ANTONÍN DVOŘÁK (1841-1904)
CARNIVAL OVERTURE, op.92, B.169
COMPOSED: 1891
LENGTH: c. 10 minutes
Antonin Dvořák composed this exciting and effervescent piece, “Carnival Overture,” as a part of a triptych depicting life, love, and nature in both their positive and negative aspects. The three pieces initially premiered as a set, but soon, Dvořák decided to publish the three pieces separately, Nature’s Realm (1891), Carnival (1891), and Othello (1892).
Dvořák describes the narrative as follows:
“The wanderer reaches the city at nightfall, where a carnival of pleasure reigns supreme. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of people giving vent to their feelings in the songs and dance tunes.”
Throughout the work, Dvořák’s use of Slavic folk music and dance rhythms can be heard. This piece depicts barkers, vendors, and boisterous crowds. Midway through, a pair of lovers straying from the crowd are musically depicted with English horn, together with solo flute and violin–which so happened to be favorite instruments of the composer.
CARL MARIA VON WEBER (1786-1826)
CLARINET CONCERTO NO.1 in F minor, Op. 73
COMPOSED: 1811
LENGTH: c. 20 minutes
Widely regarded as one of the founding fathers of German Romantic music, Carl Maria von Weber Weber approached this piece with the experience and tools from his passion for opera, German national folk styles, and a flair for dramatic orchestration.
Weber became familiar with the new developments in the clarinet through Heinrich Baermann (1784-1847), and the two musicians worked together, going on tours through Austria and Germany. This close collaboration led to a series of orchestral and chamber works showcasing the clarinet and the evenness of tone from the top to the bottom of the instrument.
The concerto is in a conventional three-movement form of fast, slow, fast. The first movement is a style that would become characteristic for later composers. It is a movement filled with drama and contrast, from furious orchestral tuttis to the sweet, gentle, almost dreamy passages for solo clarinet. The clarinet is given the opportunity to show virtuosic melodies above the orchestra, highlighting the tone and range admired by Weber. The movement ends quietly with an air of mystery.
The second movement completely contrasts from the first. A lyrical melody played by the soloist plays over a simple orchestral accompaniment. A short but dramatic change interrupts the tranquility, but the disturbance is short-lived. This movement showcases the effective use of a horn-trio that interacts with the clarinet in a way that would be typical for an early Romantic operatic aria for which Weber became famous.
The work concludes with a final movement. It is a lively rondo with extensive virtuosic performance for the soloist. After a climactic passage for the soloist, showcasing the range and ability of the instrument and performer, there is an extended passage in minor that brings us into the realm of tragedy before sending us off with a joyous and optimistic conclusion.
NIKOLAI RIMSKY-KORSAKOV (1844-1908)
SCHEHERAZADE, Op. 35
COMPOSED: 1888
LENGTH: c. 48 minutes
Nikolai Rimsky-Korsakov 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 Scheherazade 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.”
Scheherazade saved her life and the lives of countless others by arousing the sultan’s interest in her stories as she spun tales for 1001 nights. In Rimsky-Korsakov’s work, we are taken on this journey, drawn into her masterful narrative.
The Sultan is introduced by an oppressive, domineering, and grim bass motif. In contrast, Scheherazade the storyteller’s leitmotif is a seductive melody played on violin that winds throughout the composition. The violin’s virtuosic playing moves like a snake-charmer, seducing us to listen closely to the tale. The violin is a constant reminder of Sheherazade’s framing and storytelling, playing a part in multiple characters and transforming from story to story. For violin, this is one of the most virtuosic and beautiful works in the orchestral repertoire. This piece is a perfect example of two features typical of Rimsky-Korsakov’s compositions and this era of Russian music–dazzling and colorful orchestration and themes of orientalism (an interest in themes having to do with the East).
The work is divided into four parts:
First, The Sea and Sinbad’s Ship gives us a strong nautical depiction, dotted with swelling ocean waves, sea breezes, and the call of mysterious and exotic ports. The Kalandar Prince is introduced once again by Scheherazade and features war-like fanfares from the brass section. The Young Prince and the Young Princess is a love story with a dance that leads to a brief, ecstatic climax–before drawing us back to a tranquil conclusion. The final section, split by Korsakov’s own titles into three distinct parts: Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman opens with the Sultan entreating his Sultana to continue the story, barely containing his excitement. In this final movement is a flurry of activity, themes heard earlier in the suite jostling for attention. It is now that we see the genius and skill of Scheherazade and the composer as she concludes her story–for now, and the low tones of the Sultan return–tamed.