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FJH Music Company Scheherazade
Grade 4
Nikolai Rimsky-Korsakov, the quintessential Russian composer, wrote the symphonic suite Scheherazade, Op. 35 in 1888. Inspired by the story A Thousand and One Arabian Nights, one hears suggestions of Sinbad the Sailor and his ship at sea, a prince and princess, a persian festival, and as many fantastic scenes as the listener can imagine.The opening unison statement represents the angry Sultan, and the violin solo heard throughout the piece depicts his wife Scheherazade narrating a variety of fables and fairy tales until his anger has dissipated. After 1001 nights of exciting tales and legends, they live happily ever after. Besides exploring this Romantic masterpiece, this arrangement provides study for young string students in a variety of keys, tempi, articulations, accidentals, rhythmic challenges, and expressive styles. First-through-fourth position shifting skills are required for cello and bass. There is minimal shifting in violin 1 (excluding the soloist) and no shifting for viola and violin 2. An optional divisi part may be played by more advanced violists and cellists, but is unnecessary to the performance.
Nikolai Rimsky-Korsakov, the quintessential Russian composer, wrote the symphonic suite Scheherazade, Op. 35 in 1888. Inspired by the story A Thousand and One Arabian Nights, one hears suggestions of Sinbad the Sailor and his ship at sea, a prince and princess, a persian festival, and as many fantastic scenes as the listener can imagine.The opening unison statement represents the angry Sultan, and the violin solo heard throughout the piece depicts his wife Scheherazade narrating a variety of fables and fairy tales until his anger has dissipated. After 1001 nights of exciting tales and legends, they live happily ever after. Besides exploring this Romantic masterpiece, this arrangement provides study for young string students in a variety of keys, tempi, articulations, accidentals, rhythmic challenges, and expressive styles. First-through-fourth position shifting skills are required for cello and bass. There is minimal shifting in violin 1 (excluding the soloist) and no shifting for viola and violin 2. An optional divisi part may be played by more advanced violists and cellists, but is unnecessary to the performance.
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