On 25 May he left for a two-week vacation on the Ukrainian country estate Brailivo sometimes seen in English as "Brailovo" , which belonged to his benefactress Nadezhda von Meck , where he finished the work by 31 May.
While at Brailovo, he also completed the Six Romances, Op. John Chrysostom. This copy was sent to the publisher, P.
Catalog Record: Valse-Scherzo (ČW ), Impromptu (ČW ) | HathiTrust Digital Library
It was published in May , as Op. In Jurgenson published the complete work in an arrangement by Alexander Glazunov for violin and orchestra, and in this form it has perhaps become better known than in its original form for violin and piano. There is also an arrangement for violin and strings by Alexandru Lascae. List of compositions by Pyotr Ilyich Tchaikovsky.
From Wikipedia, the free encyclopedia. Pyotr Ilyich Tchaikovsky.
It was not a commission, just a matter of choice, and a happy one at that, since the composer was to make more references in his "Lebenserinnerungen" to successful performances of the cello sonata, than to any of his other instrumental duos. It was accepted for publication in by the Leipzig firm Forberg. Although Friedrich Gruetzmacher gave the premiere of the work, Draeseke dedicated the work to the cellist Julius Klengel when published.
Wolfgang Mueller-Steinbach suspects some misprints in the parts but, as of the date of the present recording, the original manuscript could not be located and is suspected to be in a private collection. A new edition of the sonata is being prepared by the International Draeseke Society in conjunction with Wollenweber Verlag, Munich. Erich Roeder maintains that the march-like second theme, in A major, is a reference to a motive from Draeseke's opera "Herrat" and makes the pertinent observation that this second theme is not lyrical but rhythmic in nature, thus reversing usual expectation.
It is difficult to accept Roeder's contention that there are only two major themes being developed, but on close scrutiny, taking into consideration that motives are taken from the two themes and wedded to half or full measure additions e. The repetition of the exposition is obligatory if the breadth and balance of the sonata is to be felt and it is taken in this recording.
It is really with the development section that the scope of Draeseke's genius in the sonata begins to show itself. The extraordinary harmonic palette can only be understood by way of the intermingling of materials implicit not only in the contrapuntal exchanges between the two instruments, but manifest also in the inner voices of the chordal lines.
The variety of emotion that emerges in this development is an example of Draeseke at his most inspired.
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The recapitulation is standard only from the standpoint of repetition, but in the coda the composer reserves a surprise inasmuch as he allows the movement to end quietly a preferred gesture in his two sonatas for viola alta and piano as well. This movement must be counted among the most sublime moments in Draeseke's output, an achievement unmatched even in Brahms's vaunted sonatas.
The opening theme is compounded of two three measure phrases and a two measure conclusion featuring a dotted eighth note with two thirty-second notes. This leads to an immediate change to C major and harmonic instability as the opening material is extended; developmental motives appear throughout and give the impression of a new section, but it is a deception : A major is briefly introduced and we are soon back to the opening key and the main theme stated in great melancholy by a single line in the piano to the accompaniment of cello pizzicati.
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The materials are worked up to a first climax at the conclusion of which a clearly new section ensues in D major Doppio movimento providing lilting contrast recalls the rhythmic pulse of the composer's Barcarole. The new melodic ideas are worked up to a magnificent climax through a kaleidoscope of harmonic alterations. With but brief respite the listener is thrown to F minor again, as the opening material manifests itself and is developed to its tempestuous climax.
The denouement is marked by a halting rhythmic gait and motivic fragmentation; after a final resolute gesture on the piano the music expires pianissimo with a flageolet A above the staff on the cello. The gigue-like main thema is announced by the cello over crescendo octave triplets in the piano. The wild motion of the music makes identification of the intended home key of D major well nigh impossible as Draeseke drags the listener relentlessly through unsettled harmonic waters.
The music suddenly subsides into a C minor and, un pochettino piu largo, Draeseke unveils one of his most beautiful lyric melodies. After a short development a stretto leads back to the tempestuous sounds of the opening music, but soon this is abandoned as a clear F major is announced with chordal coloration and soon an ascending, flowing theme arises, in which is later manifested a melody derived from the opening chordal sequence.
Syncopations mark the return of the main theme, again temepestuous and again in the unstable D major presentation; this time, however, the material is given its climactic presentation at the conclusion of which the C minor melody returns F minor presentation and is worked to its grand climax. The main theme returns in a jolting B flat major guise and it struggles with the lyric theme for pre-eminence; as the main theme seems to attain its goal there is a dramatic modulation into D major, whereupon Draeseke recalls the second theme of the slow movement at the conclusion of which the movement is launched into its coda, a headlong rush to a dramatic conclusion,un poco ritenuto.
It is a difficult work for performers because it demands not only virtuoso ability but also intimate understanding of the shifting harmonic world and intricate countrapuntal relationships in the music and uncommon agreement between the executants concerning interpretative details. It is a masterpiece in every consideration and deserves broader attention than it has received in the past years.
The selection of piano pieces by Draeseke which fill out this disc were made by Wolfgang Mueller-Steinbach. This composer and pianist has long made a specialty of the music of Felix Draeseke and his choice of these particular works comes from personal involvement with them over the years.
Although they may be regarded as genre pieces and typical of their time - particularly in the titles - they are incredibly and artfully contrived, far more sophisticated and difficult to articulate than visual perusal of the printed notes might at first indicate. Indeed, Mueller-Steinbach has transcribed all of these pieces for wind sextet and in so doing has, besides adding color, revealed the extraordinary contrapuntal implications of voice leading within the chordal structure of the music.
Realizing the content of what some may regard as seemingly simple, even innocuous, little piano pieces demands exceptional interpretive insight and understanding of Felix Draeseke's truly idiosyncratic sense of harmony. Only when that is achieved do these works exhibit themselves as the little, but highly original, masterpieces which they are. It is suggested that Wolfgang Mueller-Steinbach does exactly that in these recordings.
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The pieces were written , very close to the "Symphonia Tragica" Symphony No. Erich Roeder refers to "Vision" as a "formally perfect tone poem somewhat in the manner of Schumann's 'Noveletten'," which does not imply that the music is in the style of that master. There is something of a bittersweet quality to the music, a perception enhanced by Draeseke's artful placement of modulation, but the essential lyric nature of this beautiful piece remains undisturbed. It is a poetic masterpiece possessing subtle difficulties of pianistic articulation.
In its middle section Erich Roeder detects the "Andante manner" of the "Symphonia Tragica"; be that as it may, the "Traum" has an intimate lyricism that captivates even on first hearing. Its opening measures are remarkably proleptic of certain later piano works of Gabriel Faure and indeed, the dreamy melancholy in its material is likewise reminiscent of Faure's sadly elegant expressive means; at one point Schumann is also suggested but throughout, Draeseke's individuality is perceived.
The piece is harmonically one of the more elaborate in the collection and requires exceptional control in maintaining clarity of line. The "Daemmerungstraeume" were issued by Bote and Bock, Berlin, in Erich Roeder found Op. While not denying the influence of Chopin, Roeder refers to Draeseke's own interpretation of the term "waltz" in the piece and maintains it is related directly - by way of its darting octaves - to the scherzo of the grand C minor Piano Sonata, Op. The Op.
Kahnt, Leipzig, sometime between and Barbara Thiem, cellist, was born and raised in Germany but came to the United States to pursue studies with Janos Starker at Indiana University, where she earned a Master of Music degree and received the coveted Performers Certificate. In Germany her training was in Cologne with Siegfried Palm, the eminent specialist in 20th century cello music. She has held teaching positions at Iowa State University, the University of Texas, Dallas and severaluniversities in Colorado; at present she is adjunct professor at the University of Wyoming and artist-in-residence at Colorado State University.
Barbara Thiem has been active in performance as recitalist and as soloist with orchestras; she has been a member of the Dallas Piano Trio and the Mendelssohn Trio and has produced a number of CDs. Wolfgang Mueller-Steinbach was born in and presently lives in Frankenthal by Mannheim and has been associated with the Music Conservatory Heidelberg-Mannheim as an instructor for many years. He has appeared in concert as both solo pianist and chamber music recitalist; he is much sought after as accompanist for Lieder programs.
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He is also a composer of note, having written works in all categories, including opera as well as for instrumental and other vocal categories. In the International Draeseke Society asked him to do a program with works of Felix Draeseke and since then he has been an enthusiastic proponent of this master's music. Wherever possible concert hall, radio, etc.
Besides the abovementioned wind sextet arrangements of the Draeseke piano pieces recorded here, he has also transcribed the cello Ballad and Barcarole for bassoon and piano and the cello sonata for flute and piano.