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Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day cover

Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day

Chapter 103: "SCHEHERAZADE," SYMPHONIC SUITE AFTER "A THOUSAND NIGHTS AND A NIGHT": Op. 35
By Lawrence Gilman
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About This Book

The guide offers concise, non-technical explanations of symphonies, overtures, and tone-poems, arranged by composer, that orient concert-goers to the illustrative or poetic intentions behind each work. A preface argues for knowing a composition's programme when it is central to the music; individual entries summarize a work's descriptive basis, thematic outline, and salient orchestral effects without indulging in speculative interpretations. Coverage ranges from Beethoven through late-nineteenth and early-twentieth century composers and selects items likely to appear on contemporary orchestral programs, providing practical background to enhance informed listening.

"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."