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Who wrote Scheherazade composer. N.A. Rimsky-Korsakov

Symphonic Suite "Scheherazade"

Rimsky-Korsakov could create a wide variety of “musical fabric” - from shimmering oriental silks and brocades to the magical robes of a sea princess shimmering with all the colors of the sea.

The fantastic symphonic suite “Scheherazade” has firmly entered the concert repertoire. N. A. Rimsky-Korsakov wrote it, filling the music with beautiful orchestral sound.

The theme of the East was one of the favorite themes in Russian music of the 19th century, giving rise to many truly beautiful pages. The fairy-tale world of the East was revealed to us by both Glinka in the opera “Ruslan and Lyudmila” and Borodin in the opera “Prince Igor.” Many oriental themes are found in the symphonic music of Russian composers and in chamber and vocal works.

One of the most striking “oriental” scores by N. A. Rimsky-Korsakov, “Scheherazade,” immerses us in the atmosphere of the sound of oriental music with its characteristic intonations and whimsical melodic bends, with instrumental timbres recreating a fabulous, almost fantastic musical flavor.

During the summer of 1888, “Scheherazade” was written by Rimsky-Korsakov and first performed under the direction of the author in the 1888-1889 season in one of the “Russian Symphony Concerts”, organized by music publisher and philanthropist Mitrofan Belyaev. Since then, this work has gained great popularity among listeners.

The source of inspiration for the creation of the suite was the literary work “Tales of the Thousand and One Nights”.

Rimsky-Korsakov prefaces his essay with a short programmatic introduction:

Sultan Shahriyar, convinced of the treachery and infidelity of women, vowed to execute each of his wives after the first night; but Sultana Scheherazade saved her life by managing to keep him busy with fairy tales, telling them to him for 1001 nights, so that, prompted by curiosity, Shahriyar constantly postponed her execution and finally completely abandoned his intention. Scheherazade told him many miracles, quoting poems from poets and words of songs, weaving a fairy tale into a fairy tale and a story into a story.

Some of the most striking episodes of Scheherazade's wonderful tales became the basis for Rimsky-Korsakov's symphonic composition. Despite the fact that the suite contains many independent episodes, characters, and musical themes, the suite is united by a single concept, which is subordinated to the image of the main storyteller - Scheherazade. After all, she, possessing enormous erudition and a rich imagination, managed not only to save her life, but also to create a huge magical world full of incredible miracles and adventures.

Rimsky-Korsakov names the episodes he used as a program for individual parts: “The Sea and the Ship of Sinbad,” “The Fantastic Story of Kalender the Tsarevich,” “The Tsarevich and the Princess,” “The Holiday in Baghdad and the Ship Crashing on a Rock.” Perhaps that is why the musical narrative is constructed as a series of fairy-tale paintings and main characters with their characteristic musical themes.

In the introduction, you can hear the contrast between the formidable Sultan Shahryar and the captivating Scheherazade from the very beginning.

Shahriyar's theme contains a commanding unison of woodwind instruments, painting the image of a strong and imperious sultan, the mighty ruler of his state, free to freely dispose of the life and death of his subjects.

But Scheherazade’s theme is tender and languid, performed by a melodious violin solo. In it you can hear the magic of the Arabian night, the enchanting voice of the young storyteller, and the mysterious flavor of wondrous oriental stories.

Scheherazade tells the story of the legendary sailor Sinbad, who sets sail. By painting the sea so amazingly colorfully and accurately, Rimsky-Korsakov undoubtedly turned to his memories associated with sea voyages.

The main part of the sonata allegro is the image of the wavering sea. It is based on the theme of Shahriar, but now it becomes the theme of the hero of the fairy tale - the brave traveler Sinbad, while maintaining a stern character.

Contrasting with it is a light side theme - the theme of Sinbad's ship. Its music surprisingly subtly conveys the breath of the sea element, depicts an endless series of waves with white “lambs” on the crests, the ship of Sinbad the Sailor sailing across the calm expanse of the ocean. But the turbulence of the sea gradually increases, and now the music depicts the greatness of the raging elements. But by the end of the movement, everything calms down, and the music again paints a picture of a gently splashing, peaceful sea.

Shahriyar's theme brightens, as if the despotic ruler, under the influence of beautiful fairy tales, softened and grants Sheherazade one more day of life to hear the continuation.

The second part is “The Tale of Prince Kalender.” Here a new character appears - the prince, and Scheherazade seems to give him the floor. This is how a story arises within a story, a fairy tale within a fairy tale. The composer creates a musical portrait of Kalender, and then depicts his fantastic adventures.

The third movement is the most lyrical in the suite. It is called “The Tsarevich and the Princess” and is a kind of lyrical love duet.

But the particularly striking part of the suite is the finale, which combines the themes of all previous movements. He stands out for his bright orchestral fantasy and fiery temperament. The composer called this part “Feast in Baghdad and a ship crashing on a rock with a bronze horseman.” This festive character is revealed in the change of various themes, the play of rhythms and timbres. The extensive coda, which serves as the conclusion of the entire cycle, paints an independent picture of a majestic, menacing sea and a ship crashing against a rock.

In the epilogue of the suite, Shahriyar's theme becomes soft and calm, because the cruel Sultan is pacified. For the last time, as the conclusion of the fairy tale, the theme of the young Scheherazade sounds. This ends the suite.

“Scheherazade” is one of the most striking works depicting the world of the musical East. It uses the principle of picturesqueness, a comparison of episodes of different nature, united by the theme of Scheherazade, reminding us that all this is the story of one person - the charming storyteller Scheherazade. There is no consistent plot in the suite's program, and there are no explanations for the content of the tales.

This suite is one of the examples of Rimsky-Korsakov's epic symphonism. It displays the same principles of epic musical dramaturgy (contrast, comparison of images) as in the composer’s epic operas. These principles are manifested both in the structure of the suite as a whole, and within individual parts of the work.

Oriental motifs

When Sergei Diaghilev was thinking through the program for the first “Parisian seasons” of the Russian ballet in 1910, he chose this particular work, along with “Polovtsian Dances” by A. Borodin and “Khovanshchina” by M. Mussorgsky. Implementing his plans, he understood well what exactly the public might like and that the French were very attracted to oriental influences. In 1910, Mikhail Fokine staged the ballet Scheherazade, starring Vaslav Nijinsky and Ida Rubinstein. The author of the magnificent costumes and scenery was Leon Bakst.

And in 1911, V. A. Serov, having seen “Scheherazade” in the program of the second Russian ballet season of Sergei Diaghilev in Paris, was so delighted with the colorful unusualness of the music and action that he created a huge (12 by 12 meters) curtain for the ballet.

Presentation

Included:
1. Presentation - 9 slides, ppsx;
2. Sounds of music:
Rimsky-Korsakov. Symphonic Suite "Scheherazade". Part 1, mp3;
Rimsky-Korsakov. Symphonic Suite "Scheherazade". Shahriyar's Theme, mp3;
Rimsky-Korsakov. Symphonic Suite "Scheherazade". Scheherazade's Theme, mp3;
3. Accompanying article, docx.

"Scheherazade"- symphonic suite by N. A. Rimsky-Korsakov, written in 1888. Rimsky-Korsakov created Scheherazade inspired by the Arabian fairy tales One Thousand and One Nights. The work falls within the framework and traditions of the “East” in Russian music, coming from “Ruslan and Lyudmila” by M. Glinka. Thanks to the oriental flavor, created by quoting oriental melodies, themes in the oriental spirit, imitation of the sound of oriental instruments and tones, “Scheherazade” in its form and style is a symphonic suite, that is, a multi-part cyclic musical work written for a symphony orchestra. In addition, the form of “Scheherazade” as a suite is due to the fact that the composer, in the process of working on it, created parts of a musical work, each of which had its own programmatic character and its own name. But later “Scheherazade” as a suite as a whole acquired the character of a symphony. As a result, Rimsky-Korsakov writes a single general program for the symphonic suite “Scheherazade”, removing the proper names of the parts of the symphonic suite and making the latter numbered.

In ballet

Consists of 4 parts:

1. The sea and Sinbad's ship - sonata form with introduction and coda (without development).

2. The story of Prince Kalender is a complex three-part form with an introduction and coda.

3. Tsarevich and princess - sonata form with coda without introduction or development.

4. Holiday in Baghdad - rondo (alternating all themes from the first three parts).

Treatments

Scheherazade is one of Rimsky-Korsakov's most popular works. It is not only performed by academic musicians, but has also undergone many adaptations by pop artists.

  • The English rock band Deep Purple arranged the first part of “Scheherazade” in the form of an electric organ composition “ Prelude: Happiness/I'm So Glad", with a Hammond organ solo performed by Jon Lord. The composition was included in the 1968 album Shades of Deep Purple.
  • The English group Renaissance recorded a noteworthy album in 1975, Scheherazade and Other Stories, which is not based entirely on Rimsky-Korsakov's work, but contains a basic six-note motif that is a reference to Scheherazade.
  • An arrangement of the suite appears on the 1971 album Konvergencie by the Slovak group Collegium Musicum.
  • The Merlin Patterson Symphony Wind Orchestra (Houston, Texas, USA) created an unusual arrangement of “Scheherazade” for wind instruments, presented in 2005.
  • A fragment of “Scheherazade” was used in the film “Prisoner of the Caucasus”.
  • Music from "Scheherazade" was used in the cartoon "The Little Mermaid".
  • A fragment from the fourth part of the suite (Shakhriyar's theme) was played by the orchestra at a performance at the Variety Show staged by Woland and his retinue (the novel The Master and Margarita).
  • Music from Scheherazade was used in the closing ceremony of the 2014 Sochi Winter Olympics.
  • Is the soundtrack to the television series
N.A. Rimsky-Korsakov: Symphonic suite “Scheherazade”...Today is the day of memory of the outstanding Russian composer


Tannhäuser: I really like this symphonic masterpiece by Nikolai Andreevich Rimsky-Korsakov...And I’m not alone in this...) I apologize for the excessive “girlish” eclecticism when designing the post...))

Symphonic Suite, Op. 35

Composed during the summer of 1888 and performed on October 22 of the same year
management by the author.

"Scheherazade" - the musical embodiment of individual episodes and paintings
from the famous collection of Arabian tales "A Thousand and One Nights". Here
program attached to the score by the composer himself: “Sultan Shahriar,
convinced of the treachery and infidelity of women, he vowed to execute each of his
wives after the first night. But Sultana Scheherazade saved her life by taking
his tales, telling them to the Sultan for 1001 nights, so that he was prompted
out of curiosity, Shahriar constantly postponed her execution and finally completely abandoned her
your intention. Scheherazade told him many miracles, quoting poems from poets
and the words of the songs, weaving a fairy tale into a fairy tale, a story into a story.” Suite "Scheherazade"
- one of the pinnacles of Russian program symphonism, it is often performed by orchestras.
suite four movements.

Part I - “Sea”. Two themes in her introduction - Shahriar's menacing theme
and the theme of the solo violin is Scheherazade. The first part is a sea voyage.
With all its colors the orchestra first describes the calm sea, the path of the ship,
then anxiety and confusion and a picture of a violent storm. The storm subsides, the ship
glides smoothly across the sea.


Part II - “The Tale of Kalender the Tsarevich” is a story about
battles and races, a story about the wonders of the East. The music runs through the theme of Scheherazade
- as a reminder of the narrator.


Part III - “Tsarevich and Princess”, built on two eastern
themes - very danceable. In the middle, the solo violin again reminds us
about Scheherazade.


Part IV combines two contrasting paintings - “Baghdad Holiday”
and “Ship Crashing on a Rock.”


At the end of the suite, the violin once again plays Scheherazade's theme, Shahriar's theme goes
in a new sound - calm and peaceful.

From my fairy tales, sweet and tender,
men often lost their heads...
I always remained serene -
After all, my heart and soul were silent...

But you...You conquered Scheherazade...
I know how to write fairy tales about love.
I'm not very happy with this ability...
The men were simply dumbfounded.

You resisted...You told me a fairy tale,
One you've never heard of...
You melted my heart with quiet affection
And I am yours...You are simply unique...

Where did you come from? Which road?
But, however, I don’t care about that,
I let go of troubles and worries
And I would always like to listen to you...

Op. 35
Holiday in Baghdad
Playback help

"Scheherazade"- symphonic suite, one of the best symphonic works of the Russian composer N. A. Rimsky-Korsakov, written in 1888. Rimsky-Korsakov created “Scheherazade” under the influence of the Arabian fairy tales “One Thousand and One Nights”. The work falls within the framework and traditions of the “East” in Russian music, coming from “Ruslan and Lyudmila” by M. Glinka. Creating an oriental flavor by quoting oriental melodies, creating themes in an oriental spirit, imitating the sound of oriental instruments and tones “Scheherazade” in its form and style is a symphonic suite, that is, a multi-part cyclic musical work written for a symphony orchestra. Also, the form of “Scheherazade” as a suite is due to the fact that the composer, in the process of working on it, created parts of a musical work, each of which had its own programmatic character and its own name. But later “Scheherazade”, as a suite as a whole, acquired more and more the character of a symphony form. As a result, Rimsky-Korsakov writes a single general program for the symphonic suite “Scheherazade”, removing the proper names of the parts of the symphonic suite and making the latter numbered.

  • In 1910, Mikhail Fokine staged the ballet Scheherazade to music by Rimsky-Korsakov, with sets and costumes by Bakst.

Consists of 4 parts:

  1. The sea and Sinbad’s ship - Sonata form with introduction and coda (without development).
  2. The story of the Kalandar prince - Complex three-part form with introduction and coda.
  3. The Tsarevich and the Princess (The young prince and the young princess) - sonata form with a coda without introduction or development.
  4. Festival at Baghdad - Rondo (Alternating all parts from the first three parts).

Treatments

Scheherazade is one of Rimsky-Korsakov's most popular works. It is not only performed by academic musicians, but has also undergone many adaptations by pop artists.

  • The English rock band Deep Purple arranged the first part of “Scheherazade” in the form of an electric organ composition “ Prelude: Happiness/I'm So Glad", with a Hammond organ solo performed by Jon Lord. The composition was included in the 1968 album Shades of Deep Purple.
  • An arrangement of the suite appears on the 1971 album Konvergencie by the Slovak group Collegium Musicum
  • The Merlin Patterson Symphony Wind Orchestra (Houston, Texas, USA) created an unusual arrangement of “Scheherazade” for wind instruments, presented in 2005.
  • A fragment of “Scheherazade” was used in the film “Prisoner of the Caucasus”
  • Music from "Scheherazade" was used in the cartoon "The Little Mermaid (cartoon, 1968)"

Wikimedia Foundation. 2010.

See what “Scheherazade (suite)” is in other dictionaries:

    A musical composition, most often instrumental; consists of several laconic and contrasting plays. The term originally referred to a cycle of stylized dances; later it also began to mean a collection of fragments from the opera,... ... Collier's Encyclopedia

    - (French suite, lit. row, sequence) one of the main. varieties of multi-part cyclic. form tools music. Consists of several independent, usually contrasting parts, united by a common art. by design. Parts... ... Music Encyclopedia

    Y; and. [French suite] A piece of music consisting of several independent parts, united by a common artistic concept. S. Griga. // A ballet cycle consisting of a series of dance numbers united by one theme. Ballet village ◁ Suite, oh, oh. With aya... encyclopedic Dictionary

    Suite- SUITE (French suite, lit. row, sequence, continuation), 1) Cyclic music. a work consisting of several independent parts united by a common art. concept and following one after another according to the principle of contrast. WITH.… … Ballet. Encyclopedia

    - (French suite, literally row, sequence) one of the main cyclic forms of instrumental music. It consists of several independent, usually contrasting parts, united by a common artistic concept. Unlike… … Great Soviet Encyclopedia

    Suite- (from the French suite series, sequence) instrument. or less commonly a vocal instrument. genre in the form of an unregulated multi-part cycle. Holistic artist S.’s composition is formed on the basis of alternating dance or non-dance parts,... ... Russian humanitarian encyclopedic dictionary

Methodological development on musical literature on the topic "N.A. Rimsky-Korsakov Symphonic Suite "Scheherazade"

Lapteva Irina Aleksandrovna, teacher of musical theoretical disciplines, MAU DO DSHI p. Sharan
Target:
introduce students to the composer N. A. Rimsky-Korsakov - as a musical storyteller;
expand the concept of “symphonic suite”.

Tasks:
Educational: introduce the suite as a musical genre.
Educational: to introduce children to the treasures of Russian musical classics.
Developmental: develop cognitive and thinking skills, formation of musical taste.

Equipment: computer, presentation, stereo system, audio fragments - themes from the suite by N.A. Rimsky-Korsakov "Scheherazade".

Slide 1 Title
(music from the 2nd part of the Symphonic Suite “The Fantastic Story of Kalender the Tsarevich” plays in the background with slides 1-6)
Slide 2
A fairy tale... Its whimsical world, in which fiction is so naturally intertwined with reality, attracted many Russian composers.
Nikolai Andreevich Rimsky-Korsakov is a great storyteller in Russian music and a real sorcerer of musical painting. None of the Russian composers gave as much soul to the fairy tale as Nikolai Andreevich Rimsky-Korsakov. Using the language of a fairy tale, he spoke about high human feelings, about the great power of art, and painted picturesque pictures of nature.

Slide 3
But the sea attracted the composer no less than a fairy tale. He admired it not only from the shore. As a young man, he went on campaigns in the Baltic, and as a young naval officer he spent three years sailing. The sea voyage introduced Rimsky-Korsakov to the seas and oceans of different latitudes.
With the keen eye of an artist, he absorbed all the shades, all the changes of the sea elements that surrounded him. And having become a composer, throughout his life he depicted it in orchestral colors. The pictures he created of the sea elements are diverse - sometimes serenely calm, sometimes slightly agitated, and sometimes even menacing and ferocious. In almost every work of Rimsky-Korsakov, be it an opera or a symphony, we will find pictures drawn with sounds, musical painting.
The sea will come to life in his symphonic poems “Sadko” and “Antar”, in the suite “Scheherazade”, in the orchestral scenes of fairy-tale and epic operas.

Slide 4
But the composer was not only fascinated by Russian fairy tales; tales of the East were embodied in vivid images in the symphonic suite “Scheherazade”.
“Scheherazade” is one of the best symphonic works by N. A. Rimsky-Korsakov, composed during the summer of 1888 and performed on October 22 of the same year under the direction of the author. It was one of the evenings of the “Russian Symphony Concerts” series, which existed at the expense of the wealthy patron of Russian art M.P. Belyaeva.

Slide 5
The composer was inspired to create the suite by the fascinating Arabian fairy tales “A Thousand and One Nights,” which he knew well from childhood.
The collection “1001 Nights” is a monument of medieval Arabic literature, which contains tales based on Indian, Iranian and Arabic folklore, united by the image of the formidable Shahriar and his wise wife, the daughter of the Sultan’s vizier Scheherazade.

Slide 6
At the beginning of the 18th century, the first translation of fairy tales into French appeared.
The Frenchman Galland gave those fairy tales to the world.
He fascinated both Pushkin and Dickens.
Well, who hasn’t visited those stories?
Have you ever known funny nights without sleep?!

Slide 7
(from 7 to 11 slides, music from the 3rd part of the suite “Tsarevich and Princess” plays in the background)
Medieval that Arab region
He had his own quirks and morals...

Slide 8
King Shahriar, deceived by his wife,
I decided to radically eradicate infidelity,
To find lost peace,
He began to act... original.
Any girl who spent the night with him
She was executed in the morning. Example
That execution took place. And no one to help
She couldn't. Anger choked him.
Slide 9
The wise vizier had a daughter -
I figured out how to help the girls.
That plan is simple and cunning -
Scheherazade, starting a fairy tale
I was in no hurry to finish it.
She was sweet until the first roosters
With the dawn, and the permission of the Shah, she went to bed...
He postponed the execution for a day, then for another period,
And the flow of fairy tales never ends!
So, day after day, history was woven
lasted almost three years
Who will waste disfavor
If life is both interesting and to your heart's content...

Slide 10
The brides grew up, but the Shah forgot about them,
To this day he has not cooled down to Scheherazade -
The storyteller has such great power,
The harem was the only one that replaced him.

Slide 11
The suite is based on separate, unconnected episodes from fairy tales... In the “Chronicle” by N.A. Rimsky-Korsakov directly points out the programmatic nature of each of the four parts:

The first part of the suite is based on images from the fairy tale about Sinbad the Sailor.
Sinbad, traveling on the sea, gets into a shipwreck. Courage and strength of character help him overcome the formidable sea elements.

Part II – “The fantastic story of Kalender the Tsarevich”
“It has reached me, O great king...” - this is how Scheherazade begins each of her new fairy tales. These words correspond to the inspired violin melody that appears at the beginning of each part of the suite - the theme of Scheherazade. But in part 2, the narrator narrates on behalf of the hero - Prince Kalender. In the East, Kalenders were called wandering monks who lived on alms. The hero of the Arabian fairy tale, the prince, dresses in monastic clothes to avoid danger. The music reproduces pictures of a fantastic battle and the hero's exploits.

The lyrical center of the suite is Part III, the tale of the prince and princess. Its main characters are depicted using two oriental themes - the dreamy and tender theme of the prince in love and the graceful and flirtatious theme of the princess. By the similarity of intonations, the composer emphasizes the common tender feelings between the characters.
The fairy tale is coming to an end.

In the IV part of the suite there are 2 paintings: “Baghdad Festival” and “A Ship Crashing on a Rock with a Bronze Horseman.” “...It has reached me, O happy king,” Scheherazade begins a new tale. But now her melody sounds excited, because she is going to talk not only about joyful, but also about terrible events.
A bright picture of a folk festival in Baghdad - the grand finale of the suite - unites many of its themes, as if “gathering” the heroes of the work at a cheerful holiday. But suddenly the fun gives way to a picture of a menacing, raging sea. The ship rushes uncontrollably towards destruction and crashes against a rock with a bronze horseman.
In the short epilogue of the suite, the main characters appear for the last time: this is the quiet and peaceful theme of Shahriar and the poetic theme of the young and wise Scheherazade that concludes the work.

Thus, there is no single plot development in the suite, that is, in each of the parts the composer creates a new fairy tale, the unifying thread of which is the theme of the charming storyteller Scheherazade, telling her wonderful tales to the formidable Sultan.

Slide 12
The first part “Sea. Sinbad's ship."

Slide 13
Sharkhiar and Sheherazade. A formidable king and a wise storyteller... They appear before us at the very beginning of the suite, in its introduction.
The suite opens with a militant phrase played in unison by brass and strings. It sounds menacingly majestic, reminding the listener of the ferocious character of the eastern ruler Shahriar.
(Shahriar's theme from the 1st part of the Symphonic Suite sounds)

Slide 14
But then a completely different melody is heard: the softly soulful singing of a solo violin to the gentle chords of a harp. This is the beautiful Scheherazade.
(Scheherazade's theme from the 1st part of the Symphonic Suite sounds)

The melody of the violin curls in a sinuous, subtle pattern and resembles an exquisite oriental ornament.
Both themes are not just leitmotifs that unite the entire work: on their basis, Rimsky-Korsakov, using variation techniques of musical development, creates various images, giving the listener real magical transformations.

Slide 15
The first fairy tale “The Sea and Sinbad’s Ship” begins.
Sinbad couldn't sit at home. The wide expanses of the sea called him into the distance and attracted him to the untold riches of overseas lands. And although many troubles awaited him on these wanderings, every time he returned home, he yearned for the sea and again equipped the ship and sailed to distant lands.
(the theme of the Main Part from the 1st part of the Symphonic Suite sounds)

The melody of the main part is based on Shahriar's theme. But now she is calm, majestic and paints not a formidable sultan, but the vast expanses of the sea. The melody shimmers in slow, even waves against the background of a powerful and measured sway of the accompaniment. From time to time, short “bursts” appear and immediately disappear.
It is known that Rimsky-Korsakov had a unique natural gift - colored hearing. The choice of the key of E major for the Sea theme is not accidental. In Korsakov's perception of color and sound relationships, E major was colored dark blue, and sapphire tone was the color of sea water.

Slide 16
(the theme of the Side Part from the 1st part of the Symphonic Suite sounds)

The sea is calm and calm. Among its blue vastness, the ship of Sinbad the Sailor appears on the horizon. He floats gently rocking on the waves, and his smooth glide through the water is depicted by a light theme performed by woodwind instruments.

Slide 17
(music from the development of the 1st part of the Symphonic Suite sounds)
Gradually excitement rises. The elements are already raging menacingly. Previously heard themes are intertwined, and the figurations of the strings become alarming. The picture of the storm is complemented by exclamations of brass, full of despair.

Slide 18
(a reprise from the 1st part of the Symphonic Suite sounds)

But the storm subsides. The theme of the calmed sea runs peacefully through the coda, and the first part ends with the “leaving” theme of Sinbad’s ship continuing its voyage.

Slide 19, 20
(from slide 19 to slide 26, music from part 3 of “The Tsarevich and the Princess” from the Princess’s theme plays in the background)
"Scheherazade" on the stage of "Russian Seasons".

Slide 21
In 1910, while preparing the second Russian season in Paris, Sergei Diaghilev decided to use Scheherazade to stage the ballet by Mikhail Fokine, who had already distinguished himself for several years and became the permanent choreographer of the Russian seasons.
S.P. Diaghilev is a theater figure, art critic, creator of the art publication “World of Art”, organizer of fine art exhibitions. Since 1907, he organized performances of Russian musicians abroad.

Slide 22
The ballet premiered on June 4, 1910 in Paris on the stage of the Grand Opera.

Slide 23
The curtain was made in workshops according to sketches by the famous Russian artist Valentin Serov.

Slide 24
The scenery and costumes were made according to the sketches of Lev Bakst, a Russian artist of the Modern Age, one of the most prominent figures in the World of Art association and the theatrical and artistic projects of S. P. Diaghilev.
The design of this performance, exceptional in beauty and expressiveness, drove Paris crazy..... The influence of this ballet was so great that oriental turbans and bloomers in the style of Bakst came into fashion.

Slide 25
“Scheherazade” has become one of the most popular ballets of the “Russian Seasons”, having been revived at the best ballet stages in the world - the Paris National Opera, the Bolshoi Theater, the Mariinsky Theater, the Musical Theater. K. S. Stanislavsky and V. I. Nemirovich-Danchenko and others.
In different versions, staged by different choreographers, “Scheherazade” was performed in many cities of the USSR, but Fokine’s first production remained a true classic of the genre, which is periodically resumed on different stages. The explanation for this is the enchanting music of Rimsky-Korsakov, the bewitching images of Arabian fairy tales from “1001 Nights”.

Slide 26
Resources used:
1. A.A. Solovtsov "Symphonic works of Rimsky-Korsakov". – M., 1960.
2. R. Leites “Musical Tales of Scheherazade” from the collection “Fairy Tale in the Works of N.A. Rimsky-Korsakov". – M., 1987.
3. I.F. Kunin “N.A. Rimsky-Korsakov". – M., 1988.