Yes, I really have pushed the boat out today. Today, ladies and gentlemen, is the first in a six-part series exploring chamber music, and how sometimes less can feel like more...
Each week, for six weeks, the number of musicians in the piece will diminish one by one (that sounded a lot less ominous in my head) as we delve further into how such huge, emotional music can be created from such a limited set of instruments. This week, then, we start with a piece for six instrumentalists: Tchaikovsky's String Sextet in D minor, called 'Souvenir de Florence'.
First, a little bit of background for you (although, really, there's not too much to get worried about here). You might think that perhaps each movement depicts a moment or experience Tchaikovsky had in Florence, but the reality is that this piece is named as it is because Tchaikovsky made a sketch of some of the melodies whilst in Florence - it contains rather than is the souvenir. The final two movements, you will notice, contain distinctly Russian sounding melodies rather than Italian sounding ones. (Sorry, the picture is quite misleading...)
The piece is also scored for 2 Violins, 2 Violas and 2 Cellos, allowing for all the richness in pitch between those three instruments as well as allowing for more complex interplay between more than one line at each pitch. This then allows for a more 'grand' sound to the piece, and you'll notice that the times when all parts are playing together seem even more noteworthy as to go from six lines to one instead of, say, four, is a more dramatic leap, creating a more dramatic sound.
The first movement really establishes this aesthetic from the off - it doesn't hold itself back, and launches straight into the first subject of its sonata form with no introduction. We hear an instant dissonance which is quickly resolved, which lets us know we're in a tumultuous ride. This is contrasted by a more free-flowing second subject, yet which still showcases Tchaikovsky's extraordinary ability to write melodies with incredible intensity and emotion.
In the second movement listen out for how Tchaikovsky achieves a 'shimmery' feel in the accompaniment, and how he uses this to build intensity in a beautiful melody. Here's a good example of when to look out for six parts becoming one, and the effects that that has.
Movement three has an innate 'Russianness' about it, with its modal and catchy melody kept low amongst the tessitura of the ensemble, giving it a really folky and forceful yet fun feeling (alliteration not intended, but I wish it was). Finally, I think the fourth movement is a real lesson in the composition of an earworm - there's something very satisfying about those little chromatic descents in the second melody of the movement. And with a first melody which is fast and furious contrasting with a more grand sounding tune creates a final movement which I think stays with you, corny as it may sound, long after the music ends.
There is, of course, not room in a single blog post to go into the intricacies of a piece. However, I am hoping that this has given you a flavour of just how much can be gained from such a small ensemble - and of course I also hope you enjoyed the piece. Next week we'll look at a piece for 5 instruments, and also look at how the inclusion of one instrument that's an 'odd one out' can add new layers of interest.
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