Julius (Gyula) de Beliczay: Sérénade op.36 in d-Moll
1. Moderato ma non troppo (4:33)
2. Allegretto vivace (2:43)
3. Adagio cantabile (5:50)
4. Allegro con fuoco;
5. Allegretto vivace (6:16)

The first work to be heard on the recording is the four-movement Serenade for String Orchestra in D Minor Op.36 which was probably written before 1875. The Moderato ma non troppo first movement has lied-form with return. Variants of the first (minor) theme displaying various characters are present in each movement of the work. The augmented second interval and the following dotted rhythm lend the movement Hungarian character. The second (major) espressivo theme reappears on essential points of the second and fourth movements as well, always with identical meaning. The second movement in Allegretto vivace in trio form with a dance-like main section and Hungarian middle section in minor. The Adagio cantabile third movement shows again lied-form with return. It is in this movement that the greatest number of romantic elements of the Serenade can be found. The Allegretto vivace Finale is a monothematic rondo with fugue in the place of the second episode. In the Coda the espressivo theme of the first movement returns in the glory of the fifth pedal point of the bass and the first violins. The movement and the work end in virtuosic passages woven from the diminution of a section of the rondo theme.

Werkinfo

1. Moderato ma non troppo (4:33)
2. Allegretto vivace (2:43)
3. Adagio cantabile (5:50)
4. Allegro con fuoco;
5. Allegretto vivace (6:16)

The first work to be heard on the recording is the four-movement Serenade for String Orchestra in D Minor Op.36 which was probably written before 1875. The Moderato ma non troppo first movement has lied-form with return. Variants of the first (minor) theme displaying various characters are present in each movement of the work. The augmented second interval and the following dotted rhythm lend the movement Hungarian character. The second (major) espressivo theme reappears on essential points of the second and fourth movements as well, always with identical meaning. The second movement in Allegretto vivace in trio form with a dance-like main section and Hungarian middle section in minor. The Adagio cantabile third movement shows again lied-form with return. It is in this movement that the greatest number of romantic elements of the Serenade can be found. The Allegretto vivace Finale is a monothematic rondo with fugue in the place of the second episode. In the Coda the espressivo theme of the first movement returns in the glory of the fifth pedal point of the bass and the first violins. The movement and the work end in virtuosic passages woven from the diminution of a section of the rondo theme.

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