Gilels's playing is leonine and fiery, and his virtuosity is never less than imposing. There is much poetry, too...

-- Gramophone [6/1983]
reviewing the first CD release of the Gilels/Mehta Piano Concerto, CBS 36660


David Oistrakh plays...with the total skill and musicianship which seem as rewarding today as they did 20 years ago... [T]he Philadelphia strings are both very strong and very impressive.

-- Gramophone [12/1982]
reviewing an LP release of the Oistrakh/Ormandy Violin Conceto, CBS 60312

"Michael Tilson Thomas made some excellent records with the Philharmonia in the ’80s, and although I hadn’t come across this particular performance before, knowing this conductor’s flair for such music, I expected good things. I wasn’t disappointed.

The Nutcracker was the final ballet in Tchaikovsky’s great triptych, and was completed in 1891, a year during which the composer made a fatiguing concert tour of America and also suffered a nervous collapse. There is real justification in calling Tchaikovsky the father of the modern ballet score, and he effectively paved the way for dance-theatre music to be taken seriously. However, his first ballets were coolly received, and he was (as ever) wracked with self-doubt about this work, even after the premiere. This score has, of course, gone on to become one of his most popular scores.

Like Prokofiev’s Romeo and Juliet, The Nutcracker is most often heard in highlight form, but in fact works better when experienced complete. It’s just the right length, and has so many famous numbers that it seems ridiculous to condense it to 20 or 30 minutes. I do possess excerpt discs, but turn most frequently to my benchmark complete version, Ashkenazy’s Decca recording with the Royal Philharmonic. It has a spectacular sound, full, rich and wide-ranging, and a very useful fill-up is included, Glazunov’s masterpiece The Seasons. However, that set is at full price, so the real competition for this budget Sony release comes from Previn’s excellent LSO version (now on Classics for Pleasure, also without a filler), and Dorati’s marvellous Concertgebouw recording on a Philips Duo, which finds room for a substantial Sleeping Beauty selection (Fistoulari and the LSO).

The fact that Tilson Thomas can hold his own against anyone is immediately evident in the Overture, which has a Mendelssohnian lightness and graceful wit that is captivating. As a Bernstein protégé, MTT is a theatrical conductor through and through (listen to any of his Mahler or Copland records), so he is completely at home with the colour and drama of this great score. His pacing throughout is exemplary, on the fast side but with ensemble crisp and rhythms tight. All the famous dances of Act 2 are as infectious as one could wish for; listen to the delectable trumpet playing in the Spanish Dance, whilst the Russian Dance has tremendous weight and panache. The principals of the Philharmonia obviously relish the many solos that litter the score, and indeed the whole orchestra enjoy themselves enormously. I like the way Tilson Thomas gives due attention to Tchaikovsky’s exotic ‘special-effects’, including a child’s trumpet in C, children’s drums, a rattle and mechanisms suggesting cuckoos and quails. He even uses a ratchet and Irish whistle in the Grandfather’s Dance, while kazoos, toy snare drums and a children’s cap gun are used in The Battle. Marvellous fun!

The whole performance has a flair and feeling of ‘rightness’ that are very captivating. The conductor never loses sight of the famous adage that ‘there is a lot of ballet in Tchaikovsky’s symphonies, and a lot of the symphony in his ballets’. He gives everything its due place, so one feels an organic growth in the piece, rather than a succession of set-pieces. Listening to these discs was as satisfying as any of the competition I had to hand, and in many ways the short playing time ceases to be an issue in the face of a great performance. Recording quality is also well up to scratch, with a full-bodied richness that matches the playing...highly recommended."

-- Tony Haywood, MusicWeb International

TCHAIKOVSKY Manfred Symphony. The Voyevoda • Vasily Petrenko, cond; Royal Liverpool PO • NAXOS 8.570568 (68:51)


This latest entry to Naxos’s Tchaikovsky series introduces the young and extraordinarily gifted conductor Vasily Petrenko (b. 1971), whose only previous exposure on discs seems to be a performance of Prokofiev’s The Gamblers (Avie), highlights from Tchaikovsky ballets (Avie), and the two Liszt piano concertos and Totentanz (Naxos). Remember you heard it here first: this is a conductor of the very first rank. In another world, with the right publicity behind him, he would be another Karajan or Markevitch. He would sell records.


I’ve been a fan of Tchaikovsky’s Manfred for decades, having first heard the recording by Toscanini. At the time I wasn’t aware that, for reasons known only to himself, he made numerous little one- and two-bar paper cuts in the first three movements, then excised a whopping 118 bars from the last movement, but I quickly discovered this when I heard the original recording by Fabian Sevitzky and the Indianapolis Symphony (Victor, 1942). I’ve also heard the recordings of Mariss Janssons, Andrew Litton, Riccardo Muti, Mikhail Pletnev, Michael Tilson Thomas, Constantin Silvestri, and Paul Kletzki. I never heard Raymond Leppard’s recording, but I heard Leppard conduct it in person with the Cincinnati Symphony many years ago. It is etched in my mind as one of the finest, most lyrical versions I’ve ever heard, much like a performance of Guido Cantelli (I told Leppard as much; he admitted that as a young musician working in England, Cantelli’s work with the Philharmonia Orchestra subconsciously influenced him a great deal).


Yet all of these performances, even Toscanini’s (ignoring his cuts in the score), tended to let me down in an overall assessment of the work. The only one I currently own is the Muti, so I will make a direct comparison of him to Petrenko. Muti is actually quite good for a non-Russian; he follows the score tempos and most (but not all) of the phrase markings closely. But, like all the conductors whose versions I’ve heard, even the Russian Pletnev (who is, in my view, vastly underrated), there is an essential life-force, you might say a “soul of Russia” feeling, missing from their recordings.


You can hear it in the way Petrenko conducts the very first movement, taken at quarter note = 66 rather than the score tempo of quarter note = 60. This may seem a radical shift, but in practice it’s not so great. The principal reason why the music sounds much faster is that Petrenko keeps nudging the beat forward, even in the Lento lugubre section, as well as strictly observing—as even Toscanini did not—the phrase marks that are clearly meant to bind the phrases together. This even extends to the dragging notes in the lower strings (violas, cellos, and basses) where Tchaikovsky very clearly marked these notes with long accents (>) rather than alla breve markings (^), which is how they are normally phrased. In addition, he moves the music forward even after pauses that follow agitated passages and introduce more lyrical ones. In this way, he creates a sound picture in the manner of such great Russian conductors as Markevitch, Coates, Svetlanov, Temirkanov, and Gergiev, a style that combined forward propulsion and subtle rubato with a peculiarly Russian string tone, warm yet edgy. In Petrenko’s hands, the Royal Liverpool Philharmonic suddenly becomes, by a startling form of alchemy, the Moscow State Orchestra. This performance doesn’t just speak Tchaikovsky; it speaks Russian, with all its visceral earthiness and thick consonants. The soul of Tchaikovsky is laid totally bare. We are deep in his subconscious.


Yet another example of this is the way he conducts the second movement. Here he is not as fast as many conductors, certainly slower than Muti; but whereas Muti conducts in a rather choppy Italianate fashion, Petrenko phrases in a legato fashion, even when scrupulously observing the staccato markings in the flute and piccolo passages. The result, if one does an A-B comparison, is that Petrenko actually sounds faster than Muti, even though his tempo is more relaxed, taken at the score tempo of quarter-note = 120, while Muti cranks it up two notches to 132. His third movement is very Svetlanov-like, an Andante with plenty of con moto , and his last movement is the most fiery I’ve heard since Sevitzky’s original 1942 recording. (The rest of Sevitzky’s reading was rather static to my ears, but in the last movement he is even more exciting than Toscanini is, and he does not chop out 118 bars as the Italian maestro did.)


There are a few other recordings of the tone poem Voyevoda available (10, to be precise), including good ones by Claudio Abbado (who “speaks” Russian pretty well for an Italian), Antal Dorati, Markevitch, and Leonard Slatkin (Russian by heritage). Petrenko pushes them all into oblivion. This Voyevoda is musically erudite, to be sure, but it also displays almost the same passion and intensity as Pique Dame or this version of Manfred.


If you’re a fan of Manfred, you simply cannot pass this disc up. If you’ve never been a fan of Manfred, you must hear this performance before you make your final decision on the work.


FANFARE: Lynn René Bayley

As sparkling and invigorating a Swan Lake as anyone could wish, with the LSO in top form throughout and clearly enjoying themselves.

...The new recording from Michael Tilson Thomas doesn't include the added Prince Siegfried/Odile pas de deux..., but it has everything else in its favour and is fitted comfortably on to a pair of CDs. The break, however, comes in the middle of the "Danses des cygnes" divertissement, about seven minutes before the end of Act 2. The recording, made in Watford Town Hall, is first class in every way; full and vivid, nicely balanced with a fine concert-hall effect, and certainly spectacular in the climactic moments, which Tilson Thomas clearly relishes (and so do the brass and percussion, which are placed in convincing perspective). Without losing the rhythmic ballet feel, Tilson Thomas treats the score slightly more freely than the other conductors..., the ebb and flow of phrasing and tempo less determined by the demands of the theatre, more by the way he feels the music's natural flux. This is immediately demonstrated in the Introduction to Act I, with its opening languor, followed by a fairly swift accelerando to the climax and enormous energy from the strings in the Allegro giusto which opens the act. Indeed, the lively numbers (the motto vivace coda of the Act 1 pas de deux, for instance) are as sparkling and invigorating as anyone could wish.

The LSO are on top form throughout and clearly enjoying themselves. The string phrasing is warm and polished and the two string soloists, Alexander Barantschik (violin) and Douglas Cummings (cello) are splendid... [T]the LSO wind soloists offer much to seduce the ear and continually demonstrate the composer's wonderfully imaginative orchestral palette. -- Gramophone [4/1992]

TCHAIKOVSKY: SYMPHONY NO 5, SE

TCHAIKOVSKY: SYMPHONY NO 4, FA

THE ROYAL EDITION - TCHAIKOVSK

"The gem of this disc is the Wieniawski concerto, with which Heifetz not only created a sensation on his American debut at the age of 16 but which he was the first to record. A virtuoso work par excellence, it affords him infinite opportunities to display his phenomenal brilliance, impeccable intonation and (in the Romanze) beautiful phrasing and soulfully emotional tone—which, as all violinists observe with fascination, owes much to his individual fingerings. The tuttis in this work have been somewhat cut, but that is of little consequence in a purely solo vehicle like this. The perfection of his rapid spiccato bowing in the finale is enough to make mere mortal string players despair. The recording still sounds well after nearly 40 years."

-- Lionel Salter, Gramophone [11/1992]

"The emotional fabric of this music draws a warm response from Ormandy and the Philadelphia to produce fine accounts of both the Sixth Symphony and Romeo and Juliet. The introduction to the Sixth is suitably full of expectation, and the third movement full of vitality. Both the playing and sound quallty are superb." Performance: 5 (out of 5), Sound: 5 (out of 5) -- Nicholas Rast, BBC Music Magazine

"One of the recurring pleasures of the introduction of the Compact Disc is the unexpected appearance of rare repertoire—here for instance some virtually unknown music of Tchaikovsky—when not all the symphonies are yet available in that format. I praised the original LP set from all points of view—enterprise, first-rate performances (Geoffrey Simon is a splendid Tchaikovskian) and superb recording. The LPs (and tapes) were so good that one could not expect the CDs to be so much better. Yet they are very impressive...
It is the Hamlet incidental music that resonates in the memory most strongly—there is some really lovely music here—especially the two entr'actes for strings, which show the composer at his most inspired and they are beautifully played. The recording gives the most natural and delicate effect, enhanced by the background silence, while the wide dynamic range is most effective in the more histrionic passages included here.
This is a set not to be missed by any dedicated Tchaikovsky-lover..."

From the GRAMOPHONE review of the original CD release (Chandos 8310/1)

PIERRE MONTEUX EDITION VOL 14

Benchmark recordings of Tchaikovsky -- many aspiring pianists may think of changing professions after hearing Graffman soar through these iconic works with such dazzling élan.

At last. Gary Graffman's recordings of Tchaikovsky's Second and Third Concertos were the ones which introduced me to these works. They have remained my benchmarks ever since, the admirable couplings by Haas, Douglas, Gilels, Pletnev and others notwithstanding and despite the second movement of the Second being in the truncated Siloti edition. As Graffman makes clear in his entertaining memoir I Really Should Be Practicing (Doubleday: 1981) — among the best of pianists' autobiographies — Ormandy was a prince of accompanists. The two artists had known each other for 20 years and it shows. There are many memorable passages, among them the conclusion of the Second Concerto's volcanic central first-movement cadenza when the orchestra re-enters with the opening subject (15'58"), initially failing to subdue Graffman's ecstatic quasi-trill at the top of the keyboard; and a similar moment in the Third Concerto when Ormandy introduces (11'05") some crunching off-beat cymbal crashes.

Szell also proves a convivial, alert partner in the First Concerto, providing deft touches that lift this account above the ordinary. Listen, for instance, to the syncopated brass figure beneath the apotheosis of the last movement's second subject. If Graffman eschews the demonic brilliance of Horowitz, his reading is all about Tchaikovsky. Horowitz's is more about Horowitz.

To complete this all-Russian programme, there is Graffman's compelling Mussorgsky where once again he creates, well, pictures that live in the memory: 'Bydlo' appears in the misty distance, lumbers by and vanishes again (superb), while the unhatched chicks are played with a rare sense of fun. Finally, there is Islamey. Many aspiring pianists may think of changing professions after hearing Graffman soar through this iconic barnstormer with such dazzling élan.

-- Jeremy Nicholas, Gramophone [1/2006]

This is singing of Russian song at its finest, intense yet personal, eloquent but never straying into the operatic.

Only a third of the songs on this fourth volume of Conifer's complete Tchaikovsky (previous issues were reviewed in 8/96 and 1/97) are sung by Leiferkus, but they include some of the finest, and the Finest performances. There is a superb irony in his singing of As they reiterated, "Fool!", as he curls his voice around the phrases and hardens his tone into a snarl for the reproach to the drunkard; yet the cavernous pain in one of Tchaikovsky's strangest songs, In dark Hell, matches without any emotional distancing the poem's grim mood. With Exploit he controls the growth of tone towards the climax superbly, then dropping to a hushed, exhausted quality for the quiet final verse.

This is singing of Russian song at its finest, intense yet personal, eloquent but never straying into the operatic. Nina Rautio is not so sure-footed. At her best, she can respond with grace and a fresh sense of colour, as with the pretty Pimpinella. In Sleep she pays close attention to the words, which hold the key (as so often with Tchaikovsky) to phrasing that can be elusive. But when less at ease with a song, she can take refuge in operatic declamation of a kind that loses the idiom, as with Softly the spirit, or snatch at the phrasing, as with Thy radi ant image. The setting of Mignon's Kennst du das Land (in Tyutchev's translation) is more successfully handled, not least because of the beautiful playing ofSemion Skigin. He has the idiom of these songs in his veins, and the skill to match his singers and respond to the best in them. There is no finer Russian song pianist performing today.

-- Gramophone [7/1998]

Classical Music

Romantic Choir Music

Famous Classics, Volume 3

Suite No. 2, Capriccio Italien

Les Saisons, Album pour Enfant

Like the Brahms symphony series by Lønskov/Llambias piano duet (KPT 32120, KPT 32128, KTP 32138, KTP 32148) which are enjoying continuing success in many markets in the world, this series of Tchaikovsky’s orchestral works for four hand piano is the original arrangements by the composer. And like the Brahms series, these are premiere recordings.

BERNSTEIN FAVORITES- TCHAIKOVS

BERLITZ PASSPORT - THE MUSIC O

Tracks:
1. PYOTR ILYICH TCHAIKOVSKY - VIOLIN CONCERTO IN D MAJOR, OP.35
2. MAX BRUCH - VIOLIN CONCERTO NO.1 IN G MINOR, OP.26

Classical Music

Includes work(s) by Boris Tchaikovsky. Ensembles: Volgograd Philharmonic Orchestra, Saratov Conservatory Symphony Orchestra. Conductors: Eduard Serov, Kirill Ershov.

TCHAIKOVSKY: 1812 Overture / Romeo and Juliet / Capriccio It