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

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95655 Romantic Serenades for Strings Dvorˇák · Elgar · Janácˇek · Kalinnikov · Tchaikovsky Romantic Serenades for Strings CD1 58’00 CD3 42’50 Pyotr Ilyich Tchaikovsky 1840-1893 Capella Istropolitana Edward Elgar 1857-1934 Niels Wilhelm Gade 1817–1890 Serenade 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 sonatina: 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. Scherzo: Moderato 5’02 Producers: Karol Kopernicky, Hubert Geschwandtner 2. II. Valse: Moderato (5-9) 3. III. Andantino con moto 3’58 (Tempo di valse) 3’39 © 2018 Brilliant Classics Orchestra da Camera ‘Ferruccio Busoni’ 4. IV. Allegro vivace 3’40 3. III. Elégie: Larghetto elegiaco 8’27 Music 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 violin: Gabriel Ferrari, Valentino 5. I. Andante – Allegro ma spirito 7’07 CD2 53’08 Dentesani, Olga Zakharova, Giuseppe non troppo 7’29 Vasily Kalinnikov 1866-1901 Carbone 6. II. Intermezzo: Ensemble Instrumental Musica Viva 1. Serenade in G minor for strings 2nd violin: Martina Lazzarini, Furio Allegro moderato 4’28 Alexander Rudin cello & conductor (1891) – Andantino 9’13 Belli, Giuseppe Dimaso, Verena Rojc 7. III. Andante espressivo 5’52 Viola: 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 string orchestra (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 Ralph Vaughan Williams 1872-1958 Divertimento 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 Symphony Orchestra Giorgio Federico Ghedini 1892–1965 16. IV. Choral: ‘Vor deinen Thron James Judd conductor Concerto 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 Violins I: Daniele Orlando Edvard Grieg 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 Violas: Gianluca Saggini, Riccardo 8. Air: Andante religioso 5’28 Nino Rota 1911–1979 Savinelli, Luana De Rubeis 9. Rigaudon: Allegro con Concerto for strings Cellos: Giulio Ferretti, Michele Marco brio-Poco meno mosso 3’53 9. I. Preludio: Allegro ben Rossi moderato e cantabile 4’25 Double Bass: 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 composer’s wish.’ The Serenade was first heard at a private © Keith Anderson concert in the Moscow Conservatory on 21 November 1880. In the same way as the Variations on a Rococo 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 contact it constitutes a synthesis of the fundamental aspects of Tchaikovsky’s art. The with Tchaikovsky, who introduced him to the Opera 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 rhythms 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 pizzicato 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 a major 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 harmony. 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 melody 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 melodies. 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 counterpoint with the rest of the orchestra, in keeping with the model of in Leipzig.
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  • For Violin and Viola

    For Violin and Viola

    SSM ?6 .2.19 :PAT CRO TIP RONALD PATTERSON, violin WAYNE CROUSE, viola assisted by ALBERT TIPTON, flute Thursday, February 19, 1976 8:30p.m. Hamman Hall the Sllepherd RICE UNIVERSITY SchOol of Music Samuel Jones, Dean . PAT CRO TIP . PROGRAM 0 ~aglia for Violin and Viola George Frederick Handel (1685-1759) t arranged by Johan Halvorsen (1864-1935) r76 Duo for Violin and Viola, K.423 Wolfgang Amadeus Mozart Allegro (17-56-1791) Adagio Allegro Three Madrigals for Violin and Viola Bohuslav Martinu Poco allegro (1890-1959 ) Poco andante Allegro INTERMISSION Serenade in D Major, O.p. l¥, Ludwig van Beethoven for Flute, Violin and Viola (1770-1827) Entrata: Allegro Tempo ordinaria d'un Menuetto Allegro malta Anaante con Variazioni Allegro scherzando e vivace ' Adagio, Allegro vivace e disinvolto, Presto I • NOTES PASSACAGLIA FOR VIOLIN AND VIOLA George Frederick Handel arranged by Johan Halvorsen The passacaglia is a favorite Baroque form of continuous variation over a short melodic pattern that usually appears in the bass, though not always. In the repetitions that follow the initial statement of melody, the harmonic implications of the melody are also main­ tained. Handel's passacaglia melody is a short, four-measure pattern stated in the viola while the violin uses dotted rhythms in double stops above it. Halvorsen has arranged a virtuoso set ofvariations on Handel's melody that adapts nearly every technical possibility available to the two instruments. DUO FOR VIOLIN AND VIOLA, K. 423 Wolfgang Amadeus Mozart Written during the period of the ten "great" string quartets, this duo is one of a pair perhaps written for Michael Haydn , Joseph 's younger brother.