N. R. Korsakov's Scheherazade Symphonic Suite Op. 35: A technical and musical analysis in view of conducting

Great classical works of the Western music which have taken their places in history of music are not easy to understand and to perform. Furthermore, it is essential to know the factors that influence the composers in course of their composing process. It s not quite possible for the performer who acts as a bridge between the composer and the audience to perceive the work just by reading the score. If the composer has composed his work for orchestra the wehicle to carry it to the audience is an orchestra and a conductor to conduct the orchestra. Its advisable for the conductors, in order to better comprehend the work, to make musical analysis of it and find out the factors that affected the composer. In this way the musical works will be thoroughly understood and transferred. In the First Part of the study named "N.R.Korsakov's 'Scheherazade' Symphonic Suite Op. 35: A Technical and Musical Analysis in View of Conducting" The similarities between Korsakov's "Sheherazade" and M.A. Balakirev's "Tamara" are examined. The motives and passages in wich Balakirev influenced Korsakov are pointed out by examples. As a result, we have reached to the conclusion that the profile drawn for Sheherazed by Korsakov owes much to the successfull and mighty Queen of Georgia -Tamara. Balakirev has been influenced by M.Y.Lermantov's poem named "Tamara" (1841) in composing his work. Lermantov, in his poem, depicts Tamara as diabolic and angelic, a cunning person who dominated everyone around her. In the Second Part of the study a musical analysis is given in order to explain the work better. The first movement of the suite; The Sea and Sinbad's Ship, is in Sonata form without a development. Kalendar Prince part has Two Interludes and is in Double Scherzo form. The Young Prince and The Young Princes part is a lied in Binary form. Festival at Bagdat is in Rondo form. The Third Part of the study is about suggestions for gestures in conducting. How and where to use the gestures which are divited in to two as Upbeats and Downbeats, are explained, examining how to apply the ritardandos and point d'orgues, the diagram of the beats in the bars are drawn and some ideas about solutions are suggested. It is advisible for young conductors who are going to perform a classical piece of music to begin working step by step using a similar method. As a result this study aims to help conductors in analysing and interpreting the Symphonic Suit Sheherazade. Key Words Conducting, Sheherazade, N.R.Korsakov, Musical Analysis, Gesture