Scheherazade (Rimsky-Korsakov) - The Music

The Music

Rimsky wrote a brief introduction that he intended for use with the score, as well as the program for the premiere:

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 Sheherazade 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.

The grim bass motif that opens the first movement is supposed to represent the domineering Sultan (see theme illustrated below). This theme emphasizes four notes of a descending whole tone scale: E-D-C-A♯. But soon, after a few chords in the woodwinds reminiscent of the opening of Mendelssohn's Midsummer Night's Dream overture, we hear the leitmotif that represents the character of the storyteller herself, Scheherazade, his wife, who eventually succeeds at appeasing him with her stories. This theme is a tender, sensuously winding melody for violin solo, accompanied by harp. Both of these two themes are shown below.

According to Rimsky-Korsakov, second and fourth movements and the intermezzo in movement three, written for violin solo and delineating Scheherazade herself as telling her wondrous tales to the stern Sultan. The final conclusion of movement four serves the same artistic purpose. Rimsky-Korsakov stated “The 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 …” Rimsky-Korsakov had a tendency to juxtapose keys a major third apart, which can even be seen in the strong relationship between E and C major in first movement. This, along with his signature orchestration style of simplistic melodies, assembled rhythms, and talent for soloistic writing allowed for such a piece as Scheherazade to be written.

The movements were unified by the short introductions in the first, second and fourth movements, and an intermezzo in movement three. The last was a violin solo representing Sheherazade, and a similar artistic theme is represented in the conclusion of movement four. Writers have suggested that Rimsky's earlier career as a naval officer may have been responsible for beginning and ending the suite with themes of the sea. The peaceful coda at the end of the final movement is representative of Sheherazade finally winning over the heart of the Sultan, allowing her to at last gain a peaceful night's sleep.

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. The music premiered in Saint Petersburg on October 28, 1888 conducted by Rimsky-Korsakov.

The reasons for its popularity are clear enough; it is a score replete with beguiling orchestral colors, fresh and piquant melodies, with 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.