Overture No. 2, op. 24
Louise Farrenc (1804-1875)
Composed in 1834, Overture No. 2 in E-flat Major, Op. 24 stands as one of Louise Farrenc’s most compelling orchestral works. A celebrated pianist and the only woman appointed professor at the Paris Conservatoire in the 19th century, Farrenc built an international reputation for her artistry and compositional skill at a time when large-scale orchestral writing was rarely accessible to women composers. Unlike many of her French contemporaries who focused primarily on opera, Farrenc devoted herself to instrumental forms, drawing inspiration from the German symphonic tradition of Beethoven and Weber. The result is a work that combines Classical structural clarity with Romantic drama and color. The overture opens with a dark and dramatic slow introduction, creating tension through bold harmonies and strong orchestral gestures. This gives way to a spirited Allegro in sonata form, featuring a driving principal theme and a contrasting lyrical second theme. Farrenc’s orchestration is confident and transparent, with vivid interplay between strings, winds, and brass. The development section heightens the drama before the work concludes with a brilliant and triumphant return to E-flat major. More than a concert opener, this overture is a powerful symphonic statement—energetic, expressive, and masterfully crafted. Its renewed presence on today’s programs reflects the growing recognition of Farrenc’s significant place in 19th-century music.
Piano Concerto in B-flat Major
Anna von Schaden (1763-1834) and Antonio Rosetti (1750-1792)
Anna von Schaden and Antonio Rosetti served together in the court orchestra at Oettingen-Wallerstein, situated in modern day Bavaria, during the 1770’s. The ensemble, one of the most esteemed in the region, flourished under Prince Kraft Ernst’s patronage. Von Schaden held the position of pianist under Rosetti’s direction as Kapellmeister. By the time she joined the court, she was already a highly regarded performer and evidently earned the Prince’s admiration—he granted her a yearly pension that continued even after she left the region several years later. Although much of von Schaden’s time was devoted to performing at court and in gatherings across the region, she also tried her hand at composing. Among her works are two piano concertos created in collaboration with Rosetti, who contributed the orchestral parts as a skilled string player and conductor. The concerto was published several years after von Schaden departed from Oettingen-Wallerstein At this point, it is worth asking: why has this concerto remained unpublished and so rarely performed? The answer, as is so often the case, is: not for any good reason. The neglect of this concerto certainly cannot be attributed to the quality of its music. It is a work that combines virtuosity, harmonic surprises, playfulness, and an exquisite, soulful slow movement. Its obscurity instead stems from other factors: the absence of a modern edition, the lack of recordings, von Schaden’s relative obscurity as a composer; the fact that she was a woman; and perhaps the collaborative nature of the work. None of these are valid reasons for its neglect. This evening’s performance seeks to correct that oversight. The concerto is a delightful and skillfully crafted work that deserves to be heard. While it has been performed a few times in Europe, no legible modern edition or orchestral score exists so this evening’s performance is very likely the work’s United States premiere. May it be the first of many.
Serenade for String Orchestra in C Major, op. 48
P. I. Tchaikovsky (1840-1893)
Composed in 1880, Tchaikovsky’s Serenade for String Orchestra is one of the most beloved works in the string repertoire. Written during the same period as his monumental 1812 Overture, the Serenade reflects a more personal and intimate side of the composer. Tchaikovsky wrote that he composed it “from inner conviction,” and it remains one of his warmest and most heartfelt creations. Scored for strings alone, the work combines Classical elegance—especially in homage to Mozart—with Tchaikovsky’s unmistakable Romantic lyricism and rich harmonic language.
I. Pezzo in forma di Sonatina The opening movement begins with a noble, hymn-like introduction marked Andante non troppo, establishing a sense of grandeur. This leads into the main Allegro moderato, written in a compact sonata form. The principal theme is graceful and flowing, while the secondary ideas offer warmth and expressive depth. The movement balances Classical clarity with Romantic richness, culminating in a triumphant return of the opening material.
II. Waltz
One of Tchaikovsky’s most charming waltzes, this movement showcases his gift for dance rhythms and memorable melody. Elegant and buoyant, the Waltz unfolds with lightness and sophistication, its sweeping phrases and subtle harmonic turns revealing the composer’s mastery of orchestral color—even within the limited forces of a string ensemble.
III. Élégie
The heart of the Serenade lies in the deeply expressive Élégie. Lyrical and expansive, this movement sings with long, arching melodies and warm sonorities. A central climax builds with emotional intensity before gently subsiding into a reflective close. The music here embodies Tchaikovsky’s gift for heartfelt, cantabile expression.
IV. Finale (Tema Russo)
The final movement begins with a somber introduction based on a Russian folk song, soon giving way to an energetic and spirited main section. Drawing on another folk melody, the movement bursts with vitality and rhythmic drive. The Serenade concludes with a brilliant return of the noble theme from the first movement, bringing the work full circle in a jubilant and resounding finish. Blending Classical form, Russian folk elements, and Romantic warmth, Tchaikovsky’s Serenade for String Orchestraremains a cornerstone of the string repertoire—celebrated for its elegance, emotional depth, and enduring melodic beauty.