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Artist: Oslo Philharmonic Orchestra, Vasily Petrenko
Title: Nikolay Rimsky-Korsakov: Capriccio Espagnol, Op. 34, Russian Easter Festival Overture, Op. 36 & Scheherazade, Op. 35
Year Of Release: 2020
Label: Lawo Classics
Genre: Classical
Quality: flac lossless (image +.cue, log, scans) / flac 24bits - 96.0kHz
Total Time: 01:14:57
Total Size: 312 mb / 2.41 gb
WebSite: Album Preview
Tracklist
01. Capriccio Espagnol, Op. 34 I. Alborada
02. Capriccio Espagnol, Op. 34 II. Variazioni
03. Capriccio Espagnol, Op. 34 III. Alborada
04. Capriccio Espagnol, Op. 34 IV. Scena e canto gitano. Allegretto
05. Capriccio Espagnol, Op. 34 V. Fandango asturiano
06. Russian Easter Festival Overture, Op. 36
07. Scheherazade, Op. 35 I. The Sea and Sinbad’s Ship
08. Scheherazade, Op. 35 II. The Tale of The Kalendar Prince
09. Scheherazade, Op. 35 III. The Young Prince and The Young Princess
10. Scheherazade, Op. 35 IV. Festival at Baghdad – The Sea – The Shipwreck
It was Nikolay Rimsky-Korsakov’s older brother, Voin, who first put ideas of travel, ships and the sea into the would-be composer’s head. The young Nikolay had never set foot aboard a boat but Voin’s evocative letters home from the Far East, where he was stationed in the Imperial Russian Navy, proved more than sufficient. Nikolay’s career path looked set even from his childhood bedroom, where he learned nautical terms, rigged-up model ships and practiced tying knots, his mind full of the adventure and romance of seafaring. In 1856, he enrolled as a naval cadet and completed six years of training.
During that time another passion nudged its way into Rimsky’s heart: music. Barely a year into his studies at the naval academy, the young Nikolay saw his first opera. Soon he heard symphonies by Beethoven and Mendelssohn and encountered a piece by his senior Mikhail Glinka, Jota Aragonesa. Even before he embarked on a three-year voyage around the world aboard a clipper, Rimsky knew he wanted to be a composer, not a seaman. Afterwards, having sailed into some of the great ports of the world, he returned home happy never to leave Russia again – the only journeys Rimsky wanted to make were musical.
Rimsky’s family wealth meant he could embark upon a musical career without too much difficulty, however disapproving his relatives. First, he took piano lessons from Theodore Canille, which afforded him introductions to the most important Russian composers of the day: Mily Balakirev, César Cui and Modest Mussorgsky. Balakirev furnished Rimsky with a rudimentary education in theory and harmony, but the youngster had to put in the hours privately to refine his skills (particularly in the field of counterpoint).
Thus Rimsky slipped into the milieu of those composers and became associated with the push for Russian nationalism in music. But as the youngest of the posse that became known as The Mighty Handful, Rimsky was acutely aware of nationalism’s limitations as well as its opportunities, and his travels had attuned his ears to the cosmopolitan. However much he cultivated a distinctly Russian sound in his music (most obviously in his Russian Easter Festival Overture), Rimsky became convinced of the need to bring the nationalist movement, as it existed, to a point of closure. In so doing, he would form a link between his own generation and the Russian composers of the early twentieth century who would reinvent the country’s national musical vocabulary once more (among them Igor Stravinsky, one of his pupils).
Rimsky believed wholeheartedly in the validity of impregnating his scores with indigenous Russian ingredients; his argument was for doing so within a broader range of methods, resources and musical expression. The composer collected and edited folksongs and had a knack for underlining their ‘Russianness’ even in music that felt more outward looking and international. In 1889, he visited the Universal Exhibition in Paris and heard performances of two of the works recorded here, both recently composed: the Russian Easter Festival Overture and Capriccio Espagnol. Soon afterwards, Rimsky heard the same pieces performed in Brussels, noting that both the Parisians and Belgians responded far better to his bright, decorative, exotic and fantastical Russian music than to the doleful images of his country presented in music by Balakirev and Cui.
That was connected to the composer’s new view of orchestration – his desire to develop ‘a respectable virtuosity’ in the orchestra whose transparency would serve its own sense of beauty, as well as the specific idiosyncrasies of the various instruments (a stint as Inspector of Naval Bands had allowed the composer to become intimately familiar with what most instruments could do). Rimsky made those observations following the completion of the three orchestral works included here, which he came to view as the culmination of a particular phase in his compositional life – one that prepared him for the next, as a composer of fifteen operas.
To a greater or lesser degree, Rimsky the fantasist and storyteller is present in these three works, all written between 1887 and 1888. As part of his self-motivated musical education, Rimsky had taken violin lessons from Piotr Krasnokutsky, a process that induced his Fantasia on Russian Themes for violin and orchestra. Continuing the geographical theme, Rimsky planned another piece based on the same semi-concertante design, this one using Spanish tunes.
Over time, that work became the Capriccio Espagnol – no longer overtly cast for violin soloist and orchestra but containing a lot for the concertmaster to do nonetheless. It was written in the summer of 1887 and first performed on 31 October of that year by the orchestra Rimsky had co-founded with the express purpose of promoting Russian music: the Russian Symphony of St Petersburg. The composer himself conducted the piece, and the audience loved it.
Later in life, as his reputation for orchestration grew (and after his 1913 treatise on the subject was published), Rimsky sought to make a distinction between his handling of the orchestra and his treatment of actual musical material. It was his choice of melodies and rhythms, his realization of distinctive musical patterns, his alternation of distinctive orchestral colors and his seasoning of the musical journey with breathing instrumental solos that had given the Capriccio its appeal, said Rimsky, ‘not its coating.’
Those themes are taken from the folk music of the Spanish countryside, starting with the wake-up call ‘Alborada’ originally rendered on bagpipes (referenced by Rimsky’s steady drone) and hand drum (his tambourines). 'Variazioni' presents five variations on a horn melody passed through an orchestra apparently shrouded by night, before morning breaks again with another version of ‘Alborada’, this time in a different key and with the instrumental roles reversed.
In ‘Scena e canto gitano’ (‘Scene and Gypsy song’) the snare drum lingers from the previous movement, preparing a fanfare that heralds a series of exotic instrumental character cameos induced by a seductive violin that foreshadows the world of Scheherazade. In his fifth movement, Rimsky uses the most famous Spanish dance of all. Despite the presence of encouraging castanets, his ‘Fandango Asturiano’ starts out measured but gradually throws off its northern inhibitions, each section of the orchestra taking its turn to lead the dance.
Debussy and Ravel had both been present at the Paris performance of the Capriccio in 1889, a time when Russian art was associated more with the exotic, the fantastical and the quasi-oriental than with the mournful and melancholic. The piece had a huge influence on those two composers (themselves obsessed with Spain) who saw Russia, via the fast-forming Trans Siberian Railway, as gateway to the east.
The Arab world had long interested Rimsky, too. When writing his symphonic suite Antar in 1868, he had borrowed a French compendium of Arab melodies from the composer Alexander Borodin. One of the few journeys the composer did make after his navy days was to Bakhchisaray in the Crimea, a town alive with coffee houses and Arabic music. Some years later, he sought to recreate the experience with three days in Constantinople (modern Istanbul). It was the scent of these cities, and possibly the sensual world he encountered when finishing Borodin’s opera Prince Igor, that prompted Rimsky’s fertile imagination to deliver Scheherazade.
The Arabian Nights was in wide circulation in Russia at the time, in a French translation by Antoine Galland that indulged the Francophile passion for all things Arabic. It’s from that volume that Rimsky likely took his scenario, which is based on the story of the 1001 Nights. The composer paraphrased the story on the front page of the score:
“Convinced of the treachery and faithlessness of the female sex, the Sultan Shahriar swore to execute each of his wives following their wedding night. However, Sultana Scheherazade managed to save her own life. She bewitched the Sultan with stories over the course of a thousand and one nights. Day after day, the Sultan delayed her execution out of curiosity, until he finally abandoned his murderous plan. Scheherazade told him of wondrous events, interweaving her stories with poetry and songs.’
The composition of Scheherazade immediately followed that of the Capriccio, and the score was first performed on 3 November 1888, with Rimsky again conducting the Russian Symphony. It would become Rimsky’s most famous creation – a byword for orchestral color, fantasy, and sweeping, proto-cinematic storytelling even if the composer initially sought to downplay its narrative content. It was his colleague Anatol Liadov who persuaded Rimsky to replace his funtionary movement titles (simple indications of tempo) with more evocative, descriptive ones. Either way, Rimsky was reluctant to present his work as an out-and-out tone poem, describing it as a ‘symphonic suite’ and distancing himself from the specifics of the story of the Sultana over time. He came to describe it as ‘a kaleidoscope of fairytale images and patterns with an Oriental character.’
The composer’s use of the word ‘patterns’, which he also deployed in direct reference to the Capriccio, is indicative of his belief in the absolute musical value of the score irrespective of its story. He knew that his use of repeating and interlocking themes and his alternate waves of heady power and restful repose would make for a musical experience just as hypnotically alluring as any image of a seductive princess.
Rimsky’s movement titles probably convey all the specifics he wanted, but he did confirm that his violin solo was intended to represent the Sultana Scheherazade, readying herself between each of her tales, radiating composure and beauty (with help from the harp). The broad brass theme of the first movement surely represents the Sultan. Prince Kalendar’s theme is heard on a bassoon (and then the entire orchestra); the young prince is depicted by violins and the princess a solo clarinet (their story is of love, estrangement and reunification). The Festival in Baghdad combines the events of all three movements, with the Sultan’s heavy brass theme moving to strings and turning tender – a suggestion of his clemency. As for the Arabic qualities in those themes, they are really only present in character and detail: little turns and melismas; tunes built of small intervals and with long tails. They relate to each other just enough to suggest that while we’re being told of different events, a single person is doing the telling.
Rimsky’s orchestral trilogy was completed by a piece that seems, even more than its companions, to look backwards as well as forwards. In his Russian Easter Festival Overture, the composer set out to capture the ‘transition from the gloomy and mysterious evening of Passion Saturday to the unbridled pagan-religious merrymaking on Easter Sunday morning,’ as experienced in a Russian church. Not just any church, but ‘a cathedral thronged with people from every walk of life, and with several priests conducting the service.’
This musical procession from darkness to light smells deliciously of Old Russia. It uses material from the Obikhod (the Russian Orthodox Church’s catalogue of chants), uses bells and contains overt references to four-part ecclesiastical harmony. It is surely orchestrated in the manner of Glinka – the first Russian composer whose music Rimsky had heard, and the forefather of The Mighty Handful. In common with the two other works recorded, it employs a series of miniature cadenzas for the violin. It was first performed on 15 December 1888, not long after it had been composed.
The Overture emerges from the gloom in an unusual 5-in-a-bar gait, with a presentation of the theme ‘Let God arise, let his enemies be scattered.’ Against a glittering curtain of flutes, harps and two violins, a cello then intones the chant ‘An Angel cried out.’ Finally, the chant ‘Christ is risen from the dead’ appears amid the jubilant trumpets of the overture’s final paragraph, not before the two preceding chant themes have been discussed and presented in tantalizingly contrasting orchestrations.
For Rimsky, the overture was about more than the resurrection of Christ. The composer’s childhood home in Tikhvin, Novgorod Province, was surrounded by monasteries (it was also a long way from sea, which doubtless fuelled the young composer’s naval fantasies). On Easter morning, Rimsky would have heard bells ringing out from miles around while experiencing the continuing onset of spring in a landscape hitherto frozen for almost half a year. The Russian Easter Festival Overture could be a manifesto for the composer’s belief in an authentic Russian music, but one facing a bright new dawn.
**艺术家**：奥斯陆爱乐乐团、瓦西里·佩特连科
**专辑名称**：尼古拉·里姆斯基-科萨科夫：《西班牙随想曲，作品34号》《俄罗斯复活节节日序曲，作品36号》及《舍赫拉查达（天方夜谭），作品35号》
**发行年份**：2020年
**厂牌**：拉沃古典唱片公司（Lawo Classics）
**音乐类型**：古典音乐
**音质**：FLAC无损格式（镜像文件 +.cue文件、日志文件、扫描文件）/ FLAC 24比特 - 96.0千赫兹
**总时长**：1小时14分57秒
**总大小**：312兆字节 / 2.41吉字节
**网站**：专辑预览
**曲目列表**
01. 《西班牙随想曲，作品34号》：第一乐章，晨歌
02. 《西班牙随想曲，作品34号》：第二乐章，变奏曲
03. 《西班牙随想曲，作品34号》：第三乐章，晨歌
04. 《西班牙随想曲，作品34号》：第四乐章，场景与吉普赛之歌，小快板
05. 《西班牙随想曲，作品34号》：第五乐章，阿斯图里亚斯的凡丹戈舞曲
06. 《俄罗斯复活节节日序曲，作品36号》
07. 《舍赫拉查达（天方夜谭），作品35号》：第一乐章，大海与辛巴达的船
08. 《舍赫拉查达（天方夜谭），作品35号》：第二乐章，卡尔endar王子的故事
09. 《舍赫拉查达（天方夜谭），作品35号》：第三乐章，年轻的王子与年轻的公主
10. 《舍赫拉查达（天方夜谭），作品35号》：第四乐章，巴格达的节日——大海——海难
是尼古拉·里姆斯基-科萨科夫的哥哥沃因，首先将旅行、船只和大海的概念植入了这位未来作曲家的脑海。年轻的尼古拉从未踏上过船只，但沃因从他所驻扎的远东地区（当时他在俄罗斯帝国海军服役）寄回家的那些生动的信件，已足够激发他的想象。从童年的卧室起，尼古拉的职业道路似乎就已确定，他在那里学习航海术语，装配船模，练习打结，脑海中满是航海的冒险与浪漫。1856年，他成为了一名海军军校学员，并完成了六年的训练。
在那段时间里，另一种热情悄然占据了里姆斯基的内心：音乐。在海军学院学习还不到一年，年轻的尼古拉就观看了他人生中的第一部歌剧。很快，他又聆听了贝多芬和门德尔松的交响曲，还接触到了前辈米哈伊尔·格林卡的作品《阿拉贡霍塔舞曲》。甚至在登上一艘快速帆船进行为期三年的环球航行之前，里姆斯基就知道自己想成为一名作曲家，而不是一名海员。此后，在航行了世界上一些重要港口后，他心满意足地回到家乡，从此再也不想离开俄罗斯——里姆斯基唯一想进行的旅程是音乐之旅。
里姆斯基家族的财富意味着他能够相对轻松地开启音乐生涯，尽管他的亲戚们并不赞成。起初，他跟随西奥多·卡尼尔学习钢琴，这使他有机会结识当时俄罗斯最重要的作曲家：米利·巴拉基列夫、塞萨尔·居伊和莫杰斯特·穆索尔斯基。巴拉基列夫为里姆斯基提供了音乐理论与和声的基础教育，但这个年轻人还得私下花大量时间来提升自己的技能（尤其是在对位法领域）。
就这样，里姆斯基融入了那些作曲家的圈子，并与推动俄罗斯音乐民族主义的运动联系在了一起。但作为后来被称为“强力集团”中最年轻的成员，里姆斯基敏锐地意识到民族主义既有机遇，也有局限性，而且他的旅行经历使他对世界多元音乐有了更敏锐的感知。尽管他在自己的音乐中极力营造出独特的俄罗斯风格（最明显的是在他的《俄罗斯复活节节日序曲》中），但里姆斯基坚信有必要将当时存在的民族主义运动推向一个新的阶段。通过这样做，他将在自己这一代与20世纪初的俄罗斯作曲家之间建立起联系，这些作曲家将再次重塑俄罗斯的民族音乐语言（其中包括他的学生伊戈尔·斯特拉文斯基）。
里姆斯基坚信在自己的作品中融入俄罗斯本土元素是合理且必要的；他主张在更广泛的创作方法、资源和音乐表达形式中运用这些元素。这位作曲家收集并编辑民歌，并且有一种天赋，即使在那些看起来更具国际化视野的音乐中，也能凸显出它们的“俄罗斯特色”。1889年，他参观了巴黎世界博览会，并聆听了这里收录的两部作品的演奏，这两部作品当时均刚完成不久：《俄罗斯复活节节日序曲》和《西班牙随想曲》。不久之后，里姆斯基又在布鲁塞尔听到了同样的作品，他注意到，巴黎人和比利时人对他那明亮、华丽、充满异国情调和奇幻色彩的俄罗斯音乐的反应，远比他们对巴拉基列夫和居伊作品中所呈现的俄罗斯的沉闷形象的反应要好得多。
这与作曲家对管弦乐编配的新观点有关——他渴望在管弦乐队中培养出“令人尊敬的精湛技艺”，这种技艺的透明度不仅要服务于音乐自身的美感，还要体现出各种乐器的独特个性（他曾担任海军军乐队督察，这使他得以深入了解大多数乐器的性能）。里姆斯基在完成这里收录的三部管弦乐作品后有了这些感悟，他逐渐将这三部作品视为自己创作生涯特定阶段的巅峰之作——这个阶段为他接下来作为十五部歌剧的作曲家的生涯做好了准备。
在不同程度上，作为幻想家和故事讲述者的里姆斯基在这三部创作于1887年至1888年间的作品中都有所体现。作为自我激励式音乐教育的一部分，里姆斯基曾跟随彼得·克拉斯诺库茨基学习小提琴，这促使他创作了《俄罗斯主题幻想曲》（为小提琴与管弦乐队而作）。延续地域主题，里姆斯基计划创作另一部基于类似半协奏形式的作品，这次将使用西班牙曲调。
随着时间的推移，这部作品变成了《西班牙随想曲》——它不再明显地是为小提琴独奏者与管弦乐队而作，但首席小提琴手在其中仍有大量发挥空间。该作品创作于1887年夏天，并于当年10月31日由里姆斯基共同创立的、旨在推广俄罗斯音乐的圣彼得堡俄罗斯交响乐团首演。作曲家本人亲自指挥了这部作品，并且深受观众喜爱。
在晚年，随着他在管弦乐编配方面的声誉日隆（以及在他1913年关于该主题的专著出版后），里姆斯基试图区分他对管弦乐队的处理方式和他对实际音乐素材的处理方式。里姆斯基说，《西班牙随想曲》之所以吸引人，是因为他对旋律和节奏的选择、对独特音乐模式的实现、对不同管弦乐色彩的交替运用，以及在音乐行进过程中穿插的精彩的乐器独奏，“而不是表面的装饰”。
这些主题取材于西班牙乡村的民间音乐，以最初用风笛演奏的“晨歌”（里姆斯基用持续的低音来表现）和手鼓（他用铃鼓来表现）的唤醒之声开场。“变奏曲”呈现了一个圆号旋律的五个变奏，这段旋律在一个仿佛被夜色笼罩的管弦乐队中奏响，随后，随着另一版本的“晨歌”响起，清晨再次来临，这次是在不同的调上，且乐器的角色也颠倒了过来。
在“场景与吉普赛之歌”中，小军鼓的声音从上一个乐章延续而来，为一段号角声做铺垫，这段号角声预示着一系列充满异国情调的乐器特色片段的出现，由一把富有诱惑力的小提琴引出，这把小提琴也预示了《舍赫拉查达（天方夜谭）》的世界。在第五乐章中，里姆斯基运用了最著名的西班牙舞蹈。尽管有欢快的响板伴奏，他的“阿斯图里亚斯的凡丹戈舞曲”一开始节奏平稳，但逐渐摆脱了北方的拘谨，管弦乐队的各个声部依次引领舞蹈。
1889年，德彪西和拉威尔都曾在巴黎观看《西班牙随想曲》的演出，当时俄罗斯艺术更多地与异国情调、奇幻元素和准东方风格联系在一起，而非悲伤和忧郁。这部作品对这两位作曲家（他们自己也痴迷于西班牙）产生了巨大影响，他们将俄罗斯视为通过快速修建的西伯利亚大铁路通往东方的门户。
阿拉伯世界也一直让里姆斯基着迷。1868年，在创作他的交响组曲《安塔尔》时，他从作曲家亚历山大·鲍罗丁那里借来了一本法语版的阿拉伯旋律汇编。在结束海军生涯后，他为数不多的几次旅行之一是去了克里米亚的巴赫奇萨赖，那是一个到处都是咖啡馆和阿拉伯音乐的小镇。几年后，他又在君士坦丁堡（今伊斯坦布尔）度过了三天，试图重温那种体验。正是这些城市的气息，或许还有他在完成鲍罗丁的歌剧《伊戈尔王子》时所接触到的充满感官享受的世界，激发了里姆斯基丰富的想象力，从而创作出了《舍赫拉查达（天方夜谭）》。
当时，《一千零一夜》在俄罗斯广泛流传，是安托万·加朗的法语译本，满足了俄罗斯人对阿拉伯一切事物的喜爱之情。里姆斯基很可能就是从这本书中选取了创作情节，其基础是《一千零一夜》的故事。作曲家在乐谱的首页对这个故事进行了概括：
“苏丹沙赫里亚尔深信女性的不忠与背叛，发誓在每个妻子新婚之夜后将其处死。然而，苏丹王后舍赫拉查达设法挽救了自己的生命。她在一千零一夜的时间里，用故事迷住了苏丹。日复一日，苏丹出于好奇推迟了对她的处决，直到最终放弃了他的杀戮计划。舍赫拉查达给他讲述了奇妙的故事，将她的故事与诗歌和歌曲交织在一起。”
《舍赫拉查达（天方夜谭）》的创作紧随《西班牙随想曲》之后，乐谱于1888年11月3日首演，里姆斯基再次指挥俄罗斯交响乐团。这部作品将成为里姆斯基最著名的创作——它是管弦乐色彩、幻想以及宏大的、类似早期电影的叙事手法的代名词，尽管作曲家最初试图淡化其叙事内容。是他的同事阿纳托利·利亚多夫说服里姆斯基，将他原本功能性的乐章标题（简单的速度指示）替换为更具感染力、更具描述性的标题。无论如何，里姆斯基都不愿将他的作品完全视为一部标题交响曲，而是将其描述为“交响组曲”，并随着时间的推移，使自己与苏丹王后的故事细节保持一定距离。他后来将其描述为“一个具有东方特色的童话形象与模式的万花筒”。
作曲家使用“模式”这个词（他在直接提及《西班牙随想曲》时也使用了这个词），表明他相信这部作品的乐谱具有绝对的音乐价值，而不论其故事内容如何。他知道，自己对重复和相互交织的主题的运用，以及他交替呈现的激昂力量与宁静休憩的段落，将带来一种如同迷人公主的形象一样令人着迷的音乐体验。
里姆斯基的乐章标题可能传达了他想要表达的所有细节，但他确实确认，他的小提琴独奏部分旨在代表苏丹王后舍赫拉查达，在她讲述每个故事之前做好准备，散发出镇定与美丽（在竖琴的辅助下）。第一乐章中宽广的铜管主题无疑代表着苏丹。卡尔endar王子的主题由巴松管（随后是整个管弦乐队）奏响；年轻的王子由小提琴来描绘，而公主则由单簧管独奏来表现（他们的故事是关于爱情、分离与团聚）。巴格达的节日将前三个乐章的情节融合在一起，苏丹沉重的铜管主题转移到弦乐声部，并变得柔和起来——暗示着他的仁慈。至于这些主题中的阿拉伯风格，它们实际上仅体现在特色和细节上：小小的转折和花腔；由小音程构成且带有长拖音的曲调。这些主题之间的关联足以表明，尽管我们听到的是不同的事件，但讲述者是同一个人。
里姆斯基的管弦乐三部曲的最后一部作品，似乎比其他两部更具承前启后的意味。在他的《俄罗斯复活节节日序曲》中，作曲家试图捕捉“从受难星期六阴沉神秘的夜晚到复活节星期天早晨无拘无束的异教宗教狂欢的转变”，就如同在俄罗斯教堂中所经历的那样。这里所说的教堂并非普通教堂，而是“一座挤满了各行各业人士的大教堂，还有几位牧师主持仪式”。
这段从黑暗走向光明的音乐行进，散发着浓郁的旧俄罗斯气息。它使用了《俄祷歌集》（俄罗斯东正教的圣歌曲目集）中的素材，运用了钟声，并且明显借鉴了四声部的教会和声。其管弦乐编配方式无疑带有格林卡的风格——格林卡是里姆斯基最早听到其音乐的俄罗斯作曲家，也是“强力集团”的先驱。与这里收录的另外两部作品一样，它也采用了一系列小提琴的小型华彩乐段。这部作品创作完成后不久，于1888年12月15日首演。
序曲在不寻常的每小节五拍的节奏中从黑暗中浮现，呈现出主题“愿上帝兴起，使他的仇敌四散”。在长笛、竖琴和两把小提琴闪烁的背景下，接着由大提琴吟诵圣歌“有天使大声呼喊”。最后，在序曲的最后一段中，圣歌“基督复活了”在欢快的小号声中响起，在此之前，前面两个圣歌主题已被呈现，并以引人入胜的对比性管弦乐编配进行了演绎。
对里姆斯基来说，这首序曲不仅仅关乎基督的复活。作曲家在诺夫哥罗德省季赫温的童年故居周围环绕着修道院（那里也离大海很远，这无疑激发了这位年轻作曲家的航海幻想）。在复活节早晨，里姆斯基会听到数英里外传来的钟声，同时感受着春天在这片此前几乎被冰封半年的土地上逐渐到来。《俄罗斯复活节节日序曲》可以被视为作曲家对真正的俄罗斯音乐信念的宣言，而且是一种面向光明新曙光的信念。
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发表于 2025-3-30 08:08:56