ΧΙΛΙΕΣ ΚΑΙ ΜΙΑ ΝΥΧΤΕΣ
ΟΙ ΧΙΛΙΕΣ ΚΑΙ ΜΙΑ ΝΥΧΤΕΣ ΣΤΙΣ ΤΕΧΝΕΣ
Επιμελεια:
*Kiriaki Chrysanidou
Οι χίλιες και μία νύχτες είναι μια από τις πιο γοητευτικές ιστορίες (συλλογή ιστοριών , πιο σωστά) της παγκόσμιας λογοτεχνίας. Επηρέασε πολλούς καλλιτέχνες, τόσο στη λογοτεχνία όσο και στη μουσική, τη ζωγραφική, τον χορό, τον κινηματογράφο κλπ..
Η Σεχραζάτ του Rimsky Korsakov είναι ίσως το πιο γνωστό μουσικό έργο που "αφηγείται", στη γλώσσα της μουσικής, την ιστορία της έξυπνης Πριγκίπισσας. Στο πεδίο της ζωγραφικής γνωστότερο έργο είναι οι "χίλιες και μία νύχτες" του Henri Matisse ...
Rimsky Korsakov Scheherazade Phil Orchestra Ormandy
"All I desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond a doubt an Oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements.” Rimsky-Korsakov
Rimsky wrote a brief introduction that he intended for use with the score, as well as the program for the premiere:The Sultan Schariar, convinced that all women are false and faithless, vowed to put to death each of his wives after the first nuptial night. But the Sultana Sheherazade saved her life by entertaining her lord with fascinating tales, told seriatim, for a thousand and one nights. The Sultan, consumed with curiosity, postponed from day to day the execution of his wife, and finally repudiated his bloody vow entirely.
I. The Sea and Sinbad's Ship (Largo e maestoso — Lento — Allegro non troppo — Tranquillo)This movement is composed of various melodies and contains a general A B C A1 B C1 form. Although each section is highly distinctive, aspects of melodic figures carry through and unite them into a movement. Although similar in form to the classical symphony, the movement is more similar to the variety of motives used in one of Rimsky-Korsakov's previous works Antar. Antar, however, used genuine Arabic melodies as opposed to Rimsky-Korsakov’s own ideas of an oriental flavor.[12]II. The Kalendar Prince (Lento — Andantino — Allegro molto — Vivace scherzando — Moderato assai — Allegro molto ed animato)This movement follows a type of ternary theme and variation and is described as a fantastic narrative. The variations only change by virtue of the accompaniment, highlighting the Rimsky-ness in the sense of simple musical lines allowing for greater appreciation of the orchestral clarity and brightness. Inside the general melodic line, a fast section highlights changes within both tonality and structure.[12] of the fanfare motif, played by trombone and muted trumpet.[4]III. The Young Prince and The Young Princess (Andantino quasi allegretto — Pochissimo più mosso — Come prima — Pochissimo più animato)This movement is also ternary, and is considered the simplest movement in form and melodic content. The inner section is said to be based on the theme from Tamara, while the outer sections have song-like melodic content. The outer themes are related to the inner by tempo and common motif, and the whole movement is finished by a quick coda return to the inner motif, balancing it out nicely.[12]IV. Festival at Baghdad. The Sea. The Ship Breaks against a Cliff Surmounted by a Bronze Horseman. (Allegro molto — Lento — Vivo — Allegro non troppo e maestoso — Tempo come I)This movement ties in aspects of all the proceeding movements as well as adding some new ideas Including but not limited to: an introduction of both the beginning of the movement and the Vivace section based on Sultan Shakhriar’s theme, a repeat of the main Sheherazade violin theme,[12] and a reiteration of the fanfare motif to portray the ship wreck.[4] Coherence is maintained by the ordered repetition of melodies, and continues the impression of a symphonic suite, rather than separate movements. A final conflicting relationship of the subdominant minor Shakhriar theme to the tonic major cadence of the Scheherazade theme resolves in a fantastic, lyrical, and finally peaceful conclusion.[12]
Ballet Scheherazade part 1
Mariinsky principal dancers Igor Kolb and Jiyeon Ryu, the only foreigner in Mariinsky ballet.
Carnegie MuseumHenri Matisse: The Thousand and One NightsApril 7–July 15, 2012Gallery One
Matisse first worked with paper cut-outs in the 1930s, while executing a mural commission for the Barnes Foundation in Merion, Pennsylvania. His studies for the project, which he insisted on executing in the scale of the finished work, represented a great commitment of time and material. But by painting large sheets of paper and cutting out the figures for consideration against the whole composition, Matisse could evaluate color choices more quickly and economically. By 1948, when Matisse was permanently confined to a bed or wheelchair and could no longer work at the easel, he had begun to create finished works of paper cut-outs. Matisse instructed assistants in the preparation of the papers, painted in brilliant colors with opaque gouache. He worked with long scissors, cutting forms to be placed on white or colored sheets or directly on the wall. The compositions of large decorative projects often required extended thought and experimentation, since the placement of each paper cut-out altered the delicate balance in a complex arrangement of colors and shapes.
By 1950, Matisse was producing large, intricate works involving multiple panels and many separate cut-out forms. The Thousand and One Nights is an excellent example of the tremendous scale of these mature, additive cut-out projects. The work has the feeling of a continuous horizontal frieze made of adjacent, overlapping colored rectangles. The geometric severity of the rectangles enhances by contrast the sensuality of the large biomorphic silhouettes that are framed by the varicolored rectangles.
Two features of The Thousand and One Nights distinguish it from other large mural-like cut-outs of the period. One of these is its horizontal format, whose implicit left-to-right reading is enhanced by its other important distinction, the inclusion of a cut-out text. The text, separated into syllables in the border at the upper right, offers clues to the imagery of the larger cut-out forms. The words, a refrain from the 'Arabian Nights,' are "elle vit apparaitre le matin/elle se tut discrètement" (as dawn approached, she discreetly fell silent). They allude to the ploy of Scheherazade, who every night invented suspenseful stories to prevent the jealous sultan from putting her to death at dawn.
While the cut-out text refers to the morning and the cycle of the concubine's reprieves, the title of the work refers to the nights during which Scheherazade told her tales. Similarly, the content of the cut-out imagery shifts from night to day, creating a sense of division between the frieze's left and right halves. The role of some shapes is to evoke the exotic setting (for example, the form on the left that resembles a smoking genie lamp), but against the busy central cluster of vertical rectangles time is told by spiky forms in several colors that read as stars against the sky at dusk, at night, and at dawn. The black, irregular line snaking diagonally across the rectangles of sky suggests the division between night (left) and day (right). And, near the text that tells of dawn, the discreet Scheherazade is indicated by a red lozenge surrounded by concentric white shapes against the color of the brilliant Oriental day. The Thousand and One Nights is an elegant example of Matisse's fidelity to a lifelong theme, the languorous exotic odalisque, and of his continual pursuit of simplicity and novelty in its expression.
Επιμελεια:
*Tanja Pavlovic
Η Σεχραζάτ είναι η κόρη του βεζύρη, η οποία παντρεύεται τον θηριώδη σουλτάνο Σαχριάρ, με σκοπό να τον εξημερώσει. Ο Σαχριάρ παντρεύεται κάθε μέρα και από μια γυναίκα και την επομένη τη σκοτώνει. Την πρώτη νύχτα του γάμου της, η Σεχραζάτ διηγείται στο σύζυγό της μια ιστορία τόσο συναρπαστική, ώστε ο σουλτάνος, περίεργος να γνωρίσει τη συνέχειά της, αναβάλει την εκτέλεσή της μέχρι την επομένη. Έτσι, η Σεχραζάτ συνεχίζει τις ιστορίες της κάθε βράδυ, μέχρις ότου ο περίεργος σουλτάνος ανακτά την πίστη του στη ζωή και τους ανθρώπους και εγκαταλείπει το απάνθρωπο σχέδιό του.
Στη συμφωνία Σεχραζάτ του Νικολάι Ρίμσκυ-Κόρσακοφ, περιγράφονται στιγμιότυπα από την ιστορία του Σεβάχ, με χαρακτηριστικά μουσικά μοτίβα, όπως η επίθεση του γιγάντιου Ροκ στο πλοίο, η φουρτουνιασμένη θάλασσα και η άφιξη στη Σερεντίπ. Οι ναύτες σπάνε το αυγό του Ροκ.Εικονογράφηση από το Le Magasin pittoresque(1865)
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Επιμελεια:
*Myrto Zacharopoulou
Tα μπαλέτα Κίροφ σε χορογραφία Φοκίν και την ταλαντούχα μπαλαρίνα Σβετλάνα Ζαχάροβα.
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