Brass in Post-Romantic Russian Orchestral Music: a

Comparison between the Implementation of the Trumpet in

Rimsky-Korsakovs Scheherazade Op. 35 and
Stravinskys Le Sacre du Printemps

Stephen J. Russell

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). Stravinskys implementation of the trumpet in Le Sacre du

printemps2 breaks away from the more conventional usage of the trumpet shown in

Rimsky-Korsakovs Scheherazade (Op. 35)3. When analyzing the two pieces, noticeable

differences are observed between the specific trumpet instrumentation, melodic and

harmonic function of the trumpet, timbre, and articulation 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...4

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.5

The remainder of the paper will compare and contrast the harmonic and melodic

functions of the trumpet in both pieces, citing examples from both works. Dynamics and

articulation will also be compared. The 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.

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1
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

2
Stravinsky, Igor. Nieweg, Clinton (ed.). Le Sacre du Printemps. (Boca Raton, Florida: Edwin F.
Kalmus & Co., Inc. 2013), Facsimile

3
Rimsky-Korsakov, Nikolay. Scheherazade. (Boca Raton, Florida: Edwin F. Kalmus & Co., Inc.
1914).

4,5
Rimsky-Korsakov, Nikolay, ed. Principles of Orchestration. New York, New York: E.F. Kalmus
Orchestra Scores, Inc. 1933. pp. 23-24