Souvenir d'un Lieu Cher, Op. 42, No. 2: Scherzo Cover Image

Souvenir d'un Lieu Cher, Op. 42, No. 2: Scherzo: Full Orchestra, Solo Strings with Ensemble Conductor Score

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Souvenir d'un Lieu Cher, Op. 42, No. 2: Scherzo Cover Image
Souvenir d'un Lieu Cher, Op. 42, No. 2: Scherzo: Full Orchestra, Solo Strings with Ensemble Conductor Score

Souvenir d'un Lieu Cher, Op. 42, No. 2: Scherzo: Full Orchestra, Solo Strings with Ensemble Conductor Score

By Peter Ilyitch Tchaikovsky / arr. Alexander Glazunov

Item: 36-A220001
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Description
SOUVENIR D'UN LIEU CHER (Memory of a dear place) is a set of three pieces originally written for violin and piano written around the same time as Tchaikovsky's Violin Concerto. The piece was finished in May 1878 while Tchaikovsky was living on an idyllic country estate in the Ukrainian village of Brailov. This version was orchestrated by famed Russian composer, music teacher and conductor, Alexander Glazunov. Instrumentation: 2.2.2.2: 2.0.0.0: Hp: Str(9-8-7-6-5): Solo Violin in set.

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887244-9
ISBN13: 978-1-63-887244-3
UPC: 735816096670
SKU: 36-A220001
Instrumentation: Full Orchestra, Solo Strings with Ensemble

More about this title

About the Composer: Peter Ilyitch Tchaikovsky

Peter Ilyitch Tchaikovsky (1840–1893) was a Russian composer whose orchestral works defined the Romantic era. His genius for melody and emotional directness made him one of the most performed composers in concert halls worldwide. Tchaikovsky's output spans symphonies, concertos, ballets, and chamber music, each marked by lyrical beauty and structural command. For music educators, his works offer students access to sophisticated orchestration, memorable thematic development, and the bridge between Classical form and Romantic expression.

Why we love this

The orchestration by Glazunov transforms this intimate violin miniature into a shimmering ensemble showcase that sits comfortably between concert opener and substantial programming piece. Solo and section strings interact with delicate woodwind coloring while maintaining the work's original elegance, making it accessible for orchestras looking to program Tchaikovsky beyond the heavy symphonic staples.

What to expect

The piece sparkles with wistful elegance. A dreamy, nostalgic quality permeates the opening as the solo violin traces a graceful line over soft string harmonies, evoking the peaceful countryside where Tchaikovsky composed it. The scherzo's lighter episodes dance with gentle humor, creating a mood that is both introspective and warmly human.

Who it's for

This score is designed for conductors leading orchestras with solid section strength and a reliable solo violinist. It works well for high school advanced orchestras, youth orchestras, and small professional ensembles seeking repertoire that sounds substantial without requiring virtuoso soloists.

How to get the most out of it

  • Balance the solo violin line against the ensemble carefully in the opening; the texture should feel integrated rather than competitive, with accompanying strings playing with restrained tone.
  • Use the harp to anchor harmonic transitions; Glazunov's orchestration relies on its shimmer to support key shifts without overwhelming the melodic content.
  • Shape the scherzo rhythms with clarity and lightness; resist the urge to play heavily, which will obscure the playful character Tchaikovsky embedded in the original.
  • Rehearse the solo violin part with the string section as a unit first, then in full orchestra, to establish the relationship between soloist and ensemble before adding woodwinds and brass.

How to use it

Program this as a charming contrast piece between heavier symphonic works, or open a concert with it to establish an intimate tone before larger ensemble pieces. Its moderate length and modest forces make it ideal for showcasing a capable concertmaster while giving the full orchestra a collaborative rather than accompanying role.

Skills your students will build

  • Balance between solo and ensemble textures
  • Shaping melodic phrases across string sections
  • Reading and executing light, articulate scherzo rhythms
  • Responding to harp and woodwind color changes as structural markers

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