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N. Rimsky-Korsakov: Scheherazade, op. 35
The symphonic suite Scheherazade is perhaps the most well-known work of Russian composer Rimsky-Korsakov (1844-1908). Inspired by the Arabic folktale Arabian Nights, this suite was completed in 1888 and premiered in St. Petersburg the same year, under the baton of the composer himself. Rimsky-Korsakov designed thematic motifs of distinctive personality for the two main characters: the pretty and clever Scheherazade and the brutal and dignified Sultan. These motifs first appear in the introduction and then run through the suite, connecting the movements and lending coherence to the work.
The first of this four-movement suite is a sonata with no development section, highlighting the amazing and unpredictable changes of the sea and the seafaring experience. With the arpeggio rendered by the cellos as accompaniment, the violins and the woodwinds lead to the first theme that represents the sea and evolves from the theme of the Sultan, which is followed by the second theme of the sailing of ships that represent Sinbad, and include elements of the Scheherazade theme.
Adopting a ternary form, the second movement relates the adventure of princes who became wandering monks. Each section develops the theme through variations, rendering a rich oriental touch through impressive harmony and orchestration.
Also taking the sonata form without the development section, the third movement features a first theme played by the strings in G major, depicting the handsome and amorous Arabian prince, and a second theme with the characteristics of a dance, portraying the graceful princess through the woodwind and string instruments, alternating in B-flat major and the decorative rhythms of snare drums and triangles. The alternation and complementarity of the two themes manifest the duo’s beautiful love.
The closing fourth movement is a combination of all preceding themes, bringing the suite to a climax with rich and complex musical connotations. This suite perfectly exemplifies the composer’s superb orchestration skills, thoroughly portraying the exotic and splendid Oriental atmosphere.
S. Rachmaninoff: Symphony No. 2 in E Minor, op. 27
Written between 1906 and 1907, Symphony No. 2 in E Minor (op. 27) was dedicated to the Russian composer Sergei Taneyev (1856-1915) and premiered in St. Petersburg in 1908 under the baton of the composer himself. Following the failure of his Symphony No. 1 in D Minor in 1897, Rachmaninoff did not attempt this genre until a decade later. The immense success of this piece recovered his confidence as a symphonic composer.
This massive work comprises four movements. The first takes a sonata form with a long, magnificent and slow introduction conveying a general oppressive and gloomy feeling. The second movement in A minor is characterised by its comicality, demonstrating the composer’s mastery in leading the orchestra. While we can just briefly perceive Rachmaninoff’s iconic sentimental touch on the first two movements, the third movement in A major fully brings to the fore the composer’s lyrical talent. Amid broad and long melodic lines, the thick and rich ensemble texture, the meaningful semitone twists, and the ingenious application of harmony intertwining bitterness and sweetness, melancholy and sadness beyond words, yet deeply touching, pristinely express Rachmaninoff’s unique romantic character. In the fourth movement in E major, the thematic ideas from the preceding movements occasionally reappear, enhancing the coherence of the symphony to a certain extent and leading to a triumphal magnificent coda.
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S. Prokofiev: Violin Concerto No. 1 in D Major, op. 19
Sergei Prokofiev (1891-1953) wrote his Violin Concerto No. 1 in 1917, when Russia was fraught with intense political and social turmoil, although it proved to be the most prolific year of his life: adding to this concerto, he wrote Symphony No. 1, Piano Sonatas Nos. 3 and 4, piano suite Visions Fugitives, and Piano Concerto No. 3. His first Violin Concerto was set to premiere in Petrograd the same year but, for multiple reasons, the work only made its debut at the Palais Garnier on 18 October 1923, while Prokofiev was sojourning in Paris.
Despite comprising three movements, the same as in conventional classical concertos, this work features a “slow-fast-slow” pattern instead of the conventional “fast-slow-fast”. In the first movement, which begins in illusory vagueness, the solo violin hums the lyrical first theme amid the soft vibrato of violas and the woodwinds progressively enters into a dialogue with the violin. The second theme in C major has a clear declamatory tone, which was instructed by Prokofiev to be “played as though you’re trying to convince someone of something”. The concise second movement (in E minor) is characterised by strong virtuosity, marking a strong contrast with the first and last movements: it is playful, pugnacious, unruly, energetic, rash and frivolous, representing the composer’s most iconic style. The third movement starts with the bassoons playing a slightly scherzando melody, followed by a solo violin that gives it a more relaxing and soulful touch. The role of the solo then shifts constantly between taking the lead and serving as accompaniment. Eventually, the music gradually returns to the tranquillity and dreaminess featured at the very beginning. The violins recede with a series of fresh vibratos, leaving the flutes to lightly conclude the concerto.
S. Prokofiev: Symphony No. 5 in B-flat Major, op. 100
Composed by Prokofiev in 1944, on the eve of the end of the war between the Soviet Union and Germany, this symphony premiered the following year in the Great Hall of the Moscow Conservatory under his own baton after sojourning in the United States and Paris, having returned to his home country in the mid-1930s. His musical style had shifted from being somewhat avant-garde in the early years to more rustic and lyrical, with a stronger emphasis on the role of melodies, yet still retained the pugnacious, robust and dynamic traits of his personality.
With apparent contemporaneity and profound thought, widely regarded as Prokofiev’s most outstanding symphony, this composition celebrates the great power and nobility of the human race. The first movement unleashes a steadfast, imposing heroism and epic spirit with a relaxing pace, broad atmosphere and epic form. The scherzando second movement showcases Prokofiev’s signature humour, sarcasm, unruliness and absurdity, placing the peculiar main theme under a series of intriguing transformations through variations in orchestration and tempo, as the contrasting middle section portrays a refreshing pastoral mood as well as a fascinating dance scene. The third movement is typical of Prokofiev’s lyricism and gives full play of his melodic talent. The fourth movement starts with a slow introduction, where the cellos and the double basses jointly render the first theme of the first movement. The lively and scherzando main theme then suddenly appears, thoroughly shifting the music from the lingering deep lyricism back to the energetic and exhilarating track, elevating it to the virtually frenetic climax towards the end.
By Danni Liu