Lysenko - Elegie "La Tristesse", Op. 39, No. 3 (Urtext Edition)

Mykola Lysenko (1842–1912) stands as a monumental figure in Ukrainian music, renowned for his role in shaping a national classical tradition. Born in Hrynky (near Kremenchuk, Poltava Oblast, Ukraine), early on, Lysenko studied in Kharkiv and Kyiv and later in Leipzig and St. Petersburg, where he cultivated a deep appreciation for Ukrainian folk music and wove its themes into his compositions. His works, ranging from operas and choral pieces to piano miniatures and chamber music, reflect a devotion to Ukrainian culture that defined his career. Lysenko’s dedication to this cause earned him admiration as a composer and a cultural leader.

Among Lysenko’s chamber works is the Elegie “La Tristesse,” Op. 39 for cello and piano. Originally written as a piano miniature titled “Журба” (sorrow) in Album from the Summer of 1901, the piece was part of a series of three piano collections composed during the summers of 1900, 1901, and 1902. Later, Lysenko arranged “Журба” for cello and piano, renaming it “Сум” (sadness).

The Elegie exhibits a striking kinship to works by Chopin, Massenet, and Tchaikovsky. Its introductory cello cadenza recalls Chopin’s Cello Etude (Op. 25, No. 7), both in its dramatic flair and expressive style. The slow theme, which forms the backbone of the piece, suggests Massenet’s Elegie (Op. 10, No. 5), not only in its title and key but also in the lyrical shape of its melody, as well as a hint at Tchaikovsky’s Eugene Onegin (Act II, Lensky's Aria). The middle section, a gentle waltz, seems inspired by Tchaikovsky’s Eugene Onegin (Act II, Mazurka “Ты не танцуешь, Ленский?”  and Act III, “Ужель Татьяна?”), while the counter-melody introduced in the final slow statement resembles Tchaikovsky’s Nocturne (Op. 19, No. 4).

Structurally, the Elegie follows an AABA form. It begins with a soulful cadenza in the cello, setting a reflective tone for the first appearance of the slow theme. Originally placed in the left hand of the piano, this melody, in the cello arrangement, is transferred to the instrument’s warm middle register, with the piano providing a syncopated accompaniment reminiscent of Chopin and Massenet. In the second statement, the cello takes on a newly composed counter-melody, creating an interplay with the piano’s reprise of the theme. The middle section transitions to a slow waltz, where the cello assumes the melody and the piano part is slightly recomposed for clarity and balance. When the opening theme returns, the cello again takes the melody, while the piano introduces a yearning counter-melody reminiscent of Tchaikovsky’s Nocturne.

Lysenko’s Elegie occupies a special place in the tradition of cello miniatures. Its cello and piano arrangement aligns it with works like Massenet’s Elegie (arranged for cello by the composer), Tchaikovsky’s Nocturne (arranged by Wilhelm Fitzenhagen), and Chopin’s Cello Etude (arranged by Alexander Glazunov in 1900). These pieces were immensely popular among cellists of the time, and Lysenko’s contribution to the genre demonstrates his skill in adapting his piano works to meet the expressive potential of the cello.

This edition of Lysenko’s Elegie is based on the publication by Léon Idzikowski (plate number 100) in Kyiv, likely issued between 1901 and 1905. Any deviations from the source are marked with brackets.