Lesson notes with presentation at the Children's Art School on musical literature. Rimsky-Korsakov Symphonic Suite "Scheherazade"

Abstract on the topic:

Scheherazade (suite)

Scheherazade tells tales to King Shahryar

Musical theme of N. A. Rimsky-Korsakov Scheherazade

"Scheherazade"- symphonic suite “Scheherazade”, 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 “A 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 of 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 the music of Rimsky-Korsakov, with scenery 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. 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 “ Medley: Prelude to Happiness", 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”

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This abstract is based on an article from Russian Wikipedia. Synchronization completed 07/10/11 09:35:24
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Symphonic Suite

Orchestra composition: 2 flutes, 2 piccolos, 2 oboes, cor anglais, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, tambourine, snare drum, cymbals, bass drum, tom-tom, harp, strings .

History of creation

“In the middle of winter (1887-1888 - L.M.), among the work on “Prince Igor” and others, I had the idea of ​​​​an orchestral play based on the plot of some episodes from “Scheherazade” ... ”- we read in Rimsky-Korsakov’s “Chronicle”. The composer and his family spent the summer of 1888 in Nezhgovitsy - the estate of his friend in the Luga district of the St. Petersburg province. From there he wrote to Glazunov: “I decided to carry out, at all costs, the orchestral suite for “1001 Nights” that I had started a long time ago; I remembered everything I had and forced myself to study. At first it went slowly, but then it went quite quickly and, in any case, even if illusory, it filled my meager musical life.”

The sad tone of the letter is due to the fact that the 80s were a difficult time for the composer. There was a growing family that needed to be supported. An extraordinary number of different responsibilities - professorship at the conservatory, acting as assistant manager of the Court Singing Chapel, participation in the publishing business of M.P. Belyaev, in concerts of the Russian Musical Society, editing the music of deceased friends - all this left almost no time or mental strength for creativity. Nevertheless, it was during these years that he created wonderful works, including “Scheherazade,” which became one of the peaks of the composer’s symphonic creativity. The autograph of the score contains the dates of composition of each of the four parts of the suite: at the end of the first part - July 4, 1888, Nezhgowice. At the end of the second - July 11, at the end of the third - July 16, at the end of the entire score - July 26. Thus, the entire work was written in less than a month.

Rimsky-Korsakov based the suite dedicated to V. Stasov on some of the Arabic tales from the collection “1001 Nights,” widely distributed in various (both complete and abridged and adapted) editions. This collection is a monument of medieval Arabic literature, the sources of which go back to Persian legends of the 9th century, finally took shape in the 15th century, and from the 17th century it became quite widespread in the East in lists. In 1704-1717, its first translation into French by A. Galland appeared. Translation into Russian from the French edition was first carried out in 1763-1777. Thus, for more than a hundred years, Russian readers have been widely aware of fairy tales based on Indian, Iranian and Arab folklore, united by the image of the formidable Shahriar and his wise wife, the daughter of the Sultan's vizier Scheherazade.

The composer prefaced the score with a program he himself compiled at the beginning of the collection: “Sultan Shahriar, 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, Shahriar constantly postponed her execution and finally completely abandoned his intention.

Scheherazade told him many miracles, quoting poets’ poems and song lyrics, weaving fairy tales into fairy tales and stories into stories.”

Initially, the composer gave the title of each part: “The Sea and Sinbad’s Ship”, “The Fantastic Story of Prince Kalender”, “The Prince and the Princess”, “Baghdad Holiday. Sea. The ship crashes against a rock with a bronze horseman. Conclusion,” but nowhere did he give any indication of which fairy tales the listeners were being referred to. Subsequently, he decided to remove these additional explanations for the program: “The search for an overly definite program in my work, which was undesirable for me, forced me subsequently, during the first edition, to destroy even those hints about it (the program. - L.M.) that were in the titles before each part...” Following the composer’s wishes, researchers of his work have never been involved in clarifying the program for the fairy tales of “1001 Nights”. According to the most authoritative researcher of the composer’s work, A. Solovtsov, “it remains unclear exactly which episodes from the famous edition of Arabic tales inspired Rimsky-Korsakov and how, in what musical images they are embodied in the suite.<...>Rimsky-Korsakov quite rightly emphasizes... that “Scheherazade” was based on “separate, unrelated” episodes... Indeed, the paintings chosen by Rimsky-Korsakov are not united by a common plot, this is not a story about any from the heroes of One Thousand and One Nights.

The first performance of “Scheherazade” took place in St. Petersburg on October 22 (November 3), 1888, in the first of the Russian symphony concerts, held in the Assembly of the Nobility under the direction of the author.

Music

Prologue The suite opens with powerful and menacing unisons, depicting, as is commonly believed, the image of Shahriar. After soft, quiet chords of wind instruments, a whimsical melody of a solo violin enters, supported only by individual harp arpeggiatos. This is the beautiful Scheherazade. The violin has sounded, and against the background of the measured figurational movement of the cellos and violins, the initial theme appears again. But now she is calm, majestic and paints not a formidable sultan, but the vast expanses of the sea, the unsurpassed singer of which was the author - a sailor who circumnavigated the world and, like no other composer, knew how to embody the images of the water element. The second theme, sounding in the chordal presentation of the winds, for a moment (only four bars) interrupts the measured movement of the rolling waves. The gentle flute solo follows the same movement. This is the ship of Sinbad the Sailor gliding smoothly over the waves. 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. But the storm subsides. The first section of the movement (reprise) is repeated. In its conclusion, the theme of the sea sounds calm and gentle.

Part two The theme of Scheherazade begins, after which the solo bassoon performs a whimsical oriental melody, richly ornamented, developing variations in the timbres of other instruments. This is a story of oriental wonders, increasingly exciting and captivating. The central section depicts the events that the narrator narrates. A picture of a battle unfolds, in which the main theme is the former theme of the Sultan, which has now lost touch with the original image. The rhythmically sharp cry of the trombones, intonationally similar to it, is the theme of the battle. The battle episode is interrupted by an extended clarinet cadenza. With the piercing whistle of high wooden instruments, the sound of which is covered by a piccolo flute, the next episode begins: the fabulous bird Roc flies by. The picture of the battle is repeated, and in the final section the theme of Prince Kalender is interrupted by cadences. “It seems as if the listeners cannot contain their excitement and are heatedly discussing the events described” (A. Solovtsov).

The third part at a calm tempo, Andantino quasi allegretto has two main themes: the Tsarevich - lyrical, smooth, dance-like with simple harmonies on a sustained organ point, with suddenly intruding scale-like passages - and the Tsarevna, similar to the first intonation, but more lively, flirtatious, with the characteristic accompaniment of a snare drum, beating out whimsical rhythmic figures. These themes are repeated, varied, and enriched with new orchestral colors. The development is interrupted by Scheherazade's theme, performed by a solo violin, but its story about the Tsarevich and the Princess continues, which ends with the fading sonority and a gentle arpeggiato of the strings.

Fourth part- the longest and richest in various images. Her introduction is the first theme of the Prologue, which here again changes its meaning. This is no longer the formidable Shahriar and not the expanses of the sea, but a joyful signal for the beginning of the holiday. After a general pause, his last motive sounds. Another general pause. And the capricious, complicated cadence of Scheherazade with the solo violin is not in one voice, as before, but in two voices, with chords at the conclusion. The first theme enters even more violently and furiously. Now it sounds longer and more detailed. The second conduction of Scheherazade's theme also becomes more excited (in three- and four-voice chords of the solo violin). And then, on an ostinato rhythm, a picture of a holiday unfolds with various themes replacing one another. Previously heard themes are woven into the general movement: a motif from Kalender’s story, the Princess’s melody, the warlike cry of the battle scene - as if familiar characters are flashing among the merry crowd. Suddenly, at the culmination of the holiday, the picture changes: a storm begins. The waves rise even more menacingly than in the first part. Passages of harps rise and fall, chromatic scales of high wooden ones. The battle theme from the second part plays. A powerful, fortissimo brass chord, supported by the booming sound of a tom-tom, depicts the moment when the ship crashes on a rock. The movement of the waves calms down, everything gradually calms down. The violin thoughtfully and calmly performs Scheherazade's cadenza. On pianissimo, the strings play the once formidable, but now softened theme of Shahriar. And the suite ends with the theme of the beautiful sultana, which no longer appeared in full, but in echoes, gradually dissolving in the upper register.

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, one 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 “A Holiday 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". Shahryar's Theme, mp3;
Rimsky-Korsakov. Symphonic Suite "Scheherazade". Scheherazade's Theme, mp3;
3. Accompanying article, docx.

There are many different genres in classical music: concertos, symphonies, sonatas, plays. They all differ from each other in their structural features, the way the material is deployed, and the type of artistic content. One of the most interesting genres is the suite, a combination of several different pieces united by one idea. Suites are instrumental (for one instrument) and symphonic (for the whole orchestra). What is a symphonic suite in music? In this article we will talk about this using the example of one of the most beautiful works in this genre.

History of the suite genre. Keyboard suites

We owe the phenomenon of the appearance of the suite to French harpsichordists. It was in their work that this genre became most widespread. Initially, the suites were exclusively of an applied nature - it was a set of dances, where fast alternated with slow. There was a certain sequence - alemanda, courante, sarabande, gigue. Moreover, the tempo difference between them looked like this: calm/moving, slow/fast. After the chimes, sometimes one or more inserted dances could follow - a minuet, an aria.

J. S. Bach brought a slightly different meaning to the interpretation of this genre. In his French and English suites, dance remained only as a metrical basis. The content has become much deeper.

What is a symphonic suite?

Romantic composers, known for their love of reviving ancient genres, very often turned to suite forms. There was no longer a trace of dance in them, but the principle of contrast remained. Only now he concerned, rather, the content of the music, its emotional fullness. Answering the question of what a symphonic suite is in the work of the romantics, it is important to emphasize that, first of all, it began to be based on programmaticity. The combination of parts with the main idea gave the symphonic suites integrity and made them close to the genre of the poem. This genre has become especially widespread in the works of Russian composers.

What other symphonic suites are there?

Sometimes symphonic suites were written by composers as an independent work, for example, P. I. Tchaikovsky’s suite “Romeo and Juliet”. Very often they were composed of numbers from some major work, for example, S. S. Prokofiev’s suite based on his own ballet “Romeo and Juliet,” again. There were cases when a symphonic suite became the result of one composer’s transcription of another’s instrumental work. This happened with M. P. Mussorgsky’s cycle “Pictures at an Exhibition,” which M. Ravel subsequently orchestrated. Most often, the basis of the suite’s programming was a literary work. This is how Rimsky-Korsakov's symphonic suite was written.

Arabian tales in orchestral performance

Russian composers had an insatiable love for oriental themes. Oriental motifs can be found in the work of almost each of them. N.A. Rimsky-Korsakov was no exception. The symphonic suite “Scheherazade” was written under the impression of the collection of fairy tales “A Thousand and One Nights”. The composer chose several unrelated episodes: the story of Sinbad the sailor, the story of Prince Kalender, a holiday in Baghdad and a fairy tale about the love of a prince and a princess. "Scheherazade" came from the composer's pen during one summer in 1888 in Nieżgowice. After the first performance, this work became incredibly popular among listeners, and is still one of the most performed and recognizable compositions.

Musical material "Scheherazade"

Leitmotif is a term coined by the Romantics. It denotes a strong, memorable theme attached to a specific character, idea or character. Recognizing it among the general musical flow, it is easier for the listener to navigate the literary outline of the work. Such a leitmotif in Rimsky-Korsakov’s suite is the theme of Scheherazade herself. The enchanting sound of a solo violin depicts the slender figure of a wise sultana, bending in a graceful dance. This famous theme, which, by the way, is a very serious challenge to the violinist’s skill, serves as the unifying thread of the entire work. She appears before the first, second and fourth parts, as well as in the middle of the third.

The theme of the sea is a very striking musical material. The composer was so successful in conveying the movement of waves using orchestral means that we simply visually feel the breath of the ocean and the breath of sea air.

Form and content: symphonic suite “Scheherazade”

Rimsky-Korsakov did not want the listener to have a certain image when listening to this work. Therefore, the parts do not have program names. However, knowing in advance what images may be found there, the listener will be able to enjoy this magnificent music much more.

What is the symphonic suite “Scheherazade” in terms of musical form? This is a four-part work, linked by a common theme and images. The first part paints a picture of the sea. It is no coincidence that the choice of key is E major. Rimsky-Korsakov, the owner of the so-called color hearing, saw this tonality in a sapphire color, reminiscent of the color of a sea wave. In the second part, the bassoon solo brings the proud and brave Prince Kalender onto the stage, talking about his military exploits. The third part is a love story between the prince and princess. She is full of loving delight and sweet bliss. In the fourth movement, Rimsky-Korsakov made full use of all the colors of the orchestra to convey the unbridled joy at the festival in Baghdad.

So, what is the symphonic suite “Scheherazade”? This is a vibrant work with a tangible oriental flavor, held together by one idea. Every evening, Scheherazade tells her formidable husband, who has vowed to execute his wives after the first night, another fairy tale. Her gift for storytelling is so great that the enchanted Sultan postpones her execution. This continues for a thousand and one nights. We can listen to four of them if we get acquainted with Rimsky-Korsakov’s Scheherazade.

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
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 abandoned her completely
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 theme of Scheherazade runs through the music
- 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 your quiet caress
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...