(Nicolas Andrejevitch Rimsky-Korsakoff: born in Tikhvin, in the government of Novgorod, Russia, March 18,[121] 1844; now living in St. Petersburg) "SADKO," A MUSICAL PICTURE: Op. 5 Rimsky-Korsakoff, who as a young man served as an officer in the Russian navy, has in his music shown a peculiar aptitude for delineating the moods and aspects of the sea. "Sadko," composed in 1867, and sometimes spoken of as "the first Russian symphonic poem," is music of the sea. It has this programme, which is prefaced to the score: "The ship bearing Sadko [a hero of Russian legend, or, according to some, a historical character], a famous gusli [122] player, is becalmed on the high sea. He is thrown overboard by his fellow-travellers as a propitiatory offering to the Sea King, who receives him in his domain, while the ship sails on. There is a great company beneath the waves, for the Sea King is celebrating the wedding of his daughter to the Ocean. He compels Sadko to play on his gusli, and they all dance to the music. Spectres appear; the dance grows wilder and wilder; stormier and stormier are the billows. Sadko breaks the strings of his instrument; an end is put to the dancing, the sea grows calmer, and it is soon dark and still in the ocean depths." [123]
In the music there is first (Moderato assai) a suggestion of the quiet sea, the becalmed ship. Following that, the picturesque intent of the music, heard in the light of the programme, is easily followed.
"ANTAR," SYMPHONY No. 2: Op. 15 1. Largo Allegro vivace 2. Allegro 3. Allegro risoluto alla Marcia 4. Allegretto vivace Andante amoroso Antar was a famous Arabian warrior-poet of pre-Mohammedan times. He lived in the sixth century, and his eloquence and inspiration as a poet were so revered that one of his poems, inscribed upon deerskin, was hung up among the idols in the Kaaba[124] at Mecca for the adoration of worshippers. Rimsky-Korsakoff's symphony (first performed at Magdeburg in 1881) is based on a tale by Sennkowsky of which Antar is the hero. Its substance is condensed in the following note, in French and German, prefaced to the score: I
[Largo; allegro vivace] "Awful is the view of the desert of Sham;[125] mighty in their desolation are the ruins of Palmyra, the city raised by the spirits of darkness. But Antar, the man of the desert, braves them, and dwells serenely in the midst of the scenes of destruction. Antar has forever forsaken the company of mankind. He has sworn eternal hatred on account of the evil they returned him for the good which he intended. "Suddenly a charming, graceful gazelle[126] appears. Antar starts to pursue it. But a great noise seems pulsing through the heavens, and the light of day is veiled by a dense shadow. It is a giant bird that is giving chase to the gazelle. "Antar straightway changes his intent, and attacks the monster, which gives a piercing cry and flies away. The gazelle disappears at the same time, and Antar, left alone in the midst of the ruins, soon goes to sleep while meditating on the event that has happened. "He sees himself transported to a splendid palace, where a multitude of slaves hasten to serve him and to charm his ear with their song. It is the abode of the Queen of Palmyra—the fairy Gul-nazar. The gazelle that he has saved from the talons of the spirit of darkness is none other than the fairy herself. In gratitude Gul-nazar promises Antar the three great joys of life, and, when he assents to the proffered gift, the vision vanishes, and he awakes amid the surrounding ruins." II
[Allegro] "The first joy granted by the Queen of Palmyra to Antar is the delight of vengeance." III
[Allegro risoluto alla Marcia] "The second joy—the delight of power." IV
[Allegretto vivace; andante amoroso] "Antar has returned to the fallen remains of Palmyra. The third and last gift granted by the fairy to Antar is the joy of true love. Antar begs the fairy to take away his life as soon as she perceives the least estrangement on his side, and she promises to do his desire. "After a long time of mutual bliss, the fairy perceives one day that Antar is absent in spirit, and is gazing into the distance. Straightway divining the reason, she passionately embraces him. The fire of her love inflames Antar, and his heart is consumed away. "Their lips meet in a last kiss, and Antar dies in the arms of the fairy."[127]
The grave theme for violas and wood-wind which is heard in the opening Largo, and which recurs throughout the symphony, has been called the "Antar" motive; while the graceful motive for flute and accompanying horns in the succeeding Allegro section has been said to characterize the transformed gazelle—the miraculously potent fairy queen through whose love Antar finally meets his end. CÉsar Cui, to whom the score is dedicated, has thus commented on the music: "First Part: Antar is in the desert—he saves a gazelle from a beast of prey. The gazelle is a fay, who rewards her deliverer by granting him three pleasures. The whole of this part, which begins and ends with a picture of the desolate and boundless desert, is worthy of the composer's magic brush. "Second Part: The pleasure of Vengeance—a rugged, savage, unbridled Allegro, with crescendos like the letting loose of furious winds. "Third Part: The Pleasure of Power—an Oriental march. A masterpiece of the finest and most brilliant interpretation. "Last Part: The Pleasure of Love, amid which Antar expires—a delicate, poetic, delicious Andante...."
And Alfred Bruneau speaks of the music's striking depiction of the three primal human passions: "These sentiments, passing severally through diverse measures, tonalities, and rhythms, over which hovers insistently the parent-phrase of Antar, are the faithful reflections of our tormented, vague, and mysterious souls."
"SCHEHERAZADE," SYMPHONIC SUITE AFTER "A THOUSAND NIGHTS AND A NIGHT": Op. 35 Prefixed to the score of this suite (published in 1889) is the following programme, printed in French and Russian: "The Sultan Schahriar, convinced of the faithlessness of women, had sworn to put to death each of his wives after the first night. But the Sultana Scheherazade saved her life by diverting him with stories which she told him during a thousand and one nights. The Sultan, conquered by his curiosity, put off from day to day the execution of his wife, and at last renounced entirely his bloody vow. "Many wonders were narrated to Schahriar by the Sultana Scheherazade. For her stories the Sultana borrowed the verses of poets and the words of folk-songs, and she fitted together tales and adventures. "1. The Sea and Sindbad's Ship. 2. The Tale of the Kalendar-Prince. 3. The Young Prince and the Young Princess. 4. Festival at Bagdad. The Sea. The Ship is Wrecked
on a Rock Surmounted by a Bronze Warrior. Conclusion."
There is doubt as to Rimsky-Korsakoff's precise intention in the programme of this suite. Which one of Sindbad's voyages is described, which of the three Kalendars is referred to, and what adventure of what young prince and princess, the composer leaves to his hearers to decide. Moreover, the event mentioned in the last number of the suite—the wrecking of the ship upon a rock surmounted by a warrior of brass (not "bronze")—occurs in the story of the third Kalendar, while the wreck of Sindbad's ship occurred under different circumstances. The truth seems to be that Rimsky-Korsakoff has aimed at translating into music the spirit and atmosphere which unifies the various stories, and has not troubled himself about the accuracy or the consistency of his paraphrase. Like Scheherazade herself, he has strung together, without regard for continuity or coherence, whatever incidents and fragments suited his purpose. Thus his music is to be taken as a gloss on the tales as a whole—on their general and underlying mood, their color, their imaginative essence. I. THE SEA AND SINDBAD'S SHIP The first theme of this movement, heard at the opening, has been identified both as the motive of the Sea and of Sindbad. Later we hear (solo violin, with harp chords) the motive of Scheherazade. An undulating arpeggio figure has been called the Wave motive, and a theme first sung by the solo flute that of the Ship. The Sea motive forms a climax of the full orchestra. There is a tranquil close. II. THE TALE OF THE KALENDAR-PRINCE After an introductory passage, we hear the Scheherazade theme on a solo violin with harp accompaniment, followed by a theme, quasi recitando, for solo bassoon, which seems here to have the rÔle of narrator. There is an intermezzo of Oriental character. The end is spirited. III. THE YOUNG PRINCE AND THE YOUNG PRINCESS "Some think from the similarity of the two themes typical of prince and princess that the composer had in mind the adventures of Kamar al-Zaman (Moon of the age) and the Princess Budur (Full moon)." This movement is idyllic, a romanza evolved out of two themes of folk-song character. IV. FESTIVAL AT BAGDAD. THE SEA.
THE SHIP IS WRECKED ON A ROCK SURMOUNTED BY A BRONZE WARRIOR The motive of the Sea begins the movement; the Scheherazade theme follows; then (Allegro molto e frenetico) begins a brilliant depiction of the revels at Bagdad. Then, abruptly, we are transferred to a scene on shipboard. "We seem to plunge into the broad movement of the surging sea, straight on to the fateful event." While the jollification is at its height the ship strikes the dreadful rock. "The trombones roar out the Sea motive against the billowy Wave motive in the strings.... The storm dies.... There is a quiet ending with development on the Sea and Wave motives. The tales are told. Scheherazade, the narrator, who lived with Shahriar 'in all pleasance and solace of life and its delights till there took them the Destroyer of delights and the Severer of societies, the Desolater of dwelling-places and the Garnerer of graveyards, and they were translated to the ruth of Almighty Allah,' fades away with the vision and the final note of her violin."
"A NIGHT ON MOUNT TRIGLAV": THIRD ACT OF THE OPERA-BALLET "MLADA" (CONCERT ARRANGEMENT FOR ORCHESTRA) [128] In 1872 Rimsky-Korsakoff, CÉsar Cui, Modest Moussorgsky, and Alexander Borodine (who, with Mily Balakireff, were the famous coterie who founded the "neo-Russian" school forty years ago) [129] wrote each the music of an act to an opera libretto by Gedeonoff, their chief of the Imperial Theatres, who had ordered the work. This composite opera was never produced, but Rimsky-Korsakoff made use of his share of the music for the third act of his opera-ballet "Mlada" (produced in 1893). The composer afterwards made a concert arrangement of the music of this act, and it was performed at Moscow in 1903, under the direction of Wassily Safonoff. The score of the work in its purely orchestral form is prefaced by a descriptive programme, of which the following is a translation: "The stage is covered with thick clouds. Darkness. The clouds disperse little by little, and finally disappear completely. Falling stars. A clear, moonless night. A gorge on Mount Triglav. Souls of the dead approach floating, and begin a fantastic round (Kolo). The full moon, which rises, lights up the gorge; in its rays appears the wraith of the princess Mlada, making signs to Jaromir to follow her. Lightly she glides above the rocks and precipices. Jaromir follows her. The shades interrupt the Kolo. Jaromir, in a wild burst of passion, seeks to approach Mlada, who disappears. Jaromir pursues her. The moon grows red. Subterranean thunder. Seized with terror, the shades of the dead disappear. Night birds wing their way across the stage. Evil spirits issue from all the caverns and crevasses—demons, spectres, and sorcerers come forth, and serpents and toads crawl out. Revels and dances of the spirits of darkness. From the midst of the infernal round, Chernobog arises, in the form of a black stag, with his followers. He evokes the souls of Jaromir and of Cleopatra, Queen of Egypt. Impenetrable darkness. The stage is transformed into a splendid Egyptian hall. Queen Cleopatra is reclining upon a sumptuous couch of purple, surrounded by dancing-girls and slaves. Dances of the slaves, the dancing-girls, and Cleopatra. She seeks passionately to draw Jaromir towards her; the soul of the latter grows animated; the wraith of Mlada hides its face in its hands and weeps. A cock crows. Suddenly everything vanishes. Deep night; a peal of underground thunder. Quiet. The clouds successively disperse. First gleam of dawn. The wooded slope of Mount Triglav. Jaromir is sleeping. Nature awakes; the leaves rustle and the birds twitter. A ray of the rising sun falls on Jaromir. Full daylight."
SUITE, "CHRISTMAS EVE" TABLEAU 1. INTRODUCTION: CHRISTMAS EVE
TABLEAU 2. IN SPACE
TABLEAU 3. BRILLIANT BALL IN THE IMPERIAL PALACE
TABLEAU 4. NIGHT, IN SPACE Rimsky-Korsakoff composed, in 1895, an opera, "Christmas Eve," based on a story by Gogol.[130] It was produced at St. Petersburg December 10, 1895. Excerpts from it were afterwards made into a suite by the composer. Mr. H. E. Krehbiel has paraphrased Gogol's tale, as it has been utilized by Rimsky-Korsakoff, with a clearness and concision which could not well be bettered: "[The story] is concerned with one of the adventures of the hero, a young, handsome, herculean, and stout-hearted blacksmith named Wakula, in an effort to win the hand of a wilful and capricious damsel named Oxana. She commands him to bring her the tscherewitschki (embroidered slippers, or little shoes) of the Empress Catherine the Great. To understand how he achieved this feat it is necessary to relate that his mother, Ssoloka, is a mistress of the magic arts, and also a buxom dame, who counts among her four lovers not only the father of the whimsical Oxana, but the devil himself. One day, the day before Christmas, her four lovers appear at her house in such rapid succession that she is obliged to hide them in sacks, one after another, to prevent discovery of the numerous rivalry. In her haste two are put into one sack. She has just disposed of the last when Wakula comes home, and to him she gives the sacks (as containing so much coal) to carry away to various destinations. Wakula shoulders the three sacks at once and is off. After depositing two of them in the street, he discovers that he has trapped the devil in the third, and under threat of baptizement unless he consents, compels his satanic majesty to transport him instanter to St. Petersburg, and help him get the empress's slippers. Here the suite begins, and, since most of it is of the descriptive order, the rest of the tale may best be told with hints intended to identify the scenes with the music." TABLEAU I. INTRODUCTION: CHRISTMAS EVE "The scene pictures Dikanka, a village in Little Russia, on a clear, cold night (Adagio)." TABLEAU II. IN SPACE "The stars group themselves upon the clouds (Andante). The stars engage in games and dances (Ballet). Mazurka, Allegro assai.... A procession of comets (Adagio). A round dance, revolution of the constellations about the pole (Andante non troppo). A shower of meteors ( ... Allegro). Clouds descend and hide the stars. A wizard rides into view, seated in a kettle, which he drives with an oven-fork; after him, a rout of wizards, in pots, kettles and bowls, carrying forks, frying-pans, tongs, and pokers; witches astride of brooms. Dance of the witches. Wakula rushes by upon the devil, in the shape of a winged horse; wizards and witches skurry after him (Allegro assai, with a dactyllic figure to suggest the infernal ride). The lights of St. Petersburg are seen (Moderato)." TABLEAU III. BRILLIANT BALL IN THE IMPERIAL PALACE "(Polonaise, Allegro non troppo, alla Polacca.) The devil enters with Wakula (the dactyllic figure is resumed). Darkness comes over the scene." TABLEAU IV. NIGHT, IN SPACE "Glimpses of the setting moon are had through rifts in the clouds (Andante). Flying through the clouds, a multitude of empty pots and kettles, brooms, forks, and other kitchen utensils (Allegro). Wakula dashes past, in the opposite direction, upon his devil-horse (Allegro assai). The clouds disperse and vanish. The moon sets, and the morning star (Venus) appears (Moderato). Dawn. Kolyada, in a golden sledge, and Ovsen, on a boar with golden bristles, appear with a train of light elves who hymn them (Andante). Kolyada is an ancient Slavic sun goddess. In an old ceremony she used to be represented by a maiden, clad in white robes, who was driven from house to house in the yuletide, while kolyadki (i.e., Kolyada songs) were sung by the youths and maidens who attended her, and received gifts from the people in return for their songs. The sun rises through the frosty mists, and Dikanka becomes visible. Wakula is returned with the shoes in time for early mass. The bells of the village church are heard, and the people singing the pious Christmas canticle."
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