It’s the least performed of Tchaikovsky’s symphonies in concert. Indeed, both these performances exemplify what makes Jurowski’s approach to Tchaikovsky so special. O'Hora, Ronan (piano) / Royal Philharmonic Orchestra / Judd, James (conductor)Recorded 1994.05 in London, CTS Studios. Even with 130 alternatives on the market, this is an exceptional reading with brisk tempi and subtle nuances. If you count a premiere as also being the first play-through of a work, then few can have gone as badly as Tchaikovsky’s Piano Concerto No. Favre-Kahn, Laure (piano) / Brittany Orchestra / Nowak, Grzegorz (conductor)Recorded 2006.07 live in Reims, Grand Theatre. And yet – tellingly – the return of the second subject is fleet and songful rather than indulgently fulsome as is so often the case. 1 in B-Flat Minor, Op. Say, Fazil (piano) / Saint Petersburg Philharmonic / Temirkanov, Yury (conductor)Recorded 2001.02 in Saint Petersburg, Philharmonia. Kozhukhin, Denis (piano) / Berlin Radio Symphony Orchestra (East Berlin) / Sinaisky, Vasily (conductor)Recorded 2015.10 in Berlin, Funkhaus Nalepastraße. Not any more. He may not quite match the thrusting power of his mentor, Stokowski, but he’s not far short, and brings out far more detail. In fact, you’re more likely to encounter it at the ballet than in the concert hall, as most of it is used as part of the score to Balanchine’s Jewels (Diamonds) and MacMillan’s Anastasia. Focile offers keen-edged yet warm tone and total immersion in Tatyana’s character. Eresko, Viktor (piano) / Moscow State Symphony Orchestra / Dudarova, Veronika (conductor) Recorded 1986.05.07 live in Moscow, Conservatory, Great Hall. Pletnev is all over the final, unbuttoned trepak in grand style, and he certainly makes the glissandos swing. The opera has been lucky on disc, dominated in recent decades by recordings from Valery Gergiev and Seiji Ozawa, both from the early 1990s. The 1812 in particular suggests a rare spontaneity, with a fiery account of the main ‘conflict’ and a tub-thumping peroration where bells, band, guns and orchestra conspire to produce one of the most riotous key-clashes in gramophone history. Steinerová, Božena (piano) / Prague Radio Symphony Orchestra / Trhlík, Otakar (conductor)Recorded 1981.06 in Prague, House of Artists. Hambourg, Mark (piano) / BBC Symphony Orchestra / Sargent, Malcom (conductor)Recorded 1955.03.02 live in London, Royal Albert Hall. Royal Liverpool Philharmonic Orchestra / Vasily Petrenko (Naxos). Chelikov, Alexander [*] (piano) / Rome Symphony Orchestra [*] / Scotti, Leonardo [*] (conductor). There they all were, especially in the Stravinsky/Diaghilev ballets, registered not for the sake of score-bound pedantry or picaresque charm or virtuoso baton-twirling but because they made telling contributions to the story. Those with matrix HPG 1031 (misattributed to Sergio Fiorentino with the "Hamburg Pro-Musica Orchestra", conductor George Hurst) were actually Sondra Bianca's recording with the North German Radio Symphony Orchestra, conductor Hans-Jürgen Walther; matrix 5043 was Pavel Serebryakov's 1953 recording with the Leningrad Philharmonic, conducted by Yevgeny Mravinsky, although early copies were credited pseudonymously to "Paul Procopolis" with the "Leipzig Pro Arte Symphony Orchestra", conductor "Gorg Ramifski". . Pöntinen, Roland (piano) / Bergen Philharmonic Orchestra / Segerstam, Leif (conductor)Recorded 1987.10.27-31 in Bamberg, Dominikanerbau. Kalandadze, Tea [*] (piano) / Georgian Simi Festival Orchestra [*] / Tsatishvili, Nodar [*] (conductor). Matsuev, Denis (piano) / Saint Petersburg Philharmonic / Temirkanov, Yury (conductor)Recorded 2007.12.02 live in Paris, Théâtre des Champs-Élysées. In No 8, ‘Dialogue’, Pletnev elevates Tchaikovsky’s quasi parlando with the type of offhand skill and pinpoint timing of a master actor who knows just which lines to throw away. London Symphony Orchestra / André Previn (EMI / Warner Classics). Also from the Royal Opera comes Egerton’s lovable Triquet; but whereas Gergiev, in the theatre, dragged out his couplets inordinately, Bychkov once more strikes precisely the right tempo. Written just after he had left Florence, having completed the Queen of Spades, Tchaikovsky was prompted to compose one of his happiest works, one which for once gave him enormous pleasure. The palest clarinet against muted tremolando strings takes us directly to the heart of the matter, and Petrenko and his orchestra don’t disappoint. Gerstein, Kirill (piano) / German Symphony Orchestra Berlin / Gaffigan, James (conductor)Recorded 2014.06.23-27 in Berlin, Funkhaus Nalepastraße, Großer Sendesaal. Richter, Svyatoslav (piano) / Budapest Symphony Orchestra / Komor, Vilmos (conductor)Recorded 1954.03.04 live in Budapest, Franz Liszt Academy of Music. The sheer refinement of the orchestral playing in the scherzos of all three symphonies is a delight, and finales have great zest with splendid bite and precision in the fugato passages and a convincing closing peroration. Tchaikovsky’s First Piano Concerto is no exception; among the 200-plus recordings listed by ArkivMusic are classic accounts from the likes of Martha Argerich, Vladimir Ashkenazy and Emil Gilels, not to mention highly recommendable versions from Peter Donohoe, Stephen Hough and Yevgeny Sudbin. Yudina, Maria (piano) / Ukrainian State Symphony Orchestra / Rakhlin, Natan (conductor)Recorded 1954.04.04 in Kiev, Philharmonia, Lysenko Column Hall. Schiøler, Victor (piano) / Danish Radio Symphony Orchestra / Garaguly, Carl von (conductor)Recorded 1945.12.18-19. Petrenko makes Valery Gergiev’s LSO Live account sound sluggish, with an especially thrilling first-movement coda (from 12'50"). Michael Collins and his Strings for RomanceArranged for strings by Brian Fahey. This is a delightfully sunny performance, full of suavity, exuberance and romantic dash, but always alert to the subtleties of Tchaikovsky’s skilful, intricate part-writing. Above all I’m satisfied with the first movement and both scherzos, the second of which is very difficult.’ The Alla tedesca trips along daintily, carefree lines exchanged between flute and strings, while the RLPO woodwinds burble and ripple like a playful mountain stream in the jaunty Allegro vivo fourth movement. Introduction only. 23; Piano Concerto in G major Op. Gilels is probably the best interpret of the Tchaikovsky 1. A high emotional charge runs through Jansons’s performance of the Fourth, yet this rarely seems to be an end in itself. Bulva, Josef (piano) / Swiss Romande Orchestra / Jordan, Armin (conductor)Recorded in Geneve, Victoria-Hall, date unknown (1995 or earlier). Tchaikovsky thought it a much more successful piece though it is hard to justify the pompous final repeat of the Danish theme, fortissimo, even in a performance as well judged as Järvi’s. There is a closer, more pertinent relation with Mikhail Pletnev’s first essay (Virgin Classics, 1/92): a hand picked band, moulded in the image of a young, mercurial musician mature beyond his years, working hand in glove with a studio team prepared to do things differently. Pletnev, Mikhail (piano) / Moscow Philharmonic Orchestra / Lazarev, Alexander (conductor)Recorded live. Rubinstein, Artur (piano) / New York Philharmonic Orchestra / Rodzinski, Artur (conductor)Recorded 1946.03.24 live in New York, Carnegie Hall. University of Minnesota Brass Band; Minneapolis Symphony Orchestra; London Symphony Orchestra / Antál Dorati (Mercury). 1: Recordings: Pseudonyms, Piano Concerto No. Shades of Liszt’s Third Liebestraum seep into No 14, ‘Chant élégiaque’, in what amounts to a masterclass in how to sustain long melodies against sweeping accompaniments. Spivakovsky, Jascha (piano) / Victorian Symphony Orchestra / Heinze, Bernard (conductor)Recorded 1949.10.15 live in Melbourne, Town Hall. Karamanova, Aleksandrina [*] (piano) / Austrian Radio Symphony Orchestra [*] / Lindenberg, Édouard van [*] (conductor)Recording date unknown (1992 or earlier). Recorded in 1965. Lively, David (piano) / Slovak Radio Symphony Orchestra / Rahbari, Alexander (conductor)Recorded 1993.03.16-20 in Bratislava, Slovak Radio Concert Hall. (At this point and others, the most recent rival recording, of the RLPO and Vasily Petrenko – Onyx, 8/16 – is neatly done but generic.) These have been standardised according to our. With cut in movt. | It’s amazing what can be revealed in three minutes and in this very personal charmer we graduate from wistful introspection to hymnic admiration in less time than it takes to realise that Tchaikovsky has fleetingly and so very discreetly opened his heart to his friend. Kirov Opera Chorus and Orchestra / Valery Gergiev (Philips). 75 (unfinished) (1893) [16.02] Andante and Finale, Op. It’s like discovering Romeo and Juliet before the unwelcome dawn – the atmosphere is extraordinarily charged. EkseptionFreely arranged using the opening and other classical themes. The audience whoops in amazement. Rubinstein, Artur (piano) / Boston Symphony Orchestra / Leinsdorf, Erich (conductor)Recorded 1963.03.05 in Boston, Symphony Hall. And as a display of pianism the whole set is outstanding, all the more so because his brilliance isn’t purely egotistic. Janis, Byron (piano) / George Enescu Philharmonic Orchestra / Cristescu, Mircea (conductor)Recorded 1981.09 live in Bucharest. Parker, Jon Kimura (piano) / Royal Philharmonic Orchestra / Previn, André (conductor)Recorded 1985.12.02-03 in London, Watford Town Hall. Stereo-Recording. Berezovsky, Boris (piano) / Moscow Philharmonic Orchestra / Kitayenko, Dmitry (conductor)Recorded 1990.07.07 live in Moscow, Conservatory, Great Hall. For some years, the touchstone for the Tchaikovsky quartets has been the 1993 Borodin Quartet recordings (Teldec), eloquent accounts that reach deeply into the music. My instant reaction on pushing ‘play’ and hearing the first bars was ‘Ah – this is going to be good’. Hambourg, Mark (piano) / Royal Albert Hall Orchestra [* = New Symphony Orchestra of London] / Ronald, Landon (conductor)Recorded 1926.09.28 in London, Kingsway Hall. Atamian, Dickran (piano) / [unidentified orchestra] / [unidentified conductor] (conductor)Recorded live, date unknown (2010 or earlier). Prochorova, Kseniya (piano) / North West German Philharmonic / Schüchter, Wilhelm (conductor)Recorded 1954.10.23-24 in Bielefeld, Rudolf-Oetker-Halle. 1 that I am writing about is with the great Emil Gilels at the piano and my favorite conductor Nikolai Golovanov. Leading the cast is the excellent young Russian Olesya Golovneva as Iolanta. Paremski, Natasha (piano) / Royal Philharmonic Orchestra / Gabel, Fabien (conductor)Recorded 2012.12.05-06 in London, Henry Wood Hall. Tchaikovsky’s First Concerto has already appeared twice on disc from Martha Argerich in complementary performances: live and helter-skelter on Philips with Kondrashin, studio and magisterial with Dutoit on DG. Likewise in the epic coda, where anguish is again writ large in overreaching horns and trumpets. Listening to Matsuev and Gergiev is the aural equivalent of watching Federer and Nadal, friends off the tennis court but ultra-competitive on it, each determined to outdo the other with supreme athleticism and an arsenal of exquisite passing shots. Bianca, Sondra (piano) / North German Radio Symphony Orchestra / Walther, Hans-Jürgen (conductor)Recording date unknown. Tchaikovsky- Piano Concerto No 1 in B-flat minor, Op. Leimer, Kurt (piano) / Nuremberg Symphony / Kloss, Erich (conductor)Recording date unknown. All from the standard version of the concerto. How’s that for recycling? Grainger's piano roll recording accompanied by an orchestra. Du Toit, François (piano) / Cape Town Symphony Orchestra / Hadari, Omri (conductor)Recorded 1992 in Cape Town, City Hall. The first movement unfolds with effortless naturalness, the sublime second subject emerging a little aloofly perhaps, though at the same time I should stress that Nelsons is not afraid to cut loose when the music demands it. 1: Recordings: Andantino. Like Schumann’s Rhenish Symphony, Tchaikovsky’s Third is in five movements, which means there are two faster ‘scherzo’-type inner movements. Mariinsky Theatre, Concert Hall. 4: Brahms: Piano Concerto No. Movt. Brahms’ Piano Concerto No.2. Cliburn, Van (piano) / Swiss Italian Radio Orchestra / Argento, Pietro (conductor)Recorded 1962.05.25 live in Lugano, Kursaal Teatro Apollo. Aversano, Emilio (piano) / Bacău Philharmonic Orchestra / Bălan, Ovidiu (conductor)Recorded 2014.10.19 live in Leipzig, Gewandhaus. Gilels, Emil (piano) / Bolshoi Theatre Orchestra / Samosud, Samuil (conductor)Recorded 1947.05.20-26 in Moscow. Oborin, Lev (piano) / Moscow Radio Symphony Orchestra / Gauk, Aleksandr (conductor)Recorded 1948.03.27. 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