The Servais Urtext Series present a number of Urtext editions of the most famous works by François Servais (1807-1866), made by Yuriy Leonovich in collaboration with the Servais Society. The printed versions can be ordered through the Servais Society. They are also available as digital download on https://yuriyleonovich.com/sheet-music-store
François Servais, Souvenir de Spa. Fantaisie, opus 2
Urtext Edition by Yuriy Leonovich – 2022
cello & piano – 13 + 20 p.
Souvenir de Spa, like many other fantasies by Servais, is constructed in variation form. The theme seems to be Servais’s own but has thematic and rhythmic similarities to Beethoven’s Septet, Op. 20, opening movement. The work begins with an introduction in A minor, followed by a cadenza and an accompanied recitative. The A-major theme is a rather lengthy 48 bars. Since the theme is on a longer side, Servais opts for a four-variation model. The first two variations are harmonically similar to the theme. The third variation is slow, lyrical, and chromatic, almost Wagnerian in places. The final variation is rhythmically identical to the finale from the Grande Fantaisie sur des motifs de l’Opéra le Barbier de Séville de Rossini, which is based on “La testa vi gira.”
François Servais, Caprice sur Le Comte Ory, opus 3
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 8 + 14 p.
cello & 2nd cello – 8 + 5 p. (+ score 14 p.)
Caprice based on themes from Rossini’s opera Le Comte Ory exists in two versions, one for cello and piano and the other for two cellos. In both versions, the cello solo part is identical.
In form, the Caprice is an elder sibling of Fantaisie sur deux Airs Russes, Op. 13. Both works are in two parts. The first part of the Caprice contains two variations on the a cappella ensemble from Act II, Scene 1, “Oh voi generosa vedete qual pena.” Specifically, the theme comes from the optional piano part of the piano score. The second part of the Caprice comes from the Count’s Cavatina “Astro sereno brilli” (Act I, Scene 3).
François Servais, Fantaisie et Variations brillantes sur la Valse Le Désir de Schubert, opus 4
Urtext Edition by Yuriy Leonovich – 2021
cello & piano – 11 + 21 p.
cello & quintet (cello solo, score & quintet parts)
Fantaisie et Variations brillantes sur la Valse de Schubert intitulée le Désir began its life as “Hommage à Beethoven.” Although the waltz was rightly published under Franz Schubert’s name by Diabelli ca. 1822 as “Trauer oder Sehnsuchts Waltzer,” it was misattributed by another publisher as being by Beethoven. After this misattribution, the waltz became known as being by Beethoven. Carl Czerny’s ca. 1821 variations on this theme are simply known as “Variationen über einen beliebten Wiener-Walzer.” Friedrich Kummer still attributes his variations to be on a theme by Beethoven in 1835, but by 1844 Servais had renamed his “Hommage” to a “Fantaisie” on the theme by Schubert. However, Servais left “Le Désir” as the subtitle of the waltz instead of the original “Trauerwalzer” or “Sehnsuchtwalzer.”
François Servais, Concerto en si mineur pour le Violoncelle, opus 5
Urtext Edition by Yuriy Leonovich – 2022
cello & piano – 19 + 38 p.
Servais’s B-minor Concerto consists of three movements. The outer movements are in sonata form, although the recapitulation of the first movement is truncated after the orchestral return of the first theme. After the grand pause, the second movement, Adagio cantabile, enters with strumming strings accompanying a serenade-like melody in the cello part. The finale is a tour-de-force for the soloist. The second theme of the finale is initially presented in the subtonic key of A major, returning in B major in the recapitulation. While there is no tempo change indicated, the coda of the finale is typically taken at a slower tempo because of the increase in the surface rhythm. This coda was, arguably, influenced by Rossini and Donizetti. The motive found in the upper strings could have in turn influenced the coda of Pyotr Tchaikovsky’s Variations on a Rococo Theme. The major-minor figuration in the last few measures of the solo part is similar to the one found at the end of Servais’s Le Désir.
François Servais, Grande Fantaisie sur Le Barbier de Séville, opus 6
Urtext Edition by Yuriy Leonovich – 2021
cello & piano – 13 + 24 p.
cello & quintet (cello solo, score and quintet parts)
One of the most interesting of Servais’s fantasias is the Grande Fantaisie sur des motifs de l’Opéra le Barbier de Séville de Rossini, Op. 6. The Grande Fantaisie is in 4 parts, resembling a mini sonata. Our new edition of this work is based on the first edition, originally published by Schott in 1848, graciously provided by the Servais Society, faithfully combined into a beautiful, newly engraved, Urtext edition. The holograph manuscript from 1843 was also consulted. However, the 1843 version of the Grande Fantaisie is much too different from the final version to consider as a source.
François Servais, Fantaisie Burlesque ou Le Carnaval de Venise, opus 9
Urtext Edition by Yuriy Leonovich – 2022
cello & piano – 12 + 23 p.
cello & quintet (cello solo, score and quintet parts)
Carnaval de Venise was first penned under the title “Fantaisie Burlesque,” dedicated to Arkady Rachmaninoff, the paternal grandfather of the famous Russian composer. The published title page retains the title of “Fantaisie Burlesque” but adds the subtitle “ou le Carnaval de Venise.” Many composers used this theme of “Cara mamma mia” for their variation sets, including Niccoló Paganini and Heinrich Ernst for violin, and Friedrich Dotzauer for cello. The latter set was published only a year prior to the set by Servais, in 1850.
Carnaval de Venise, like many other fantasies by Servais, is constructed in variation form. The introduction is based on a song about Pulcinella. This melody makes another appearance later in the Fantaisie finale beginning in m. 278. The main theme of the work is the aforementioned melody “Cara mamma mia.”
The Fantaisie has two key centers and some chromatic peculiarities. The introduction centers around the key of A, both major and minor. The recitative that follows begins in A minor and makes the music seem like it will return to A major, but then abruptly turns to C major for the “Cara” theme. The “Cara” theme is treated with two variations, exploring octaves, trills, up-bow staccatos, and the entire range of the cello. Variations 1 and 2 are followed by a short, orchestral interlude and a longer, unnumbered, slow variation in E major. The next interlude is lengthier than the first. The finale begins with the Pulcinella melody in A major. In one of the Pulcinella iterations, at mm. 286-293, the tonality is obscured with chromaticism. The rest of the work is filled with virtuosic arpeggiation in the solo part, while the orchestra mixes the Pulcinella and “Cara” themes.
François Servais, Souvenir de la Suisse, opus 10
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 10 + 22 p.
Souvenir de la Suisse was before 1830 with the title Fantaisie brillante: intitulée concertino. The first known performance happened on 8 January 1830. The work is based on a Ranz des Vaches, likely of Servais’s own composition. The last page of the manuscript cello part is signed “vaque mon ami Poumback [sic].” Jan Poumbak was Servais’s whimsical pseudonym.
The theme in the manuscript is very simple and in 3/4 time. Servais reworked and elaborated on the theme for the published version. The rhythms used in the reworked theme are almost identical to the Alp song ” Und a Freud is auf’n Land,” which Servais used in his Fantaisie, Op. 1. Besides the elaborate theme, the only other major difference is the first variation. Everything else is intact, with minor changes. The Fantaisie brillante was dedicated to the Queen Louise-Marie of Belgium, who predeceased the publication by several months.
A unique aspect of Souvenir de la Suisse is that Servais does not have the soloist play during the tutti sections as he does in most of his other works. Souvenir de la Suisse exists in versions with piano, string quintet, and orchestra. It is composed of four sections. The opening is a dramatic tutti in B minor followed by a recitative. The second section is in G major and is pastoral in nature. This is where the Ranz des Vaches is introduced. The next section is a theme with three variations. The theme is in D major, as are the first two variations. The second variation is a polonaise. The third variation is operatic, in B-flat major, and contains several cadenzas. The finale begins in B-flat major but moves to G major soon after.
François Servais, 6 Caprices, opus 11
Urtext Edition by Yuriy Leonovich – 2021
cello & 2nd cello (cello solo, 2nd cello, score) – 25 + 15 + 33 p.
Say the word “caprice,” and our minds immediately go to Paganini and Piatti. However, other composers also wrote caprices as studies, among them François Servais (1807-66). Our new edition of Servais’s 6 Caprices is based on the two first editions, Richault (French) and Schott (German), graciously provided by the Servais Society, faithfully combined into a beautiful, newly engraved, critical edition. Our edition is the first to include a score of the two cello parts. All the textual variants between the two first editions are noted in the footnotes. Our edition also comes with separate parts, which include Servais’s original fingerings.
François Servais, Caprice, opus 11 n°2
Arr. Louis Lübeck for cello & piano
Urtext Edition by Yuriy Leonovich – 2021
cello & piano – 3 + 7 p.
François Servais (1807–66), a Belgian cello virtuoso and composer, is best remembered for his Six Caprices, Op. 11. Caprice No. 2 is a perpetual motion in rondo form, exploring the spiccato bow stroke. This Caprice was arranged for cello and piano by the Dutch cellist Louis Lübeck (1838–1904). The cello part is virtually the same as Servais’s original, however, Lübeck adds several fingerings for clarification as well as very specific dynamics to aid with phrasing. The piano part is freely composed, rarely using material from the original second cello part. This arrangement would make a brilliant encore. Our edition is based on the arrangement published by Schott, graciously provided by the Servais Society.
François Servais, Fantaisie sur deux airs russes, opus 13
Urtext Edition by Yuriy Leonovich – 2021
cello & piano – 9 + 17 p.
cello & quintet (cello solo part, score, quintet parts)
Servais had a close relationship with Russia, Ukraine, and Poland, and his compositions reflect this. He first went to Russia in 1839–40. According to Peter François, this is when Servais composed and performed Fantaisie sur deux Airs Russes for the first time. This Fantaisie is based on the songs Соловей (The Nightingale, 1827) by Aleksandr Alyabyev (1787–1851) and Красный сарафан (The Red Sarafan, 1838) by Aleksandr Varlamov (1801–48). Servais dedicated this Fantaisie to Count Mikhail Vielgorsky (1788–1856), a Russian official, composer, and patron of the arts. Mikhail’s brother Matvey, an amateur cellist, was the dedicatee of Servais’s Morceau de Concert, Op. 14, and Felix Mendelssohn’s Cello Sonata No. 2.
Our edition is based on the first edition published by Schott 1854. The Richault edition was also consulted for the solo cello part. The sources were graciously provided by the Servais Society.
François Servais, Morceau de Concert, opus 14
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 11 + 25 p.
Servais composed three concertos for the cello and orchestra as well as a Morceau de Concert, a one-movement concert piece. Morceau de Concert, Op. 14 began as Cello Concerto No. 2, as is inscribed to Count Mathieu Wielhorsky (1794–1866). Wielhorsky, a cellist and composer, came from Polish nobility. He was the dedicatee of several notable works including Mendelssohn’s Cello Sonata No. 2 and Schumann’s Piano Quartet, among others. Morceau de Concert is less technically rigorous and much more melodic than its sibling concertos.
François Servais, Fantaisie sur La Fille du Régiment, opus 16
Urtext Edition by Yuriy Leonovich – 2021
cello & piano – 9 + 22 p.
cello & quintet (cello solo part, score, quintet parts)
Fantaisie et Variations sur des motifs de l’Opéra la Fille du Régiment de Donizetti, Op. 16 was among Servais’s more famous works, especially posthumously. It influenced the next generation of Romantic era composers like Karl Davydov, David Popper, and Antonín Dvořák.
The Fantaisie et Variations is in 5 parts, with all of the section having A, either major or minor, as the tonal center. The opening theme of the Fantaisie et Variations is a minor version of “Chacun le sait chacun le dit.” This is the only section where the solo cello has an obligatory tacet. A recitative, based on “La voilà! La voilà…” follows the introduction. The theme and four variations on “Chacun le sait chacun le dit…” are the centerpiece of the Fantaisie. Each variation explores one or two techniques: var. 1 – long shifts and string crossings; var. 2 – long bows and syncopated bowing; var. 3 – artificial harmonics; var. 4 – octaves. It is important to note that David Popper’s Etude Op. 73, No. 38 is based on the figuration found in mm. 225-232 of this Fantaisie, a figure that Victor Herbert also used in his Second Cello Concerto. The Fantaisie continues with the Romance “Il faut partir mes bons compagnons d’armes” and finishes with the Finale, based on “De cet aveu si tendre…” The figuration in mm. 324-337 was famously memorialized in the first movement of Antonín Dvořák’s Cello Concerto, Op. 104.
François Servais, O Cara Memoria, mélodie de Carafa. Fantaisie et Variations, opus 17
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 10 + 19 p.
Fantaisie et Variations based on “O cara memoria” by Michele Carafa (Caraffa) (1787–1872) was first published in February 1860 and dedicated to Baron Arthur O’Sullivan de Grass (1838–1865). “O cara memoria” comes from Carafa’s opera Adele di Lusignano (or Adelaide). Other themes may have been used, however, since the complete opera score is not extant currently, it is not possible to confirm this hypothesis.
Fantaisie et Variations begins with a dramatic orchestra introduction followed by a series of variations. A version of the theme is stated in the recitative (m. 17), followed by another iteration by the orchestra (m. 36). The official “Tema” is stated at measure 66. The theme is followed by variations marked 1, 2, and 3. The fourth variation, slow barcarolle, is not marked. This is followed by the restatement of the theme and a finale.
François Servais, Concerto militaire, opus 18
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 15 + 32 p.
Servais composed three concertos for the cello and orchestra as well as a Morceau de Concert (called Concerto No. 2 in the autograph). The Concerto Militaire was the last concerto published during Servais’s lifetime. It was dedicated to King William III (Guillaume III) of the Netherlands. King William III received many other dedications such as David Popper’s Polonaise Op. 14, Henry Vieuxtemps’s Cello Concerto No. 1, and Ambroise Thomas’s opera Le songe d’une nuit d’été.
The “concerto militaire” subgenre has been explored by many composers after the French Revolution. The works typically include two or three marches, depending on if the slow movement is a funeral march, and usually include an extra set of percussion such as a snare drum, bass drum, cymbals, and a triangle, not typically found in early-Romantic Era concertos. Other representative works from this subgenre include Concerto Militaire by Jacques Offenbach and the Sixth Cello Concerto by Bernhard Romberg.
Servais reused a theme from Souvenir d’Anvers in the G-major section of the Rondo.
François Servais, Quatre Morceaux de Salon, op. posth.
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 13 + 27 p.
Quatre Morceaux de Salon is a set of pieces for cello and piano. These works are arguably the composer’s shortest. It is difficult to date these works, as the set was published posthumously. However, comparing the style and musical language to the 1830s manuscripts and published works, it is, perhaps, better to place these works in the 1860s.
In the overall style, these pieces are best classified as pastiches. Whether intentional or not, Servais imitates the language of other composers while keeping his own style of cello writing. Here are the proposed composers whose music Servais is evoking: Schumann (1), Schubert and/or Rossini (2), Rossini (4). No. 3 is based on Ferdinand Fürchtegott Huber’s “Ach! wie churze-n-üsi Tage!” found in Sammlung von Schweizer-Kühreihen und Volksliedern. Servais also used this melody in his Fantaisie La Romantique.
To date, only the No. 2 has been recorded simply as “Piece” by Anner Bijlsma and Gérard van Blerk in 1975, released by Dutch Record Company (OM 555 027). The No. 3 was published by Harcourt, Brace and Co., New York in 1935 in a collection Pieces for violoncello: classic, romantic, modern edited by Albert E. Wier.
François Servais, Fantaisie Caprice pour deux violoncelles, op. posth.
Urtext Edition by Yuriy Leonovich – 2023
cello & 2nd cello – 6 + 4 p. (+ score 9 p.)
Fantaisie Caprice is a sister piece to the famous Caprices, Op. 11. It was likely composed in the 1830s. Fantaisie Caprice is in D major and in ternary form. The techniques explored in this work range from simple melodies, to thirds, to wide arpeggios in thumb position.
Our edition is based on the autograph from the Brussels Conservatory Library (shelf number 45.113). Since this work is only available in manuscript form, it is not known what revisions Servais would have done to prepare it for publication. Servais tended to make moderate to heavy revisions to his works before having them published. Our goal was to reproduce the manuscript source as faithfully as possible. Any deviations from the original text were marked with editorial markings as well as in footnotes.
François Servais, Fantaisie sur La Muette de Portici, op. posth.
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 5 + 13 p.
Fantaisie pour Violoncelle was likely composed for his young student Henri Possoz (1827–97). The first known performance by Possoz of the Fantaisie happened on 4 September 1837. This work is arguably the easiest work Servais composed, around the level of Suzuki Cello Method Books 4 and 5.
While the themes of the Fantaisie are not identified by Servais, the work is based on Auber’s opera La Muette de Portici. The majority of the Fantaisie comes from the opening sequence from Act I. The opening tutti uses the material of the Act I introduction. The cello entrance is based on Elvire’s aria “A celui que j’aimais” from Act I. The theme and one variation come from the following part of the aria, “O moment enchanteur.” The slow section is based on Masaniello’s Cavatine from Act IV, “Du pauvre seul ami fidèle.” The finale brings the music back to Act I, the Air de Ballet.
Our edition is based on the manuscript in the hand of Ulysse Claes (MS 45.114) housed at the Brussels Conservatory Library.
François Servais, Fantaisie sur La Folle, op. posth.
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 9 + 18 p.
cello & quintet – score and parts
Fantaisie sur La Folle is an early work holding close kinship to Fantaisie brillante: intitulée concertino, an early version of Souvenir de la Suisse. The romance La Folle by Albert Grisar (1808–1869) was first published in late 1834; many variations on the song followed in 1835 and 1836. It is likely that Servais composed his variation set at this time as well.
The Fantaisie begins with a short tutti section. The transition between the tutti and the solo theme is a simple statement of the head motive. This head is not used in the theme or the variations. The theme begins at “ah! oui je me souviens.” Three numbered variations follow the theme. Every variation is followed by tutti sections. The song-like fourth variation could stand in for a slow movement of a concerto. The finale is in three parts: a transition, the fifth variation (a march) and the coda. The coda is almost identical to the Fantaisie brillante.
Our edition is based on the manuscript cello solo part in the hand of Ulysse Claes (MS 45.106 (5)) housed at the Brussels Conservatory Library. The piano part is not extant. The piano part and an orchestration for string quintet were reconstructed, occasionally bringing in material from Fantaisie brillante. This is the first edition of Fantaisie sur La Folle.
François Servais, Fantaisie La Romantique, op. posth.
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 9 + 18 p.
cello & quintet – score and parts
Fantaisie La Romantique is one of Servais’s earliest successes as a composer. The first known performance of the work occurred on 6 December 1834; it was one of his major concert pieces he programmed for almost a decade. Fantaisie La Romantique exists in versions for cello with piano accompaniment and with string quintet accompaniment. It also likely existed in a version with orchestra as the phrase “grand orchestre” is found in the first violin part. The autograph cello solo part is signed “Jan Poumbak,” Servais’s whimsical pseudonym.
Unlike many of Servais’s works that were based on a single theme or a set of themes from a unified work, Fantaisie La Romantique may be classified as a potpourri. In the early 1800s, potpourris contained popular, often unrelated, melodies. Other potpourris for cello and orchestra include Carl Maria von Weber’s Op. 20 and Johann Nepomuk Hummel’s Op. 95.
The original version of Fantaisie La Romantique began with a dramatic, 31-bar opening. The first 15 bars of this opening were transposed and reused in the published version of O cara memoria, Op. 17 (1860). Mm. 15-30 of the opening are a fugato on the coming cello theme. In the quintet version, mm. 3-30 were pasted over with a newspaper and m. 4 was rewritten to resemble m. 14 only in the tonic key. The piano introduction was rewritten to include only four bars. The cello part does not contain the tutti section in any form.
The first cello melody is based on Ferdinand Fürchtegott Huber’s “Ach! wie churze-n-üsi Tage!” found in Sammlung von Schweizer-Kühreihen und Volksliedern. Servais also used this melody in his Morceau de Salon No. 3, Op. posth.
The next section is a theme and a set of five variations. The theme and first two variations were included in the published version of Souvenir de Bade, Op. 20 (1863). The rest of the variations are not numbered. The third variation has a gypsy flair, accompanied almost exclusively by tremolo. The fourth variation does not seem to be related to the theme. It was published as the third variation in O cara memoria, Op. 17. The final variation is a polonaise. Near the end of the work, Servais quotes Sehnsuchtswalzer by Schubert.
Our edition is based on the autograph cello solo part and piano part in the hand of Ulysse Claes (MS 45.106 (1)). The piano part is a partial score. We have also consulted the string quintet version in the hand of Ulysse Claes (MS 45.107). All sources are housed at the Brussels Conservatory Library.
François Servais, Souvenir d’Anvers, op. posth.
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 13 + 27 p.
Souvenir d’Anvers was composed in the 1830s. The string quintet source also calls this work a Fantaisie. The first known performance of Souvenir d’Anvers happened on 3 December 1837 in Antwerp during a concert in the Salle du Musée (the present-day Académie des Beaux-Arts), in the rue de Vénus. Servais frequently visited Antwerp to play concerts and see friends. This likely inspired the composer to dedicate the work to the city.
Souvenir d’Anvers has existed in versions for cello with piano, string quintet, and orchestra accompaniments, however, the orchestra version is not extant. When the string quintet version is performed, the wind cues are to be played instead of the main line. This work is unique among the composer’s souvenirs and fantasias because it does not contain a variation set. Instead, Souvenir d’Anvers is best categorized as an adagio and allegro. Other representative works in the genre from the era include Carl Maria von Weber’s Andante e rondo ongarese, Op. 35, Felix Mendelssohn’s Capriccio brillant, Op. 22, and Robert Schumann’s Konzertstück, Op. 92.
Souvenir d’Anvers begins with a unison in F minor, based on the Hungarian minor scale. The soloist enters with a nostalgic melody in F minor. The only cadenza of length connects the adagio with the allegro section. The allegro section is a sonata-rondo. While Servais does not give the rondo a title, the feel of a “rondo alla Cosacca” (Ukrainian Cossack style) comes to mind with its rhythms and melodies. The rondo theme is in C major. The second theme is presented in G major in the exposition and in A-flat major in the recapitulation. This theme is later reused in the Rondo of Concerto Militaire, Op. 18 with slight adjustments and a different accompaniment. The figuration from mm. 351-399 is also used in the finales of the Op. 5 Concerto and the Grand Duo (co-composed with Henry Vieuxtemps). The coda begins with an identical figuration to variations in Fantaisie La Romantique (var. 4) and O cara memoria, Op. 17 (var. 3).
Souvenir d’Anvers is also unique among other works by Servais in that it does not use passages of octaves and thirds.
Our edition is based on the autographs of cello solo and piano parts (MS 45.106 (3)) as well as the string quintet version (MS 45.109) in the hand of Ulysse Claes. Three pages of the piano part have been rejected and do not fit the cello part. All sources are housed at the Brussels Conservatory Library.
François Servais & Henry Vieuxtemps, Grand Duo sur Les Huguenots
Urtext Edition by Yuriy Leonovich – 2023
cello & violin – 10 + 10 p. (+ score 15 p.)
A great specimen of a collaboration of the time comes in the form of the Grand Duo for violin and cello by François Servais (1807–66) and Henry Vieuxtemps (1820-81), both Belgian virtuosos. The Grand Duo is based on Meyerbeer’s opera Les Huguenots and is dedicated to Prince Nikolai Borisovich Yusupov [grandson] (1827–91), Marshal of the Russian Imperial Court as well as a violinist and composer. Notably, Yusupov transcribed Servais’s Souvenir de Spa and Fantaisie sur deux Airs Russes for violin.
Like many of the fantasies by Servais, this duo is in four parts consisting of an introduction, a set of variations, a slow section, and a finale. The introduction comes from the Overture based on the popular Lutharn chant “Ein feste Burg ist unser Gott.” The theme (and variations) come from Raoul’s Romance “Plus blanche que la blanche hermine” from Act I, Scene 2. The slow, third section comes from the Duo of Raoul and Marguerite “Beauté divine, enchanteresse” Act II, Scene 10, and the Finale from Act I, Scene 1d Orgie “Bonheur de la table.”
François Servais, Deux Mazurkas de Chopin
Urtext Edition by Yuriy Leonovich – 2023
cello & piano – 4 + 8 p.
Servais transcribed Chopin’s Mazurkas Op. 6 No. 1 and Op. 7 No. 3. Other than changing the keys, the text closely follows Chopin’s first edition. Servais’s version of these works was later expanded upon by Leopold Grützmacher in his set of 10 Mazurkas by Chopin.
Our edition is based on Schott published in July 1863. Ours is the first modern edition of this set.
François Servais, Nocturne de F. Chopin [opus 9 n°2]
Urtext Edition by Yuriy Leonovich – 2021
cello & piano – 2 + 2 + 4 p. (included: solo part with Leonovich’ fingerings)
cello & orchestra (cello solo part, score, string parts, flute 1 and 2, clarinet 1 and 2)
Frédéric Chopin (1810–49), a Polish pianist and composer, was a master of small form. His Nocturnes stand among the finest works for the piano. While composing in simple forms, Chopin was able to craft florid melodies. Many violin and cello virtuosos of the Romantic era recognized Chopin’s melodic genius and made numerous transcriptions of these works.
François Servais was one of the first cellists to transcribe the E-flat-major Nocturne, a work that is almost synonymous with the name “Chopin.” Servais transcribed this Nocturne for cello and piano in D major, a key better suited for the cello. This transcription closely follows Chopin’s original text, more so than later transcriptions by Pablo Sarasate and David Popper. In three places, Servais gives the cellist an “easy” and a “difficult” option. It is the “difficult” reading that is closest to Chopin’s original. From 1863 to 1938, Schott printed over 7,000 copies of the Servais’s transcription for cello and piano. In the 1910s, this transcription was recorded by Anton Hekking, Joseph Hollman, George Rogovoy, and Thomas Weist-Hill.
Nikolai Rimsky-Korsakov (1844–1908), a Russian composer and brilliant orchestrator, must have enjoyed Servais’s transcription enough to orchestrate it for solo cello, two flutes, two clarinets, and strings. Rimsky-Korsakov’s orchestration is straightforward, based on Servais’s piano part. The manuscript of the orchestration is located at the National Library of Russia and was discovered by the Servais Society.
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