Cappriccio espagnol, Op. 34
Nikolai Rimsky-Korsakov (1844-1908)

THE STORY

     When he started off as a composer, Nikolai Rimsky-Korsakov had not yet received formal training in technique, relying on his instinct instead—but later in his career, he studied orchestration and this became his greatest strength. His orchestration style influenced Debussy and Ravel, and he later passed on his knowledge to Stravinsky.
     His Capriccio espagnol was lauded for its orchestration—and rightfully so. The work is infused with vivid musical color and each section of the orchestra has its turn leading the sensual dance. Still, the praise frustrated Rimsky-Korsakov, who passionately insisted that the work should be appreciated for all of its attributes, not simply the orchestration. 
      The first movement, “Alborada,” is a festive dance with solos in the clarinet and violin; “Variazioni” begins with a melody in the horn, which is then improvised on by various instruments; “Alborada” mirrors the first movement, although in a different key and with different instrumentation. On tonight’s program the first three movements are in the first half, while the two final movements are in the second: in “Scena e canto gitano,” the violins, violas, and cellos imitate guitars; “Fandango asturiano” reprises the work’s opening theme as it reaches the conclusion.

INSTRUMENTATION

Piccolo, two flutes, two oboes (one doubling English horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, strings