Servais - Souvenir de la Suisse, Op. 10 (Urtext Edition)
  • Servais - Souvenir de la Suisse, Op. 10 (Urtext Edition)
  • Servais - Souvenir de la Suisse, Op. 10 (Urtext Edition)
  • Servais - Souvenir de la Suisse, Op. 10 (Urtext Edition)

Servais - Souvenir de la Suisse, Op. 10 (Urtext Edition)

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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

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.

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