Serenade for Strings in C minor, Op. 48
Pyotr Ilyich Tchaikovsky
(b. May 7, 1840, Votkinsk, Russia; d. November 6, 1893 in St. Petersburg)
In considering Tchaikovsky’s most beloved works, there are the meat-and-potatoes concert-hall favorites, i. e., the last three symphonies, the violin concerto and first piano concerto. Three works are seasonal or situational, the potboiler 1812 Overture and Nutcracker ballet that seem unavoidable come Independence Day and Christmas and Swan Lake performed by ballet companies everywhere. This afternoon’s more modest Serenade for Strings fits into both categories perfectly. It is welcome on any concert program, but is equally appreciated as music ideal for dancers, as rendered in George Balanchine’s ballet Serenade, first performed in 1934.
"The first movement is my homage to Mozart," Tchaikovsky wrote in a letter. “It is intended to be an imitation of his style and I should be delighted if I thought I had in any way approached my model." Tchaikovsky chose to imitate his master by simplifying his own style and, proving less-is-more, created a work recognized as a masterpiece by the public and critics alike.
The first movement, titled “piece in the form of a sonatina” has a slow introduction and energetic faster section. Like many sonatinas its use of sonata form omits any development.
The second movement is a waltz of the sort that only Tchaikovsky could write, gracious and supremely delicate.
Elégie begins reverently, giving way to a song theme.
The Finale also begins with a slow introduction, a folk song from the district of Makariev. The main section is also based on a folk tune, a street song from the district of Kolomna. Material from the opening movement is incorporated before an exuberant coda chases onward to a brilliant conclusion.
In 1880 Tchaikovsky’s career was ascendant. One reason was the unusual patronage he received from Nadezhda von Meck beginning in 1877. In addition to generous commissions, she provided him an annual pension of 6000 rubles at a time when government officials might hope for annual salaries of 400 rubles. They never met but he called her his best friend.
Serenade was the kind of work that patronage made possible. Tchaikovsky had an amorphous agenda and the result being a four movement work for string orchestra happened by stepwise refinement. He originally thought of small forces–a string quartet or quintet. Only his choice of strings-alone survived. He specified in the score that he wanted the largest number of strings possible.
Although it’s difficult to imagine two pieces farther apart, his 1812 Overture and Serenade were composed together, as he shared in an October 1880 letter to von Meck. “My muse has been so kind that in a short time I have got through two long works: a big festival [the 1812] overture for the Exhibition, and a serenade for string orchestra in four movements. I am busy orchestrating them both.” In a letter to his publisher Peter Jürgenson, he made clear his feelings, "I am violently in love with this work and can't wait for it to be played."
He summered in 1880 in Ukraine where he composed most of Serenade. This was time he spent away from the Moscow Conservatory where he was a revered figure. His friends and colleagues arranged a surprise private concert for his return. There he was treated to the first playing of Serenade on December 3, 1880.
(c) 2010, 2024, 2025 by Steven Hollingsworth,
Creative Commons Public Attribution 3.0
United States License.
Contact steve@trecorde.net