II. THE TALE OF THE KALENDAR-PRINCE
After an introductory passage, we hear the Scheherazade theme on a solo violin with harp accompaniment, followed by a theme, quasi recitando, for solo bassoon, which seems here to have the rôle of narrator. There is an intermezzo of Oriental character. The end is spirited.
III. THE YOUNG PRINCE AND THE YOUNG PRINCESS
"Some think from the similarity of the two themes typical of prince and princess that the composer had in mind the adventures of Kamar al-Zaman (Moon of the age) and the Princess Budur (Full moon)." This movement is idyllic, a romanza evolved out of two themes of folk-song character.
IV. FESTIVAL AT BAGDAD. THE SEA.
THE SHIP IS WRECKED ON A ROCK SURMOUNTED BY A BRONZE WARRIOR
The motive of the Sea begins the movement; the Scheherazade theme follows; then (Allegro molto e frenetico) begins a brilliant depiction of the revels at Bagdad. Then, abruptly, we are transferred to a scene on shipboard. "We seem to plunge into the broad movement of the surging sea, straight on to the fateful event." While the jollification is at its height the ship strikes the dreadful rock. "The trombones roar out the Sea motive against the billowy Wave motive in the strings.... The storm dies.... There is a quiet ending with development on the Sea and Wave motives. The tales are told. Scheherazade, the narrator, who lived with Shahriar 'in all pleasance and solace of life and its delights till there took them the Destroyer of delights and the Severer of societies, the Desolater of dwelling-places and the Garnerer of graveyards, and they were translated to the ruth of Almighty Allah,' fades away with the vision and the final note of her violin."
"A NIGHT ON MOUNT TRIGLAV": THIRD ACT OF THE OPERA-BALLET "MLADA" (CONCERT ARRANGEMENT FOR ORCHESTRA) [128]
In 1872 Rimsky-Korsakoff, César Cui, Modest Moussorgsky, and Alexander Borodine (who, with Mily Balakireff, were the famous coterie who founded the "neo-Russian" school forty years ago) [129] wrote each the music of an act to an opera libretto by Gedeonoff, their chief of the Imperial Theatres, who had ordered the work. This composite opera was never produced, but Rimsky-Korsakoff made use of his share of the music for the third act of his opera-ballet "Mlada" (produced in 1893). The composer afterwards made a concert arrangement of the music of this act, and it was performed at Moscow in 1903, under the direction of Wassily Safonoff.