With this final volume of their Tchaikovsky cycle, Paavo Järvi and the Tonhalle-Orchester Zürich complete their exploration of the Russian composer's symphonies. Symphony No. 3, also known as the "Polonaise" (1875), is notable as Tchaikovsky's only symphony composed in the major mode. It is followed by another Polish-inspired piece, the Polonaise that opens the third act of Eugene Onegin (1879), his opera based on Alexander Pushkin's novel of the same name. The program ends with a work commissioned by the city of Moscow for the coronation of Tsar Alexander III, the Festival Coronation March (1883).

Review

This is the fifth release in the survey of the Tchaikovsky numbered symphonies by Paavo Järvi and the Zurich Tonhalle-Orchester (it is not known if the Manfred symphony will follow). The series has been well received but I have not heard all the recordings and was disappointed by the orchestra’s lack of familiarity and feeling for this Russian Romantic music in the First Symphony. However, I should advise that this latest release shows more emotional affinity with Tchaikovsky and the standard of performance and recording in general makes this a very fine series, so this latest release should be an obligatory purchase for those who have already acquired the other CDs in this cycle.

I much admire Järvi’s Beethoven and Schumann symphonic cycles with his Bremen Kammerorkester and his interesting talks on the music included with the series. Apart from being an outstanding orchestral trainer, he is a distinguished interpreter of a wide repertoire and his surveys of that will be of great interest in coming seasons. He has that magical touch displayed by his father Neeme Järvi - the talent to get the best out of any ensemble, a gift not granted to every conductor.

Uniquely, Tchaikovsky’s Third is the only symphony in a major tonality and is perhaps the most popular of the composer’s early symphonies, particularly for its dance-like movements heralding the composer’s great ballets. Yet with its five movements it is often argued that it is more of an orchestral suite than a real symphony. If I had some misgivings about Järvi’s handling of the First Symphony, my doubts are dismissed by the opening bars of this ‘Polish’ symphony. From the start, it is clear that he has a feeling for this music. He brings out all the glorious Romanticism of the opening movement, Moderato assai (Tempo di marcia funebre), with the marvellous shift to allegro brillante, in which the woodwind and the brass departments of the orchestra reveal superb musicality. I particularly like the playing of the bassoonist Matthias Racz and the clarinettist Michael Reid in this movement, and the glorious strings are beautifully cushioned against the colourful wind playing.

The second movement, Alla tedesca (German style) is based on an Austrian/Moravian folk theme. It offers stunning playing between strings and woodwind in the waltz of the third, middle movement and the Scherzo is delightful; Järvi gives us all the magical charm of Tchaikovsky’s score, while in the Finale, yet another beautiful dance adorns the polonaise that allowed August Mann to give its name to the symphony in one of his Proms concerts at the Crystal Palace in London. In all, this is an excellent interpretation and performance of Tchaikovsky’s symphony embellished by a superb recording.

Another polonaise decorates the dance from Eugene Onegin, which is just as well performed, as is the other ‘filler’, the rarely performed Festival Coronation March with the theme of the Danish National Anthem quoted in the Russian Anthem ‘God Save the Tsar’. The booklet notes are in English and German with informative articles on the music, the conductor and orchestra, and a useful list of orchestra members. This disc is an essential addition to those collecting Järvi’s Tchaikovsky cycle, and very much worth considering as a one-off purchase.

--MusicWeb International (Gregor Tassie)

The Estonian conductor Paavo Järvi and the Tonhalle-Orchester Zürich continue their journey through Tchaikovsky’s symphonic works. This fourth volume opens with the Symphony no.1 (1866), subtitled ‘Winter Daydreams’. He wrote his first essay in the symphonic genre just after his appointment to a teaching post at the Moscow Conservatory, and it earned him lasting success. Indeed, he retained a lifelong attachment to the piece, asserting that it was superior in substance to all his more mature symphonic works. The program continues with one of the Russian composer's most famous pieces, the Capriccio italien (1880). Conceived as a musical travelogue, this symphonic poem is a genuine tribute to Italian folk melodies. The triptych offered by this volume is rounded off by the Waltz from the opera Eugene Onegin (1879).

SOMM Recordings announces a major new release: the first appearance on album of live performances of Tchaikovsky’s Fifth and Sibelius’ Second Symphonies by the iconic conductor Serge Koussevitzky and the London Philharmonic Orchestra. This historic, two-album set includes an exclusive, specially-commissioned documentary about Koussevitzky’s Boston Symphony Orchestra tenure and his LPO guest appearances, featuring interviews with four key players from both orchestras by Jon Tolansky. Tolansky’s revealing hour-long documentary includes wide-ranging musical excerpts and contributions from former BSO players Harry Ellis Dickson (violin), Everett ‘Vic’ Firth (timpani), and Harry Shapiro (sub-principal horn), and erstwhile LPO sub-principal horn Patrick Strevens. The symphonies are heard in performances Koussevitzky conducted with the LPO in London’s Royal Albert Hall in 1950. Both have been expertly restored by Lani Spahr. Noted authority on historical recordings Rob Cowan provides detailed booklet notes on the “individual, flexible, flammable, emotionally candid and utterly spontaneous” Koussevitzky’s stewardship of both orchestras. He describes the Tchaikovsky as “especially unique [in] its unsparing volatility.... The explosive climaxes leave the audience stunned”. Of the Sibelius, he says: “Koussevitzky’s London Second is as comprehensive an overview of the work as we have”.

Lani Spahr’s previous restorations for SOMM include the four-disc Elgar Remastered (SOMMCD 261-4) featuring recordings from the composer’s own collection, hailed by Audiophilia as “a fascinating achievement which will have you wishing for more”. George Szell: The Forgotten Recordings was a Gramophone Editor’s Choice and awarded a Diapason d’Or as “a major discovery”. Jon Tolansky is the founder of the Music Performance Research Centre (now Music Preserved) and a widely admired producer of audio documentaries on classical musicians. For Spahr’s restorations on Beecham Conducts Sibelius, he produced a 30-minute audio documentary. MusicWeb International declared it “an unmissable disc [that] walks straight into a position of eminence in the catalogue”.

16.99

Nikolai Golovanov (1891-1953) was one of the leading conductors of the Stalin era, for a long time at the head of the prestigious Orchestra of the Bolshoi Theater in Moscow. Fortunately, there are countless recordings of works by Wagner, Rimsky-Korsakov, Rachmaninov, Beethoven, Mussorgsky recorded by him on the Melodya label. In these two CDs we have opted to collect, with excellent sound quality, some of his extraordinary interpretations of Tchaikovsky’s work. Among them one of the most singular interpretations of the Symphony No. 6 and a monumental edition of the First Piano Concerto with Emil Gilels.

Manfred holds a special place in Tchaikovsky's oeuvre, as it is unique: a symphony composed on an extremely large scale around a wide-ranging literary programme. Manfred is the embodiment of several facets of Tchaikovsky's individuality: it presents both Russian and European features, Tchaikovsky's own talents as a psychologist and a shrewd judge of character, his abilities as a writer for the theatre, and his mastery in creating orchestral colours. The score itself dazzles with it's variety of images and sounds - from airy to grandiose and powerful, from pastoral and peaceful to dense and dark. The dramatic concept of the work as a whole, it's psychological portrayal of the protagonists and the vivid expression in their development all come to reveal the characteristic style of Tchaikovsky's late works. What is more, Manfred remains fascinating thanks to the fact that it emerged at the crossroads of various literary, philosophical and musical trends during 19th century. The album was recorded on the eve of the 185th anniversary of Tchaikovsky's birth.

Music is not a hoax, it is a revelation... It reveals elements of beauty that cannot exist in any other sphere, the contemplation of which reconciles us to life not temporarily, but forever. It enlightens and brings joy." These words of Tchaikovsky can refer to both of the works presented here. Tchaikovsky called his Suite No. 3 the most successful of all his works performed abroad and successfully conducted many performances of it on tours. For Dmitry Liss, the chief conductor of the Ural Philharmonic Orchestra, "this is one of the most unexpected works by Tchaikovsky and my near-favorite. If you look at the final movement from a modern perspective, it's hectic stylistic diversity looks almost postmodernist and has been created with subtle and stylish use of irony. The theme of the Suite's finale is consonant with that of the Rococo Variations, hence our decision to include both works on this album." The world-renowned cellist Boris Andrianov performs the Variations on this recording. He considered it "a sacred duty for a Russian cellist who is also a winner of the Tchaikovsky competition not only to record this work, but also to look at it anew.

Classical ballet's most powerful tale of love, treachery and forgiveness returns to the Royal Opera House stage. Out hunting, Prince Siegfried chances upon a flock of swans. One among them transforms into the beautiful human Odette and he is immediately enamoured. But Odette is bound by a spell which keeps her captive as a swan during the day. Can Siegfried free her? Tchaikovsky's sensational score combines with the evocative imagination of choreographer Liam Scarlett and designer John Macfarlane to heighten the dramatic pathos of Marius Petipa and Lev Ivanov's quintessential ballet classic. Swan Lake remains to this day one of the best-loved works in the classical ballet canon.

Tchaikovsky composed the Variations on a Rococo Theme for cellist Wilhelm Fitzenhagen, who re-ordered the variations, infuriating the composer. The cello part for the virtuosic Pezzo capriccioso was also altered by it's dedicatee, Anatoly Brandukov. In the performances heard here, Tchaikovsky's original intentions are restored. To accompany these pieces, Gabriel Schwabe has provided two of his own arrangements - the Canzonetta from the Violin Concerto and Valse sentimentale from the Six Morceaux. The album ends with the second version - never before recorded - of the romantic fantasy overture Romeo and Juliet.

This was something I'd had in mind for a long time..." says pianist Alexandre Tharaud, "to put together an album for the sheer pleasure of it, in collaboration with dear friends and paying tribute to the wonders of the piano duet repertoire." The aptly named 4 Hands offers 18 tracks, each just a few minutes in length, each featuring Tharaud sharing a piano keyboard with a different partner. The repertoire ranges wide - from Bach to Glass by way of such composers as Schubert, Tchaikovsky, Grieg, Fauré, Satie, Debussy, Ravel, Rachmaninoff, Ravel, and Piazzolla. 15 of Tharaud's fellow performers are celebrated pianists - among them the late Nicholas Angelich, Mariam Batsashvili, Bertrand Chamayou, David Fray, Víkingur Ólafsson, and Beatrice Rana. The other three, all stars in their musical fields, are shown in a new, pianistic light: cellist Gautier Capuçon, countertenor Philippe Jaroussky and singer-songwriter Juliette. "The piano duet is one of life's miracles," continues Tharaud. "First and foremost, it is the most intimate way of playing chamber music... It was a joy to record this album... If hearing these pieces prompts people to buy some sheet music and enjoy playing duets together - just as we did in the recording studio - then I will have achieved my aim.

Lars Vogt (1970-2022) early recordings collected here provide a document of an artist who always remained authentic, both to himself and to music. Lars Vogt never sought absolute truth, but truthfulness instead meant all the more to him. The man and the artist were always very close, never currying favour and never detached from the world. He was, instead, open and natural. "It's incredibly gratifying when you notice that you can perhaps light a little spark, a little flame for music in people, and when music helps you to find the path to your own soul."

For five decades Wolfgang Sawallisch (1923-2013) held a central position in the musical world. That centrality was reflected in a series of top orchestral and operatic posts and in his interpretations, free of self-regarding eccentricities. His modest but highly effective conducting technique also made him the ideal recording artist. Sawallisch was a Bavarian born in Munich, city of orchestras and a great opera company, which he headed for 21 years. He started his career as an outstanding pianist and remained a sought-after accompanist to great Lieder singers and instrumentalists. Volume 1 of a complete conspectus of his Warner Classics recordings (made for Electrola and EMI Classics between 1954 to 1997) includes wonderful Lieder and song collaborations, as well as famous concerto accompaniments for eminent soloists and a heartwarming traversal of Schubert's secular vocal and sacred choral music with Bavarian Radio colleagues. But the main focus among the 65 discs is on his symphonic achievements: Beethoven, Schumann, Mendelssohn, Brahms, Bruckner and Dvor�k - the latter's Eighth Symphony was his first published recording, from 1954. Richard Strauss, an early influence, is strongly represented. This 65CD-box brings together all the non-operatic recordings that the German conductor and pianist Wolfgang Sawallisch (1923-2013) made in the years from 1954 to 1997 for EMI Classics and Electrola (now Warner Classics).

A veritable musical metaphor for the suicide of Europe that was the Great War, both apotheosis and apocalypse. We also hear evocations of Schubert, Liszt, Mahler and Kreisler, all imbued with a kind of nostalgia that belongs only to this mythical city. - Aurélien Pontier

Dedicated to the last years of Imperial Vienna, which gave rise to an artistic effervescence unique in European history. The program opens with a piano transcription of Strauss's Die Fledermaus and ends with Ravel's La Valse.

The collaborative efforts, the mutual emulation and inspiration of Sir Antonio Pappano and the Accademia Nazionale di Santa Cecilia in Rome have spanned 18 years, led to one of the world's greatest and most versatile virtuoso ensembles and to acclaimed live and studio recordings showcasing an eclectic selection of symphonic and choral music. Their repertoire features already legendary performances of Verdi's Requiem and Quattro pezzi sacri. In addition, their recording of Bruckner's 8th Symphony features here for the very first time! This box brings together all the recordings that the British conductor Sir Antonio Pappano (b.1959) made with the Orchestra dell'Accademia Nazionale di Santa Cecilia in the years from 2005 to 2022 for Warner Classics.

Classical Music

Tchaikovsky: Violin Concerto & S�r�nade m�lancolique (2015) Itzhak Perlman, Philadelphia Orchestra, Eugene Ormandy In Perlman's words, Tchaikovsky "wears his heart on his sleeve" and his violin concerto is a work of "unabashed Romanticism". While bringing sensitivity and substance to his interpretation, Perlman never slips into sentimentality and he leads an exhilarating dance in the finale.

TCHAIKOVSKY: Romantic Tchaikovsky (The)

After Rachmaninoff, Scriabin and Prokofiev, Vadym Kholodenko continues his exploration of the Russian repertory with a pair of rarely recorded works: Tchaikovsky's two solo piano sonatas. Imaginative, colorful and dreamy, capable of an infinite range of emotions, he reveals both the masterly architecture and the subtleties of the writing that are often sacrificed to mere demonstration of virtuosity.

Classical Music

Richter given first-class modern digital sound, and on top technical form... playing of consistent poetry... charming nostalgia... first recommendation for Tchaikovsky's piano music(� Penguin Guide 3*) "breathtaking, inspiring artistry" (Gramophone)

Tchaikovsky wrote the Children's Album and the Op.37 Sonata at the same time, and they're so different. It amazes me that these are so little known in UK. The Children's Album is fantastic - a masterpiece. He wrote three volumes of piano music, and what of it is known here?... The trouble is, Tchaikovsky is almost always played badly! There are two wrong ways: the Russian wrong way and the Western wrong way. Most Russians make a rough sound, full of violent emotions, heart on the sleeve. Westerners often have a refinement that the Russians lack, and which is an important part of Tchaikovsky too, but it has no power. (Mikhail Pletnev).

Classical Music

Classical Music

Classical Music

Classical Music