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Home , Edward Elgar, Ferruccio Busoni, Pyotr Ilyich Tchaikovsky, Serenade, Serenades (Brahms), Vasily Kalinnikov

95655

Romantic for Strings Dvorˇák · Elgar · Janácˇek · Kalinnikov · Tchaikovsky Romantic Serenades for Strings

CD1 58’00 CD3 42’50 1840-1893 Capella Istropolitana 1857-1934 Niels Wilhelm Gade 1817–1890 for Strings Op.48 Jaroslav Krcˇek Serenade Op.20 for strings (1888-1892) Novellette No.1 in F Op.53 (1874) 1. I. Pezzo in forma di : 9. Allegro Piacevole 3’31 1. I. Andantino – Allegro vivace Andante non troppo – Recording: 6-11 May 1990, Moyzes Hall of the 10. Larghetto 6’37 e grazioso 6’05 Allegro moderato 7’50 Slovak Philharmonic (5-9) 11. Allegretto 2’58 2. II. : Moderato 5’02 Producers: Karol Kopernicky, Hubert Geschwandtner 2. II. Valse: Moderato (5-9) 3. III. Andantino con moto 3’58 ( di valse) 3’39 © 2018 da Camera ‘’ 4. IV. Allegro vivace 3’40 3. III. Elégie: Larghetto elegiaco 8’27 Licensed Courtesy of Naxos Music Group Massimo Belli director 4. IV. Finale (Tema russo): Novellette No.2 in E Op.58 (1883–6) Andante; Allegro con 1st : Gabriel Ferrari, Valentino 5. I. Andante – Allegro ma spirito 7’07 CD2 53’08 Dentesani, Olga Zakharova, Giuseppe non troppo 7’29 1866-1901 Carbone 6. II. : Ensemble Instrumental Musica Viva 1. Serenade in for strings 2nd violin: Martina Lazzarini, Furio Allegro moderato 4’28 Alexander Rudin & conductor (1891) – Andantino 9’13 Belli, Giuseppe Dimaso, Verena Rojc 7. III. Andante espressivo 5’52 : Giancarlo Di Vacri, Federico 8. IV. Finale: Allegro con brio 5’03 Antonin Dvorˇák 1841-1904 Leoš Janácˇek 1854-1928 Furlanetto Serenade in E Op.22 Idyll for (1878) Cello: Francesco Ferrarini, Antonino Århus Chamber Orchestra 5. Moderato 3’08 2. Andante 4’30 Puliafito Ove Vedsten Larsen 6. Tempo di valse 7’10 3. Allegro 3’23 Contrabass: Mitsugu Harada 7. Scherzo: Vivace 6’32 4. Moderato 4’10 Recording: 1981, Ellevang Kirke, Aarhus, Denmark 8. Larghetto 6’45 5. Allegro 3’50 Recording: 2 & 3 November 2014, l’Auditorium Engineers: Leif Ramløv & Karin Jürgensen 6. Adagio 7’15 del Collegio del Mondo Unito dell’Adriatico, Duino Licensed from Paula Records 9. Finale: Allegro vivace 5’44 p 2011 & © 2018 Brilliant Classics 7. Scherzo 3’33 (TS), Italy Producer, Sound Engineer: Raffaele Cacciola, 8. Moderato 4’04 BartokStudio p 2016 & © 2018 Brilliant Classics

2 3 CD4 74’55 CD5 69’16 Béla Bartók 1881–1945 Paul Hindemith 1895–1963 Josef Suk 1874-1935 1872-1958 for string orchestra Sz113 Trauermusik for viola and string Serenade in E flat Op.6 10. Fantasia on a Theme of 1. I. Allegro non troppo 10’13 orchestra 1. Andante con moto 6’41 Thomas Tallis 15’11 2. II. Molto adagio 10’29 13. I. Langsam 4’54 2. Allegro ma non troppo 5’47 11. Fantasia on Greensleeves 4’30 3. III. Allegro assai 7’39 14. II. Ruhig bewegt 0’51 3. Adagio 10’21 15. III. Lebhaft 1’34 4. Allegro giocoso 7’36 New Zealand Orchestra Giorgio Federico Ghedini 1892–1965 16. IV. Choral: ‘Vor deinen Thron James Judd conductor for violin and strings ‘Il tret ich hiermit’ 2’53 Capella Istropolitana belprato’ Jaroslav Krcˇek Recording: 6-11 May 1990, Moyzes Hall of the 4. I. Allegro moderato I Solisti Aquilani Slovak Philharmonic (1-4); 25-28 August 2005, Lommedalen Church, Oslo, Norway (5-9); 28-30 e spiritoso 5’01 I: Daniele Orlando 1843-1907 June 2001, Michael Fowler Centre, Wellington, New 5. II. Andante fiorito 5’06 concertmaster, Lorenzo Fabiani, Holberg Suite Op.40 Zealand (10-11) 6. III. Rondò: Vivace con brio 2’24 Federico Cardilli, Eleonora Minerva 5. Praeludium: Allegro vivace 2’35 Producers: Karol Kopernicky, Hubert Geschwandtner 7. IV. Molto adagio 3’51 Violins II: Francesco Peverini, 6. Sarabande: Andante 3’24 (1-4); Sean Lewis (5-9); Tim Handley (10-11) © 2018 Brilliant Classics 8. V. Quasi presto 2’33 Alessandro Marini, Leonardo Spinedi, 7. Gavotte: Allegretto – Musette: Music Licensed Courtesy of Naxos Music Group Daniele Orlando violin Vanessa Di Cintio Poco pìu mosso 3’15 : Gianluca Saggini, Riccardo 8. Air: Andante religioso 5’28 Nino Rota 1911–1979 Savinelli, Luana De Rubeis 9. Rigaudon: Allegro con Concerto for strings : Giulio Ferretti, Michele Marco brio-Poco meno mosso 3’53 9. I. Preludio: Allegro ben Rossi moderato e cantabile 4’25 Double : Alessandro Schillaci Oslo Camerata 10. II. Scherzo: Allegretto comodo 4’32 Flavio Emilio Scogna conductor Stephan Barratt-Due conductor 11. III. Aria: Andante quasi adagio 5’09 12. IV. Finale: Allegrissimo 2’59 Recording: 7–8 March 2015 Recording producer, engineer, mixing & mastering: Giovanni Caruso Editor: Andrea Caruso p 2016 & © 2018 Brilliant Classics

4 5 Pyotr Ilyich Tchaikovsky’s Serenade for Strings was written in September–October great tenderness and yearning, recalling in outline the trio of the second movement 1880. At first Tchaikovsky hesitated between a symphony and a quintet. Opting leads to the finale in which there are references both to the Larghetto and to the first for a string orchestra, his thinking was that of a symphonist, as is borne out by movement. This brings, in conclusion, still more of the spirit of Bophemia, with which the inscription on the manuscript: ‘The larger the number of strings, the more it the whole Serenade is instilled. will correspond to the ’s wish.’ The Serenade was first heard at a private © Keith Anderson concert in the Conservatory on 21 November 1880. In the same way as the Variations on a Theme it demonstrates the need felt by a romantic composer to regenerate himself by a return to the classical sources. But even more than that, The Russian composer and bassoonist Vassily Kalinnikov (1866-1901) was in it constitutes a synthesis of the fundamental aspects of Tchaikovsky’s art. The with Tchaikovsky, who introduced him to the in Moscow in 1892. A great Pezzo in forma di Sonatina begins with a solemn introduction before slipping into admirer of Turgenev, he drew inspiration from the writer’s style in conjuring up a Mozartian lightness and transparency. The Valse is a moment of perfect musical atmosphere by means of themes and derived from Russian folk songs. The felicity. It is followed by an Elegie, which alternates between a contemplative, almost Serenade for strings is an intensely lyrical work that begins with a short introduction religious gravity and moments of more relaxed lyricism. And the Finale, used on in which the voice of the cellos responds to the of the strings. The mood two folksongs, celebrates his return to his native soil. Classical, dance-like, elegiac, then expands in melodious passages while the cellos repeat the subject in tones nationalistic – summarized in four words, this is the musical portrait of Tchaikovsky. approaching an ostinato. These lyrical phrases are echoed among the sections of © André Lischke the orchestra with various refrains that reveal the composer’s skill in imitation. The Translated by Derek Yeld outcome is a rich palette of orchestral sound and colour.

Antonin Dvorˇák’s Serenade in E Op.22, for string orchestra was written in the A friend of Dvorˇák’s, Leoš Janácˇek (1854-1928) received his musical education in first two weeks of May in the year 1873 and performed in Prague on the 10th of Prague towards the end of the 1800s, when the city was alive with artistic ferment December 1876, It is scored only for strings and has for many years forms and the desire to promote the Czech national identity. While still a student Janácˇek item in the string orchestra repertoire. The first movement opens with music of became interested in musical psychology and the physiology of acoustics, which delicate charm, breathing something of the spirit of a Schubert quartet, particularly in inspired him to go beyond traditional . The Idyll for Strings is a youthful the middle section of this ternary movement. This is followed by a waltz, with a more work that is still largely late-romantic in essence. It consists of seven individual pieces, restless trio. The scherzo starts with a of great liveliness, followed by a second the first of which is compact and somewhat reminiscent of Dvorˇák in the handling of theme of more romantic pretensions and a further melody of considerable beauty, the solemnly incisive subject. Next comes an Allegro with irregular accentuation and before an extended passage leads back again to the opening . A larghetto of a counter melody. Despondency and certain Russian hues prevail in the third piece,

6 7 unalleviated by the odd ray of light. The subject of the second Allegro is angular and (1865–1931), Gade was a man of humble origin who became one of the undisputed sharp until it turns into a dance in which softer moments alternate with vigorous leading lights of Danish cultural society. passages. The gentle Adagio is like a melodious elegy in structure, almost a lullaby. The story of the 26-year-old musician from Copenhagen who in 1843 started The Scherzo comes across like a country dance with imitations and refrains, while the out on a European Bildungsreise with his violin and his scores reads like a fairy impressive last movement develops around a theme expressed by the high voices of tale. All of sudden he found himself at the centre of European musical society, the strings in with the rest of the orchestra, in keeping with the model of in . Mendelssohn, who had presented Gade’s First Symphony with his the theme and variations with echoes of folk dances. Gewandhaus Orchestra in 1843, was delighted to offer him a post at his newly opened conservatory. At the same time Gade was appointed assistant conductor of the orchestra, to become its principal conductor on Mendelssohn’s death in 1847. Here, Edward Elgar’s Serenade Op.20 for strings was written for and dedicated to the among other things, he conducted the first performance of both Mendelssohn’s Violin organ builder and amateur musician Edward W. Whinfield. A very popular piece Concerto and Schumann’s Concerto. and one of the composer’s own favourite works, it comprises thematic material first Thus Gade seemed to have the musical world of Europe at his feet, but the tension developed in an early composition that was only published when Elgar decided to between and Denmark which in 1848 led to open war led him to return pursue a career in music. Bringing out the individual voices of the instruments, as in to Copenhagen. Meanwhile Denmark was undergoing a series of very important a chamber work, he entrusted the initial subject in staccato notes to the violas, set off social changes – the revolution of the bourgeoisie was succeeding without bloodshed. by the lyrical reply in the ensemble. Elgar was able to handle sentiment with balance, Gade now set himself the task, with Mendelssohn as his great example, of putting intensity and flow, gifts that make his music refined and immediately communicative Copenhagen on the musical map of Europe, of creating a public concert tradition in in the way it expresses feelings. The central Larghetto is like an idyllic oasis imbued the modern sense. And in this he succeeded. with affectionate lyricism. Considered by critics to be an expression of the composer’s the imposing works of genius, distinctly national-romantic in character, maturity, it expresses nostalgic melancholy, using a highly-charged melodic line to which had marked the turning-point in his early career (the and evoke the bucolic glory of the English countryside. the First Symphony) Gade’s creativity now became subordinated to this task. The © Margherita Canale composer himself saw most of his music as mere utility music for this education of Translation: Kate Singleton the cultivated concert public. At the core of the bourgeois philosophy of art was the concept of the Harmonious Man, based on the trinity of the Good, the True and the Beautiful. This ideal of beauty is clearly reflected in Gade’s copious production – eight Niels Wilhelm Gade (1817–1890) was the first great international name in Danish , various works for chorus and orchestra, and – in its lucid music after Dieterich Buxtehude (1637–1707). He was a contemporary and friend simplicity of form, in the drive of its thematic flight, in its flowing melodiousness and of (1805–1875), and like Andersen and later clear beauty of harmony. The of Mendelssohn, rooted as it was in the

8 9 simplicity of Classicism, remained Gade’s ideal; but as his friend Schumann pointed Giorgio Federico Ghedini’s Concerto ‘Il belprato’ is highly mobile in structure. It out in his Zeitschrift, ‘the lovely beechwoods of Denmark’ were also to be heard in consists of an Allegro moderato e spiritoso, followed by an elegant Andante fiorito, Gade’s music. As an example of this, Gade’s Novelettes for strings must be counted and concluded by the rondo: Vivace con brio – Molto adagio – Quasi presto. An among his finest works. Like several of his piano compositions, they are perfect gems expert in early music as well as contemporary compositions, Ghedini chose to of Romantic Kleinkunst. manifest his period of reference in the tightly woven opening of the piece, where the © Jens Rossel clearly dodecaphonic subject comes across as a homage to the School, with a Translation: Bent Preisler sideward glance towards Stravinsky. In some respects this was typical of those years, when also defined themselves via their attitude to the past, including the recent past, with no hint of negative connotation. Indeed, the coexistence of different Béla Bartók’s Divertimento Sz113, composed in August 1939 in the peaceful reaches spheres of expression was part of Ghedini’s freedom as a composer, allowing him to of Saanen, in Switzerland. More like a baroque than a divertimento interweave irregular rhythms, harmonic clashes and moments of violinistic lyricism to (the latter is usually comprised of more movements), this piece features alternating create an inexorably rich, limpid sound tapestry. solo and tutti parts divided into the usual three movements: Allegro non troppo, Despite its evident brilliance, in this piece the violin also continues to be Molto adagio and Allegro assai. This latter section returns to the thematic material concertante, in deep symbiosis with the other instruments as it is continually drawn of the first section in an A–B–A1 framework, while in its turn the central movement into the density of the orchestral part. has a bridging bcb1 structure. The Allegro non troppo is rhythmically in 9/8 time, occasionally reduced to 6/8, with a pentatonic subject in which different sound realms are alternated in a manner that recalls the Romanian hora folk dance, albeit without Nino Rota’s Concerto for strings, composed for I Musici in 1964–65, can be any explicit citation. connected to the same genre as Bartok’s Divertimento. It speaks to the composer’s An aura of mystery surrounds the beginning of the Molto adagio, which soon great mastery and lightness of touch and makes us understand how important it is to embodies references to the folk culture and Hungarian rhythms that animate much perform all of his music, not just his film scores. The Concerto for strings consists of of Bartók’s music. The movement is somewhat dark in mood, with a subject that a Preludio (Allegro ben moderato e cantabile), a Scherzo (Allegretto comodo), an Aria grows in chromatic terms until it sounds like a cry of desperation. The Allegro (Andante quasi adagio) and the Finale (Allegrissimo). It was premiered at the RAI assai third movement, in which the thematic material from the first movement is Auditorium in Naples on 5 January 1967, and then slightly modified in 1977. As was reworked in 2/4 rather than 6/8 time, allows the composer to move from the initial his wont, Rota opted for a classical structure, which he then played with in different counterpoint-like approach to a more homophonic idiom. The character of the ways, with a particular taste for counterpoint, dance motifs, and his own unfailingly country dance remains, however, with a gypsy-style violin and a Vivacissimo inventive strain. conclusion in the final coda. While the cheeriness of the Scherzo may indeed recall certain of his film scores,

10 11 in general this piece proves that the lightness of Rota’s film music was only part of Josef Suk’s Serenade in E flat Op.6 was written in 1892, a year after his graduation the story. In coming years hopefully new performances and recordings will further from the Conservatory, and on the recommendation of Brahms was published by promote awareness of his creative genius. Thanks to interpretations such as the one Simrock in 1896, immediately establishing him as a composer of importance. In four presented here, which overcome the mere juxtaposition of fragments, listeners will movements the Serenade opens with a movement of charm and lyrical appeal, tinged increasingly appreciate the depth and complexity of Rota’s compositions. with occasional sadness and very much in the classical tradition. This is followed by a more overtly cheerful Allegro and a slow movement of greater intensity of feeling. The mood changes at once with the energy of the final movement that brings to an Paul Hindemith’s Trauermusik (Funeral Music) was composed in the emotional wake end a work of remarkable achievement, composed as it was by an eighteen-year-old, of the death of the much-loved English sovereign, King , on 21 January then embarking on an additional year of instruction at the Conservatory. 1936. At the time the composer was actually in London for a performance of his , Der Schwanendreher, and the programme had to be changed. The day after the royal demise Hindemith wrote the Trauermusik, which comprises Edward Grieg’s From Holberg’s Time: Suite in the Olden Style was commissioned to a Langsam, Ruhig bewegt, Lebhaft and the ‘Vor deinen Thron tret ich mark the bicentenary of Holberg’s birth. In five movements, originally for piano, it hiermit’ (‘I come before your throne’). It was performed ‘’ that same was arranged by the composer for string orchestra, the form in which it is now most day with the BBC orchestra conducted by . The composition, which familiar. Grieg here takes the form of the Baroque suite, with its traditional French envisaged a solo part that could be played by a violin, a viola or a cello, comes across dance movements, re-interpreted through the neoclassical prism of his own time. as a long prayer in which expressions of sorrow and soulful reflections are voiced by soloist and orchestra, the former in recitative-like parts and the latter in homophonic passages. While the overall atmosphere is generally melancholy, as befitted the Ralph Vaughan Willaims’ Fantasia on Greensleeves, drawn from the introduction situation, in the Vivace it gathers momentum, heralding the protestant chorale that to the third act of the opera ‘Sir John in Love’, based on Shakespeare’s ‘The Merry concludes the work. Though the piece is relatively short, it bears witness to the way a Wives of Windsor’, was arranged in 1934 by Ralph Greaves for string orchestra, harp cohesive ensemble and a versatile violist (Francesco Fiore) can together breathe new and one or two optional flutes. The work starts with the familiar melody, used to life into the composition’s refined dramatic tension and marked lyricism. frame a lively contrasting dance. © Roberto Giuliani Vaughan Williams conducted the first performance of hisFantasia on a Theme Translation: Kate Singleton by Thomas Tallis at the in Gloucester in 1910. He revised the work in 1913 and 1919. The fantasia takes a theme by the Elizabethian composer Thomas Tallis that Vaughan Williams had included in his own ‘English Hymnal’, and is scored for double string orchestra and . It marks the true emergence

12 13 of the composer’s own distinctive musical voice. After a short introductory phrase, Also available on Brilliant Classics the opening motif of the theme is heard in the lower strings, before it is stated in full, to be repeated in more elaborate form, followed by a return to the opening. A solo viola introduces a melody derived from the original theme, then taken up by the first violin, and treated by the quartet more of less in the imitative contrapunctual manner of an Elizabethian fantasia. The music moves forward to a passage for the solo violin and, in counterpoint to it, the solo viola, delicately accompanied by the orchestra, skilfully deployed. The solo violin is heard again, ascending to the height, as the coda draws to a close. © Keith Anderson

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