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]

ROMEO AND JULIET FANTASY OVERT

Classical Music

TCHAIKOVSKY GREAT HITS

"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)

In Tchaikovsky’s final opera, the king’s blind daughter Iolanta gains her sight because she falls in love… although the whole thing is actually a bit more complicated… Tchaikovsky composed the music for Iolanta, Op. 69, to a libretto by brother Modest, during the second half of 1891. The Imperial Mariinsky Theatre in St. Petersburg commissioned two pieces using fairytale motives to be performed on the same evening – a one act opera and a ballet; the latter was to become his famous Nutcracker ballet. Dmitrij Kitajenko leads the Gürzenich Orchestra in this live Köln Opera production.

Classical Music

Tchaikovsky: Swan Lake, Op. 20a & The Sleeping Beauty, Op. 6

Fairytale Sounds

AMERICAN BALLET THEATRE VOL 1

Classical Music

}Gramophone (1/97, pp. 93-5) "...Levinsky's record chiefly consists of the '16 Children's Songs', the best of them delightful pieces in Tchaikovsky's most direct and well-crafted vein....excellent series..."{

Classical Music

A Gramophone Recording of the Month - January 2018

Russian trained & based Currentzis and his Russian band bring a genuine authenticity to this iconic cornerstone of the Russian repertory. Teodor Currentzis feels a very strong attachment to the music of Tchaikovsky – he’s one of Teodor’s “Top 3” – along with Mahler and Mozart. Not only does he share Tchaikovsky’s Alma Mater of St Petersburg Conservatory – where the composer’s legacy is naturally still strongly felt - but the composers’ hometown of Votkinsk lies a mere 250km from Perm – the Perm Tchaikovsky State Opera House taking its moniker from its famous ‘forebear’. Naturally Currentzis has gravitated to the mighty sixth symphony – undoubtedly Tchaikovsky’s greatest and most poignant symphony. The composer entitled the work "The Passionate Symphony", employing a Russian word, Pateticheskaya, meaning "passionate" or "emotional", that was then mistranslated into French as pathetique, "evoking pity", yet the mistranslation survived subsequent productions in every country but Russia. The composer led the first performance in St Petersburg in October 1893, nine days before his death.

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REVIEW:

Only the most exalted of comparisons to this performance suggest themselves: Bernstein (DG), Cantelli, Karajan (take your pick), or Mravinsky (DG): all hewn out of different performing traditions while sculpted in relief from them, though none save Mravinsky executed to the present, uncanny degree of controlled ferocity.

– Gramophone

Currentzis and his Siberian shock troops have done wonders. The recent trend has been away from overly subjective interpretations. This is thrown out of the window in this remarkably unsettling rendition. When so many other recordings of this symphony are available at the push of a few buttons, it’s only right that today’s interpreters should approach it only if they have something new to say. Currentzis definitely does.

– Times (U.K.)

Composed between 1871 and 1875 were Tchaikovsky's String Quartets. The quartets still belong to his early period but are considered among the most significant of the second half of hte nineteenth century, a period that, despite a significant production for this chamber ensemble, does not include masterpieces comparable to those of Beethoven and Schubert. There are many versions of the quartets and the one presented here is one of the few truly historical versions that exists - they are the recording of the late fifties made by the first formation of the legendary Borodin Quartet, which relies on the presence of Mstislav Rostropovich and Heinrich Talalyan for the recording of the famous "Souvenir de Florance", one of the major Sextets of the Nineteenth Century, writtein in 1890.