Capriccio Espagnol

"Capriccio Espagnol", Op. 34, is the common Western title for an orchestral work based on Spanish melodies and written by Nikolai Rimsky-Korsakov in 1887. Originally intended for a solo violin against an orchestra, Rimsky-Korsakov later decided that a purely orchestral work would do better justice to the lively melodies. The Russian title is "Каприччио на испанские темы" (literally, "Capriccio on Spanish Themes"). The Capriccio consists of five movements and is scored for 2 flutes, piccolo, 2 oboes (one doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp and strings. [cite web |url=http://lucksmusic.net/cat-symph/showdetailMain.asp?CatalogNo=06468 |title=Capriccio Espagnol, Op. 34 |publisher=Luck's Music Library]

tructure

The work has five movements.

# The first movement, Alborada, is a festive and exciting dance, typical from traditional asturian music to celebrate the rising of the sun.
# The second movement, Variazioni, begins with a melody in the horn section. Variations of this melody are then repeated by other instruments and sections of the orchestra.
# The third movement, Alborada, presents the same asturian dance as the first movement. The two movements are nearly identical, in fact, except that this movement has a different instrumentation and key.
# The fourth movement, Scena e canto gitano ("Scene and gypsy song") opens with five cadenzas — first by the horns and trumpets, then solo violin, flute, clarinet, and harp — played over rolls on various percussion instruments. It is then followed by a dance in triple time leading "" into the final movement.
# The fifth and final movement, Fandango asturiano, is also an energetic dance from the Asturias region of northern Spain. The piece ends with an even more rousing statement of the "Alborada" theme.

A complete performance of the "Capriccio" takes around 16 minutes.

Characteristics

The piece is often lauded for its orchestration, which features a large percussion section and many special and , such as in the fourth movement when the violinists, violists, and cellists are asked to imitate guitars (the violin and viola parts are marked "quasi guitara"). Despite the critical praise, Rimsky-Korsakov was annoyed that the other aspects of the piece were being ignored. In his autobiography, he wrote:

The opinion formed by both critics and the 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 kind of instrument, brief virtuoso cadenzas for instruments solo, the rhythm of the percussion instruments, etc., constitute here the very "essence" of the composition and not its garb or orchestration. The Spanish themes, of dance character, furnished me with rich material for putting in use multiform orchestral effects. All in all, the "Capriccio" is undoubtedly a purely external piece, but vividly brilliant for all that. I was a little less successful in its third section (Alborada, in B-flat major), where the brasses somewhat drown the melodic designs of the woodwinds; but this is very easy to remedy, if the conductor will pay attention to it and moderate the indications of the shades of force in the brass instruments by replacing the fortissimo by a simple forte.

References

* "Nikolay Andreyevich Rimsky-Korsakov: Works; orchestral," [http://www.grovemusic.com http://www.grovemusic.com] (available by subscription only), viewed 2007-02-28.
* Laki, Peter. [http://www.clevelandorchestra.com/images/FTPImages/Performance/program_notes/021805.html Cleveland Orchestra program notes for performances on January 28 and 29, 2005] .

External links

* [http://www.uvm.edu/~music/orch/rimsky.mp3 Recording by the Orchestra of the University of Vermont (mp3)]
*IMSLP2|id=Capriccio_Espagnol%2C_Op.34_(Rimsky-Korsakov%2C_Nikolai)|cname=Capriccio Espagnol