Scheherazade No 4 (tr Hindsley)

From Wind Repertory Project
Nikolai Rimsky-Korsakov

Nikolai Rimsky-Korsakov (tr. Mark Hindsley)

Subtitle: Festival at Baghdad, and Conclusion

General Info

Year: 1888 / 197-?
Duration: c. 11:38
Difficulty: VI (see Ratings for explanation)
Publisher: Hindsley Transcriptions
Cost: Score and Parts - $115.00   |   Score Only - $29.00

For availability information, see Discussion tab, above.


Full Score
C Piccolo/Flute I
Flute II
Alto Flute (ad lib)
Oboe I-II
Bassoon I-II
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II-III
B-flat Trumpet I-II
Horn in F I-II-III-IV
Trombone I-II-III
String Bass
Percussion, including:

  • Bass Drum
  • Cymbals
  • Gong
  • Snare Drum
  • Suspended Cymbal
  • Tambourine
  • Triangle


None discovered thus far.

Program Notes

Scheherazade Op. 35, is a symphonic poem composed by Nikolai Rimsky-Korsakov in 1888. Based on One Thousand and One Nights, sometimes known as The Arabian Nights, this orchestral work combines two features typical of Russian music and of Rimsky-Korsakov in particular: dazzling, colorful orchestration and an interest in the East, which figured greatly in the history of Imperial Russia, as well as orientalism in general. It is considered Rimsky-Korsakov's most popular work.

The fourth movement ties in aspects of all the preceding 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 Schahriar's theme, a repeat of the main Scheherazade violin theme, and a reiteration of the fanfare motif to portray the ship wreck. 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 Schahriar theme to the tonic major cadence of the Scheherazade theme resolves in a fantastic, lyrical, and finally peaceful conclusion.

- Program Note from Wikipedia

Rimsky-Korsakov preceded the score of this work by writing the story of how the Sultan Schahriar, convinced of the falseness of women, swore to put to death each one of his wives after the first night. But the Sultana Scheherazade saved her life by interesting him in tales which she told him during one thousand and one nights. His curiosity piqued, the sultan put off his wife's execution from day to day and at last gave up his blood plan entirely.

The final movement, Festival at Baghdad, begins with the motif of the sea, as does the first. The scene quickly changes, however, to the whirl and swirl of the festival. Into the carnival atmosphere a reminder of the sea intrudes, other familiar figures flit by, including the evil jinn and the love idyll. Then in full festival array we seem to plunge back into the broad movement of the surging sea, straight on to the fateful event where the ship goes to pieces against a magnetic rock. There are no sighs or tears. Placidly the waves play softly about. Scheherazade herself reappears to conclude the tale quietly and tenderly.

- Program Note by Everett Kisinger from Program Notes for Band and Band Music Notes


State Ratings

  • Alabama: AA
  • Arkansas: IV
  • Florida: VI
  • Georgia: VI
  • Louisiana: V
  • Oklahoma: V-A
  • Tennessee: VI
  • Texas: V. Complete
  • Virginia: VI


To submit a performance please join The Wind Repertory Project

  • Los Alamos (N.M.) Community Winds (Ted Vives, conductor) – 24 February 2018

Works for Winds by This Composer


  • Rimsky-Korsakov, N.; Hindsley, M. [197-?] Festival at Bagdad : Scheherazade no. 4 [score]. Mark H Hindsley: Urbana, Ill.
  • Scheherazade. Wikipedia. Accessed 6 August 2023
  • Smith, Norman and Albert Stoutamire (1979). Band Music Notes. Rev. ed. San Diego: Kjos West. pp. 194-195
  • Smith, Norman E. (2002). Program Notes for Band. Chicago: GIA Publications, pp. 510.