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III. Allegro risoluto alla Marcia
pickup to reh. E - reh. F |
Skills & Techniques: Endurance, High Register, Phrasing, Slurring Flexibility, Soft Playing
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Horn 1 (F)
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Berliner Philharmoniker (1988)
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New York Philharmonic Orchestra (1998)
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Composer & Composition Information
Nikolay Rimsky-Korsakov (1844-1908)
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Prolific Russian composer Nikolai Rimsky-Korsakov (1844-1908) is perhaps best known for his orchestral compositions, especially the symphonic suite Scheherazade (1888), based on the story of the sultan’s wife who tells him a series of stories for 1,001 nights (the Tales of the Arabian Nights).
Rimsky-Korsakov also wrote 15 operas, including The Tsar’s Bride (1898), as well as symphonies, choral music, and songs. One of his operas contains his famous short work, “The Flight of the Bumblebee.” Rimsky-Korsakov was born into an aristocratic family who, despite realizing their son had musical ability, did not take it seriously because being a composer was not considered suitable for someone of their social standing. Based on his parents’ wishes, he studied for a career in the Imperial Russian Navy. While at school, he took piano lessons. Rimsky-Korsakov became convinced as his studies progressed that he could make a career in music, even though he lacked the formal music training of a conservatory. He began composing his first symphony while at sea in the Russian navy. The text & image are reprinted from The Kennedy Center where more information about the composer can be found. |
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Symphony No. 2, Op. 9, "Antar"
Even, at times, his approach to symphonic form was unique. Take the Symphony no. 2, subtitled Antar. Its compositional history is certainly peculiar. Written in 1868 but revised twice – in 1875 and again in 1891 – and then reworked further in 1903, Rimsky based the piece (at the behest of Mussorgsky and Cesar Cui) on an exotic tale by Osip Sennkovsky.
The story itself concerns Antar, a reclusive adventurer living in the desert, who rescues a gazelle being attacked by a large bird. It turns out that the gazelle is a fairy called Gul-Nazar, who is also Queen of Palmyra. As a reward for his heroism, Antar is granted the three joys missing from his life: vengeance, power, and love. The experience of the last joy, however, consumes Antar, and, at the end, he dies in the Queen’s arms. Is there any wonder why a narrative with such strong archetypal themes would appeal to such an innately theatrical composer?
The first of Antar’s four movements opens with a recurring rising figure that’s meant to evoke the grandeur and mystery of the desert. It’s passed from strings to winds, the scoring always delicate and clear. After three iterations of this gesture, the violas play a tune that’s meant to represent Antar, himself: it’s broad and noble, but steeped in melancholy. As the fast section begins, a trotting figure representing the gazelle/Gul-Nazar appears and, through much repetition and colorful scoring, builds to a great climax that depicts Antar saving the Queen. As the strum of her harp fades, the opening “desert music” recurs and Antar suddenly wakes from his dream.
The text is written by & reprinted from Jonathan Blumhofer (The Arts Fuse) where more information about the composition can be found.
The story itself concerns Antar, a reclusive adventurer living in the desert, who rescues a gazelle being attacked by a large bird. It turns out that the gazelle is a fairy called Gul-Nazar, who is also Queen of Palmyra. As a reward for his heroism, Antar is granted the three joys missing from his life: vengeance, power, and love. The experience of the last joy, however, consumes Antar, and, at the end, he dies in the Queen’s arms. Is there any wonder why a narrative with such strong archetypal themes would appeal to such an innately theatrical composer?
The first of Antar’s four movements opens with a recurring rising figure that’s meant to evoke the grandeur and mystery of the desert. It’s passed from strings to winds, the scoring always delicate and clear. After three iterations of this gesture, the violas play a tune that’s meant to represent Antar, himself: it’s broad and noble, but steeped in melancholy. As the fast section begins, a trotting figure representing the gazelle/Gul-Nazar appears and, through much repetition and colorful scoring, builds to a great climax that depicts Antar saving the Queen. As the strum of her harp fades, the opening “desert music” recurs and Antar suddenly wakes from his dream.
The text is written by & reprinted from Jonathan Blumhofer (The Arts Fuse) where more information about the composition can be found.
Notable Performances/Recordings:
Detroit Symphony Orchestra (2022)
Chicago Symphony Orchestra (2016)
Bergen Philharmonic Orchestra (2005)
Malaysian Philharmonic Orchestra (2003)
Detroit Symphony Orchestra (2022)
Chicago Symphony Orchestra (2016)
Bergen Philharmonic Orchestra (2005)
Malaysian Philharmonic Orchestra (2003)