Instruct: Given a question, retrieve relevant documents that answer the question.
Query: When was Scheherezade composed by Rimsky-Korsakov?
Scheherazade, also commonly Sheherazade (), Op. 35, is a symphonic suite composed by Nikolai Rimsky-Korsakov in 1888 and based on "One Thousand and One Nights" (also known as "The Arabian Nights)".
The successful debut of "Shchedryk" earnt Leontovych popularity among specialists and fans of choral music in Kiev. Leontovych's mentor-turned-coworker at the Kiev Conservatory, Boleslav Yavorsky, also positively evaluated his newly written works. During another concert, Leontovych's "Lehenda", set to a poem by Mykola Voronyi, gained great popularity.
The Bolshoi premiered "Carmen Suite" in 1967 but the fact Bizet's music was so well known actually worked against its favor at first. Soviet Minister of Culture Yekaterina Furtseva, was repelled by the modernist flavor given to the music and the sexual overtones of both the story and the title character. She banned the work immediately following its premiere as "insulting" to Bizet's masterpiece. Explaining this, Furtseva commented to Soviet media, "We cannot allow them to make a whore out of Carmen, the heroine of the Spanish people." (Unfortunately for Furtseva, her words were taken as a joke among the Moscow public following the controversy.) When she met privately at the Bolshoi with Plisetskaya and other members, Furtseva called "Carmen Suite" "a great failure," the production "raw. Nothing but eroticism. The opera's music has been mutilated. The concept has to be rethought. I have grave doubts as to whether the ballet can be redone."
Sedlatzek's early years in Vienna culminated in the premier of Beethoven's 9th Symphony on 7 May 1824 at Karntnertortheater, where Sedlatzek served as principal flautist. Certain passages of Beethoven's score required the use of the particular Viennese flute which Sedlatzek was known to play with exceptional virtuosity. Only the Viennese flute was capable of playing as low as G, which was required for the proper interpretation of Beethoven's symphony.
In 1902, when Stravinsky composed the piece, he was studying law at St. Petersburg University. He met Nikolai Rimsky-Korsakov's son Vladimir there. At this time, Stravinsky's ambition was to become a composer, since his father, Fyodor Stravinsky, was also a successful bass opera singer, but studied law out of being pressured into it by his family. However, he started coming to Nikolai's house in order to learn composition and orchestration. Very few juvenalia works from this period still remain, but some of them, presumably the ones he kept in his portfolio, survived. This was the case for his Piano Sonata in F-sharp minor and, also, this scherzo. After composing just a handful of works in these years, Stravinsky would not produce anything significant, but continued to attend private classes with Rimsky-Korsakov until the latter's death in 1908.
Die Herzogin von Chicago ("The Duchess of Chicago") is an operetta in two acts, a prologue, and an epilogue. The music was composed by Hungarian composer Emmerich Kálmán with a libretto by Julius Brammer and Alfred Grünwald. It premiered in Vienna at the Theater an der Wien, on April 5, 1928 and played for 372 performances. The work was presented in out-of-town tryouts in Newark, New Jersey and Springfield, Massachusetts by the Shuberts in 1929, but it did not make it to Broadway. The piece was forgotten until 1997, when the Lubo Opera Company performed it in concert in New York, after which Light Opera Works of Illinois performed the work in 1998 in a fully staged version with a new translation by Philip Kraus and Gregory Opelka. In 1999, Richard Bonynge made a recording of the work, which revived international interest in it.
The "Prelude and Liebestod" is a concert version of the overture and Isolde's act 3 aria, "Mild und leise". The arrangement was by Wagner himself, and it was first performed in 1862, several years before the premiere of the complete opera in 1865. The "Liebestod" can be performed either in a purely orchestral version, or with a soprano singing Isolde's vision of Tristan resurrected.
Mlada () is an opera-ballet in four acts, composed between 1889 and 1890 by Nikolai Rimsky-Korsakov, to a libretto by Viktor Krylov that was originally employed for an aborted project of the same name from 1872.
The world's first opera was "Dafne" by Jacopo Peri, which appeared in Florence in 1598. Three decades later Heinrich Schütz set the same libretto in a translation by the poet Martin Opitz, thus creating the first ever German-language opera. The music to Schütz's "Dafne" is now lost and details of the performance are sketchy, but it is known to have been written to celebrate the marriage of Landgrave Georg II of Hessen-Darmstadt to Princess Sophia Eleonora of Saxony in Torgau in 1627. As in Italy, the first patrons of opera in Germany and Austria were royalty and the nobility, and they tended to favour composers and singers from south of the Alps. Antonio Cesti was particularly successful, providing the huge operatic extravaganza "Il pomo d'oro" for the imperial court in Vienna in 1668. Opera in Italian would continue to exercise a considerable sway over German-speaking lands throughout the Baroque and Classical periods. Nevertheless, native forms were developing too. In Nuremberg in 1644, Sigmund Staden produced the "spiritual pastorale", "Seelewig", which foreshadows the "Singspiel", a genre of German-language opera in which arias alternate with spoken dialogue. "Seelewig" was a moral allegory inspired by the example of contemporary school dramas and is the first German opera whose music has survived.
Shevchenko was arrested along with other members of the society on 5 April 1847. Tsar Nicholas read Shevchenko's poem, "Dream". Vissarion Belinsky wrote in his memoirs that, Nicholas I, knowing Ukrainian very well, laughed and chuckled whilst reading the section about himself, but his mood quickly turned to bitter hatred when he read about his wife. Shevchenko had mocked her frumpy appearance and facial tics, which she had developed fearing the Decembrist Uprising and its plans to kill her family. After reading this section the Tsar indignantly stated "I suppose he had reasons not to be on terms with me, but what has she done to deserve this?" In the official report of Orlov Shevchenko was accused in using "Little-Russian language" (archaic Russian name for Ukrainian language) of outrageous content instead of being grateful to be redeemed out of serfdom. In the report Orlov claimed that Shevchenko was expressing a cry over alleged enslavement and disaster of Ukraine, glorified the Hetman Administration (Cossack Hetmanate) and Cossack liberties and "with incredible audacity poured slander and bile on persons of Imperial House".
The Symphony No. 9 in D minor, Op. 125, is the final complete symphony by Ludwig van Beethoven, composed between 1822 and 1824. It was first performed in Vienna on 7 May 1824. One of the best-known works in common practice music, it is regarded by many critics and musicologists as one of Beethoven's greatest works and one of the supreme achievements in the history of western music. In the 2010s, it stands as one of the most performed symphonies in the world.
Tristan und Isolde ("Tristan and Isolde", or "Tristan and Isolda", or "Tristran and Ysolt") is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the 12th-century romance "Tristan" by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally "a drama", "a plot" or "an action"), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas.
The first and longest movement is a slow movement in rough sonata form. As in his Fifth Symphony, Shostakovich quotes from one of his settings of Pushkin: in the first movement, from the second of his "Op. 91: Four Monologues on Verses by Pushkin for bass and piano" (1952), entitled "What is in My Name?". This theme of personal identity is picked up again in the third and fourth movements.
The collection was established in 1852, the year the museum was made open to the public, when it purchased the collection of statuettes from Countess Alexandra Lavalle, previously stored in her mansion on English Embankment, and received the items collected in Egypt by Maximilian, Duke of Leuchtenberg, including two black basalt sarcophagi of the Late Period, now displayed in the middle of the hall, as well as the sculpture group of Theban governor Amenemheb with his wife and mother (14th century BC). In 1853 the statue of Sekhmet (15th century BC), brought by Alexei Norov from Theban Necropolis of the Eleventh dynasty of Egypt in the 1830s, was moved from the Imperial Academy of Arts to the Hermitage. Some items were purchased for the museum from antiquities traders in Egypt and collections of Russian merchants or received as gifts. In 1862 the collection expanded significantly, as the Castiglione collection, which was purchased by the Imperial Academy of Sciences from Carlo Ottavio Castiglione in Milan in 1826 and consisted of more than 900 items, core of the Egyptian museum of the Kunstkamera, was transferred to the Hermitage. However, there were no Egyptologists in Russia at that time. Vladimir Golenishchev became the first Russian egyptologist and started to work in the Hermitage in the 1870s. At the insistence of Golenishchev in 1881 the remainder of the Egyptian museum of the Kunstkamera was moved to the Hermitage. The Hermitage collection continued to grow in the 1880s, when Coptic written monuments and two fragments of Egyptian water clocks were acquired. In 1891 Golenishchev published the first complete inventory of the collection. Since the 1870s Golenishchev had collected an impressive private Egyptian collection, which was sold to the Pushkin Museum in Moscow in 1909, shortly before he emigrated. For a few years, as the building for the Moscow museum was being constructed, the items were also stored in the Hermitage. Soviet orientalist Vasily Struve was in charge of the Hermitage's Egyptian collection from 1918 to 1933. The highlights of the exhibition include the mummy of priest Petese (10th century BC) and a fragment of a tablet of Ramesses II's peace treaty with the Hittites (13th century BC).
The Bolshoi Ballet is a 1957 American musical film directed by Paul Czinner and starring Galina Ulanova, Raisa Struchkova and Nikolai Fadeyechev. The film's composers, Yuri Fayer and Gennady Rozhdestvensky, were nominated for Best Original Score in the 31st Academy Awards (1958).
After the death of Joseph Stalin, the company toured internationally and became an important source of cultural prestige, as well as foreign currency earnings. As a result, the "Bolshoi Ballet" became a well-known name in the West. However, the Bolshoi suffered from losses through a series of defections of its dancers. The first occurrence was on 23 August 1979, with Alexander Godunov; followed by Leonid Kozlov and Valentina Kozlova on 16 September 1979; and other cases in the following years. Bolshoi continues to tour regularly with opera and ballet productions in the post-Soviet era. 
The opera company specializes in the classics of Russian opera such as Mussorgsky's "Boris Godunov", Glinka's "A Life for the Tsar", and Rimsky-Korsakov's "The Tsar's Bride", as well as the operas of Tchaikovsky. Many operas by western composers are also performed, especially works of Italian composers such as Rossini, Verdi, and Puccini. Until the mid-1990s, most foreign operas were sung in Russian, but Italian and other languages have been heard more frequently on the Bolshoi stage in recent years.
The music was composed primarily by Koji Kondo, with three tracks written by Toru Minegishi. The soundtrack largely consists of reworked music from "Ocarina of Time", complemented with other traditional "Zelda" music such as the "Overworld Theme" and new material. Kondo describes the music as having "an exotic Chinese-opera sound". As the three-day cycle progresses, the theme song of Clock Town changes between three variations, one for each day. IGN relates the shift in music to a shift in the game's atmosphere, saying that the quickened tempo of the Clock Town music on the second day conveys a sense of time passing quickly. The soundtrack was released on June 23, 2000, featuring 112 tracks from the game over two compact discs.
In 1984, Austrian culture minister Helmut Zilk designated Drese as director of the Vienna State Opera in Vienna. Drese began his tenure in 1986 and chose Claudio Abbado as the State Opera's music director. In the following five years, the State Opera experienced a very fruitful period. Abbado conducted both new productions and revivals, among them "Un ballo in maschera" (staged by Gianfranco de Bosio, designed by Emmanuele Luzzati), "L'Italiana in Algeri" (staged and designed by Ponnelle), "Carmen" (revival of the 1978 Franco Zeffirelli-production), "Pelléas et Mélisande" (staged by Antoine Vitez and designed by Yannis Kokkos), "Il viaggio a Reims" (staged by Luca Ronconi and designed by Gae Aulenti), "Don Carlo" (staged and designed by Pier Luigi Pizzi), "Don Giovanni" (staged by Luc Bondy, with Ruggero Raimondi as the Don), "Le nozze di Figaro" (staged by Jonathan Miller). Drese initiated cycle of all the major Mozart-operas.
Bizet's first opera, the one-act ', was written in 1856 when the 18-year-old composer was a student at the Conservatoire de Paris. It was Bizet's winning entry in a competition organised by the celebrated composer Jacques Offenbach, and gained him a cash award, a gold medal, and a performance of the prize work at the . In 1857 Bizet was awarded the prestigious Prix de Rome, and as a result spent most of the following three years in Italy, where he wrote "Don Procopio", a short opera buffa in the style of Donizetti. By this time Bizet had written several non-stage works, including his Symphony in C, but the poor reception accorded to his 1858 ', a religious work he composed in Rome, helped convince him that his future lay primarily with the musical theatre. He planned and possibly began several operatic works before his return to Paris in 1860, but none of these projects came to fruition.
Ruth Laredo also played contemporary music, mainly in the beginning of her career in Marlboro. This was something Pablo Casals – who did not like music beyond the era of Brahms – disapproved of. He would stay home when Leon Kirchner would come to Marlboro for a performance. In the 1983/1984 season she played the world premiere of Peter Martins's work called "Waltzes" with the New York City Ballet. In 1989 she played Wallingford Riegger's twelve-tone "Variations for Piano and Orchestra" at Carnegie Hall with the American Composers Orchestra under Paul Lustig Dunkel. Her repertoire included also works by Franz Liszt, Arnold Schoenberg, Béla Bartók, Anton Webern and Alban Berg.
Mykola Leontovych specialised in a cappella choral music. He is remembered today mostly through the musical works he left behind, which include over 150 choral compositions. These range from artistic arrangements of folk songs, religious works (including his liturgy), cantatas, and choral compositions set to the words of various Ukrainian poets. His two most famous works are the choral miniatures "Schedryk" and "Dudaryk".
Song of Scheherazade is a 1947 American musical film directed by Walter Reisch. It tells the story of an imaginary episode in the life of the Russian composer Nikolai Rimsky-Korsakov (Jean-Pierre Aumont), in 1865, when he was a young naval officer on shore leave in Morocco. It also features Yvonne De Carlo as a Spanish dancer named Cara de Talavera, Eve Arden as her mother, and Brian Donlevy as the ship's captain. Charles Kullman (credited as Charles Kullmann), a tenor with the Metropolitan Opera, plays the ship's doctor, Klin, who sings two of Rimsky-Korsakov's melodies.
Though now eclipsed by "Scheherazade" in popularity, "Antar" was performed fairly frequently during the composer's lifetime, several times under his direction. One person who would not conduct it was Eduard Nápravník. Asked more than once to do so, he finally replied, with apparent disdain, "[Rimsky-Korsakov] might as well conduct it himself." The composer did exactly that, at an 1876 concert of the Russian Musical Society (RMS).
By the time the navy sent Rimsky-Korsakov on a three-year world cruise in 1862, he had completed the first movement, scherzo and finale of the symphony. He wrote the slow movement during a stop in England, then mailed the score to Balakirev before going back to sea. Upon his return to St. Petersburg in 1865, Balakirev suggested that Rimsky-Korsakov renew work on the symphony. He did, writing a trio for the Scherzo and reorchestrating the whole work. Balakirev conducted the successful premiere of the symphony in December, 1865. Rimsky-Korsakov appeared on stage in uniform to acknowledge the applause (regulations demanded that officers remain in uniform even when off-duty). Seeing him, the audience was surprised a naval officer had written such a work. A second performance quickly followed in March 1866 under the baton of Konstantin Lyadov, father of the composer Anatoly Lyadov.
• Nikolai Rimsky-Korsakov: Scheherezade (2016)