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SW 1144
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SW 1144
STENHAMMAR, W.: Serenade, Op. 31 (Uppsala Chamber Orchestra, Magi)

STENHAMMAR, W.: Serenade, Op. 31 (Uppsala Chamber Orchestra, Magi)

The Classical Shop
release date: December 2012

Originally recorded in 2011


Pietro Alessandro Guglielmi Chamber Orchestra

Magi, Paul

Paul Magi


Record Label
Swedish Society


Orchestral & Concertos


Total Time - 38:44
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STENHAMMAR, W.: Serenade, Op. 31 (Uppsala Chamber Orchestra, Magi)

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Serenade in F major, Op. 31

1 I. Overtura 6:52
2 II. Canzonetta 5:08
3 III. Scherzo 7:53
4 IV. Notturno 8:56
5 V. Finale 9:55
 Paul Magi Conductor
 Magi, Paul

 Wilhelm Stenhammar lived in Florence with his wife and two children from November 1906 to July 1907. Th ere were many reasons for the sojourn: not least he needed to get away from his routine life of rehearsals, concerts, and tours, but it was also important to fi nd more time for his family, whom he had been neglecting. A trip to Italy had been a recurring dream that could now become reality. Th ey settled on Florence - the Renaissance city - with all its architecture and all its art works, artists, and authors. All the new experiences - the lavish sunshine and warmth, the feeling of easiness and joy, and all the scents and sounds of nature - also started his musical ideas moving in a more and more defi nite direction. "I hope a new orchestral piece, a kind of Florentine spring dithyramb, will fi nish singing itself to my mind during this journey," he writes home to Sweden after a few months in Florence. However, these plans had to wait. It was not until 1911 that he found the time to start work on what would be his Serenade for Orchestra op. 31. Two outer movements - an elegant and shimmering Overtura and a classically restrained Finale - frame the three middle movements - Canzonetta, Scherzo, and Notturno - which are performed without a break. Th e classical orchestral serenade as we know it is traditionally entertainment music, a genre that Mozart perfected. Stenhammar’s orchestral serenade takes the same point of departure, but at the same time it is clearly a celebration of the Italy he loved. Th e music leads us into a Commedia dell’Arte play full of carnival mischief, burlesques, sentimentalities, and comic and tragic situations. Th e music is driven by a turbulent force, sometimes fi ery and stormy, sometimes romantic, occasionally ruthless, but never cold. Serenade was fi nished in 1913 but was revised after its premier in 1919, including a shift in the original key from E major to F major and the omission of one of the original movements, Reverenza. Th e music nevertheless retains reverences to both living and deceased composers. Fleeting little passages that rush by, almost unnoticed, but plant obvious clues and very artfully, consciously, and humorously fit into his own tonal idiom.

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