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Rimsky-Korsakov - Scheherazade, Op. 35

Costume designs by Léon Bakst for Rimsky-Korsakov’s Scheherazade ballet production.
Costume designs for Rimsky-Korsakov’s Scheherazade by Léon Bakst, reflecting the exotic imagery of the work.

Written in 1888, Scheherazade, Op. 35 is arguably the most popular and enduring orchestral work by Nikolai Rimsky-Korsakov. The composition was inspired by One Thousand and One Nights (The Arabian Nights), a vast collection of Middle Eastern tales dating back to the ninth century.

In the heading of the score, the composer outlines the narrative framework of the work:

“The Sultan Schahriar, convinced of the infidelity of women, has sworn to put his wives to death after the first night. But the Sultana Scheherazade saves herself by entertaining him with stories lasting a thousand and one nights. She excites his curiosity, and he continually postpones her execution, finally abandoning his cruel vow. Scheherazade tells the Sultan many wondrous tales, blending poetic verse with song, fairy tales with adventure.”

Rather than following a strict program, Rimsky-Korsakov uses recurring musical ideas—especially the solo violin representing Scheherazade and the stern brass theme of the Sultan—to suggest characters, moods, and episodes.

Movements:

I. The Sea and Sinbad's Ship: Largo e maestoso – Lento – Allegro non troppo – Tranquillo

The opening measures introduce the imposing theme of Sultan Schahriar, proclaimed with strength and authority. This is soon followed by a contrasting solo violin melody—supple, ornate, and resolute—symbolizing Scheherazade herself. With the characters established, the narrative unfolds.

The vastness of the sea emerges through undulating string figures, creating a sense of continuous motion. Sinbad’s ship is portrayed by a broad, lyrical theme rich in harmonic color. Throughout the movement, Scheherazade’s violin reappears, gently guiding the story, while the dark presence of the Sultan’s theme intermittently reminds us of the underlying danger.



II. The Kalandar Prince: Lento – Andantino – Allegro molto – Vivace scherzando – Moderato assai – Allegro molto ed animato 

The solo violin signals the beginning of a new tale. A characterful bassoon melody introduces the Kalandar Prince, a member of an order known for storytelling and wit—qualities reflected in the light, playful nature of the theme.

This relaxed mood is suddenly disrupted by the forceful return of the Sultan’s motif in the brass. Yet the tension quickly dissolves, and the violin briefly reclaims the narrative, recalling the Prince’s theme before the movement surges toward its energetic conclusion.


 

III. The Young Prince and The Young Princess: Andantino quasi allegretto – Pochissimo più mosso – Come prima – Pochissimo più animato

This movement transports the listener into a serene and lyrical world. The strings introduce a graceful, tender melody, delicately ornamented by the woodwinds. A subtle rhythmic pulse in the percussion later energizes the theme, giving it gentle momentum.

Toward the end, Scheherazade’s violin makes a brief appearance, while harp glissandi and shimmering woodwind colors create an exotic, dreamlike atmosphere.



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 final movement opens with vibrant energy, plunging the listener into the bustling festival at Baghdad. The Sultan’s theme returns, reminding us of the darker forces beneath the celebration.

Motifs from earlier movements reappear, most notably the music of the sea. As the drama intensifies, the ship is driven toward destruction, culminating in a powerful orchestral climax. Gradually, the tension dissolves, and the work concludes in a mood of calm and resolution, as Scheherazade’s voice gently fades into silence.


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