Souvenir de Hapsal: Difference between revisions
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==Performances== | ==Performances== | ||
It is not known when ''Ruines d'un château'' (No. 1) was first performed. | |||
''Scherzo'' (No. 2) was performed for the first time by [[Nikolay Rubinstein]] at a special symphony concert of the Russian Musical Society in [[Moscow]], on 27 February/10 March 1868. | ''Scherzo'' (No. 2) was performed for the first time by [[Nikolay Rubinstein]] at a special symphony concert of the Russian Musical Society in [[Moscow]], on 27 February/10 March 1868. | ||
''Chant sans paroles'' (No. 3) was first performed in [[Moscow]] by [[Karl Klindworth]] at the 1st Quartet Soirée of the Russian Musical Society on 2/14 October 1868 <ref name="note4"/> | ''Chant sans paroles'' (No. 3) was first performed in [[Moscow]] by [[Karl Klindworth]] at the 1st Quartet Soirée of the Russian Musical Society on 2/14 October 1868 <ref name="note4"/>. Other notable early performances included: | ||
* [[Saint Petersburg]], Bolshoi Theatre concert, 28 February/12 March 1874, [[Anna Yesipova]] (piano) <ref name="note5"/> | |||
* Konstanz, 3rd symphony concert, 5/17 January 1881, Marie Heimlicher (piano) | |||
* [[Saint Petersburg]], Imperial School of Jurisprudence, 3/15 March 1892, conducted by Tchaikovsky, in an orchestral arrangement by [[Max Erdmannsdörfer]] | |||
==Publication== | ==Publication== | ||
Revision as of 15:33, 13 August 2022
Souvenir de Hapsal, Op. 2 (TH 125 ; ČW 100 to 102) [1], was Tchaikovsky's first cycle of pieces for solo piano, written in the summer of 1867 while he was staying at the Estonian resort of Hapsal (now Haapsalu).
Movements and Duration
- Ruines d'un château
Adagio misterioso (E minor, 114 bars). - Scherzo
Allegro vivo (F major, 368 bars). - Chant sans paroles
Allegretto grazioso e cantabile (F major, 69 bars).
A complete performance of all three pieces lasts around 10 to 15 minutes.
Composition
The pieces were written during a break from Tchaikovsky's work on the opera The Voyevoda, in June and July 1867, while the composer was staying at Hapsal together with Modest Tchaikovsky and Anatoly Tchaikovsky, and some members of the Davydov family [2].
Performances
It is not known when Ruines d'un château (No. 1) was first performed.
Scherzo (No. 2) was performed for the first time by Nikolay Rubinstein at a special symphony concert of the Russian Musical Society in Moscow, on 27 February/10 March 1868.
Chant sans paroles (No. 3) was first performed in Moscow by Karl Klindworth at the 1st Quartet Soirée of the Russian Musical Society on 2/14 October 1868 [3]. Other notable early performances included:
- Saint Petersburg, Bolshoi Theatre concert, 28 February/12 March 1874, Anna Yesipova (piano) [4]
- Konstanz, 3rd symphony concert, 5/17 January 1881, Marie Heimlicher (piano)
- Saint Petersburg, Imperial School of Jurisprudence, 3/15 March 1892, conducted by Tchaikovsky, in an orchestral arrangement by Max Erdmannsdörfer
Publication
The cycle was published for the first time by Pyotr Jurgenson in 1868. Many years later, in 1884, when Jurgenson was undertaking to publish a selection of his works for piano, Tchaikovsky included the complete cycle in his list of pieces worthy of being reprinted [5].
Souvenir de Hapsal appears in volume 51А of Tchaikovsky's Complete Collected Works (1945), edited by Ivan Shishov.
Autographs
The whereabouts of Tchaikovsky's manuscripts for all three pieces are unknow.
Recordings
- See: Discography
Dedications
Souvenir de Hapsal is dedicated to Vera Davydova, later Butakova (1843–1920), younger sister of Lev Davydov (husband of Tchaikovsky's sister Aleksandra, who was staying at Hapsal when Tchaikovsky wrote the piano pieces.
Related Works
Scherzo (No. 2) was a reworking by Tchaikovsky of the central section of his Allegro in F minor for piano, which had been composed during his studies at the Saint Petersburg Conservatory in the early 1860s.
External Links
- Internet Music Score Library Project (IMSLP) — downloadable scores
Notes and References
- ↑ In ČW the titles of Nos. 1 and 3 are translated as Ruins of a Castle and Song Without Words respectively, and the title of the whole set as Recollections of Hapsal.
- ↑ See Жизнь Петра Ильича Чайковского, том 1 (1900), p. 272.
- ↑ See Signale für die Musikalische Welt (5 November 1868), No. 48, p. 985.
- ↑ See Signale für die Musikalische Welt (May 1874), No. 25, p. 393.
- ↑ See letters from Pyotr Jurgenson to Tchaikovsky, 17/29 April and 3/15 May 1884 — Klin House-Museum Archive. See also Letter 2485 to Pyotr Jurgenson, 8/20 May 1884.
