Tchaikovsky - Serenade for String Orchestra, Op. 48 (Ct.rc.: Antal Doráti, Philharmonia Hungarica)

Pyotr Ilyich Tchaikovsky (1840-1893) Serenade for String, Op. 48 / REMASTERED
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00:00 I. Pezzo in forma di sonatina: Andante non troppo, Allegro moderato
10:45 II. Walzer: Moderato, Tempo di valse
14:38 III. Elegie: Larghetto elegiaco
22:42 IV. Finale (Tema russo): Andante, Allegro con spirito
Philharmonia Hungarica
Conductor: Antal Doráti
Recorded in 1958, at Vienna
New mastering in 2023 by AB for CMRR
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COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT
Clair van Ausdall: "(...) Tchaikovsky's idea was to compose a work for full string ensemble. as opposed to the string quartet, and he added to the printed score a suggestion that the more instruments used, the closer would the performance come to his intent. All four movements are simple in form and graceful in workmanship; if indeed there were any problems in their creation. we are happily unaware of them. First comes a Pezzo in forma di sonatina. The sonatina pattern is at last hinted at, which is as much as we need, and the melodic material is so lovely that it is continuously interesting. An introduction for the full choir leads to an expressive first theme in the violins, a second section full of busy staccato pattern, some lighthanded flirting with the development of each theme, and a repetition of the A and B sections. The introductory material returns as a kind of coda, The second movement, a Valve, has become so popular in the light classical repertory that it seems almost odd to encounter it in its original place. Graceful. buoyant, and elegant, its themes, to quote Mr. Ralph Wood, "stick" easily in the mind. Almost all the way through, the first violins play them, sometimes with an intertwining countermelody in the second violins. The third movement is a touching Elegy distinguished by a cantilena melody that reminds onc of the celebrated slow movement of Tchaikovsky•s first string quartet ("Andante Cantabile") except that it is richer and more varied. This movement is, like the Valse frequently performed alone and equally deserves its fame. The finale is prefaced by a slow introduction based on a folk tune sung by the Volga boat haulers, but its main theme is a vigorous scurrying dance, broken toward the end by a restatement of the introduction to the first movement; soon the scuttle breaks out again, however, and the finish is rollicking and swift.
The Serenade is dedicated to Konstantin Albrecht, a cellist who was an early colleague ac the Moscow Conservatory and one of the few friends to whom Tchaikovsky remained devoted throughout his life."
Tchaikovsky: The Nutcracker by Antal Doráti
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Pyotr Ilyich Tchaikovsky PLAYLIST (reference recordings): • Pyotr Ilyich Tchaikovs...

[@johnhuffman5608]

His most brilliant composition.

[@classicalmusicreference]

Clair van Ausdall: « Aglance at Tchaikovsky's letters and diaries might make the reader think that every major work which the composer managed to finish was wrested from the possession of some malevolent musical deity by an act of sheer hopeless force on his part. Page after page of his writing about himself offers numerous complaints that he feels miserable, that inspiration never comes, that he is totally dissatisfied with his morning's work, that the critics are justified in assailing his compositions, that he will refrain from beginning any new works but will seek only to patch and improve the ones he previously failed with. Or, if he does find some pleasure in his work, his situation is difficult and unrewarding: the weather is bleak, his health uncomfortable, his publisher unfeeling, his friends distant, his luck at whist exasperating (for a good many years of his life he admitted to being a slave to the game) his companions boring. Somehow, though, probably to his own surprise as well as that of everyone who knew him, an extended work reached completion with his hardly having been aware of the pain of its genesis. The Serenade for Strings is seldom alluded to, so far as its composition is concerned, in any of his staggeringly proportioned correspondence or his brief but characteristic later diaries, and one has the feeling that it was written almost effortlessly and with a pleasant relaxation far from the turmoil that had only three years before surrounded the creation of his Fourth Symphony, If it was casually composed, it was well composed, too, and the Serenade is perhaps the only full-scale work by Tchaikovsky that made friends for him no matter where it was played. Russia.n audiences liked it, the ovation for it in Paris was led by none other than the mighty Gounod, the English demanded the repetition of the last movement, and the Americans were not satisfied until the Valse had been played again. Even in Austria, where Eduard Hanslick, mus.ic critic for the influential Neue freie Presse had made Tchaikovsky writhe with his opinionated and vinegary reviews, the audiences and critics alike were marvelously taken with the piece's charm, piquancy, and facility. It was often repeated everywhere, and it appeared with great frequency on all-Tchaikovsky concerts at a time when the composer was in such a state. of self-doubt chat he hesitated to program his symphonies and concertos, for fear of further assaults by critics. The Serenade is a kind of lone work in the Tchaikovsky catalogue, It differs greatly from the orchestral suites, and it is the only piece for strings alone (with the exception of an unfortunate Elegy which strained at its material, lasted too long, and was finally included in some incidental music for Hamlet). In other ways, too, it remarks its own special style. Rather chan being long and flowing, the melodic material is generally made up of short expressive fragments; rather than being over-rich, the texture of the writing is often effectively spare; we do not expect the Romantic, least of all Tchaikovsky, composer to present us with a majestic two-voiced section and vet such sections occur and strengthen the work proportionately. The year 1880 can be said, as we shall see, to be a dividing point in Tchaikovsky'.s life. Heretofore he had been a poor man, an unhappy teacher, an unknown composer, and a suppressed spirit. But in 1877 (or, rather, the last part of 1876) he entered into the famous and really beautiful friendship that was to sustain him in mote ways than one throughout almost all the rest of his life, a friendship that brought him financial independence, a passionately enthusiastic admiration, and a comfortable solace for his many gray moods. It demanded nothing of him but that one thing for which he was most eager to confide-a knowledge of the innermost joys and depressions of his mercurial and amazingEy sensitive personality. Nudezhda Filaretovna von Meck was the wealthy widow of a man whom she had made successful She was an ardent lover of music. and after her husband died she humored herself by adding co her household staff a violinist, whom she would accompany at the piano in special arrangements of whatever works pleased her most, She had heard of Tchaikovsky, had heard his compositions, and presumably felt a bond because of them; when she found out too that he was in need of money, she commissioned him to arrange several things for violin and piano her. A correspondence was begun and quickly thrived, reaching such a footing that when Tchaikovsky needed extra money for various purposes he wrote to her asking for it. She replied with a handsome provision by which he would receive nearly thirty-five hundred dollars annualIy for the rest of his life. The two, as is well known, never met. They encountered or saw each other at a distance accidentally perhaps a half dozen times, and Tchaikovsky used the von Meck mansion when his friend was traveling, but their enormous friendship flowered solely through an absolutely sincere and eternally replenishing exchange of letters, so voluminous as later to fill three large printed volumes. Their differences of personality were marked, of course, but the friendship was as much a matter of accepting as extending for each. At last, when the two broke off their relationship, it was owing to a curious reversal of circumstance: Tchaikovsky had become so successful that he no longer needed Mme von Meck's money, and her own resources had vanished to the point of her not being able to proffer it, so that it was her prideful wish that they no longer communicate. Perhaps it is overly sentie mental to note that they lasted only three years without this unique interdependence and died within two months of each other. In any case by the year 1880, Tchaikovsky had become famous in Russia and well known in Europe. One of his most significant scores, the Fourth Symphony (dedicated to Nadezhda Filarerovna and referred to by both as "our symphony"), had met with a splendid reception, as had the Capriccio Italien; the earlier Romeo und Juliet was being performed throughout the musical world; and March Slav and Francesca da Rimini were shortly to find admirers in quantity. Tchaikovsky's moments of joy were as frequent, possibly, as they were ever to be, and his career was firmly established. His disastrous marriage was being forgotten, his new friendship with Nadezhda von Meck was being explored with increasing confidence and reward, and he had sufficient income to live easily and to gratify his many generosities. It was no wonder that such a spontaneous expression as the Serenade for Strings could appear in this year without premonitory spasms of doubt and whimpers of self-pity. Tchaikovsky's idea was to compose a work for full string ensemble. as opposed to the string quartet, and he added to the printed score a suggestion that the more instruments used, the closer would the performance come to his intent. All four movements are simple in form and graceful in workmanship; if indeed there were any problems in their creation. we are happily unaware of them. First comes a Pezzo in forma di sonatina. The sonatina pattern is at last hinted at, which is as much as we need, and the melodic material is so lovely that it is continuously interesting. An introduction for the full choir leads to an expressive first theme in the violins, a second section full of busy staccato pattern, some lighthanded flirting with the development of each theme, and a repetition of the A and B sections. The introductory material returns as a kind of coda, The second movement, a Valve, has become so popular in the light classical repertory that it seems almost odd to encounter it in its original place. Graceful. buoyant, and elegant, its themes, to quote Mr. Ralph Wood, "stick" easily in the mind. Almost all the way through, the first violins play them, sometimes with an intertwining countermelody in the second violins. The third movement is a touching Elegy distinguished by a cantilena melody that reminds onc of the celebrated slow movement of Tchaikovsky•s first string quartet ("Andante Cantabile") except that it is richer and more varied. This movement is, like the Valse frequently performed alone and equally deserves its fame. The finale is prefaced by a slow introduction based on a folk tune sung by the Volga boat haulers, but its main theme is a vigorous scurrying dance, broken toward the end by a restatement of the introduction to the first movement; soon the scuttle breaks out again, however, and the finish is rollicking and swift. The Serenade is dedicated to Konstantin Albrecht, a cellist who was an early colleague ac the Moscow Conservatory and one of the few friends to whom Tchaikovsky remained devoted throughout his life. »

[@tatjanamarinkovic43]

Thank you so very much for the upload as well as for the text above. If I may add, Tchaikovsky, as I am informed, was inspired by Mozart for this piece, especially having in mind the first two movements

[@classicalmusicreference]

@@tatjanamarinkovic43 Thank you for your feedback :)

[@notaire2]

Lebhafte und wunderschöne Interpretation dieser romantischen und perfekt komponierten Serenade mit seidigen doch gut phrasierten Tönen aller Streichinstrumente. Der intelligente und geniale Dirigent leitet das perfekt trainierte Orchester im rhythmischen Tempo und mit perfekt kontrollierter Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von fünfundsechzig Jahren vor. Alles ist wunderbar!

[@taniaayala1225]

Maravilloso 💕

[@muhsinkanadikirik678]

Büyüleyici şiirselikte ruhumuza dokundu Orkestra; harika!👏🎼👏🎶👏🤝👋🧡

[@mariainesdeandradealcantar3263]

❤❤❤❤❤❤❤❤❤❤❤❤

[@classicalmusicreference]

:)

[@lisztchopinliebestraum3507]

Thank you so much... Gorgeous

[@classicalmusicreference]

You're Welcome !

[@charliekim2939]

Previously I noticed L-R swap in your Bernstein's Schumann Symphonies. Now, I hear it here again. Or, is it my (old, faulty) brain making L-R routing error? Anyway, thank you for reviving good old )and classical recordings.

[@visitantearte6806]

10:45 Walzer