New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-04-16

Ir,;,a the msltreatment OF the
-, Of "scherehazade" the widow CT
,-,lv.KorsakoF made objection when
4 !, halle. was first brought forward.
>. l,sy was not only morally JUST
I a. a., was also intellectually quail
j.sius high degree, to enter a pro-
.,,, ,.in.t the spolistion and degrade
4 -, 81 her husbands composition.
17.v,shout a happy married life oil
,a,y..ix years. Nine. Rimsky-korsa-
q VA, an artistic helpmeet TO her
..,,rd Before their marriage she
"a, one Of the coterie that stimulated
q, enthusiasm for Russian nationalism
nu,ic BIZ private readings Of Boris
,.s,u-os.r Tschaikoffsky did not hes
~, 70 accept changes Of harmony
,.,h 81. suggested in his Romeo and
.n.:' when II was sent 20 Bslaslrer
=, criticism. Borodin dedicated his
r.: string quartet to her, and she not
Il, assisted in the making OF the
uo,orte score Of prince Igor" but
,o rave the same kind Of aid TO her
.,D.nd. Nine. Rimsky-korsakof knew
,,r Intimately the music OF the suite
rs.led "Scheherszade" is associated
..:h the poetic conceit which was IN
4, hssband's mind. and how aptly and
FAITHFULLY j.. expressed that conceit
Z, fundamentals, II not in its de-
flls She knew that the use 10 which
: Fos;ne put 3; when he applied 1t
he story which introduces the
l,ssian Nights entertainment was
..gersiye Of the composers IN
Eaons, and tina; +, brought doubt
nd rdicule upon programmatic music
r q form Of art. We are not con-
.,rsd with the question OF the valid
81 Of programme music as form o.
II but only with the ethics and
shsiies involved IN single case.
! Doesn't make any difference 70 our
augment Of the music that the com
Nss' left 20 the speculation OF the
.a.srs the question as 10 which Of the
r'n.s Of the Calendar Princes or
l,ysl M.ndicants was in his mind
E,.r he wrote the second movement,
2 vho the Prince and Princess Of the
erd movement are we fancy from
srain features Of the music that they
''s Prince Csmaralzsmsn and the
'r,:sss Bsndoura), but the inscr'p-
tsi The Sea and sinbad's Ship over
'is first movement and Festival at
''sisd-The Sea--The ship goes to
Lees against rock surmounted by a
''orzs warrior" over the last afford clear
'sr;ing points for the imagination, the
''.7,ion OF which is delightfully."- slim
'';.d By the music. IN the choreo-
nspnie play ne sea music ~ hrst
'oss as an overture only; the de-
'ssiion o. the storm and shipwreck
accompany the slaughter Of the lasciv-
@'' inmates OF the hsrem and their
= et lovers, and when the peaceful I'M
nations Of the water again return
.'y are supposed 20 depict the peace
y essih, though the sensation OF sight
"a hearing are violently at odds with
al other
al his, however, may be said 70 be
IA compared with the abuse Of
's7-hoTsskos's most ingenious con
* a. the opening Of his suite. and
'nas together Us movements, there
- ford tune Tor the solo violin
%'sgn sometimes il appears else
ere IN the score) which plainly
Na' for Seheherszsde, the story
'I'' herself, and also for the stereo-
~ phrase with which she modu-
" rom on. tale 20 another and
- winch she % piques the curiosity
ar oloody-minded spouse that he
are, her life 70 that he may hear
''s o. her marvellous stories. The
''s' IN short, is musical trans
"'''on Of the words with which
a'a'rszses ends each tale: but
- erred Sehsh.Tazade, IL not more
'~'siiui than the story Of the hsh-
@th Ior the porter or such and
" another personsge). The King
"s And what il the story Of the
..'fmsnT And she related IL a.
''rs" This pretty musical device -
~ without rhyme or reason in the
ny To u Zobeide commands the
''"n 70 admit the blsekamoor a, one
'ssnt and pleads for her life a. an
". Despite Us beauty, i. Is become
saingless because o. the destrue-
e " The composers design.
Nsthsr instance in which the plain
's'sss OF the composer in writing
" pfogysmms,ic music are dsrs-
''sN and robbed not only Of the sig'
sseees which was In the oomposer's
~ bat Of ell Significance and sppro-