Nikolay Rimsky-Korsakov, unrivaled as a master of orchestration, is known today by most concert goers as the composer of Scheherazade, Capriccio Espanole, and Russian Easter Festival, some of the most popular works in the romantic orchestral repertoire. While the young Nikolay showed early talent for music, he initially pursued a naval career taking a commission in the Imperial Russian Navy. Back on shore after fulfilling a three year tour he became increasingly involved with music, resigning his commission in 1873. Despite limited theoretical training, he was offered, and accepted, a teaching position at the St. Petersburg Conservatory where, at first, he managed to just stay ahead of the students. In addition to his contributions to the field of orchestration, his orchestral compositions, and his influence as a pedagogue, Rimsky-Korsakov, with his fifteen operas, made the largest single contribution to the development of the Russian opera repertory.

The “magical opera-ballet” Mlada with libretto by Krylov was originally conceived as a collaborative piece. Four composers were engaged to compose one-act each and a fifth was assigned the ballet music. The project floundered, much of the music written was incorporated into other works, but some twenty years later Rimsky-Korsakov was persuaded to take on the Krylov libretto by himself. Having come under the influence of Wagner’s approach to drama and use of the orchestra, Rimsky-Korsakov completed an elaborate complex four-act piece. While the difficulties of production almost guaranteed that it would not enter the permanent repertory (an enormous cast of singers and dancers, prominence of orchestra and chorus over solo parts, and the requirement of a huge stage, to name a few), a suite of pieces and particularly the march heard tonight (without chorus) has remained in the orchestral repertoire. With brilliant fanfares of trumpets and drums the Procession of the Nobles opens the second act of Mlada bringing on the chorus of a motley, boisterous crowd, singing, “The princes are coming! Make way for them, people of Retra.”

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Mikhail Ippolitov-Ivanov (1859-1935)
Caucasian Sketches, Suite No. 1

In the Mountain Pass
In the Village
In the Mosque
Procession of the Sardar

Mikhail Ippolitov-Ivanov’s musical training began at home and at the Cathedral of St. Isaac in St. Petersburg. He completed his studies at the St. Petersburg Conservatory where he was a student of Rimsky-Korsakov. In 1882 his career took him to Tbilisi, Georgia where he directed the Music Academy, the local branch of the Russian Music Society, and conducted at the local opera company. It was during this time that he became interested in the folk music of Georgia. In 1893 Ippolitov-Ivanov received a professorship at the Moscow Conservatory, later becoming its director. Remaining a traditionalist he continued in this position during the period of revolution. His interest in ethnic music led to the publication of the1895 book Georgian Folksong and its Present State and the composition of his popular Caucasian Sketches and other pieces inspired by the folk music of central Asia.

Having spent eleven years in Georgia absorbing the local atmosphere and music of the Causcus region, Ippolitov-Ivanov wrote the Suite No.1 of Caucasian Sketches shortly after moving to Moscow . This programmatic work, forged in the tradition of Russian-Orientalism, was an immediate success upon its Moscow premiere in 1895 and established the composer’s reputation internationally. Of particular note is how the composer makes use of the double reed instruments evoking the sound of the zurna, an instrument popular in Georgia and other parts of central Asia. I. In the Mountain Pass: the grandeur of this scene is sketched through a simple melody that grows and swells. II. In the Village: first an English horn solo, then paired with muted viola sets a simple bucolic background; percussion and oboe lead in a rustic village dance. III. In the Mosque: the prevalence of mosques in this part of the world is underlined in this movement featuring winds with timpani graced again with double reed melodies. IV. Procession of the Sardar: a local military commander makes his appearance regally through a parade-like culmination of the previous themes.

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Pyotr Il'ylich Tchaikovsky (1859-1935)
Violin Concerto in D Major, op. 35

Allegro Moderato
Canzonetta
Finale

At a particularly troubled time of his life, Pyotr Il’yich Tchaikovsky, having left Russia for a time, settled in a quiet Swiss village where he strove to take up serious composition again. March of 1878 found him plodding along on a piano sonata, but was interrupted by a visit from his former student and friend violinist Yosif Kotek. Kotek brought with him a large quantity of music for them to read through including Lalo’s tone poem for violin and orchestra, Symphonie Espanole. Tchaikovsky was inspired by the work’s “freshness, lightness, piquant rhythms, of beautiful and excellently harmonized melodies.” Within days he was busy at work on his Violin Concerto, taking it from sketches to final orchestration in less than one month. Through the process Kotek provided valuable assistance in matters of violin technique and learning the piece as Tchaikovsky composed it. While grateful to Kotek for his help, the composer dedicated the piece to virtuoso Leopold Auer, the concertmaster in St. Petersburg, who Tchaikovsky hoped would introduce the work to the musical world. Auer demurred, however, and the piece was left to languish until December, 1881 when Adolf Brodsky chose it for his debut with the Vienna Philharmonic conducted by Hans Richter. Brodsky was prepared to perform this demanding work, but as so often can happen with new pieces, the orchestra was not. The performance created a storm of conflicting opinions in the hall and in the press. Hanslick’s criticism was particularly vitriolic, and Tchaikovsky was able to recite his diatribe, in German, for the rest of his life. Brodsky’s faith in the work led him to play it all over Germany and to give a thoroughly successful Russian premiere. In time, Auer came around and taught it to his students, a whole generation of violin virtuosos including: Heifetz, Elman, Zimalist, Seidel, Milstein, Dushin, Shumsky, and others. Admiration for the concerto by violinists and the public alike has guaranteed its permanent place in the repertory.

Following an elegant orchestral opening, the violin leads off with the first of three wonderfully rich and flowing melodies, gracious, playful and fervent. Throughout the first movement the orchestra serves as a most collaborative partner. In addition to the short opening it is given only two other tutti passages–an extended introduction to the development section and a short section just prior to the cadenza. The cadenza, Tchaikovsky’s own, explores new themes as well as providing requisite technical jaunts, then overlaps the solo flute which brings us back to the main theme. While the first movement exudes unabashed romanticism, the last two seem to underscore the composer’s homesickness for his native land. The winds introduce the second movement, a song form consisting of a Slavonic melody, followed by a tune less melancholic. The violin leaves us on a questioning note, while orchestra finishes the movement leading into the Finale. After the orchestra gives a hint of the rhythms to come and a short violin cadenza, the festivities begin with rustic fiddling, bagpipes, and plenty of fun for everyone.

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