N.A. Rimsky-Korsakov "Spanish Capriccio"
The Spanish style in the works of Russian composers cannot be ignored. It is reflected in Glinka's wonderful overtures and even in Tchaikovsky’s famous Swan Lake. In the music of Rimsky-Korsakov there is also a work inspired by the folk art and life of this country. This "Spanish Capriccio" is an orchestral suite in 5 parts.
History of creation
In the years 1886-87 Nikolai Andreevich Rimsky-Korsakov writes fantasy for violin and orchestra on the motives of two Russian folk melodies. According to the records in the “Chronicle of my musical life” (the author of which Rimsky-Korsakov himself), the composer was satisfied with the resulting “virtuoso play” and decided to compose another violin composition, already with variations on Spanish themes.
However, the outline of the composition had to be postponed: in 1887 the great composer suddenly died Alexander Porfirevich Borodin. Glazunov and Rimsky-Korsakov dismantle the chronicles left by a friend, and decide to put them in order, “finish them, instruct them” and prepare the composer’s legacy for publication. There was a lot of work to do: Nikolai Andreevich was engaged in orchestration. opera "Prince Igor".
But in the summer of 1887, the composer interrupted his work on the opera and returned to the outline of Spanish motifs. Instead of a violin piece, he decides to compose a piece for orchestra. The new play was called the Spanish Capriccio. According to the author, her orchestration was supposed to be brilliant, and the calculations were justified. It is inconceivable to present any part of Capriccio in a different musical presentation - the timbres of orchestral instruments, solo performances, and the accompaniment of percussion are not just an adornment of the piece, but reflect the essence of the melody itself.
The very successful premiere of the Spanish Capriccio took place on November 12th of the same year, in St. Petersburg. Behind the conductor's stand was Rimsky-Korsakov himself.
Interesting Facts
- Nikolai Andreevich, neither before nor after writing, Capriccio has not been to Spain. One can only guess about the source of his inspiration. Maybe he was inspired by the symphony of Lalo, or maybe the legendary Spanish overtures Glinka. The composer himself did not write anything about it.
- At the rehearsal and the premiere of the play attended P.I. Chaikovsky. He expressed his admiration and even presented a wreath to Rimsky-Korsakov, signed by the "Greatest master of instrumentation - from his sincere admirer." Pyotr Ilyich also jokingly offered his participation in the future performances of "Capriccio": he was going to play the castanet part.
- The premiere performance of the Spanish Capriccio under the direction of the composer, according to the recollections of his contemporaries, sounded very bright and peculiar. Even the great masters of that time could not achieve a more convincing sound - for example, Arthur Nikish, a Hungarian conductor who is considered the founder of the modern conducting school.
- Several one-act ballets were staged to music from the Spanish Capriccio: on the stage of the Bolshoi Theater, in the Grand Hall of the Philharmonic in St. Petersburg, as well as in the Theater of the Champs Elysées in Paris and on the stage "Balle de Rouste de Monte-Carlo".
- All the themes of the composition are taken from the collection of Spanish folk dances by José Insengi "Cantos y bailes populares de Esras".
- The 2nd and 4th parts of Capriccio are of the greatest interest from the point of view of learning Spanish style in music. It was in them that Rimsky-Korsakov used instruments, harmonic turns and sizes characteristic of the peoples of Spain.
Content
The Spanish capriccio consists of 5 parts and is close in form to the suite, but all parts of the piece are performed without interruption (except for the first, which is separated from the rest by a general pause). The parts themselves are self-contained complete episodes, but combined in the meaning: the themes of Spanish folk dances are taken as the basis.
First part - Alborada (Alborada). In the traditions of the Spanish nations, this is a bagpipe tune or flute, to the accompaniment of a tambourine, with which the shepherds meet the dawn. The composer took the true melody of the province of Asturias from the collection of Jose Insengi as the basis of the theme. Rimsky-Korsakov also retained a peculiar rhythmic pattern of the tunes: he is free, has a marching and dancing character. Alborada embodies the images of dawn, dawn. As bright as the sunrise, the first part of Capriccio begins: the orchestral tutti sounds. Then the impetuous and brilliant melody is replaced by a roll of orchestral groups. Gradually, the music moves away and subsides - Alborada ends with a general pause.
The second part of - Variazioni (Variations). The theme of Variations contrasts with the bright and festive melody of Alborada. Variations are built on the Asturian Evening Dance, which has a peaceful, pastoral character. However, even in slow dance there is a competition of brass instruments and cellosthat gives a variation of dramatic hue. Authentic turned roll english horn and horn in the second conduct. Passionately and pathetically, the last variation of the theme sounds - the second part ends with orchestral tutti. But the final chords again subside somewhere far away.
The third part - re-sparkling and fast Alborada. Here Rimsky-Korsakov returns to the theme of the first part. But this is a completely different Alborada: the tonality has changed, the tonal intensity has increased. Instead of solo roll call sounds more vivid orchestration. Rimsky-Korsakov recognized this part of Capriccio as the most successful.
Fourth part - Scena e canto Gitano (Scene and Guitar Song, Gypsy Song). In this part, the integral Gypsy element of Spanish culture is revealed. It begins with solo drums and draft fanfare. Next plays violin - a tool inextricably linked to the 19th century gypsy theme in Western Europe. After solo flutes, clarinet and mysterious harp Incendiary dance of a gypsy begins, the theme of which is also taken from the collection of Insengi.
The final, fifth part - general dance Fandango asturiano (Asturian Fandango). In it, as in the final chord of the suite, all the previous themes sound. The piece begins with tutti, followed by a whimsical whirlpool of intertwining solos, and at the very end, the melodies of the gypsy guitar sound and, finally, the powerful, swift Alborada completes the Spanish Capriccio.
Elements of Spanish style in the work
The greatest "Spanishness" is usually attributed to variations and melodies of the guitar in the fourth part of the suite.
In the second part (Variations) there are the main features of the Spanish style: first, the dimension - 3/8. Also in the main topic are characteristic syncope. Finally, at the end of the theme, the sixth and seventh stages are lowered. Accordingly, we can talk about the use of the Phrygian harmony, which is so characteristic of Spanish folk music.
The fourth part (Gypsy song) speaks for itself: in it the marker is the gypsy element. In addition to the reference to the culture of nomadic peoples, the fourth part contains plagual harmonic turns and the Phrygian mode is used (in the second part of the topic, the second and third stages are reduced).
Spanish Capriccio draws joyful pictures of Spanish life, nature, reflects the culture and national character of this country. This unique piece opens Rimsky-Korsakov as a brilliant master of orchestration and allows you to call him one of the pioneers of the Russian symphony.
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