Hamburg: D. Rahter [PN 2917], .
Folio. Half dark brown leather with black pebbled cloth boards, decorative floral endpapers printed in dark pink, titling gilt to upper, spine in decorative compartments gilt, titling gilt.  (title), 21-61, [i] (publisher's catalogue of Tchaikovsky's piano works) pp. Printed dedication to head of title: "Herrn Konstantin Albrecht in Moskau."
With "Ebstrup" gilt to foot of upper board and signature ("Beug[?] Ebstrup") to upper outer corner of title.
Binding somewhat worn, rubbed, and bumped.
Revised edition, later issue. Vajdman ČW 45, p. 374. Poznansky TH 48, p. 189.
Jurgenson first issued Tchaikovsky's 4-hand piano arrangement in 1881; a revised version was published in 1892 with the same plate number. Rahter printed the new Jurgenson editions as well as releasing a series of their own excerpts and arrangements between 1892 and 1895.
"A string quintet in texture, it neutralized orchestral colour as an element of form. In contrast to the freely associative coherence of the First Suite, the Serenade holds together by as closely knit a motivic network as Tchaikovsky ever wrote, based on the descending melodic tetrachord at the beginning and on ascending scales, first at bar eight of the Sonatina, which are transformed in the waltz theme of the second movement and the introduction of the third. He also invokes now familiar strategies: the Serenade is an essay in Western/Russian rapprochement which favours Russian at the end, in that the Pezzo in forma di sonatina lacks a formal transition and development, which Tchaikovsky pointedly restores in the finale, reconciling his Russian tune with Western pattern and practice. To progress from an ‘imperfect’ first movement to a ‘perfect’ last one recalls Beethoven again, as does the finale’s elegant introduction, which effectively elides the last two movements." Roland John Wiley in Grove Music Online.
Price: $35.00 other currencies