Capriccio Espagnol

Capriccio espagnol, Op. 34, is the common Western title for a five movement orchestral suite, based on Spanish folk melodies, composed by the Russian composer Nikolai Rimsky-Korsakov in 1887. Rimsky-Korsakov originally intended to write the work for a solo violin with orchestra, but later decided that a purely orchestral work would do better justice to the lively melodies. The Russian title is Каприччио на испанские темы (literally, Capriccio on Spanish Themes).
Structure.
The work has five movements, divided into two parts comprising the first three and the latter two movements respectively..
A complete performance of the "Capriccio" takes approximately 16 minutes.
It is scored for piccolo, 2 flutes, 2 oboes (one doubling on cor anglais), 2 clarinets (in B and A), 2 bassoons, 4 horns (in F), 2 trumpets (in B, A), 3 trombones, tuba, timpani, triangle, side drum, bass drum, cymbals, tambourine, castanets, harp, and strings.
Characteristics.
The piece is often lauded for its orchestration, which features a large percussion section and many special and , such as in the fourth movement when the violinists, violists, and cellists are asked to imitate guitars (the violin and viola parts are marked "quasi guitara"). Despite the critical praise, Rimsky-Korsakov was annoyed that the other aspects of the piece were being ignored. In his autobiography, he wrote:
The opinion formed by both critics and the public, that the "Capriccio" is a "magnificently orchestrated piece" — is wrong. The "Capriccio" is a brilliant "composition for the orchestra". The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for instruments solo, the rhythm of the percussion instruments, etc., constitute here the very "essence" of the composition and not its garb or orchestration. The Spanish themes, of dance character, furnished me with rich material for putting in use multiform orchestral effects. All in all, the "Capriccio" is undoubtedly a purely external piece, but vividly brilliant for all that. It was a little less successful in its third section (Alborada, in B-flat major), where the brasses somewhat drown the melodic designs of the woodwinds; but this is very easy to remedy, if the conductor will pay attention to it and moderate the indications of the shades of force in the brass instruments by replacing the fortissimo by a simple forte.