PYOTR ILYICH TCHAIKOVSKY

Souvenir de Florence for string sextet

Recorded August 22, 2025

Tai Murray, violin
David McCarroll, violin
Nicholas Cords, viola
Isabelle Durrenberger, viola
Peter Stumpf, cello
Kee-Hyun Kim, cello

Program Note

Tchaikovsky’s Souvenir de Florence is one of his most energetic and joyful chamber works, yet it was composed from a curious contradiction. Despite its title, the piece has very little of the typical “Italian sound.” Instead of being a musical postcard from Tuscany, it is more like an emotional memory full of Slavic passion, power, and lyrical beauty. But why then, “Souvenir de Florence”? 

The answer lies in a moment of inspiration. In 1890, Tchaikovsky was staying in Florence, Italy, working on his opera The Queen of Spades. Surrounded by the beautiful scenery, he sketched a melody that would become the basis of this sextet. Even though he didn’t complete the work until 1892, Tchaikovsky always connected its beginning to that time in Italy. The title refers not to a reflection on Italian music, but to express a personal memory.

Tchaikovsky was asked to write the piece by the St. Petersburg Chamber Music Society, who had made him an honorary member on the condition that he compose a chamber work. Tchaikovsky, who usually wrote big orchestral or dramatic music, struggled at first to balance the six instruments. “What I am writing is terribly difficult,” he admitted in a letter to his friend, “but I want it to be a real sextet, not just something orchestral written for six players.”

The first movement (Allegro con spirito) begins with strong, clear energy—a powerful theme that requires virtuosic precision from the ensemble. This Allegro con spirito is full of theatrical excitement, reminiscent of Tchaikovsky’s ballets or symphonies, but the intimacy of a chamber ensemble gives it special clarity.

The second movement (Adagio cantabile e con moto) provides a stark contrast. It offers a sweet, almost operatic melody for the first violin, while the lower strings play a gentle, rocking background. This movement is often called the “Florentine” heart of the piece—like a Mediterranean love song. One charming detail: the plucked notes in the cello part sound like a mandolin, perhaps as a subtle tribute to Italian street musicians.

The last two movements are full of Russian dance rhythms and folk energy. The third movement (Allegretto moderato) is light and playful, while the final movement (Allegro vivace) is fast and exciting, full of quick musical ideas and clever counterpoint. These movements showcase Tchaikovsky’s talent for musical structure, combining Russian folk styles with Western classical forms.

Interestingly, Tchaikovsky was never satisfied with the piece. He revised it many times before its first performance, even throwing out large sections and rewriting them. But today, Souvenir de Florence is one of his most beloved chamber works, praised for its deep emotion, clever design, and joyful sound.

© Amane Sakaguchi, Young Composer 2025