Brass in Post-Romantic Russian Orchestral Music: a Comparison between the

Melodic Implementation of the Trumpet in Rimsky-

Korsakovs Scheherazade Op. 35 and Stravinskys Le Sacre du Printemps
Stephen J. Russell

Introduction/Abstract

As Stravinsky expressed his desire to become a composer to Nikolay Rimsky-Korsakov

in 1902, he was taken under his tutelage. Form and orchestration in many of his early works

(e.g.: Symphony in Eb Major, Op. 1), were strongly influenced by Rimsky-Korsakov. Stravinsky

was quoted as saying, His knowledge was precise, and he was able to impart whatever he knew

with great clarity. His teaching was all technical.1 As Stravinsky progressed through his

Russian Period, he began to separate his compositional techniques from that of Rimsky-

Korsakov and the Mighty Handful.

When comparing significant orchestral works between the two composers, comparisons

and differences are evident amongst the role of specific instruments (for example, trumpet). In

some cases, Stravinskys implementation of the trumpet in Le Sacre du printemps breaks away

from the more conventional usage of the trumpet shown in Rimsky-Korsakovs Scheherazade

(Op. 35)2,3. When analyzing the two pieces, noticeable differences are observed between the

specific trumpet instrumentation, melodic function of the trumpet, timbre, and articulation of the

trumpet.

The paper will feature an overview of the music scene in Russia during the late 19th and

20th centuries as well as the developments of the trumpet during that time. It will also compare

and contrast the melodic functions of the trumpet in both pieces, citing examples from both

works. Dynamics, articulation, instrumentation, and range of the trumpet will be compared. The

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comparisons will highlight one of two possible scenarios: Stravinskys compositional style for

trumpet is either more reminiscent of his predecessor, or it is more of a separate style in its own.

The History of the Trumpet After 1820

According to Grove Music Online, The valve trumpet was introduced into France in

1826, when Spontini, music director for the King of Prussia, sent a valve trumpet in F and a

valve trombone made by Haltenhof to Buhl and Dauvern.4 It was also introduced to England in

1831, and the Prussian models that were introduced were believed to be copied in Russia as

early as 1825.5 Later on in the 19th century, the D and C trumpets were introduced in France by

Teste in the Paris Opera. It was around this time that manufacturers in the United States, France,

and England began converting to modern industrial manufacturing methods. In regards to

orchestral instrumentation, large-bore trumpets were not introduced until the 1930s in the United

States, decades after Le Sacre and Scheherazade. According to Grove, this was to balance the

larger volume of tone produced by the horn and trombone sections, which had already adopted

large-bore instruments.6 Nowadays, orchestras still use large-bore trumpets (primarily in C),

although specific alterations can be made depending on the demands of the conductor.

Russia in the 19th and 20th Centuries

Historical Background of Russian Music (Scheherazade and Le Sacre du printemps)

The time period during Rimsky-Korsakovs and Stravinskys lives featured a massive

amount of changes in Russian music and culture. The openings of the St. Petersburg and

Moscow conservatories in 1862 and 1864, respectively, featured two different styles in Russian

music: nationalism and Western-influenced music. Rimsky-Korsakov became a professor at St.

Petersburg in 1871, an interesting decision to make considering he was a member of the anti-

education-based Mighty Handful.7 In fact, Vily Balakriev was said to have openly despised St.

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Petersburg. Rimsky-Korsakov was also influenced by Russian nationalism; his work

Scheherazade was based off his experiences in the Russian navy as well as Russian folklore.8

The folk tunes primarily served as prominent melodic material in the work. Stravinsky received

little to no formal training, and, as previously mentioned, he studied privately with Rimsky-

Korsakov in 1902.

In regards to Stravinskys Le Sacre du printemps, little has been said about his influences

when writing the piece. The piece was commissioned as a ballet for the Ballet Russes in 1913,

following two other very successful ballets in the prior years (The Firebird and Petrouchka).9 In

his autobiography, Stravinsky states the following,

In reading what I have written about the Sacre, the reader will perhaps be astonished to

notice how little I have said about the music. The omission is deliberate. It is impossible,

after the lapse of twenty years, to recall what were the feelings which animated me in

composing it.10

It is interesting to note that while Stravinsky lived an undoubtedly busy life, he had very little to

offer in regards to the music of the piece. Other sources have mentioned that the ballet was

inspired by a scene by Nicholas Roerich.11 According to those sources, the scene depicts a ritual

in what is said to be pagan Russia. Depending on what the true intent of Le Sacre was, it could

be argued that Russian nationalism was an influential feature of the pieces design.

Melodic Function of the Trumpet

Scheherazade

Rimsky-Korsakov was incredibly particular in how he orchestrated his pieces. As

displayed in his work Principles of Orchestration, Rimsky-Korsakov had very specific

instructions as to how every instrument in the orchestra was meant to be played in certain

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scenarios. He also provides numerous examples from his works to demonstrate his desires. In

regards to the melodic functions of the brass, he lists examples through which the instruments

function as solo, in pairs, or in groups of three or more. He states that powerful chromatic

fanfares are a primary feature of orchestral brass playing; he sites letter D of the second

movement of Scheherazade as an example.12 The solo trumpet in this section plays a fast fanfare

that chromatically descends and decrescendos over a lengthy fermata, reminiscent of a battle cry

fading in the distance.

While Rimsky-Korsakov mentions the importance of chromatic fanfares in the trumpets,

he also describes the importance of mixing timbres between the brass and woodwinds in octaves.

He recommends the trumpet being doubled by three-to-four clarinets, oboes, or flutes. According

to Rimsky-Korsakov on page fifty-seven of Principles of Orchestration, this is done to

introduc[e] a rich tone into the upper octave which the trumpet is not capable of imparting. He

then lists the fifteenth bar after letter W in the fourth movement of Scheherazade as an

example.13 In this section, the trumpets have a similar chromatic fanfare to the one formerly

mentioned, except it is now doubled in both the flutes and oboes. The melodic intent with these

fanfares are the same as before, but Rimsky-Korsakov is using the woodwinds to help produce a

brighter timbre that is not achievable by solo trumpet. In general, Rimsky-Korsakov intends for

the trumpet to be able to produce resonant flourishes and fanfares in his orchestral works.

Le Sacre du printemps

The flourishes and fanfares mentioned in Scheherazade are also present and plentiful in

Stravinskys ballet. In the opening segment of the piece (LAdoration de la terre), the trumpet

enters after rehearsal number eleven with an incredibly bright and powerful fanfare.14 Unlike the

fanfares in Scheherazade, these entrances are played on the piccolo trumpet in D and are more

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piercing than resonant. Another difference is that Rimsky-Korsakovs trumpet fanfares sound

more diatonic (even with the implemented chromaticism) and feature conventional melodies.

Stravinskys melodic fanfares are more pointillistic and function more as color than actual

melody.

Another notable section in Le Sacre featuring the trumpets is rehearsal number eighty-

five in the opening of Part II (Le Sacrifice).15 The orchestral texture in this section is incredibly

sparse; there are multiple measures in which only the two trumpets in C are playing. In these

measures, they are trading on- and off-beats at a soft dynamic level and displaying contrasting

chromatic movement. This sounds an eerie and haunting motif that coincides with the dark and

mysterious mood surrounding this segment of the piece. The mood is vastly different from the

triumphant and beautiful fanfares that Rimsky-Korsakov envisioned the trumpets playing in

orchestral repertoire.

Dynamics and Articulation of the Trumpet

Scheherazade

The dynamic range of the trumpet in the piece does not extend beyond a fortissimo, and it

is often marked one or two dynamic levels softer than the rest of the orchestra. Rimsky-Korsakov

has strict guidelines to crescendi and decrescendi in Principles of Orchestration:

Prolonged orchestral crescendi are obtained by the gradual addition of other instruments

in the following order: strings, woodwind, brass. Diminuendo effects are accomplished

by the elimination of the instruments in the reverse order (brass, woodwind, strings).16

A demonstration of this are the final fifteen measures of the second movement. The buildup to

the conclusion of the movement has the trumpet and trombones entering on a piano dynamic.

Meanwhile, the remainder of the orchestra is entering on a mezzo-forte. Because of the powerful

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and resonant qualities of the brass instruments, they are marked at a softer dynamic level in order

to match more appropriately with the remainder of the ensemble.

Le Sacre du printemps

Like Scheherazade, Le Sacre does not extend beyond a fortissimo dynamic marking in

the trumpet parts. It also does not appear softer than a pianissimo, following the guidelines in

Principles of Orchestration. Conversely, there are very few moderate dynamic markings (mp-mf)

labeled in the score for trumpet. Stravinsky either intended for the trumpets to play very loudly

or softly. There are some exceptions, such as the piccolo D trumpet entrance in the opening

segment. Although it is marked as a mezzo-forte dynamic, the bright timbre of the instrument

cuts through the dense texture sounding from the rest of the orchestra. Perhaps this is because

Stravinsky did not want the trumpet player to misinterpret the dynamic levels and overpower the

rest of the orchestra. If that is the case, his dynamic markings are placed in a similar manner to

Rimsky-Korsakovs.

Range and Instrumentation of the Trumpet

Rimsky-Korsakovs Scheherazade features two trumpets in C, and they correspond to the

woodwinds, often doubling the flute and clarinet voices. Rimskys purpose for this is to provide

resonance and heighten the effect of other orchestral groups...17

Stravinskys Le Sacre du printemps features two trumpets in C as well as a piccolo

trumpet in D. The range of the trumpet in D reaches up to a concert D6 and E-flat6 in the ballet.

While this seems an unconventional feature, it corresponds well with Rimsky-Korsakovs views

on the use of high trumpets: he believed that trumpets in D and E-flat are used to realise the

very high trumpet notes without difficulty. In tonality and range the instrument is similar to the

soprano cornet in a military band.18

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Conclusion

As a whole, Stravinskys use of the trumpet in orchestral literature features numerous

similarities to Rimsky-Korsakovs use. In both Scheherazade and Le Sacre du printemps, the

trumpets are often given powerful fanfares that either signal distant calls or piercing melodies.

The dynamic markings are reasonably placed so that the trumpets to not overpower the orchestra;

they are often placed at softer dynamic levels than the woodwinds and strings. The trumpet range

in Le Sacre stretches higher than Scheherazade, but it is compensated on a piccolo D trumpet,

which, according to Rimsky-Korsakovs principles, is appropriate. It is not surprising that there

are multiple similarities in their compositional techniques; when studying with Rimsky-

Korsakov, it is very likely that Stravinsky looked at and used examples from Principles of

Orchestration in his practice.

The main difference between the two Russian composers works is that Rimsky-

Korsakov seemed to have the limitations of the instrument and players in mind when writing his

material. He does not ask for any unusual or unreasonable dynamic markings, ranges, or

articulations from the trumpets. He seems conscious of the needs and tendencies of brass

instruments and instrumentalists. Stravinsky, on the other hand, seemed to be less wary of these

tendencies and more focused on his desired sound. He did not care if some of his parts were

unconventional; he was very particular in writing his parts, and he demanded they were played in

his desired manner. These disagreements in compositional goals highlight the main difference

between the two Russian composers. Nevertheless, they have both developed numerous works

that are widely recognized as masterpieces by musicians and historians to date. Their differences

help make their works unique and highlight them as two of the most prolific post-Romantic

Russian composers.

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Notes

1.) See Igor Stravinsky Foundation: Biography 2010. [Web Site] The Russian Period: 1902-

1914. 2010. [Description of Stravinskys relationship with Rimsky-Korsakov.] Site address:

http://www.fondation-igor-stravinsky.org/web/en/biographie/sa-vie-son-uvre/-la-periode-russen-

1902-1914.html. All facts stated in the introduction are from this source.

2.) Stravinsky, Igor. Nieweg, Clinton (ed.). Le Sacre du Printemps. (Boca Raton, Florida: Edwin

F. Kalmus & Co., Inc. 2013), Facsimile. Using multiple visual examples from score; see

Appendix.

3.) Rimsky-Korsakov, Nikolay. Scheherazade. (Boca Raton, Florida: Edwin F. Kalmus & Co.,

Inc. 1914). Using multiple visual examples from score; see Appendix.

4-6.) Sarkissian, Margaret and Tarr, Edward. "Trumpet. The New Oxford Companion to Music.

New York: Oxford University Press. Web. 19 Feb. 2017. See sections on trumpet manufacturing

after 1820.

7.) Hanning, Barbara Russano. Concise History of Western Music. 4th ed. New York, New

York: W.W. Norton & Company, 2010. pp. 503-508. Section of chapter discusses modernist

trends occurring in Russia; includes brief overview of Nikolay Rimsky-Korsakovs life. All facts

in the beginning of this paragraph are from this source.

8.) Howell, Elinor. The Significance of Nationalism in Music, as Exemplified by the Russian

School. Master of Arts in Music thesis. University of Southern California, 1939. pp. 72-83.

[Available from ProQuest Dissertations & Theses Global. Order No. EP61722]. Discusses

emphasis of navy experiences and folklore on Rimsky-Korsakovs writing process.

9.) Walsh, Steven. Stravinsky, Igor Grove Music Online. New York: Oxford University Press.

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Web. 19 Feb. 2017.

<http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg3>. The online

entry references the overnight success that Stravinsky encountered with the premiere of The

Firebird.

10.) Stravinsky, Igor. Igor Stravinsky: An Autobiography. New York, New York: Simon and

Scuster, Inc. 1936. Trans. 1962. 176 p. The original autobiography was written in French

(Chroniques de ma vie) in 1936. This version was translated into English in 1962.

11.) Latham, Alison (Ed.). Rite of Spring, The. (Vesna svyashchennaya; Le Sacre du

Printemps). The New Oxford Companion to Music. New York: Oxford University

Press. Web. 19 Feb. 2017.

<http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e5687>. Little was offered as to

specifics regarding the association of The Rite with Roerichs illustration. The statement,

however, raises inquiry.

12.) Score example, see Appendix, example I

13.) Score example, see Appendix, example II

14.) Score example, see Appendix, example III

15.) Score example, see Appendix, example IV

16.) Rimsky-Korsakov, Nikolay, ed. Principles of Orchestration. New York, New York: E.F.

Kalmus Orchestra Scores, Inc. 1933. 112 p. See Appendix, example V

17, 18.) Rimsky-Korsakov, Nikolay, ed. Principles of Orchestration. New York, New York: E.F.

Kalmus Orchestra Scores, Inc. 1933. pp. 23-24. Rimsky discusses the purpose of the brass

instruments both as a section and individually.

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Appendix

The following score examples are placed in numeric order and in correspondence with the

endnotes listed in and after the essay:

I. Trumpet Solo at letter D in 2nd movement of Scheherazade

II. Fifteenth bar after letter W in the 4th movement of Scheherazade

III. LAdoration de la terre Piccolo D-trumpet entrances

IV. The Opening of Part II (Le Sacrifice) Haunting trumpet feature

V. Final fifteen measures of 2nd movement of Scheherazade

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Selected Bibliography

Hanning, Barbara Russano. Concise History of Western Music. 4th ed. New York, New York:

W.W. Norton & Company, 2010. pp. 503-508.

Howell, Elinor. The Significance of Nationalism in Music, as Exemplified by the Russian

School. Master of Arts in Music thesis. University of Southern California, 1939. pp. 72-

83. [Available from ProQuest Dissertations & Theses Global. Order No. EP61722].

Humphreys, Mark et al. Rimsky-Korsakov Grove Music Online. New York: Oxford

University Press. Web. 19 Feb. 2017.

<http://www.oxfordmusiconline.com/subscriber/article/grove/music/52074pg1>.

Latham, Alison (Ed.). Rite of Spring, The. (Vesna svyashchennaya; Le Sacre du

Printemps). The New Oxford Companion to Music. New York: Oxford University

Press. Web. 19 Feb. 2017.

<http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e5687>.

Latham, Alison (Ed.). Sheherazade. The New Oxford Companion to Music. New York:

Oxford University Press. Web. 19 Feb. 2017.

<http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e6148>.

Rimsky-Korsakov, Nikolay, ed. Principles of Orchestration. New York, New York: E.F. Kalmus

Orchestra Scores, Inc. 1933. pp. 23-24, 57, 112.

Rimsky-Korsakov, Nikolay. Scheherazade. (Boca Raton, Florida: Edwin F. Kalmus & Co., Inc.

1914).

Sarkissian, Margaret and Tarr, Edward. "Trumpet. The New Oxford Companion to Music. New

York: Oxford University Press. Web. 19 Feb. 2017.

Stravinsky, Igor. Igor Stravinsky: An Autobiography. New York, New York: Simon and Scuster,

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 Inc. 1936. Trans. 1962. 176 p.

Stravinsky, Igor. Nieweg, Clinton (ed.). Le Sacre du Printemps. (Boca Raton, Florida: Edwin F.

Kalmus & Co., Inc. 2013), Facsimile

Taruskin, Richard. Catching Up with Rimsky-Korsakov. Music Theory Spectrum 33(2)

(2011), pp. 169-185.

Walsh, Steven. Stravinsky, Igor Grove Music Online. New York: Oxford University Press.

Web. 19 Feb. 2017.

<http://www.oxfordmusiconline.com/subscriber/article/grove/music/52818pg3>.

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