Servais - Souvenir de Spa, Op. 2 (Urtext Edition, Piano Version)

François Servais (1807–66), a Belgian cello virtuoso and composer, is best remembered for his Six Caprices, Op. 11, but much of his output is made up of fantasias based on opera themes and folk songs. Souvenir de Spa was first penned under the title “Fantaisie pour Violoncelle,” dedicated to the Duchess of Looz. The published title page contains

François Servais (1807–66), a Belgian cello virtuoso and composer, is best remembered for his Six Caprices, Op. 11, but much of his output is made up of fantasias based on opera themes and folk songs. Souvenir de Spa was first penned under the title “Fantaisie pour Violoncelle,” dedicated to the Duchess of Looz. The published title page contains the new title of Souvenir de Spa with a dedication being ex-panded to read “composée et dédiée à madame la Duchesse de Looz Corsvarem [sp.].” Looz-Corswarem is a Belgian ducal family belonging to the Belgian and as reigning Princes of the Principality of Rheina-Wolbeck, they also belonged to the German nobility. 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."

Souvenir de Spa was so popular that it was quoted in works by Johann Strauss Sr. and Sydney Smith.

Our edition is based on the first editions published by Schott and Richault in 1844. The Schott solo part was used as the main source for our edition. Extra fingerings found in the Schott and Richault piano scores were also added to the solo part. The Richault solo part is much less detailed with regards to slurring and dynamics. We consulted both the published orchestral version as well as the manuscript for this edition. The manuscript differs too much to be considered a source for our edition, however, it demonstrates how the work was heard by its early audiences. The sources were graciously provided by the Servais Society.