Partitur Nr. 05 ANDANTA CANTIBILE

Thomas Rüedi Solo Series

ANDANTE CANTABILE P Y T O R I LY I C H T C H A I K O V S K Y (1840–1893)

05 SOLO WORK NO

Transcribed for Euphonium by

THOMAS RÜEDI

Thomas Rüedi Solo Series

A NDA N TE C A N TA BIL E P Y T O R I L Y I C H T C H A I K O V S K Y (18 4 0 –18 93)

Transcribed for Euphonium by THOMAS RÜEDI

PREFACE THE WORK

The famous «Andante Cantabile» originally forms the 2nd movement of Tchaikovsky’s «String Quartet Nr.1 in D-major» (Op.11). The string quartet was composed in February 1871 and premiered in Moscow the following month. The work is often performed in a solo version and Tchaikovsky himself made an arrangement of this movement for cello and string orchestra in 1888.

The work is «…based on a folk song which the composer had heard at Kamenka, while he was staying with his sister» [1] When the quartet was performed at a tribute concert for Leo Tolstoy, the author was said to have been brought to tears by this movement. «…Tolstoy, sitting next to me and listening to the Andante of my First Quartet, burst into tears» [2] With this famous «Andante Cantabile» Tchaikovsky achieved the first of his many great hits.

THE FORM

The music alternates between a Ukrainian folk theme and a contrasting of Tchaikovsky’s own inspiration. The first part shows some irregular time patterns (2/4 and 3/4 time), a characteristic often found in Eastern European folk music. The middle section in Db major displays the elegance of a Serenade. Here, Tchaikovsky makes use of his beloved ostinato pizzicato accompaniment – just one of his many techniques which makes his style of writing so unique and instantly recognisable.

section

tonality

A

B

C

A‘

Bridge

D

Trans.

A“

Trans

(2x8ms)

(8ms)

(8ms)

(2x8ms)

(4ms)

(2x6ms)

(10 ms)

(2x8ms)

(16ms)

Bb maj

F maj

Bb min

Bb maj

Trans. to

Db maj/

Trans. to

Bb maj

Bb maj

Db maj

Bb min

Bb maj

coda

Bb maj

PERFORMANCE CONSIDERATION

It goes without saying that Tchaikovsky’s music calls for a strong melodic expressiveness of sound. Since the piano accompaniment is quite sparse, the soloist is required to keep the tension and drama of the music alive for the entire duration of the piece. This can be quite a challenge, not to mention the physical strain put upon the performer. It is therefore vitally important to have a clear ‘game plan’ in performance – where does the next phrase lead into? What character does it have? Also, deciding on the clear high-points of the music. With thoughtful consideration about the use of dynamics, phrasing and contrast, you will find this music to be a wonderfully inspirational – for you and your audiences.

THE TRANSCRIPTION

This transcription was left in the original key of Bb-major.

THE COMPOSER

á April 25, 1840 in Kamosko-Votinsk, Russia † October 25, 1993 in St. Peterburg, Russia «He was the first composer of a new Russian type, fully professional, who firmly assimilated traditions of Western European symphonic mastery. In a deeply original, personal and national style he united the symphonic thought of Beethoven and Schumann with the work of Glinka, and transformed Liszt’s and Berlioz’s achievements in depictive-programmatic music into matters of Shakespearian elevation and psychological import.» [1]

MILESTONES

– Although musically precocious, Tchaikovsky was educated for a career as a civil servant.

– He was the first Russian composer who made a lasting impression internationally.

– Tchaikovsky‘s sudden death at the age of 53 is generally ascribed to cholera; 1884 Was honored by Emperor Alexander III and awarded a lifetime pension.

[1] Catherine Steinegger, Notes to Recording of Keller Quartet (Erato, 2292-45965-2) [2] Alexandra Orlova: Tchaikovsky, a self-portrait quotes this as originating from «Diaries, 211»

OUP, 1990, ISBN 0-19-315319-X

[3] Boris Asaf‘yev The Grove Music Online; Roland John Wiley; biographical article on Tchaikovsky,

Pyotr Il’yich

Thomas Rüedi Solo Series

The Thomas Rüedi Solo Series is a collection of selected masterpieces arranged for euphonium and piano. This series strives to enrich the solo repertoire for euphonium, thus opening a window into the fascinating world of some of the leading composers of the Baroque and Romantic period. By studying these famous works, the performer develops a more profound musicianship and a more defined awareness of style and musical beauty.

Audiences in turn, may appreciate hearing these beloved masterpieces performed in a fresh voice – the wonderful lyrical expression of the euphonium!

No. 01

Granados, Enrique

Madrigal Romantic

No. 02

Schubert, Franz

Sonata for Arpeggione - First Movement Romantic

No. 03

Offenbach, Jacques

Les Larmes de Jacqueline Romantic

No. 04

Ravel, Maurice

Vocalise-étude Romantic

No. 05

Tchaikovsky, Pytor Ilyich

Andante Cantabile Romantic

No. 06

De Falla, Manuel

Ritual Firedance Romantic

No. 07

Fauré, Gabriel

Sicilienne Romantic

No. 08

Schubert, Franz

Moments Musicaux Romantic

No. 09

Toselli, Enrico

Serenata Romantic

No. 10

Bridge, Frank

Four Short Pieces Romantic

No. 11

Scarlatti, Alessandro

Sonata No. 1 in D minor Baroque

No. 12

Gabrielli, Domenico

Sonata No. 1 in G major Baroque

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THOMAS RÜEDI is a Swiss-born international euphonium artist, music educator and arranger.

His solo engagements have led him throughout Europe, Africa, Asia, South America and the USA. Thomas Rüedi’s solo CDs «Elégie» and «Madrigal», both featuring his own arrangements, received international recognition.

Thomas Rüedi is professor of euphonium and chamber music at Bern University of the Arts and Lucerne University of the Arts; as a guest professor he regularly gives master classes throughout Europe and overseas. Thomas Rüedi is also an acclaimed arranger and composer, thus supporting the further development and enrichment of the euphonium repertoire.

THOMAS RÜEDI is a BESSON performing artist.

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