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Track(s) taken from CDD22046

Serenade for violin and piano, Op 70

composer

Lydia Mordkovitch (violin), Seta Tanyel (piano)
Recording details: February 1995
Forde Abbey, Somerset, United Kingdom
Produced by John H West
Engineered by John Timperley
Release date: November 2002
Total duration: 8 minutes 16 seconds

Cover artwork: View of the Pavilion at Morysinka (detail) (1834) by Wincenty Kasprzycki (fl1833-1833)
Muzeum Narodowe, Warsaw / Bridgeman Art Library, London
 
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Reviews

'These world premiere recordings of, I am inclined to say masterpieces, are superbly performed and recorded. Seta Tanyel is beautifully balanced with her colleagues bringing all of her tonal translucency and charm to even the most awkward and strenuous moments. I have seldom heard a pianist on such good terms with her instrument' (Gramophone)
The Serenade for violin and piano, Op 70, dates from 1895 when Scharwenka was based in the USA and, perhaps surprisingly, is the only example he left of the short ‘salon’ instrumental piece. It was dedicated to his brother’s wife, Marianne (née Stressov), a violinist who also taught at the Scharwenka Conservatory. In a simple A-B-A form, the mood is essentially lyrical and expressive and is typical of a genre very popular at the turn of the century.

from notes by Martin Eastick © 2002

La Sérénade pour violon et piano, op. 70 date de 1895, alors que Scharwenka habitait les Etats-Unis et, chose assez surprenante, c’est le seul exemple qu’il nous ait laisse d’un court morceau instrumental ‘de salon’. Cette œuvre était dediée à sa belle-sœur, Marianne (nee Stressov), violoniste qui enseignait aussi au Conservatoire Scharwenka. Elle se conforme à la simple formule A-B-A, sur un ton lyrique et expressif, et elle est typique d’un genre qui était très populaire à la fin du siècle dernier.

extrait des notes rédigées par Martin Eastick © 2002
Français: Hypérion

Die Serenade für Violine und Klavier, op. 70, entstand im Jahre 1895, als Scharwenka sich in den USA aufhielt; sie ist—vielleicht überraschend—sein einziges Beispiel eines kurzen ‘Salonstücks’. Er widmete es der Frau seine Bruders, Marianne (geborene Stressov), die Violinistin war und am Scharwenka-Konservatorium unterrichtete. Die Stimmung dieser in der einfachen Form A-B-A verfaßten Serenade ist im wesentlichen lyrisch und expressiv—typisch für ein Genre, das um die Jahrhundertwende sehr populär war.

aus dem Begleittext von Martin Eastick © 2002
Deutsch: Hyperion Records Ltd

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