词条 | Scheherazade (Rimsky-Korsakov) | ||||||||
释义 |
{{Infobox musical composition This orchestral work combines two features typical of Russian music and of Rimsky-Korsakov in particular: dazzling, colorful orchestration and an interest in the East, which figured greatly in the history of Imperial Russia, as well as orientalism in general. The name "Scheherazade" refers to the main character Shahrazad of the One Thousand and One Nights. It is considered Rimsky-Korsakov's most popular work.[2] BackgroundDuring 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 One Thousand and One Nights as well as separate and unconnected episodes.[3] After formulating musical sketches of his proposed work, he moved with his family to the Glinki-Mavriny dacha, in Nyezhgovitsy along the Cheryemenyetskoye Lake (near present-day Luga, in Leningrad Oblast). The dacha where he stayed was destroyed by the Germans during World War II. During the summer, he finished Scheherazade 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.[4] Scheherazade 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.[5] Initially, Rimsky-Korsakov intended to name the respective movements in Scheherazade "Prelude, Ballade, Adagio and Finale".[6] However, after weighing the opinions of Anatoly Lyadov and others, as well as his own aversion to a too-definitive program, he settled upon thematic headings, based upon the tales from The Arabian Nights.[3] The composer deliberately made the titles vague so that they are not associated with specific tales or voyages of Sinbad. However, in the epigraph to the finale, he does make reference to the adventure of Prince Ajib.[8] In a later edition, Rimsky-Korsakov did away with titles altogether, desiring instead that the listener should hear his work only as an Oriental-themed symphonic music that evokes a sense of the fairy-tale adventure[4], stating: {{Quote|text=All I desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond a doubt an Oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements.|sign=|source=}}He went on to say that he kept the name Scheherazade because it brought to everyone’s mind the fairy-tale wonders of Arabian Nights and the East in general.[3] Music{{Listen| type = music | header = Rimsky-Korsakov. Scheherazade, Symphonic Suite, Op. 35 | filename = Rimsky-Korsakov. Scheherazade, Symphonic Suite, Op. 35 - 01 The Sea And Sinbads Ship.ogg | title = I. The Sea and Sinbad's Ship | filename2 = Rimsky-Korsakov. Scheherazade, Symphonic Suite, Op. 35 - 02 The Story Of The Kalandar Prince.ogg | title2 = II. The Story of the Kalandar Prince | filename3 = Rimsky-Korsakov. Scheherazade, Symphonic Suite, Op. 35 - 03 The Young Prince And Princess.ogg | title3 = III. The Young Prince and Princess | filename4 = Rimsky-Korsakov. Scheherazade, Symphonic Suite, Op. 35 - 04 Festival At Baghdad The Sea.ogg | title4 = IV. Festival at Baghdad. The Sea | description4 = Performed by the San Francisco Symphony Orchestra conducted by Pierre Monteux, with violin solo by Naoum Blinder }} OverviewRimsky-Korsakov wrote a brief introduction that he intended for use with the score as well as the program for the premiere: {{quote|The Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night. But the Sultana Scheherazade saved her life by entertaining her lord with fascinating tales, told seriatim, for a thousand and one nights. The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally repudiated his bloody vow entirely.[7]}}The grim bass motif that opens the first movement represents the domineering Sultan.[4] \\relative c{ \\set Staff.midiInstrument = #"tuba" \\set Score.tempoHideNote = ##t \\tempo 4 = 130 \\clef bass \\key g \\major \\time 2/2 e2 \\ff b d~ \\times 2/3 { d4 c b } c2.~\\startTrillSpan c8. g16\\stopTrillSpan ais2\\accent\\staccato fis\\accent\\staccato \\bar "||" } This theme emphasizes four notes of a descending whole tone scale: E-D-C-B{{music|flat}}[8] (each note is a down beat, i.e. first note in each measure, with A{{music|sharp}} for B{{music|flat}}). After a few chords in the woodwinds, reminiscent of the opening of Mendelssohn's A Midsummer Night's Dream overture,[9] the audience hears the leitmotif that represents the character of the storyteller herself, Scheherazade. This theme is a tender, sensuous winding melody for violin solo,[10] accompanied by harp.[7] \\relative c'''{ \\set Staff.midiInstrument = #"violin" \\set Score.tempoHideNote = ##t \\tempo 4 = 60 \\clef treble \\key g \\major \\time 4/4 e4(~ e8 \\times 2/3 { d16 e d } \\times 2/3 { c d \\set stemRightBeamCount = #1 c) } \\set stemLeftBeamCount = #1 \\times 2/3 { b( c b } \\times 2/3 { a c \\set stemRightBeamCount = #1 e } \\set stemLeftBeamCount = #1 \\times 2/3 { g fis e) } e4( \\bar "||" } Rimsky-Korsakov stated: {{quote|[t]he unison phrase, as though depicting Scheherazade’s stern spouse, at the beginning of the suite appears as a datum, in the Kalendar’s Narrative, where there cannot, however, be any mention of Sultan Shakhriar. In this manner, developing quite freely the musical data taken as a basis of composition, I had to view the creation of an orchestral suite in four movements, closely knit by the community of its themes and motives, yet presenting, as it were, a kaleidoscope of fairy-tale images and designs of Oriental character.[3]}}Rimsky-Korsakov had a tendency to juxtapose keys a major third apart, which can be seen in the strong relationship between E and C major in the first movement. This, along with his distinctive orchestration of melodies which are easily comprehensible, assembled rhythms, and talent for soloistic writing, allowed for such a piece as Scheherazade to be written.[18] The movements are unified by the short introductions in the first, second and fourth movements, as well as an intermezzo in the third. The last is a violin solo representing Scheherazade, and a similar artistic theme is represented in the conclusion of the fourth movement.[4] Writers have suggested that Rimsky-Korsakov's earlier career as a naval officer may have been responsible for beginning and ending the suite with themes of the sea.[7] The peaceful coda at the end of the final movement is representative of Scheherazade finally winning over the heart of the Sultan, allowing her to at last gain a peaceful night's sleep.[11] The music premiered in Saint Petersburg on October 28, 1888 conducted by Rimsky-Korsakov.[22] The reasons for its popularity are clear enough; it is a score replete with beguiling orchestral colors, fresh and piquant melodies, a mild oriental flavor, a rhythmic vitality largely absent from many major orchestral works of the later 19th century, and a directness of expression unhampered by quasi-symphonic complexities of texture and structure.[18] InstrumentationThe work is scored for an orchestra consisting of:[12] {{col-begin}}{{col-2}}
2 flutes and piccolo (2nd flute doubling 2nd piccolo for a few bars) 2 oboes (2nd doubling cor anglais) 2 clarinets in A and B{{music|flat}} 2 bassoons
4 horns in F 2 trumpets in A and B{{music|flat}} 3 trombones 1 tuba{{col-2}}
Timpani Bass drum Snare drum Cymbals Triangle Tambourine Tam-tam
Harp Violins Violas Cellos Basses{{col-2}}{{col-end}} MovementsThe work consists of four movements:
AdaptationsBalletA ballet adaptation of Scheherazade premiered on June 4, 1910, at the Opéra Garnier in Paris by the Ballets Russes. The choreography for the ballet was by Michel Fokine and the libretto was from Fokine and Léon Bakst. This ballet provoked exoticism by showing a masculine Golden Slave, danced by Vaslav Nijinsky, seducing Zobeide, danced by Ida Rubinstein, who is one of the many wives of the Shah. Nijinsky was painted gold and is said{{citation needed|date=October 2018}} to have represented a phallus and eroticism is highly present in the orgiastic scenes played out in the background. Controversially, this was one of the first instances of a stage full of people simulating sexual activity. Nijinsky was short and androgynous but his dancing was powerful and theatrical. When the Shah returns and finds his wife in the Golden Slave's embrace, he sentences to death all of his cheating wives and their respective lovers. It is rumored{{citation needed|date=October 2018}} that in this death scene, Nijinsky spun on his head. The ballet is not centered around codified classical ballet technique but rather around sensuous movement in the upper body and the arms. Exotic gestures are used as well as erotic back bends that expose the ribs and highlight the chest. Theatrics and mime play a huge role in the story telling. Scheherazade came after Petipa's Swan Lake and The Sleeping Beauty, which were ballets strongly focused on classical ballet and technique. Fokine embraced the idea of diminished technique and further explored this after Scheherazade when he created Petrouchka in 1912. He went on to inspire other choreographers to throw away technique and embrace authenticity in movement. Bakst, who designed the sets and costumes for Scheherazade, had a big influence on interior design and fashion of that time by using unorthodox color schemes and exotic costuming for the ballet. The widow of Rimsky-Korsakov protested what she saw as the disarrangement of her husband's music in this choreographic drama.[14] OthersSergei Prokofiev wrote a Fantasia on Scheherazade for piano (1926), which he recorded on piano roll. Fritz Kreisler arranged the second movement (The Story of the Kalendar Prince) and the third movement (The Young Prince and the Princess) for violin and piano, giving the arrangements the names "Danse Orientale" and "Chanson Arabe", respectively. In 1959, bandleader Skip Martin adapted from Scheherazade the jazz album Scheherajazz (Sommerset-Records),[15] in which the lead actress, Yvonne De Carlo, was also the principal dancer. The plot of this film is a heavily fictionalized story, based on the composer's early career in the navy. He was played by Jean-Pierre Aumont.[16] Scheherazade is a popular music choice for competitive figure skating. Various cuts, mainly from the first movement, were widely used by skaters, including:
Notably, American figure skater Evan Lysacek used Scheherazade in his free skate and won the gold medal at 2010 Winter Olympics in Vancouver.[17] It was also used by American ice dancers Charlie White and Meryl Davis in their free dance, with which they won the gold medal at 2014 Winter Olympics.[18] Recordings
See also
References1. ^{{cite book |title=The classical music experience: discover the music of the world's greatest composers |last=Jacobson |first=Julius H. |author2=Kevin Kline |year=2002 |publisher=Sourcebooks |location=New York |isbn=978-1-57071-950-9 |page=181 }} 2. ^{{cite web | last=Minderovic | first=Zoran | url=http://www.daytonphilharmonic.com/content.jsp?articleId=528 | title=Nikolay Andreyevich Rimsky-Korsakov, Scheherazade, Symphonic Suite for Orchestra, op. 35 | publisher=Dayton Philharmonic | accessdate=2008-10-25 }}{{dead link|date=November 2010}} 3. ^1 2 3 4 Rimsky-Korsakov, Nikolay Andreyevich (1942). My Musical Life. translated by Judah A. Joffe (3rd edition). Alfred A. Knopf. 4. ^1 2 3 Rimsky-Korsakov (1942:291–94). 5. ^{{Cite book | editor=Abraham, Gerald | year=1990 | title=The New Oxford History of Music, Volume IX, Romanticism (1830–1890) | publisher=Oxford University Press | pages=508, 560–62 | isbn=0-19-316309-8 }} 6. ^{{cite book | title=The Columbia Book of Musical Masterworks | first=Goddard | last=Lieberson | year=1947 | editor=Goddard Lieberson | page=377 | publisher=Allen, Towne & Heath | location=New York}} 7. ^1 2 {{cite web | url=http://www.kennedy-center.org/calendar/?fuseaction=composition&composition_id=2145 | title=Scheherazade, Op. 35 | publisher=The Kennedy Center | accessdate=2008-10-28}} 8. ^{{cite book | first=Richard | last=Taruskin | year=1996 | title=Stravinsky and the Russian Traditions: A Biography of the Works Through Mavra | publisher=Oxford University Press | isbn=0-19-816250-2 | page=740 }} 9. ^1 {{cite book | first=Daniel Gregory | last=Mason | year=1918 | title=The Appreciation of Music, Vol. III: Short Studies of Great Masterpieces | url=https://books.google.com/books?id=02ozAAAAIAAJ&pg=PA35 | accessdate=2008-11-02 | publisher=H.W. Gray Co. | location=New York }} 10. ^{{cite book | first=Rick | last=Phillips | year=2004 | title=The essential classical recordings: 101 CDs | publisher=Random House, Inc. | isbn=0-7710-7001-2 | page=150 }} 11. ^{{cite web|last=Powers |first=Daniel |year=2004 |url=http://www.avantecmedia.com/clients/thso/notes9-25.html |title=Scheherazade, op. 35, (1888) |work=China in Focus, Tianshu Wang, piano |publisher=Terre Haute Symphony Orchestra |accessdate=2008-10-28 |deadurl=yes |archiveurl=https://web.archive.org/web/20160313112931/http://avantecmedia.com/clients/thso/notes9-25.html |archivedate=March 13, 2016 }} 12. ^1 {{cite web | title= Program Notes | url=http://www.slso.org/0304notes/2-27-04.htm | publisher=Saint Louis Symphony Orchestra | first=Paul | last=Schiavo | accessdate=2007-07-06 |archiveurl = https://web.archive.org/web/20071012030736/http://www.slso.org/0304notes/2-27-04.htm |archivedate = 2007-10-12}} 13. ^1 2 3 4 5 6 Griffiths, Steven. (1989) A Critical Study of the Music of Rimsky-Korsakov, 1844–1890. New York: Garland, 1989. 14. ^{{cite | year=1918–1919 | title=Programme, Thirty-Eighth Season | publisher=Boston Symphony Orchestra | location=Boston | url=https://books.google.com/books?id=xQ4QAAAAYAAJ&pg=RA1-PA829 | accessdate=2008-10-30 | page=829 }} 15. ^{{cite book | title=Song of Scheherazade | accessdate=2009-06-18 }} 16. ^{{cite book | first=William | last=Hare | year=2004 | title=L.A. noir: nine dark visions of the City of Angels | publisher=McFarland | pages=28–29 | isbn=0-7864-1801-X }} 17. ^{{cite web|url=http://articles.baltimoresun.com/2010-02-19/sports/bal-evan-lysacek-0219_1_golds-since-dick-button-evan-lysacek-medal-since-brian-boitano|title= U.S. figure skater Evan Lysacek wins gold medal |work=Baltimore Sun}} 18. ^{{cite news|last=Jenkins|first=Sally|title=Meryl Davis and Charlie White’s gasp-inducing performance in winning ice dancing gold|url=https://www.washingtonpost.com/sports/olympics/meryl-davis-and-charlie-whites-gasp-inducing-performance-in-winning-win-ice-dancing-gold/2014/02/17/1cbc9d34-980f-11e3-afce-3e7c922ef31e_story.html|newspaper=The Washington Post|date=February 18, 2014}} External links{{Commons category|Rimsky-Korsakov - Scheherazade}}
11 : 1888 compositions|Compositions by Nikolai Rimsky-Korsakov|Compositions for symphony orchestra|Compositions for violin and orchestra|Orchestral suites|Music based on One Thousand and One Nights|Ballets by Michel Fokine|Ballets designed by Léon Bakst|Ballets Russes productions|1910 ballet premieres|Maritime music |
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