Strauss often played in the glittering Imperial balls, conducting the orchestra and playing the first violin at the same time. The majestic launch of this fascinating waltz presents the backdrop of the celebration of the 40th anniversary of the hegemony of the Austrian Emperor Franz Joseph in 1888. Johann Strauss II was Music Director of the Dance Hesperides of the Imperial Court from 1863 to 1872 and composed on occasion for the celebration of an imperial anniversary. The ingenuity of the melody of the Emperor Waltz, which was originally orchestrated for a full orchestra, is such that it was easily adapted for the four or five instruments of a chamber ensemble by the Austrian composer Arnold Schoenberg in 1925. This waltz is a tender and somewhat melancholic work, which at times turns its gaze nostalgically to the old Vienna. The waltz praises the majesty and dignity of the old monarch, who was fully devoted to his people. It begins with a majestic, magnificent march, which soon re
Rimsky-Korsakov - Scheherazade, Op. 35
Get link
Facebook
Twitter
Pinterest
Email
Other Apps
Costumes for Rimsky-Korsakov's Scheherazade by Léon Bakst.
Written in 1888 is perhaps the most popular work of the composer. It was inspired by Thousand and One Nights (also known as The Arabian Nights), a collection of stories from the East of the 9th century.
In the sheet music headline, the composer describes the following program:
"Sultan Schariar, convinced of women's infidelity, vows to execute his wives after the first night. But Sultana Scheherazade is saved by entertaining him with stories that last a thousand and one nights. Sultana arouses the Sultan's curiosity with her stories, and he constantly postpones her execution. He finally withdraws his terrible oath. Scheherazade told the Sultan many wondrous stories, combining the lyrics of the poets with the words of the songs and the fairy tales with the adventures".
Movements:
I. The Sea and Sinbad's Ship: Largo e maestoso – Lento – Allegro non troppo – Tranquillo
The inaugural measures of The Sea and the Sinbad's Ship announce the issue of Sultan Schariar - with strength and determination. Here are quiet and restrained chords that lead to a solo melody of the violin, impressively lysed but no less decisive - the Scheherazade itself. After this description of the characters begins the story.
In front of us now opens up the vastness of the open sea. Strings create a wavy melody as the sound fluctuates. On stage, Sinbad's boat is milked - a beautiful theme, with harmonious richness. Every now and then, Scheherazade's solo violin reappears. We also hear the subject of Schariar, dark and eerie.
II. The Kalandar Prince:Lento – Andantino – Allegro molto – Vivace scherzando – Moderato assai – Allegro molto ed animato
The violin recalls that Scheherazade begins another story, The Kalandar Prince - and the expressive melody of the bassoon representing the prince begins. The prince is a member of the cult of the Kalandar monks, who were known for their ability to tell stories and their humor, so it is no surprise that the composer wrote a light and cheerful theme for him.
But the relaxed mood doesn't last long. Trombone and trumpet require our attention and a dynamic report of the Sultan's theme interrupts. But soon the music re-sings and the violin - this time playing the theme of Kalandar - reminds us one last time of the narrator before the place reaches its impressive conclusion.
III. The Young Prince and The Young Princess:Andantino quasi allegretto – Pochissimo più mosso – Come prima – Pochissimo più animato
The story of The Young Prince and The Young Princess takes us to a new world peaceful and peaceful. Strings introduce slow, polite theme, while the engagements of woodwinds add lighter decorative trace.
Later a rhythmic shape on the side of the drums, introduces a more vivid adaptation of the melody.
Towards the end of the part, the solo violin makes the first appearance of Scheherazade. In the final section, the slip of the harp and the aravours of the woodwinds create the exotic landscape.
IV. Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman: Allegro molto – Lento – Vivo – Allegro non troppo e maestoso – Tempo come I
The mood of the final part is clearly lighter and soon we are led to the crowding of the Baghdad bazaar, to the climax of the celebration. A vivid exhibition of the Sultan's theme brings us back from the tenderness of the lovers to a more ominous reality.
Melodies from previous stories return and the most spectacular remains the inaugural music of the sea. This gradually introduces a feeling of relief that leads the project to a serene conclusion.
Comments
Post a Comment