought for the pianoforte: a progression of chords in the upper part is accompanied by a broken chord figure in the left, and wood-wind instruments play against this in triplets.
III.Allegro scherzando, C minor, 4-4. There are introductory measures, and the first motive is for the pianoforte. This motive is developed. The second motive is for oboe and violoncellos, and is taken up later by the pianoforte and leads to figuration in triplets,meno mosso, for the same instrument. Then comes a sectionallegro scherzando,moto primo, in which the chief theme is further developed. There is afugato: the first violins are answered by pianoforte and lower strings. In the recapitulation section there is a suggestion of the chief theme, but the second motive is in the orchestra, this time for violins and flute, and it is taken up later, as it was before, by the solo instrument. The triplet figuration returns.Allegro scherzando: the chief theme is treated in imitation by the orchestra. There is an increase in speed with acrescendo, and, when the climax is reached, there is acadenzafor the pianoforte. The second theme is announced by the full orchestramaestoso, with chords for the solo instrument. There is a brilliantcoda.
(Born at Ciboure, Basses Pyrénées, March 7, 1875)
Ravel’s music is of the most delicate texture, lacework with exquisite thoughts orchestrated as for the little orchestra of ivory instruments imagined by Jules Laforgue. Although to the eye the structure of the score is simple, the performance demands the utmost skill on the part of the players and the finest taste of an imaginative conductor. It would be hard to say which of the five movements is the most beautiful in fancy. The “Pavane” has a subtle, melancholy charm. “Hop o’ my Thumb” is curiously rhythmed and strangely effective by means of orchestration. “Laideronnette” in the movement of a march is delightful, and with the movement that follows, in the time of a slow waltz and with a solo for the double bassoon representing the Beast, winsimmediate popularity. In the ballet the Apotheosis was the “Fairy Garden,” and this movement, too, is most poetic.
These pieces were originally composed in 1908 for pianoforte (four hands), and for the pleasure of the children, Mimie and Jean Godebski, to whom they were dedicated when the pieces were published in 1910. They were first performed at a concert of the Société Musicale Indépendante, Salle Gaveau, Paris, on April 20, 1910. The pianists were Christine Verger, six years old, and Germaine Duramy, ten years old.
I. “Pavane of the Sleeping Beauty.”Lent, A minor, 4-4. This movement is only twenty measures long. It is based on the opening phrase for flute, horns, and violas.
II. “Hop o’ my Thumb.” Ravel has quoted in the score this passage from Perrault’s tale: “He believed that he would easily find his path by means of his bread crumbs which he had scattered wherever he had passed; but he was very much surprised when he could not find a single crumb: the birds had come and eaten everything up.”
III. “Laideronnette, Empress of the Pagodas.” The French give the namepagodeto a little grotesque figure with a movable head, and thus extend the meaning, which was also found in English for pagoda, “an idol or image.” This latter use of the word is now obsolete in the English language. Alaideronis any ugly young girl or young woman. There is this quotation from “Serpentin Vert” by the Countess Marie Catherine d’Aulnoy (about 1655-1705) who wrote romances and also fairy tales in imitation of Perrault. “She undressed herself and went into the bath. The pagodes and pagodines began to sing and play on instruments; some had theorbos made of walnut shells; some had viols made of almond shells; for they were obliged to proportion the instruments to their figure.” Laideronnette, in the story, the daughter of a king and queen, was cursed in her cradle by Magotine, a wicked fairy, with the curse of the most horrible ugliness. When the princess grew up, she asked that she might dwell far away in a castle where no one could see her. In the forest near by she met a huge green serpent, who told her that he was once handsomer than she was. Laideronnette had many adventures. In a little boat, guarded by the serpent, she went out to sea and was wrecked on the coast of a land inhabited by pagodes, a little folk whose bodies were formed from porcelain, crystal, diamonds,emeralds, etc. The ruler was an unseen monarch—the green snake who also had been enchanted by Magotine. Finally, he was changed into human shape, and he married Laideronnette, whose beauty was restored.
IV. “The Conversations of Beauty and the Beast.” Quotations from Mme Leprince de Beaumont are given:
“‘When I think how good-hearted you are, you do not seem to me so ugly.’
“‘Yes, I have, indeed, a kind heart; but I am a monster.’
“‘There are many men more monstrous than you.’
“‘If I had wit, I would invent a fine compliment to thank you, but I am only a beast.’
. . . . . . .
“‘Beauty, will you be my wife?’
“‘No, Beast!’
“‘I die content since I have the pleasure of seeing you again.’
“‘No, my dear Beast, you shall not die; you shall live to be my husband!’”
The Beast had disappeared, and she saw at her feet only a prince more beautiful than Love, who thanked her for having broken his enchantment.
“Mouvement de valse très modéré,” F major, 3-4. This movement is based chiefly on a melody for the clarinet, which begins in the second measure. There is a middle section with a subject suggesting the Beast and given to the double bassoon. The two subjects are combined. At the end, a solo violin plays the theme of the middle section.
V. “The Fairy Garden.”Lent et grave, C major, 3-4. The movement is based on the opening theme for strings.
The orchestration is as follows: two flutes (and piccolo), two oboes (and English horn), two clarinets, two bassoons, double bassoon, two horns, kettledrums, triangle, cymbals, bass drum, tam-tam, xylophone, glockenspiel, celesta, harp and strings.
Ravel’s cunningly and gorgeously orchestrated ballet bears separation from the stage and stage effects, the dancers and the mimes. Nor is it necessary for one’s enjoyment to be concerned with the adventures of Daphnis and Chloe. Here is something more than purple patches of instrumental color and dexterous juggling with surprising combinations of timbres. There is form, there is melody, there are ravishing harmonic devices; there is, above all, poetic imagination.
Ravel composed his ballet,Daphnis and Chloe, expecting that it would be performed by the Russian Ballet at Paris in 1911. Jacques Durand, the publisher, says that Ravel was asked by Diaghilev in 1911 to write this ballet. Others give the year 1910. Durand also says Diaghilev was not at first satisfied with the ballet and hesitated to produce it, but Durand finally persuaded him; that Diaghilev’s first unfavorable impression was due to his knowing the music only by the arrangement for piano. At the rehearsals there were violent scenes between Fokine and Diaghilev, which led to the rupture which became “official” after that season of the Ballet Russe. It was not performed until June 5, 1912. The performances were at the Châtelet. Nijinsky mimed Daphnis; Mme Karsavina, Chloe. Messrs. Bolm and Cechetti also took leading parts. The conductor was Mr. Monteux. The score, however, was published in 1911. Two concert suites were drawn from it. The first—“Nocturne,” “Interlude,” “Danse Guerrière”—was performed at a Châtelet concert conducted by Gabriel Pierné on April 2, 1911.
The second suite is scored for two flutes (and piccolo), a flute in G, two oboes, English horn, a clarinet in E flat, two clarinets in B flat, bass clarinet in B flat, three bassoons, double bassoon, four horns, four trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals, triangle, tambourine, two side drums, castanets, celesta, glockenspiel,two harps, strings (double basses with the low C), chorus of mixed voices. This chorus, which sings without words, can be replaced by variants inserted for this purpose in the orchestral parts.
The following argument is printed in the score of the suite to illustrate the significance of the sections in succession:
“No sound but the murmur of rivulets fed by the dew that trickles from the rocks. Daphnis lies stretched before the grotto of the nymphs. Little by little the day dawns. The songs of birds are heard. Afar off a shepherd leads his flock. Another shepherd crosses the back of the stage. Herdsmen enter, seeking Daphnis and Chloe. They find Daphnis and awaken him. In anguish he looks about for Chloe. She at last appears, encircled by shepherdesses. The two rush into each other’s arms. Daphnis observes Chloe’s crown. His dream was a prophetic vision: the intervention of Pan is manifest. The old shepherd Lammon explains that Pan saved Chloe, in remembrance of the nymph Syrinx, whom the god loved.
“Daphnis and Chloe mime the story of Pan and Syrinx. Chloe impersonates the young nymph wandering over the meadow. Daphnis as Pan appears and declares his love for her. The nymph repulses him; the god becomes more insistent. She disappears among the reeds. In desperation he plucks some stalks, fashions a flute, and on it plays a melancholy tune. Chloe comes out and imitates by her dance the accents of the flute.
“The dance grows more and more animated. In mad whirlings, Chloe falls into the arms of Daphnis. Before the altar of the nymphs he swears on two sheep his fidelity. Young girls enter; they are dressed as Bacchantes and shake their tambourines. Daphnis and Chloe embrace tenderly. A group of young men come on the stage.
“Joyous tumult. A general dance. Daphnis and Chloe.”
The scenario of the ballet was derived by Michel Fokine from the charming romance of Longus. There are stage pictures of Chloe carried away by robbers, rescued by Pan at the prayer of Daphnis, and of the lovers miming together the story of Pan and Syrinx. There are scenes in the grove of Pan and in the pirate camp, besides those mentioned above. The scenery and costumes were designed by Leon Bakst.
Bolerodoes not fare the better by repetition. It is the clever trick of a super-refined composer. The trick is amazingly well performed, but it is only a trick. The surprise of a first performance does not affect one a second time. Still, there is the expectation of something going to happen, of a final, thunderous proclamation of the inherently negligible tune. According to the old saw, surprise is the chief element of wit. Perhaps—but honest laughter follows the first cracking of a joke. After that, the laughter is only courteous.
ThisBolero, dedicated to Ida Rubinstein, was brought out by her and danced by her at Paris in November, 1928. Alexandre Benois designed the settings and the costumes to represent a scene that Goya might have painted: a Spanish inn, with the dancer on a trestle table, men surrounding it. At first calm, the actors on the Parisian stage were little by little excited to frenzy as the dancer became more and more animated. Knives were drawn—the woman was tossed from arms to arms, until her partner intervened; they danced until quiet was restored. So was the scene described by French and English reporters.
The first performance in the United States of this Bolero as a concert piece was by the Philharmonic Society of New York, Mr. Toscanini conductor, on November 14, 1929.
Tempo di ballo, moderato assai, 3-4. A drum gives the dance rhythm, which is maintained throughout; a flute announces the theme, which is taken up by the wind instruments in turn; then by groups of instruments. There is acrescendofor about twenty minutes, until there is an explosive modulation—brass and percussion instruments swell the din until at last there is what has been described as a “tornado of sound.”
M. Prunières called attention to the fact that Ravel was not the first to repeat a simple, common theme until by the monotony of tune and rhythm the hearer was excited (as are Oriental hearers by the same method). Padilla, the composer ofValencia, had worked this obsession by the repetition of a tune for at least twenty times.
Ravel’sBolerocalls for these instruments: two flutes (and piccolo), two oboes, oboe d’amour, English horn, two clarinets, one E flat clarinet, two bassoons, double bassoon, four horns, four trumpets, three trombones, bass tuba, high saxophone in F, soprano and tenor saxophones in B flat, kettledrums, side drums, cymbal, tam-tam, celesta, harp, and the usual strings.
(Born on July 9, 1879, at Bologna, Italy)
Respighi wrotePines of Romeas a companion piece to hisFountains of Rome. He may yet write “Hills of Rome,” but it would have to be in seven movements. In theFountains of Romehe set no bird a-singing. In the third section [of the Pines of Rome] “Pines of the Janiculum,” he introduces a nightingale. Perhaps he had in mind the reply of the good King Agesilaus, who, when a man was recommended to him as a skillful imitator of that justly famous bird, replied: “I have heard the nightingale itself.” So Respighi obtained a gramophone record of a nightingale which he heard singing. The movement would not suffer if there were no nightingale in the orchestra.
In the “Pines of the Villa Borghese,” where children are supposed to be playing games, darting to and fro, shrieking, emitting loud squeals of joy, the instrumentation is unusually brilliant, effective, original. One finds more poetic feeling, more imagination in “Pines near a Catacomb,” with the somber opening, the solemnity of the double basses, the mysterious song which swellsand dies away. Yes, there is more poetic feeling in this movement than in “Pines of the Janiculum,” with the moon full and the gramophone turned on for the faint voice of the nightingale. At first in thefinalethere is the rhythm of innumerable steps that De Quincey might have heard at the beginning of his “Dream Fugue” in “The Vision of Sudden Death.” There is the vision of past glories, of soldiers victorious making their clashing and blaring way to the Capitol; with the huzzaing crowd “to see Great Pompey pass the streets of Rome.” This march is exciting by reason of its rhythmic and dynamic increasing intensity and its overpowering climax.
But if one takes the work poem as a whole, the composer is revealed as a supreme master of orchestral color rather than a man of fine, entrancing, impressive ideas.
This symphonic poem was composed in 1924. It was performed at a concert in the Augusteum, Rome, in the season of 1924-25. The score calls for 3 flutes (and piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, double bassoon, 4 horns, 1 trumpet off stage, 3 trumpets, 3 trombones and bass tuba, 6 buccine (the bucina was the war trumpet of ancient Rome): 2 flicorni (Fluegelhorn) soprani, 2 flicorni tenori, 2 flicorni bassi—replaced if necessary by horns; kettledrums, bass drum, cymbals, 2 small cymbals, tambourine, rattle, triangle, tam-tam, harp, bells, celesta, gramophone (No. R. 6105 of the Concert Record Gramophone—the “Song of the Nightingale”), pianoforte, organ, and strings.
The piece is in four connected sections. They are based upon this programme, printed as preface to the score:
“1. The Pines of the Villa Borghese.Allegretto vivace, 2-8. Children are at play in the pine grove of the Villa Borghese, dancing the Italian equivalent of ‘Ring Around a-Rosy’; mimicking marching soldiers and battles; twittering and shrieking like swallows at evening; and they disappear. Suddenly the scene changes to—
“2. The Pines near a Catacomb.Lento, 4-4; beginning with muted and divided strings, muted horns,piano. We see the shadows of thepines which overhang the entrance to a catacomb. From the depths rises a chant which reëchoes solemnly, sonorously, like a hymn, and is then mysteriously silenced.
“3. The Pines of the Janiculum.Lento4-4;piano cadenza; clarinet solo. There is a thrill in the air. The full moon reveals the profile of the pines of Gianicolo’s Hill. A nightingale sings (represented by a gramophone record of a nightingale’s song heard from the orchestra).
“4. The Pines of the Appian Way.Tempo di marcia.Misty dawn on the Appian Way. The tragic country is guarded by solitary pines. Indistinctly, incessantly, the rhythm of innumerable steps. To the poet’s phantasy appears a vision of past glories; trumpets blare, and the army of the consul advances brilliantly in the grandeur of a newly risen sun toward the sacred way, mounting in triumph the Capitoline Hill.”
Mr. Ernest Newman was facetious, hearing the symphonic poem at a concert of the London Symphony Orchestra in October, 1925: “The tame nightingale in the last movement (a gramophone record, ‘kindly lent,’ as the programme informed us, ‘by the Gramophone Company, Hayes’) did not communicate the expected thrill. Perhaps the captive bird does not sing with the rapture of the free one. Perhaps the proper romantic associations were lacking; it might have been better had the lights been put out and we had all held hands. But I fancy the explanation is that realism of this sort is a trifle too crude to blend with music. We all remember Mr. Arnold Bennett’s ‘Card,’ who, having bought in the days of his prosperity a painting of a Swiss scene with a church tower in it, and still having enough of the Five Towns left in him to want to fortify the beautiful with the useful, had a real clock face inserted in the tower to tell him and the world the time. Since then we have read of Mr. Harry Leon Wilson’s little boy, who used to gaze with a blend of fascination and terror on a picture of a lion in a cage, the bars of the cage being real, inserted in the frame; the great thing was to put your fingers behind the bars and half hope, half fear that the lion would go for them. Musical realism of the Respighi type has the same queer attractiveness and the same drawbacks. Of course, if the public likes it, it can be extended indefinitely. We may yet live to see the evening when thePastoralsymphony will be given with real running water in the slow movement, nightingale by the Gramophone Company, quail by Messrs. Fortnum and Mason.”
(Born at Tikhvin, in the government of Novgorod, March 18, 1844; died at St. Petersburg, June 21, 1908)
Rimsky-Korsakov wrote an argument for his score. The music is in illustration ofSindbad the Sailor, the storm at sea, the shipwreck, the tale of one of the three Kalandars, a tale of a prince and a princess. The argument is not wholly clear, and probably this was the composer’s intention. What prince and what princess? There are so many inThe Thousand Nights and a Night. Who will be so rash as to name the one of the three Kalandars? In the last movement there is a festival at Baghdad, and lo, suddenly Sindbad’s ship sails to its fate.
In the ballet all this music is wedded to the story that is the prelude to the wondrous tales: the story of the two rulers, their wanton wives, and the resolve of one of the Kings to kill aspouse every morning, until Scheherazade by her charm as a narrator softens his heart. What then becomes of the graphic sea music; or that illustrative of Kalandar, prince and princess? It is not necessary to insist on the incongruity.
Unless a conductor can feel in this music the spirit ofThe Thousand Nights and a Night, unless he is himself a rhapsodist with admiration for the wild fancy, the humor now grotesque, now cruel, now Rabelaisian, for the sensuousness that is at times sensuality; unless there is understanding, with appreciation of the imagination that peopled the air with slaves of King Solomon’s ring, hideous afreets and space-annihilating genii, his interpretation will be that of a man who complains of endless repetitions without contrapuntal development. The music is not for the academic.
Grant thatScheherazadereeks at times of benzoin and the pastils of the harem; that it suggests:
Lucent syrops, tinct with cinnamon;Manna and dates in argosy transferredFrom Fez; and spiced dainties, every oneFrom silken Samarcand to cedared Lebanon—
Lucent syrops, tinct with cinnamon;
Manna and dates in argosy transferred
From Fez; and spiced dainties, every one
From silken Samarcand to cedared Lebanon—
grant all this: there remains the superb sea music with the rolling billows, the tossing, laboring vessel, the final crash and wild farewell. There is more than a constant display of fancy or imagination. The wonder is, as a matter of technic, how Rimsky-Korsakov succeeds in casting his spell with analogous themes constantly varied. Nor is this due solely to the surprising, masterly, and entrancing instrumentation.
Scheherazade, with theEaster Overture, was composed in the summer of 1881 at Neyzhgovitsy on the shore of Lake Cheryemenyetskoye. It was produced at St. Petersburg in the course of the following concert season.
The suite, dedicated to Vladimir Stassov, is scored for piccolo, two flutes, two oboes (and English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, snare drum, bass drum, tambourine, cymbals, triangle, tam-tam, harp, and strings.
The following programme is printed in Russian and French on a fly-leaf of the score:
“The Sultan Schahriar, persuaded of the falseness and the faithlessness of women, has sworn to put to death each one of his wives after the first night. But the Sultana Scheherazade saved her life by interesting him in tales which she told him during one thousand and one nights. Pricked by curiosity, the Sultan put off his wife’s execution from day to day, and at last gave up entirely his bloody plan.
“Many marvels were told Schahriar by the Sultana Scheherazade. For her stories the Sultana borrowed from poets their verses, from folk songs their words; and she strung together tales and adventures.”
Rimsky-Korsakov has this to say aboutScheherazadeinMy Musical Life, translated into English by J. A. Joffe:
“The programme I had been guided by in composingScheherazadeconsisted of separate, unconnected episodes and pictures fromThe Arabian Nights: the fantastic narrative of the Prince Kalandar, the Prince and the Princess, the Baghdad festival, and the ship dashing against the rock with the bronze rider upon it. The unifying thread consisted of the brief introductions to Movements I, II, and IV, and theintermezzoin Movement III, written for violin solo, and delineating Scheherazade herself as telling her wondrous tales to the stern Sultan. The conclusion of Movement IV serves the same artistic purpose.
“In vain do people seek in my suite leading motives linked always and unvaryingly with the same poetic ideas and conceptions. On the contrary, in the majority of cases, all these seeming leitmotives are nothing but purely musical material, or the given motives for symphonic development. These given motives thread and spread over all the movements of the suite, alternating and intertwining each with the other. Appearing as they do each time under different moods, the self-same motives and themes correspond each time to different images, actions and pictures.
“Thus, for instance, the sharply outlined fanfare motive of the muted trombone and trumpet, which first appears in the Kalandar’sNarrative (Movement II) appears afresh in Movement IV, in the delineation of the doomed ship, though this episode has no connection with the Kalandar’s Narrative. The principal theme of the Kalandar’s Narrative (B minor, 3-4) and the theme of the Princess in Movement III (B flat major, 6-8, clarinet) in altered guise and quick tempo appear as the secondary themes of the Baghdad festival; yet nothing is said inThe Arabian Nightsabout these persons taking part in the festivities. The unison phrase, as though depicting Scheherazade’s stern spouse, at the beginning of the suite, appears in the Kalandar’s Narrative, where there cannot, however, be any thought of Sultan Schahriar.
“In this manner, developing quite freely the musical data taken as a basis of the composition, I had in view the creation of an orchestral suite in four movements, closely knit by the community of its themes and motives, yet presenting, as it were, a kaleidoscope of fairy-tale images and designs of Oriental character—a method that I had to a certain degree made use of in mySkazka(Fairy Tale), the musical data of which are as little distinguishable from the poetic as they are inScheherazade.
“In composingScheherazadeI meant these hints to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer, if he liked my pieceas symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders, and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements. Why, then, if that be the case, does this name and the subtitle (‘AfterThe Thousand and One Nights’) connote in everybody’s mind the East and fairy-tale wonders; besides, certain details of the musical exposition hint at the fact that all of these are various tales of some one person (which happens to be Scheherazade) entertaining therewith her stern husband.”
A characteristic theme, the typical theme ofScheherazade, keeps appearing in the four movements. This theme, that of the Narrator, is a florid melodic phrase in triplets, and it ends generally in a freecadenza. It is played, for the most part, by a solo violin; sometimes by a wood-wind instrument. “The presence in the minor cadence of the characteristic seventh, G, and the major sixth, F sharp—after the manner ofthe Phrygian mode of the Greeks or the Doric church tone—might illustrate the familiar beginning of all folk tales, ‘Once upon a time.’”
I. The Sea and Sindbad’s Ship.Largo e maestoso, E minor, 2-2. The chief theme of this movement, proclaimed frequently and in many transformations, has been called by some the “Sea” motive, by others the “Sindbad” motive. It is proclaimed immediately and heavily in fortissimo unison and octaves. Soft chords of wind instruments—chords not unlike the first chords of Mendelssohn’s “Midsummer Night’s Dream” overture in character—lead to the “Scheherazade” motive, lento, 4-4, played by solo violin against chords of the harp. Then follows the main body of the movement, allegro non troppo, E major, 6-4, which begins with a combination of the chief theme, the “sea” motive, with a rising and falling arpeggio figure, the “wave” motive. There is a crescendo. A modulation leads to C major. Wood-wind instruments and violoncellos pizzicato introduce a motive that has been called the “ship,” at first for solo flute, then oboe, lastly, clarinet. A reminiscence of the “sea” motive is heard from the horn between the phrases. A solo violoncello continues the “wave” motive, which in one form or another persists almost throughout the whole movement. The “Scheherazade” motive soon enters (solo violin). There is a long period that at last reëstablishes the chief tonality, E major. The “sea” motive is sounded by full orchestra. The development is easily followed. There is an avoidance of contrapuntal use of thematic material. The style of the composer in this suite is homophonous, not polyphonic. He prefers to produce his effects by melodic, harmonic, rhythmic transformations and by most ingenious and highly colored orchestration. The movement ends tranquilly.
II. The Story of the Kalandar Prince. The second movement opens with a recitative-like passage,lento, B minor, 4-4. A solo violin accompanied by the harp gives out the “Scheherazade” motive, with a differentcadenza. There is a change to a species ofscherzomovement,andantino, 3-8. The bassoon begins the wondrous tale,capriccioso quasi recitando, accompanied by the sustained chords of four double basses. The beginning of the second part of this theme occurs later and transformed. The accompaniment has the bagpipe drone. The oboe then takes up the melody, then the strings with quickened pace, and at last the wind instruments,un poco piu animato. The chief motive of the first movement is heard in the basses. A trombone sounds a fanfare, which is answered by the trumpet; the first fundamentaltheme is heard, and anallegro motofollows, derived from the preceding fanfare, and leads to an orientally coloredintermezzo. “There are curious episodes in which all the strings repeat the same chord over and over again in rapid succession—very like the responses of a congregation in church—as an accompaniment to the ‘Scheherazade’ motive, now in the clarinet, now in the bassoon.” The last interruption leads to a return of the Kalandar’s tale,con moto, 3-8, which is developed, with a few interruptions from the “Scheherazade” motive. The whole ends gayly.
III. The Young Prince and the Young Princess. Some think from a similarity of the two themes typical of prince and princess that the composer had in mind the adventures of Kamar al-Zaman (Moon of the Age) and the Princess Budur (Full Moons). “They were the likest of all folk, each to other, as they were twins or an only brother and sister,” and over the question which was the more beautiful, Maymunah, the Jinniyah, and Dabnash, the Ifrit, disputed violently.
This movement is in simpleromanzaform. It consists in the long but simple development of two themes of folk-song character. The first is sung by the violins,andantino quasi allegretto, G major, 6-8. There is a constant recurrence of songlike melody between phrases in this movement, of quickly rising and falling scale passages, as a rule in the clarinet, but also in the flute or first violins. The second theme,pochissimo piu mosso, B flat major and G minor, 6-8, introduces a section characterized by highly original and daringly effective orchestration. There are piquant rhythmic effects from a combination of triangle, tambourine, snare drum, and cymbals, while violoncellos (later the bassoon) have a sentimental counter phrase.
IV. Festival at Baghdad. The Sea. The Ship Goes to Pieces Against a Rock Surmounted by a Bronze Warrior. Conclusion.Allegro molto, E minor, 6-8. Thefinaleopens with a reminiscence of the “sea” motive of the first movement, proclaimed in unisons and octaves. Then follows the “Scheherazade” motive (solo violin), which leads to the fête in Baghdad,Allegro molto e frenetico, E minor, 6-8. The musical portraiture, somewhat after the fashion of a tarantelle, is based on a version of the “sea” motive, and it is soon interrupted by Scheherazade and her violin. In the movementvivo, E minor, there is a combination of 2-8, 6-16, 3-8 times, and two or three new themes, besides those heard in the preceding movements, are worked up elaborately. The festival is at its height—“This is indeed life; O sad that ’tis fleeting”—whenthere seems to be a change of festivities, and the jollification to be on shipboard. In the midst of the wild hurrah the ship strikes the magnetic rock.
The trombones roar out the “sea” motive against the billowy “wave” motive in the strings,Allegro non troppo e maestoso, C major, 6-4; and there is a modulation to the tonic, E major, as the tempest rages. The storm dies. Clarinets and trumpets scream one more cry on the march theme of the second movement. There is a quiet ending with development of the “sea” and “wave” motives. The tales are told. Scheherazade, the narrator, who lives with Shahryar “in all pleasance and solace of life and its delights till there took them the Destroyer of delights and the Severer of societies, the Desolator of dwelling places and Garnerer of graveyards, and they were translated to the ruth of Almighty Allah,” fades with the vision and the final note of her violin.
Rimsky-Korsakov’sCapriccio Espagnolwas performed for the first time in St. Petersburg at a Russian Symphony concert, October 31, 1887. The composer conducted. The caprice was published in 1887, yet we find Tchaikovsky writing to Rimsky-Korsakov in 1886 (November 11): “I must add that yourSpanish Capriceis a colossal masterpiece of instrumentation, and you may regard yourself as the greatest master of the present day.” Rimsky-Korsakov wrote in hisAutobiography: “The opinion formed by both critics and public, that thecapricciois a magnificently orchestrated piece, is wrong. Thecapricciois a brilliant composition for the orchestra. The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each instrument, brief virtuosocadenzasfor instrument solo, the rhythm of the percussion instruments, etc., constitute here the veryessence of the composition and not its garb or orchestration. All in all, thecapricciois a purely external piece, but vividly brilliant for all that.”
The caprice is dedicated to the artists of the orchestra of the Imperial Russian Opera House of St. Petersburg. The names, beginning with M. Koehler and R. Kaminsky, are given, sixty-seven in all, on the title-page of the score. The caprice is scored for piccolo, two flutes, two oboes (and English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, side drum, bass drum, cymbals, triangle, tambourine, castanets, harp, and strings.
It was in the summer of 1887 that Rimsky-Korsakov, purposing at first to use Spanish dance themes for a virtuoso violin piece, sketched instead this caprice. He thought the third section, the “Alborada” in B flat major, to be a little less successful than the other sections, on account of the brass somewhat drowning the melodic designs of the wood-wind, but this fault could be remedied by a careful conductor. Rimsky-Korsakov tells how, at the rehearsal in St. Petersburg, the orchestra applauded vigorously after the first movement, and in fact after those succeeding, and the composer was so pleased that he dedicated thecapriccioto the players. He also says that the first performance was extraordinarily brilliant, more so than when it was later led by others, even by Arthur Nikisch.
The movements, according to the direction of the composer, are to be played without intervening pauses.
I. Alborada.Vivo e strepitoso.This serenade opens with the wild, tempestuous chief theme, which is given to the full orchestra. There is a subsidiary theme for the wood-wind instruments. Both themes are repeated twice by solo clarinet, accompanied by horns and bassoons, and stringspizzicato. A delicatecadenzafor solo violin brings the close,pianissimo.
II. Variations.Andante con moto, F major, 3-8. The horns give out the theme with a rocking accompaniment for strings. Before this theme is ended, the strings have the first variation. The second variation,poco meno mosso, is a dialogue between English horn and horn. The third variation is for full orchestra. The fourth,tempo primo, E major, organ-point on B, is for wood-wind, two horns, and two violoncellos, accompanied by sixteenth notes for clarinet and violins. The fifth, F major, is for full orchestra. Acadenzafor solo flute brings the end.
III. Alborada.Vivo e strepitoso, B flat major, 2-4. This movement is a repetition of the first, transposed to B flat major and with differentorchestration. Clarinets and violins have now exchanged their parts. The solo that was originally for clarinet is now for solo violin; thecadenzathat was originally for the solo violin is now for the solo clarinet.
IV. Scene and Gypsy Song.Allegro, D minor, 6-8. This dramatic scene is a succession of fivecadenzas. The movement begins abruptly with a roll of side drum, with a fanfare, quasi-cadenza, in syncopated rhythm, gypsy fashion, for horns and trumpets. The drum roll continues, nowpianississimo. The secondcadenza, which is for solo violin, introduces the chief theme. This is repeated by flute and clarinet. The thirdcadenza, freer in form, is for flute over a kettledrum roll; the fourth, also free, for clarinet over a roll of cymbals. The fifthcadenzais for harp with triangle.
The gypsy song begins after a harpglissando.
The song is attacked savagely by the violins and is punctuated by trombone and tuba chords and cymbal strokes. Thecadenzatheme enters, full orchestra, with a characteristic figure for accompaniment. The two themes are alternated. There is a side theme for solo violoncello. Then the strings, in guitar fashion, hint at the fandango rhythm of thefinale, and accompany the gypsy song, which is now blownstaccatoby wood-wind instruments. Thecadenzatheme is enwrapped in triplets for strings alternating with harmonicspizzicato. The pace grows more and more furious,animato, and leads into thefinale.
V. Fandango of the Asturias. A major, 3-4.
The chief theme of the fandango in thisSpanish Capriceis announced immediately by the trombones, and a related theme for wood-wind instruments follows. Both themes are repeated by oboes and violins, while flutes and clarinets have figured in accompaniment. There is a variation in dance form for solo violin. The chief theme in a modified version is given to bassoons and violoncellos. The clarinet has a solo with fandango accompaniment, and the dance grows more and more furious until the chief theme is heard again from the trombones. Thefandangosuddenly is changed into the “Alborada” of the first movement,Coda, vivo. There is a short closingpresto.