At the time when Rimsky-Korsakov wrote Scheherazade, everything exotic, particularly oriental, was fashionable, and not only in Russia: throughout Europe, the Orient inspired artists. In Russia, « The Tales of the Arabian Nights » was recently translated. A dreamed Orient, whose colors are evoked by the orchestration. For the composer and his friends it is a way to defend their music, and to stand out from Western music, especially German music. This by affirming popular roots, whether purely Russian, or whether they come from the confines of the Russian Empire. Scheherazade is nothing other than a symphony in which the four movements translate the episodes of the oriental fable. It took the composer two years to complete the writing of this piece. The idea for the work came to him while he was finishing the orchestration of Borodin's Prince Igor. By working on his friend's work, Rimsky-Korsakov had considerably enriched his knowledge of a Russified exoticism, of a fantasized ancient Persia, which he transcribed with insightful efficiency. The imaginary Orient of the Russians of the time represented a very vague territory, opening onto the Caucasus and without space limit. The first movement, « The Sea and the Ship of Sindbad » (Largo e maestoso) opens with the power of strings, clarinet, bassoons and brass. Then, it is the turn of the solo violin with its theme centered on a single note colored with Arabic shades. The second part, « The Tale of Prince Calender » (Lento) multiplies the changes in tempo even in the Andantino and favors the multiplication of solo interventions, notably in the woodwinds with the clarinet, cadence of the bassoon, and percussion. The third movement, « The Young Prince and the Princess » (Andantino quasi allegretto) evokes the birth of love to the rhythm of a lullaby. This page, both modest and sensual, is peppered with mischievous interventions right up to its finale, (Scherzando). The work closes with « Festival in Bagdad, The Sea, The Shipwreck » of the boat on the rocks representing a bronze squire. The common threads are the brief introductions of the 1st, 2nd and 4th movements and the interlude of the 3rd, written for solo violin evoking Scheherazade herself, telling the formidable sultan her marvelous tales. This tarantella is an explosion of colors in which the voice of the violin gradually transforms into a chant of glory. Since Scheherazade has become the symbol of the Orient. *Lucien*
Weekend is here fans, time for music happenings dating your supporters and followers & enjoying such spectacular compositions of a kind, have fun guys ❤🎉❤
At the time when Rimsky-Korsakov wrote Scheherazade, everything exotic, particularly oriental, was fashionable, and not only in Russia: throughout Europe, the Orient inspired artists. In Russia, « The Tales of the Arabian Nights » was recently translated. A dreamed Orient, whose colors are evoked by the orchestration. For the composer and his friends it is a way to defend their music, and to stand out from Western music, especially German music. This by affirming popular roots, whether purely Russian, or whether they come from the confines of the Russian Empire. Scheherazade is nothing other than a symphony in which the four movements translate the episodes of the oriental fable. It took the composer two years to complete the writing of this piece. The idea for the work came to him while he was finishing the orchestration of Borodin's Prince Igor. By working on his friend's work, Rimsky-Korsakov had considerably enriched his knowledge of a Russified exoticism, of a fantasized ancient Persia, which he transcribed with insightful efficiency. The imaginary Orient of the Russians of the time represented a very vague territory, opening onto the Caucasus and without space limit. The first movement, « The Sea and the Ship of Sindbad » (Largo e maestoso) opens with the power of strings, clarinet, bassoons and brass. Then, it is the turn of the solo violin with its theme centered on a single note colored with Arabic shades. The second part, « The Tale of Prince Calender » (Lento) multiplies the changes in tempo even in the Andantino and favors the multiplication of solo interventions, notably in the woodwinds with the clarinet, cadence of the bassoon, and percussion. The third movement, « The Young Prince and the Princess » (Andantino quasi allegretto) evokes the birth of love to the rhythm of a lullaby. This page, both modest and sensual, is peppered with mischievous interventions right up to its finale, (Scherzando). The work closes with « Festival in Bagdad, The Sea, The Shipwreck » of the boat on the rocks representing a bronze squire. The common threads are the brief introductions of the 1st, 2nd and 4th movements and the interlude of the 3rd, written for solo violin evoking Scheherazade herself, telling the formidable sultan her marvelous tales. This tarantella is an explosion of colors in which the voice of the violin gradually transforms into a chant of glory. Since Scheherazade has become the symbol of the Orient. *Lucien*
Einfach unbeschreiblich schön,voller Liebe,Fantasie ,Klangfarben ❤
This brings back so many good memories. I have fortunate to attend concerts to see Petrenko conduct this twice. Well played, all.
This gorgeous orchestra with the incomparable Vasily Petrenko is a delight.
Weekend is here fans, time for music happenings dating your supporters and followers & enjoying such spectacular compositions of a kind, have fun guys ❤🎉❤
Musica nota e piacevole...solista di primo ordine❤❤❤
9:45 2nd
21:35 3rd
31:50 4th
Beautifully played. Bravo
Obra maestra del Nacionalismo Ruso. Excelente ésta performance
Excepțional! Până la lacrimi! 😢❤
Величайшее произведение и великолепное исполнение... Спасибо.
Was schitterend afgelopen zondagochtend. Just what the doctor ordered
Hui....bin überrascht 🎉
❤❤❤❤❤
11:38