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TCHAIKOVSKY – SWAN LAKE – Orchestral Suite, Op. 20 a ( No. 1 – Scéne, Introduction; version for EIGHT Cellos, prepared by David Johnstone)
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PDF 1 – General Score
PDF 2 – Individual parts Cellos 1 to 4
PDF 3 – Individual parts Cellos 5 to 8
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Notes:
In 1882 Tchaikovsky considered creating a concert suite out of numbers from his ballet Swan Lake (Лебединое озеро), which he had composed six years previously. However, he seems not to have made a final decision, and the exact authorship of the concert suite published after his death as Op. 20a is uncertain. Seven years after Tchaikovsky’s death, in November 1900, Jurgenson published a “suite” of six numbers from the ballet, as “Op. 20a”. It is unclear who chose these numbers from the ballet, and it is still possible that Tchaikovsky made the selection himself at some point during the 1880s or early 1890s.
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The opening movement of the suite is taken from the opening scene of the second act. The music represents the theme of the Swan. The melody, first introduced by a solo oboe, is accompanied by shimmering strings and a whimsical harp. The atmosphere is relaxed, calm and full of magic. As the orchestra begins to build and unite, the french horns take the iconic theme which offers a new atmosphere. Now heroic, bold and intense the melody is beginning to unravel. The strings take a romantic swish of the melody before the brass begins to build the tension in the background. A final explosion of colour as a brass fanfare leads into a cascade of descending scales, the final reprise of the melody is heard primarily from the upper strings. Accentuated by off-beat heavy brass, the melody has turned dramatic and is high in intensity. The movement ends quietly and calmly.
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The version for cellos by David Johnstone is scored for four cello desks, and needing EIGHT (or more) individual cellists. This present setting is dedicated to the Ukrainian/Spanish cellist Татьяна Мертелова (Tetiana Mertelova)
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Ukraine has given the world culture a lot of great figures who enriched other peoples’ cultures with their talent. Although Pyotr Ilyich Tchaikovsky (1840–1893) is considered an outstanding Russian composer, he used to create his great music under a genetic influence of his Cossack roots. He knew and loved Ukrainian folklore very much for its melodiousness and profound lyricism, which he used in his multi-genre musical oeuvres. A descendant (on his father’s side) of an old Cossack family (Chaika), Tchaikovsky first visited Ukraine in 1864 and thereafter often spent his summers there. He is commonly regarded as one of the greatest 19th-century Russian composers, but at least 30 of his works have Ukrainian subjects or incorporate Ukrainian folk songs or melodies.
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