Calendarul muzical al zilei - 18 martie 2015

[altmariusclassic]

Miercuri, 18 Martie 2015 , ora 10.53 
 

1844 S-a născut compozitorul rus Nikolai Rimski-Korsakov (decedat 21.06.1908) 171 ani

1882 S-a născut compozitorul italian Gian Francesco Malipiero (decedat 1.08.1973) 133 ani

1943 S-a născut violistei japonez Nobuko Imai 72 ani

1968 Comemorarea compozitorului român Eugen Cuteanu 47 ani

2005 Comemorarea dirijorului israelian Gary Bertiny 10 ani

Sheherazade (Scheherazade; Russian: Шехерезада, Shekherezada in transliteration), Op. 35, is a symphonic suite composed by Nikolai Rimsky-Korsakov in 1888. Based on The Book of One Thousand and One Nights, sometimes known as The Arabian Nights, this orchestral work combines two features common to Russian music and of Rimsky-Korsakov in particular: dazzling, colourful orchestration and an interest in the East, which figured greatly in the history of Imperial Russia, as well as orientalism in general. It is considered Rimsky-Korsakov's most popular work.

During the winter of 1887, as he worked to complete Alexander Borodin's unfinished opera Prince Igor, Rimsky-Korsakov decided to compose an orchestral piece based on pictures from The Arabian Nights as well as separate and unconnected episodes. After formulating musical sketches of his proposed work, he moved with his family to the Glinki-Mavriny dacha, in Nyezhgovitsy along the Cheryemenyetskoye Lake. During the summer there he finished Sheherazade and the Russian Easter Festival Overture. Notes in his autograph orchestral score show that the former was completed between June 4 and August 7, 1888. Sheherazade consisted of a symphonic suite of four related movements that form a unified theme. It was written to produce a sensation of fantasy narratives from the Orient.

The work is scored for two flutes and a piccolo (with 2nd flute doubling on 2nd piccolo for a few bars), two oboes (with 2nd doubling cor anglais), two clarinets, two bassoons, four horns in F, two trumpets in A and B-flat, three trombones, tuba, timpani, bass drum, snare drum, cymbals, triangle, tambourine, tam-tam, harp and strings.[14] The music premiered in Saint Petersburg on October 28, 1888 conducted by Rimsky-Korsakov.

Movement overview:

I. The Sea and Sinbad's Ship 0:14

This movement is composed of various melodies and contains a general A B C A1 B C1 form. Although each section is highly distinctive, aspects of melodic figures carry through and unite them into a movement. Although similar in form to the classical symphony, the movement is more similar to the variety of motives used in one of Rimsky-Korsakov's previous works Antar. Antar, however, used genuine Arabic melodies as opposed to Rimsky-Korsakov's own ideas of an oriental flavor.

II. The Kalendar Prince 10:40

This movement follows a type of ternary theme and variation and is described as a fantastic narrative. The variations only change by virtue of the accompaniment, highlighting the Rimsky-ness in the sense of simple musical lines allowing for greater appreciation of the orchestral clarity and brightness. Inside the general melodic line, a fast section highlights changes within both tonality and structure. of the fanfare motif, played by trombone and muted trumpet.

III. The Young Prince and The Young Princess 21:54

This movement is also ternary, and is considered the simplest movement in form and melodic content. The inner section is said to be based on the theme from Tamara, while the outer sections have song-like melodic content. The outer themes are related to the inner by tempo and common motif, and the whole movement is finished by a quick coda return to the inner motif, balancing it out nicely.

IV. Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman. 32:30

This movement ties in aspects of all the proceeding movements as well as adding some new ideas Including but not limited to: an introduction of both the beginning of the movement and the Vivace section based on Sultan Shakhriar's theme, a repeat of the main Sheherazade violin theme, and a reiteration of the fanfare motif to portray the ship wreck. Coherence is maintained by the ordered repetition of melodies, and continues the impression of a symphonic suite, rather than separate movements. A final conflicting relationship of the subdominant minor Shakhriar theme to the tonic major cadence of the Scheherazade theme resolves in a fantastic, lyrical, and finally peaceful conclusion.

Pictures: Orientalist Paintings.

Conductor: Leonard Bernstein
Orchestra: New York Philharmonic Orchestra
Capriccio espagnol, Op. 34, is the common Western title for an orchestral work based on Spanish folk melodies and written by Nikolai Rimsky-Korsakov in 1887. Rimsky-Korsakov originally intended to write the work for a solo violin with orchestra, but later decided that a purely orchestral work would do better justice to the lively melodies. The Russian title is Каприччио на испанские темы (literally, Capriccio on Spanish Themes). The Capriccio consists of five movements and is scored for 2 flutes, piccolo, 2 oboes (one doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings.

The work has five movements:

The first movement, Alborada, is a festive and exciting dance, typically from traditional asturian music to celebrate the rising of the sun. It features the clarinet with two solos, and later features a solo violin with a solo similar to the clarinet's.

The second movement, Variazioni, begins with a melody in the horn section. Variations of this melody are then repeated by other instruments and sections of the orchestra.

The third movement, Alborada, presents the same asturian dance as the first movement. The two movements are nearly identical, in fact, except that this movement has a different instrumentation and key.

The fourth movement, Scena e canto gitano ("Scene and gypsy song") opens with five cadenzas — first by the horns and trumpets, then solo violin, flute, clarinet, and harp — played over rolls on various percussion instruments. It is then followed by a dance in triple time leading attacca into the final movement.

The fifth and final movement, Fandango asturiano, is also an energetic dance from the Asturias region of northern Spain. The piece ends with an even more rousing statement of the Alborada theme.