Stories Within Stories in Rimsky-Korsakov's Scheherazade
II. The Kalendar Prince
Scheherazade, Op. 35
I'm Rimsky-Korsakov, and I'm about to explain the II. The Kalendar Prince movement of my Scheherazade. You'll hear a lonely solo bassoon sing in B minor, and then see how a single melody keeps returning in new accompaniments, which is what makes this movement so rewarding to follow. On this site my fellow composers and I help you recognize our pieces the moment they start playing, so why not put yourself to the test ?
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A Lonely Bassoon, a Rude Trombone and You
Before you press play, I'd ask you to listen for three players: the basses, a solo bassoon and a trombone. The basses lay down a low, dark floor, and the bassoon walks onto it with a plaintive melody that sounds a little lonely. Then the trombone cuts in, and that interruption starts a lively dance, so you'll know the story has really begun when the mood suddenly lifts. After that, don't go hunting for new tunes, because the real pleasure is hearing the same melody return again and again in different accompaniments.Which Prince? Please Don't Ask Me
People sometimes ask why the movement is called The Kalendar Prince, and the honest answer is that I can't point you to one particular prince. More than one Prince Kalendar appears in the Arabian Nights, and it has never been settled which tale I had in mind. My first plan was much plainer, with the names Prelude, Ballade, Adagio and Finale, and I switched to titles from the Arabian Nights after advice that included Anatoly Lyadov's. In a later edition I took the titles away again, because I wanted you to hear oriental-flavoured fairy-tale music rather than follow a fixed programme.One Face, Many Costumes
Choosing the form for this movement was an adventure in itself, because I wasn't after a sonata or a rondo. I settled on a ternary shape built as theme and variations, in B minor, where the variations mainly change the accompaniment and leave the tune recognisable. It's a little like meeting the same person in a new outfit each time, and you still know who it is. I'll only touch on the six sections here, one for each of my tempo markings, and then I'll take them one by one in the paragraphs that follow.Section 1: Lento, or Taking the Scenic Route
The movement begins at a slow Lento, and B minor gives it a dark, thoughtful colour from the very first moment. Here the solo bassoon sings its plaintive melody over the basses, and nothing is in a hurry. I want you to settle in and learn this tune well, because it is the one I'm going to keep transforming. The mood is quiet and a little sad, and that is exactly why the changes that come later will feel so welcome.Section 2: Andantino, Still Strolling, Just Slightly Less Sleepy
The Andantino marking asks for a gentle walking pace, a touch livelier than the opening but still relaxed. This is where the idea of variation starts to show, as the melody stays close to what you've heard while the accompaniment around it begins to change. Try listening to the tune as one thing and the background as another, and you'll notice how a new setting can change the feeling. The mood is still storytelling and not yet celebrating, but you can sense that something is about to happen.Section 3: Allegro molto, Enter the Dance
Now the tempo jumps to Allegro molto, which means very fast, and the calm story is interrupted. This is the part where the trombone breaks in and a lively dance gets going, a real turn in the mood. The music that was thoughtful a minute ago suddenly has energy, rhythm and a bit of swagger. If you only remember one moment from the movement, I'd suggest this change, because it shows how much a new pace can do.Section 4: Vivace scherzando, the Music Starts Teasing
Vivace scherzando means lively and playful, and I wrote it that way on purpose. The orchestra now sounds as if it's sharing a joke, with light touches and quick turns instead of the heavy sighs of the beginning. Listen for how the accompaniment keeps shifting while the tune you know stays close by, like an old friend in a crowd. The mood here is the brightest of the movement so far, and it is a good place to smile.Section 5: Moderato assai, a Deep Breath Before the Finish
With Moderato assai, the pace settles into a steady, measured stride after all that excitement. I wanted a moment where the orchestra could gather itself, and where you could hear the theme once more in a more serious light. Notice that the dance spirit hasn't gone away, but it now walks instead of runs. The mood is full of anticipation, because by now you can feel that the story is heading toward its end.Section 6: Allegro molto ed animato, All Hands on Deck
The last marking is Allegro molto ed animato, which asks for a very fast and spirited pace, the most energetic of the six. The orchestra pushes forward with everything it has, and the earlier sighing and dancing now seem to belong to one single story. This is the time to follow the theme one last time, because it has travelled through slow, playful and steady versions to get here. That journey from a lonely bassoon to a rousing finish is the whole tale I wanted to tell in this movement.Your Turn at the Controls
Now I invite you to hear The Kalendar Prince for yourself, so press play and let the music carry you along. While you listen, keep in mind what we've talked about: the bassoon's sigh, the trombone's interruption, and the theme that keeps changing clothes. You don't need to know anything about classical music to follow a good story, and this movement is one. I hope you enjoy the journey through it as much as I enjoyed creating it.---
I hope you enjoyed learning about the listen guide of Scheherazade's II. The Kalendar Prince, and that the lonely bassoon and the sudden trombone feel a little more familiar now. Now that you know how one melody can keep coming back in new surroundings, I think you'll hear it differently the next time the movement plays. There's still a good deal more of Scheherazade to explore, from the other movements and the story behind the piece to the way people have danced, played and skated to it since I wrote it. If you'd like to keep going, please click on the links provided and follow whichever one catches your curiosity. I'd be glad to have you back in the company of the Sultan, the storyteller and the sea.