I. Alborada
II. Variations
III. Alborada
IV. Scene and Gypsy Song
V. Fandango of the Asturias
(Played without pause)
Rimsky-Korsakov’s _Capriccio Espagnol_ was performed for the first time
in St. Petersburg at a Russian Symphony concert, October 31, 1887. The
composer conducted. The caprice was published in 1887, yet we find
Tchaikovsky writing to Rimsky-Korsakov in 1886 (November 11): “I must
add that your _Spanish Caprice_ is a colossal masterpiece of
instrumentation, and you may regard yourself as the greatest master of
the present day.” Rimsky-Korsakov wrote in his _Autobiography_: “The
opinion formed by both critics and public, that the _capriccio_ is a
magnificently orchestrated piece, is wrong. The _capriccio_ is a
brilliant composition for the orchestra. The change of timbres, the
felicitous choice of melodic designs and figuration patterns, exactly
suiting each instrument, brief virtuoso _cadenzas_ for instrument solo,
the rhythm of the percussion instruments, etc., constitute here the very
essence of the composition and not its garb or orchestration. All in
all, the _capriccio_ is a purely external piece, but vividly brilliant
for all that.”
The caprice is dedicated to the artists of the orchestra of the Imperial
Russian Opera House of St. Petersburg. The names, beginning with M.
Koehler and R. Kaminsky, are given, sixty-seven in all, on the
title-page of the score. The caprice is scored for piccolo, two flutes,
two oboes (and English horn), two clarinets, two bassoons, four horns,
two trumpets, three trombones, bass tuba, kettledrums, side drum, bass
drum, cymbals, triangle, tambourine, castanets, harp, and strings.
It was in the summer of 1887 that Rimsky-Korsakov, purposing at first to
use Spanish dance themes for a virtuoso violin piece, sketched instead
this caprice. He thought the third section, the “Alborada” in B flat
major, to be a little less successful than the other sections, on
account of the brass somewhat drowning the melodic designs of the
wood-wind, but this fault could be remedied by a careful conductor.
Rimsky-Korsakov tells how, at the rehearsal in St. Petersburg, the
orchestra applauded vigorously after the first movement, and in fact
after those succeeding, and the composer was so pleased that he
dedicated the _capriccio_ to the players. He also says that the first
performance was extraordinarily brilliant, more so than when it was
later led by others, even by Arthur Nikisch.
The movements, according to the direction of the composer, are to be
played without intervening pauses.
I. Alborada. _Vivo e strepitoso._ This serenade opens with the wild,
tempestuous chief theme, which is given to the full orchestra. There is
a subsidiary theme for the wood-wind instruments. Both themes are
repeated twice by solo clarinet, accompanied by horns and bassoons, and
strings _pizzicato_. A delicate _cadenza_ for solo violin brings the
close, _pianissimo_.
II. Variations. _Andante con moto_, F major, 3-8. The horns give out the
theme with a rocking accompaniment for strings. Before this theme is
ended, the strings have the first variation. The second variation, _poco
meno mosso_, is a dialogue between English horn and horn. The third
variation is for full orchestra. The fourth, _tempo primo_, E major,
organ-point on B, is for wood-wind, two horns, and two violoncellos,
accompanied by sixteenth notes for clarinet and violins. The fifth, F
major, is for full orchestra. A _cadenza_ for solo flute brings the end.
III. Alborada. _Vivo e strepitoso_, B flat major, 2-4. This movement is
a repetition of the first, transposed to B flat major and with different
orchestration. Clarinets and violins have now exchanged their parts. The
solo that was originally for clarinet is now for solo violin; the
_cadenza_ that was originally for the solo violin is now for the solo
clarinet.
IV. Scene and Gypsy Song. _Allegro_, D minor, 6-8. This dramatic scene
is a succession of five _cadenzas_. The movement begins abruptly with a
roll of side drum, with a fanfare, quasi-_cadenza_, in syncopated
rhythm, gypsy fashion, for horns and trumpets. The drum roll continues,
now _pianississimo_. The second _cadenza_, which is for solo violin,
introduces the chief theme. This is repeated by flute and clarinet. The
third _cadenza_, freer in form, is for flute over a kettledrum roll; the
fourth, also free, for clarinet over a roll of cymbals. The fifth
_cadenza_ is for harp with triangle.
The gypsy song begins after a harp _glissando_.
The song is attacked savagely by the violins and is punctuated by
trombone and tuba chords and cymbal strokes. The _cadenza_ theme enters,
full orchestra, with a characteristic figure for accompaniment. The two
themes are alternated. There is a side theme for solo violoncello. Then
the strings, in guitar fashion, hint at the fandango rhythm of the
_finale_, and accompany the gypsy song, which is now blown _staccato_ by
wood-wind instruments. The _cadenza_ theme is enwrapped in triplets for
strings alternating with harmonics _pizzicato_. The pace grows more and
more furious, _animato_, and leads into the _finale_.