Max Erdmannsdörfer Video
direttore d'orchestra, compositore, professore universitario, pianista
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Tchaikovsky Wiley Modest Tchaikovsky Bock Max Erdmannsdörfer 1883 1884 1885
Tchaikovsky: Orchestral Suite No. 3 in G, Op. 55 (1883) I. Élégie. Andantino molto cantabile (G major) Tchaikovsky's Suite No. 3 in G major, Op. 55 (TH 33 ; ČW 30), was written and orchestrated between April and July 1884. It is the longest and best known of his four orchestral suites. Instrumentation: The Suite is scored for an orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A), 2 bassoons + 4 horns (in F), 2 trumpets (in D, F), 3 trombones, tuba + 3 timpani, military drum, tambourine, triangle, cymbals, bass drum + harp, violins I, violins II, violas, cellos, and double basses. Movements and Duration: There are four movements and a complete performance lasts around 40 to 45 minutes. The fourth a theme and variations longer than the other three movements combined. I. Élégie. Andantino molto cantabile (G major) Roland John Wiley calls this movement "resolutely melodic." A change from B to B♭ "produces tension in the misalignment of theme and key," he comments. The first theme group returns in the key of the second, then to a bridge. He then returns to the home key and reprises the second theme group in the key of the first and follows it with a lengthy epilogue. Composition: Following the production of the opera Mazepa in Moscow in February 1884, Tchaikovsky went abroad. While staying in Paris, he wrote to Praskovya Tchaikovskaya on 23 February/6 March 1884: "I'm still not feeling wholly myself due to exhaustion, and I think that without the peace and tranquillity of the countryside I shall not be able to do any work, but at the moment I feel the urge to start something new". It would be some time before the composer settled on the form that the new work should take, and his thoughts ranged from a projected symphony, to a piano concerto, and then to a suite. Thus, on 23 February/6 March he told Modest Tchaikovsky: "I think that in Kamenka I will be engaged in writing a symphony". Arriving at Kamenka around 12/24 April, the composer began sketching in rough some ideas for the future symphonic work. Surviving diary entries, letters and sketches in one of his note books from this period provide a complete record of the process of composition. Arrangements: Tchaikovsky arranged the Suite for piano duet (4 hands) before he began the orchestration, starting on 25 May/6 June with the variations. By 7/19 June this work was complete. Publication: In letters of 1/13 August to Modest Tchaikovsky and to Nadezhda von Meck, Tchaikovsky reported that the Suite was already being engraved. From the early/mid September up to December 1884, Tchaikovsky was occupied with checking the proofs of the Suite. The orchestral parts and full score of the Suite No. 3 were published by Pyotr Jurgenson in January 1885; the arrangement for piano duet was issued by the same publisher in February that year. For copyright reasons the same editions, but with different covers and imprints, were simultaneously issued by Bote & Bock in Berlin. Autographs: Tchaikovsky's autograph full score is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 77), except for the pages containing variations VII to IX in the Finale, which are held at the Klin House-Museum Archive (a1, No. 297). The original manuscript of Tchaikovsky's arrangement of the Suite for piano duet is also preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 78). Dedication: The Suite is dedicated to the German conductor Max Erdmannsdörfer, to make amends for the composer's absence when Erdmannsdörfer conducted the premiere of the Second Suite in February 1884. Related Works: The themes of the abandoned first movement — Contrastes — were re-used in the second movement of the Concert Fantasia (1884). The central section of the fourth variation in the finale quotes from the plainsong tune "Dies Irae".
Tchaikovsky Modest Tchaikovsky Bock Max Erdmannsdörfer 1883 1884 1885
Tchaikovsky: Orchestral Suite No. 3 in G, Op. 55 (1883) IV. Tema con variazioni. Andante con moto (G major) Tchaikovsky's Suite No. 3 in G major, Op. 55 (TH 33 ; ČW 30), was written and orchestrated between April and July 1884. It is the longest and best known of his four orchestral suites. Instrumentation: The Suite is scored for an orchestra of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A), 2 bassoons + 4 horns (in F), 2 trumpets (in D, F), 3 trombones, tuba + 3 timpani, military drum, tambourine, triangle, cymbals, bass drum + harp, violins I, violins II, violas, cellos, and double basses. Movements and Duration: There are four movements and a complete performance lasts around 40 to 45 minutes. The fourth a theme and variations longer than the other three movements combined. IV. Tema con variazioni. Andante con moto (G major) 1. Andante con moto, 2/4 2. Andante con moto, 2/4 3. Andante con moto, 2/4 4. Pochissimo meno animato, B minor 5. Allegro vivo, 3/4, G major 6. Allegro vivace, 6/8, G major 7. L'istesso tempo, 2/4, G major 8. Adagio, 3/4, A minor (closing in E major) 9. Allegro molto vivace, 2/4, A major 10. Allegro vivo e un poco rubato, 3/8, B minor 11. Moderato mosso, 4/4, B major 12. Finale. Polacca-Moderato maestoso e brillante, 3/4, G major Composition: Following the production of the opera Mazepa in Moscow in February 1884, Tchaikovsky went abroad. While staying in Paris, he wrote to Praskovya Tchaikovskaya on 23 February/6 March 1884: "I'm still not feeling wholly myself due to exhaustion, and I think that without the peace and tranquillity of the countryside I shall not be able to do any work, but at the moment I feel the urge to start something new". It would be some time before the composer settled on the form that the new work should take, and his thoughts ranged from a projected symphony, to a piano concerto, and then to a suite. Thus, on 23 February/6 March he told Modest Tchaikovsky: "I think that in Kamenka I will be engaged in writing a symphony". Arriving at Kamenka around 12/24 April, the composer began sketching in rough some ideas for the future symphonic work. Surviving diary entries, letters and sketches in one of his note books from this period provide a complete record of the process of composition. Arrangements: Tchaikovsky arranged the Suite for piano duet (4 hands) before he began the orchestration, starting on 25 May/6 June with the variations. By 7/19 June this work was complete. Publication: In letters of 1/13 August to Modest Tchaikovsky and to Nadezhda von Meck, Tchaikovsky reported that the Suite was already being engraved. From the early/mid September up to December 1884, Tchaikovsky was occupied with checking the proofs of the Suite. The orchestral parts and full score of the Suite No. 3 were published by Pyotr Jurgenson in January 1885; the arrangement for piano duet was issued by the same publisher in February that year. For copyright reasons the same editions, but with different covers and imprints, were simultaneously issued by Bote & Bock in Berlin. Autographs: Tchaikovsky's autograph full score is now preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 77), except for the pages containing variations VII to IX in the Finale, which are held at the Klin House-Museum Archive (a1, No. 297). The original manuscript of Tchaikovsky's arrangement of the Suite for piano duet is also preserved in the Russian National Museum of Music in Moscow (ф. 88, No. 78). Dedication: The Suite is dedicated to the German conductor Max Erdmannsdörfer, to make amends for the composer's absence when Erdmannsdörfer conducted the premiere of the Second Suite in February 1884. Related Works: The themes of the abandoned first movement — Contrastes — were re-used in the second movement of the Concert Fantasia (1884). The central section of the fourth variation in the finale quotes from the plainsong tune "Dies Irae".
Tchaikovsky Max Erdmannsdörfer 1864 1883 1884 1956
Tchaikovsky: Orchestral Suite No. 2 in C major, Op. 53 “Suite Caractéristique” (1883) I. Jeu de sons. Andantino un poco rubato—Allegro molto vivace (C major) Tchaikovsky's Suite No. 2 in C major, Op. 53 (TH 32 ; ČW 29), subtitled Suite caractéristique, was written and orchestrated between June and October 1883. Instrumentation: The Suite is scored for an orchestra consisting of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A, C), 2 bassoons + 4 horns (in F), 2 trumpets (C, E), 3 trombones, tuba + 4 timpani, tambourine, triangle, cymbals, bass drum + harp, violins I, violins II, violas, cellos, double basses. The Scherzo burlesque includes parts for four accordions ad libitum, and Tchaikovsky's note at the head of this movement reads: To receive the proper effect of this piece, accordions are very much desirable, but not essential. They should be in the key of E and with 10 keys. The performers of the first and second accordion parts should use their right hands for the 6th and 7th stops, and the performers of the third and fourth parts on the 2nd and 3rd. In both cases the left hand should be used for both large stops. The large notes relate to the sounds produced with the right hand, and the small notes to the bass chords produced by pressing with the left hand. Movements and Duration: There are five movements and a complete performance lasts approximately 35 to 40 minutes. I. Jeu de sons. Andantino un poco rubato—Allegro molto vivace (C major) This movement is a sonata structure with a slow introduction which recurs at the end to round off the piece. The Jeu (Play) here is simply between string phrases whose endings are echoed by the woodwinds. However, when the fast movement begins, the constant changes of texture, accompanied by matching quick shifts between string and wind tones, are noticeable. The development is a fugue based on the opening of the first theme. It dovetails with the recapitulation, the first subject passing straight into the more melodic second. Composition: Tchaikovsky spent the late spring and early summer of 1883 with his brother Anatoly after spending some hectic months before that writing first his opera Mazeppa, then a march and the cantata Moscow for the coronation of Alexander III as tsar. Anatoly, now contentedly married and recently a father, had rented a house at Podushkino, near Moscow. Tchaikovsky found the house's location to be attractive and he often roamed the surrounding woods, picking mushrooms. He spent three months at Podushkino, two of them correcting proofs to Mazeppa but also finding time to sketch out his Second Orchestral Suite. When Tchaikovsky left Podushkino on September 13 to visit his sister Alexandra at her estate at Kamenka in Ukraine, his priority was to finish this suite. He spent two and a half months at Kamenka. The first five weeks of that time, six hours a day, were spent finishing the composition of and scoring the suite. He had explained to his patroness Nadezhda von Meck at the beginning of September that if the work were not completed by the beginning of the winter concert season, he would not be able to find out how the work sounded during his time in Moscow. He was most anxious to do so, he explained, "because I have used some new orchestral combinations which interest me greatly." The fact that he took more than five weeks to complete orchestrating the work, despite his sometimes working six hours a day on it, shows the great care he took over this operation. Tchaikovsky finished the suite on October 25. Max Erdmannsdörfer conducted the work the following February in Moscow. However, if the composer's eagerness to hear the work were still present, he likely satisfied it during rehearsal. The tensions of supervising the Moscow premiere of Mazeppa, which took place the night before the suite's first performance, had tried him severely, and he left for the West to recover before the suite had been played. Erdmannsdörfer was offended by the composer's inability to wait one extra day before leaving. Arrangements: While engaged in orchestrating the Suite the composer simultaneously made the arrangement for piano duet (4 hands), which he considered necessary so that the full score and the arrangement could be printed at the same time. This urgency led him to entrust Aleksandra Hubert with making the arrangement of the Suite's first movement, but he wanted to arrange the other movements himself. Publication: In January 1884 the full score and piano duet arrangement were published by Pyotr Jurgenson in Moscow. Autographs: Tchaikovsky's manuscript full score (ф. 88, No. 75) and arrangement for piano duet (ф. 88, No. 76) are now preserved in the Russian National Museum of Music in Moscow. Dedication: To Praskovya Tchaikovskaya (1864–1956), wife of the composer´s brother Anatoly, with whom Tchaikovsky was staying at Podushkino when he composed the Suite.
Tchaikovsky Max Erdmannsdörfer 1864 1883 1884 1956
Tchaikovsky: Orchestral Suite No. 2 in C major, Op. 53 “Suite Caractéristique” (1883) II. Valse. Moderato (A major) Tchaikovsky's Suite No. 2 in C major, Op. 53 (TH 32 ; ČW 29), subtitled Suite caractéristique, was written and orchestrated between June and October 1883. Instrumentation: The Suite is scored for an orchestra consisting of 3 flutes (3rd doubling piccolo), 2 oboes, English horn, 2 clarinets (in A, C), 2 bassoons + 4 horns (in F), 2 trumpets (C, E), 3 trombones, tuba + 4 timpani, tambourine, triangle, cymbals, bass drum + harp, violins I, violins II, violas, cellos, double basses. The Scherzo burlesque includes parts for four accordions ad libitum, and Tchaikovsky's note at the head of this movement reads: To receive the proper effect of this piece, accordions are very much desirable, but not essential. They should be in the key of E and with 10 keys. The performers of the first and second accordion parts should use their right hands for the 6th and 7th stops, and the performers of the third and fourth parts on the 2nd and 3rd. In both cases the left hand should be used for both large stops. The large notes relate to the sounds produced with the right hand, and the small notes to the bass chords produced by pressing with the left hand. Movements and Duration: There are five movements and a complete performance lasts approximately 35 to 40 minutes. II. Valse. Moderato (A major) Unlike Tchaikovsky's previous waltzes, the theme is more animated and wide-ranging and includes changes in pace which would create havoc in a ballet performance. What is most notable, though, is not the tune but the orchestration. Tchaikovsky is now introducing in both texture and tone color a more unobtrusive variety into the accompaniment than would be noticed in a ballet where the attention is divided between stage and music. Composition: Tchaikovsky spent the late spring and early summer of 1883 with his brother Anatoly after spending some hectic months before that writing first his opera Mazeppa, then a march and the cantata Moscow for the coronation of Alexander III as tsar. Anatoly, now contentedly married and recently a father, had rented a house at Podushkino, near Moscow. Tchaikovsky found the house's location to be attractive and he often roamed the surrounding woods, picking mushrooms. He spent three months at Podushkino, two of them correcting proofs to Mazeppa but also finding time to sketch out his Second Orchestral Suite. When Tchaikovsky left Podushkino on September 13 to visit his sister Alexandra at her estate at Kamenka in Ukraine, his priority was to finish this suite. He spent two and a half months at Kamenka. The first five weeks of that time, six hours a day, were spent finishing the composition of and scoring the suite. He had explained to his patroness Nadezhda von Meck at the beginning of September that if the work were not completed by the beginning of the winter concert season, he would not be able to find out how the work sounded during his time in Moscow. He was most anxious to do so, he explained, "because I have used some new orchestral combinations which interest me greatly." The fact that he took more than five weeks to complete orchestrating the work, despite his sometimes working six hours a day on it, shows the great care he took over this operation. Tchaikovsky finished the suite on October 25. Max Erdmannsdörfer conducted the work the following February in Moscow. However, if the composer's eagerness to hear the work were still present, he likely satisfied it during rehearsal. The tensions of supervising the Moscow premiere of Mazeppa, which took place the night before the suite's first performance, had tried him severely, and he left for the West to recover before the suite had been played. Erdmannsdörfer was offended by the composer's inability to wait one extra day before leaving. Arrangements: While engaged in orchestrating the Suite the composer simultaneously made the arrangement for piano duet (4 hands), which he considered necessary so that the full score and the arrangement could be printed at the same time. This urgency led him to entrust Aleksandra Hubert with making the arrangement of the Suite's first movement, but he wanted to arrange the other movements himself. The arrangement was made in September and October 1883. Publication: In January 1884 the full score and piano duet arrangement were published by Pyotr Jurgenson in Moscow. Autographs: Tchaikovsky's manuscript full score (ф. 88, No. 75) and arrangement for piano duet (ф. 88, No. 76) are now preserved in the Russian National Museum of Music in Moscow. Dedication: To Praskovya Tchaikovskaya (1864–1956), wife of the composer´s brother Anatoly, with whom Tchaikovsky was staying at Podushkino when he composed the Suite.
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