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Souvenir de Florence: String Orchestra Conductor Score & Parts

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Souvenir de Florence: String Orchestra Conductor Score & Parts

for String Orchestra

By Peter Ilyitch Tchaikovsky / arr. Tom Myron

Item: 36-A927190

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Description
The String Sextet in D minor, Op. 70, is scored for 2 violins, 2 violas, and 2 cellos, was composed in the summer of 1890. Tchaikovsky dedicated the work to the St. Petersburg Chamber Music Society in response to his becoming an Honorary Member. The work, in the traditional four-movement form, was titled Souvenir de Florence because the composer sketched one of the work's principal themes while visiting Florence, Italy, where he also composed The Queen of Spades. The work was revised between December 1891 and January 1892, before being premiered in 1892. It is the only string sextet he composed. This version of Souvenir de Florence is presented with the addition of a Contrabass part by American composer/arranger Tom Myron. The first movement is in sonata form and, without introduction, presents a rather violent yet melodic first theme in D minor. The second theme, in the dominant key of A major, is much calmer; it flows from the first theme almost effortlessly and then proceeds into the development and recapitulation, which concludes with a quick coda. The slow second movement in D major has a very innocent, romantic theme initially stated by the first violin with pizzicato accompaniment before being taken up by the cello. Following an interlude for all of the instruments, the theme returns for a repeat of the first section. The last two movements, with their distinctly Russian and folk-like melodies and rhythms, greatly contrast with the previous ones.

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Additional Details
Series: Kalmus Masterworks Library
Publisher: Keiser Productions, Inc.
UPC: 753625010700
SKU: 36-A927190
Instrumentation: String Orchestra

More about this title

About the Composer: Peter Tchaikovsky

Tchaikovsky stands among the most performed composers in the concert hall, yet his chamber music remains underrepresented in many programs. His mastery of orchestration translates directly to his writing for smaller ensembles, where every voice carries weight and independence. He understood how to balance lyrical Russian melody with rigorous formal structure, a combination that defines his most enduring works.

As a teacher at the Moscow Conservatory and later as a celebrated conductor of his own works, Tchaikovsky shaped Russian musical life for decades. His chamber works reveal a composer equally comfortable in intimate settings as in grand symphonic statements, combining technical sophistication with emotional directness that resonates across generations.

Why we love this

Souvenir de Florence delivers the architectural clarity of high Romantic writing without the bloat that can weigh down longer forms. Tom Myron's addition of contrabass part enriches the harmonic foundation while maintaining Tchaikovsky's original voice, making this arrangement practical for contemporary string orchestras without sacrificing authenticity. The work balances technical demands with genuinely rewarding musical material, earning its place on contest and concert programs alike.

What to expect

Tchaikovsky sketched the principal theme in Florence, and that journey shows in the music. The work sweeps from dark, passionate intensity to intimate romance, then grounds itself in earthy Russian folk character. It feels like a conversation among six voices who know each other deeply, shifting between argument, tenderness, and shared memory.

Who it's for

String orchestras looking for a four-movement masterwork with genuine substance and concert appeal. This score suits ensembles with solid intonation and the flexibility to navigate both lyrical Romantic writing and rhythmic Russian idioms. The contrabass addition makes it accessible to programs with diverse instrumentation while preserving Tchaikovsky's original vision.

How to get the most out of it

  • Balance the violent opening theme against the calm second theme in the first movement by using dynamic contrast, not tempo manipulation. The themes should feel like two sides of the same emotional coin.
  • In the second movement, give the pizzicato accompaniment rhythmic precision and clarity so it supports rather than obscures the romantic melody line overhead.
  • Let the Russian folk character of movements three and four breathe. These passages need room for rubato and color that reflects the national character without sounding like parody.
  • Draw clear sectional distinctions in the ensemble sound when the theme passes from first violin to cello in the slow movement. The shift signals a change in emotional perspective, not just orchestration.

How to use it

Program this as a substantial concert centerpiece or festival competition entry where it can command full attention across all four movements. Pair it with a lighter contemporary work or baroque piece to create programming variety, letting Souvenir de Florence anchor the heavier side of your concert. It also works well as a season-closing piece after building toward it through earlier rehearsals of Russian repertoire.

Skills your students will build

  • Reading and executing rapid passage work in multiple registers simultaneously
  • Balancing independent melodic lines in a sextet texture without losing ensemble cohesion
  • Playing with stylistic authenticity in both Romantic and Russian folk idioms
  • Responding to structural clarity in sonata form while maintaining phrase momentum
  • Executing crisp pizzicato rhythms that serve as accompaniment rather than compete with melody
  • Creating dynamic contrast and emotional depth within sustained lyrical passages

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