Saccani, Rico (piano) / Budapest Philharmonic Orchestra / Saccani, Rico (conductor)Recording date unknown (2008 or earlier). It’s typical of Serebrier’s performance that he makes that effect sound so fresh and original. Nakamura, Hiroko (piano) / USSR State Symphony Orchestra / Svetlanov, Yevgeny (conductor)Recorded 1990.05.23 in Tokyo, Suntory Hall. Gilels, Yelena (piano) / USSR State Symphony Orchestra / Svetlanov, Yevgeny (conductor)Recorded 1968.02.20 live in Moscow. Neither protagonist is anxious to linger sentimentally along the way and Gergiev, sometimes routine in concerto recordings, is here fiercely energised – giving as good as he gets, as it were, from his soloist – to the point after the orchestral tutti at 10'55" that you wonder how Matsuev is going to match him. Matrix WAX 5279/86. Dudamel and his young players feed on one another; the exchange of energy is extraordinary. Greenbaum, Kyla (piano) / Sinfonia of London / Austin, Richard (conductor)Recorded 1957. The brass still retain their penetrating power, and an extraordinary richness and solemnity before the symphony’s coda; the woodwind make a very melancholy choir; and the strings possess not only the agility to cope with Pletnev’s aptly death-defying speed for the third movement march, but beauty of tone for Tchaikovsky’s yearning cantabiles. Ponti, Michael (piano) / Prague Symphony Orchestra / Kapp, Richard (conductor)Recorded 1972. I know this recording since many years and have this recording on CD. Symphony No 5 is also mercilessly driven, and pre-echoes of Shostakovian hysteria are particularly strong in the coda’s knife-edge of triumph and despair. This really is Tchaikovsky-playing that bursts with sunshine, the strings imitating strummed balalaikas (7'25"). 2 in G major, Op. Listen to Argerich’s Allegro con spirito, as the concerto gets under way, where her darting crescendos and diminuendos make the triplet rhythm speak with the rarest vitality and caprice. The orchestral playing positively sizzles in the first movement development (which goes off like a rocket) but tends to a steely, excitable slickness towards the end of the Scherzo. Krainev, Vladimir (piano) / USSR State Symphony Orchestra / Rozhdestvensky, Gennady (conductor)Recorded 1970 live in Moscow, Conservatory, Great Hall. Cliburn, Van (piano) / Moscow Philharmonic Orchestra / Kondrashin, Kirill (conductor)Recorded 1972 live in Moscow, Conservatory, Great Hall. Matrix 080521/28. Bachauer, Gina (piano) / New London Orchestra / Sherman, Alec (conductor)Recorded 1954.08.31-09.02 in London. Rubinstein, Artur (piano) / New York Philharmonic Orchestra / Rodzinski, Artur (conductor)Recorded 1946.03.24 live in New York, Carnegie Hall. Goldmann, Dieter [*] (piano) / Philharmonische Vereinigung [*] / Pantelli, Carlo [*] (conductor), Goldmann, Dieter [*] (piano) / London Festival Orchestra [*] / Lizzio, Alberto [*] (conductor), Goldmann, Dieter [*] (piano) / South German Philharmonic Orchestra [*] / Swarowsky, Hans [*] (conductor). The dynamic range is huge and comfortably reproduced with clarity, natural perspectives, a sense of instruments playing in a believable acoustic space, and a necessarily higher volume setting than usual. There have been many Tchaikovsky collections like this, but with well balanced sound, outstandingly rich and ripe in the brass section, this is among the finest. Three overtures complete the programme. If only part of a work is available in a recording, the relevant sections or movements are indicated. Schumann is revealed as a major influence, not only on the outward features of the style but on the whole expressive mood and manner. There have been many very great accounts of it – Horowitz / Szell, Argerich / Abbado, Gilels / Mehta among them – but I doubt if you will ever hear it more viscerally thrilling and sumptuously engineered than here. In a recorded commentary on the 1812 sessions, Deems Taylor explains how, prior to ‘battle’, roads were blocked and an ambulance crew put on standby. Opening only. Tatiana Monogarova sop Maxim Mikhailov bass Russian National Orchestra / Vladimir Jurowski (Pentatone). Of course, one misses the symphonic weight of the original. Richter, Svyatoslav (piano) / Krakow Philharmonic Orchestra / Wodicko, Bogdan (conductor)Recorded 1954.11.12 live in Krakow, Philharmonie. The Piano Concerto No. Bolet, Jorge (piano) / Montreal Symphony Orchestra / Dutoit, Charles (conductor)Recorded 1987.05.21-22 in Montreal, St. Eustache's Church. Bruchollerie, Monique de la (piano) / Vienna Symphony / Moralt, Rudolf (conductor)Recorded 1952.06.16-17 in Vienna, Musikverein, Brahms-Saal. Donohoe, Peter (piano) / Bournemouth Symphony Orchestra / Barshai, Rudolf (conductor)Recorded 1988.07.18-20 in Poole, Arts Centre, Wessex Hall. Arturo Toscanini conducted the early Voyevoda Overture, the Pathetique Symphony and the First Piano Concerto with his son-in-law Vladimir Horowitz as soloist (it was the very first time that they had performed the work together). Here’s a young artist who really does live up to the claims of the publicists. The opening of movt I was changed from 3/4 to 4/4. Kolesnikov, Pavel (piano) / Calgary Philharmonic Orchestra / Minczuk, Roberto (conductor)Recorded 2012.10 live in Calgary, EPCOR Centre, Jack Singer Concert Hall. Osmo Vänskä, particularly attuned to the sensibilities of Russian music, is an ideal partner for his inspired soloist. She – the lovely Tatiana Monogarova – has a two-part mad scene or ‘melodrama’, where the spoken lines lend a stark reality to her delusions. Trouard, Raymond (piano) / Colonne Concert Orchestra / Dervaux, Pierre (conductor)Recorded 1961.11.24-12.01 in Paris, Salle Wagram. The original versions of the Tchaikovsky Piano Concertos have been recorded by Lowenthal/Commissiona as a 2CD-set, issued by Arabesque and later Bridge. Wührer, Friedrich (piano) / Vienna Pro Musica Orchestra [* = Vienna Symphony] / Hollreiser, Heinrich (conductor)Recorded 1955. The explosive development section is a controlled panic attack, classical in form, neurotic in nature. Again the sound is excellent, full-bodied in the strings and with plenty of sonority for the trombones. Irina Mishura-Lekhtman mez Vladimir Grishko ten Michigan University Musical Society Choral Union; Detroit Symphony Orchestra / Neeme Järvi (Chandos). Kirill Gerstein’s world premiere recording of the concerto enables us to hear the authentic version for the first time. Sevidov, Arkady (piano) / Russian Philharmonic / Friedmann, Samuel (conductor)Recorded 1996.10.01-02 in Moscow, State Broadcasting House, Studio 5. Prochorova, Kseniya (piano) / North West German Philharmonic / Schüchter, Wilhelm (conductor)Recorded 1954.10.23-24 in Bielefeld, Rudolf-Oetker-Halle. 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. Again, the approach is crisp and balletic, whereas the 1960 LSO Beethoven recording triumphs by dint of its energy and orchestral discipline. Farnadi, Edith (piano) / Vienna State Opera Orchestra / Scherchen, Hermann (conductor)Recorded 1953.06.21-07.25 in Vienna, Konzerthaus. These recordings are landmarks not just of Tchaikovsky interpretation but of recorded orchestral performances in general. 44 by Piotr Ilyich Tchaikovsky (1840-93). The results are fascinating, not least for the ingenuity of Tchaikovsky’s cut-and-paste job, jump-cutting now with renewed urgency. Yankoff, Ventsislav (piano) / New Symphony Orchestra of London / Schwarz, Rudolf (conductor)Recorded 1954.10.15-16. Indeed, both these performances exemplify what makes Jurowski’s approach to Tchaikovsky so special. 1: Recordings: Andantino. 4: Brahms: Piano Concerto No. Gerstein, Kirill (piano) / Czech Philharmonic / Bychkov, Semyon (conductor)Recorded 2017.06.07-09 live in Prague, Rudolfinum, Dvorak Hall. Gramophone is part of Muraro, Roger (piano) / Lithuanian State Symphony Orchestra / Rinkevičius, Gintaras (conductor)Recorded 2001.06.02-05 in Vilnius, Congress Concert Hall. The second movement of this concerto received most of Siloti’s knife work, allowing us to clearly see the difference between Tchaikovsky’s piece and what a by-the-book piano concerto should be like. Overall, though, this is impressive and satisfying, especially the riveting close. Curzon, Clifford (piano) / Vienna Philharmonic / Solti, Georg (conductor)Recorded 1958.10.14-17 in Vienna, Sofiensaal. Lively, David (piano) / Slovak Radio Symphony Orchestra / Rahbari, Alexander (conductor)Recorded 1993.03.16-20 in Bratislava, Slovak Radio Concert Hall. Arranged by Olivier Toussaint & Gerard Salesses. Horowitz, Vladimir (piano) / New York Philharmonic Orchestra / Barbirolli, John (conductor)Recorded 1940.03.31 live in New York, Carnegie Hall. There’s always a balancing concern for the superb craftsmanship of Tchaikovsky’s writing: the shapeliness of the phrasing; the superb orchestration, scintillating and subtle by turns; and most of all Tchaikovsky’s marvellous sense of dramatic pace. Rubinstein, Artur (piano) / Minneapolis Symphony Orchestra / Mitropoulos, Dimitri (conductor)Recorded 1946.11.16 in Minneapolis, Northrop Auditorium. Parker, Jon Kimura (piano) / Royal Philharmonic Orchestra / Previn, André (conductor)Recorded 1985.12.02-03 in London, Watford Town Hall. Cliburn, Van (piano) / RCA Victor Symphony Orchestra / Kondrashin, Kirill (conductor)Recorded 1958.05.30 in New York, Carnegie Hall. Ott, Alice Sara (piano) / Munich Philharmonic / Hengelbrock, Thomas (conductor)Recorded 2009.11 live in Munich, Philharmonie im Gasteig. Schiøler, Victor (piano) / Danish Radio Symphony Orchestra / Garaguly, Carl von (conductor)Recorded 1945.12.18-19. Her roles explore the lighter end of the scale – Queen of the Night, Gilda, Zerbinetta – but she also covers lyric repertoire such as Tatyana. The Adagio cantabile second movement is tenderly beautiful, with the central section sharply contrasted, while the folk-dance rhythms of the last two movements are sprung with sparkling lightness. Other possible dates include 1958.07.24, 1959.06.24 and 1959.07.24. In his hands, the music is like a living thing; one senses that each performance will have its own individual character. 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". Exciting? Douglas, Barry (piano) / London Symphony Orchestra / Slatkin, Leonard (conductor)Recorded 1986.08.30-31 in London, Henry Wood Hall. His Bavarians respond with atmospheric playing, burnished strings and dark woodwind coloration to the fore. Grigore, Dan (piano) / Cluj-Napoca Philharmonic Orchestra / Mandeal, Cristian (conductor)Recorded 1987.10 in Cluj-Napoca, Reformed Church. Kozhukhin, Denis (piano) / Berlin Radio Symphony Orchestra (East Berlin) / Sinaisky, Vasily (conductor)Recorded 2015.10 in Berlin, Funkhaus Nalepastraße. The melodies are firmly projected yet flexibly arched over the bar-lines, as if emerging from different instruments, culminating in a febrile central climax that gently dissipates into some of the most ravishing trills on record. Matrix 23791/8. Drenikov, Ivan (piano) / Bulgarian State Philharmonic Orchestra [*] / Wallez, Jean-Pierre (conductor) [*], Drescher, Adolf [*] (piano) / Pro Musica Sinfonie-Orchester Hamburg [*] / Jones, J. Randolph [*] (conductor). But I wonder if there has ever been a Nutcracker so captured apparently ‘on the wing’, or, for that matter, so exciting. It is good here to welcome the mono recordings of the Brahms and Tchaikovsky concertos which David Oistrakh made in February 1954, more volatile readings than those he recorded later, respectively with Klemperer for EMI in the Brahms (3/93) and with Ormandy for CBS in the Tchaikovsky (11/89). Tomsic, Dubravka (piano) / Slovenian Philharmonic / Nanut, Anton [*] (conductor)Recording date unknown (1976?). Tokarev, Nikolay (piano) / Gnessin Symphony Orchestra / Khokhlov, Mikhail (conductor)Recorded 1999.11.09-10. Badura-Skoda, Paul (piano) / Philharmonic Promenade Orchestra [* = London Philharmonic Orchestra] / Boult, Adrian (conductor)Recorded 1955.03.30-31 in London, Walthamstow Assembly Hall. Argerich, Martha (piano) / Warsaw Philharmonic / Kord, Kazimierz (conductor)Recorded 1980.10.01 live in Warsaw, Philharmonic Hall. Not any more. An astonishing unreleased 1988 recording of Ivo Pogorelich playing the Tchaikovsky Piano Concerto No. Solomon (piano) / Hallé Orchestra / Harty, Hamilton (conductor). He fires to anger with a touch of the heroic in his tone when challenged by Lensky, becomes transformed and single-minded when he catches sight of the ‘new’ Tatyana at the St Petersburg Ball. Like Schumann’s Rhenish Symphony, Tchaikovsky’s Third is in five movements, which means there are two faster ‘scherzo’-type inner movements. 1. Argerich has never sounded on better terms with the piano, more virtuoso yet engagingly human. The Overture in F is a student work whose deft orchestration points to the mature Tchaikovsky while the one on the Danish national anthem suffers from its relatively uninteresting theme. Sebök, György (piano) / Monte Carlo National Opera Orchestra / Fremaux, Louis (conductor)Recorded 1959. Mono-Recording. The clarity of Serebrier’s performance, both in texture and in structure, helps to bring that out, as does a warm and analytical BIS recording. Sudbin, Yevgeny (piano) / Sâo Paulo Symphony Orchestra / Neschling, John (conductor)Recorded 2006.02 in Sāo Paulo, Sala. Right from the outset, one cannot fail to be struck by the healthy sheen, tasteful refinement and infectious temperament displayed by the Birmingham orchestra (which can, it seems, boast an exceptionally eloquent woodwind roster these days). 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. And yet – tellingly – the return of the second subject is fleet and songful rather than indulgently fulsome as is so often the case. Petrenko’s Manfred emerges from the gothic greys of the opening wind chorale to vent his heartache in an emotive surge of string sound. Iturbi, José (piano) / Colonne Concert Orchestra / Iturbi, José (conductor)Recorded 1956.09.27-28 in Paris, Salle Apollo. Matrix XCO 39612/20. Jurowski savours the differences and makes capital of the anomalies. His ear for timbre never fails him. Tchaikovsky’s songs are not nearly well enough known and this superb recital should encourage more interest in them. Freire, Nelson (piano) / Radio France Philharmonic Orchestra / Masur, Kurt (conductor)Recorded 1969.02.18 in Paris, ORTF, Studio 104. 23. This is impressive – and, at Naxos’s pricing, not to be missed. Not even Cherkassky at his finest possesed a more elfin sense of difference or caprice. To better this account of Francesca da Rimini you need to go back to Stokowski or Bernstein. In parentheses know this recording since many years and have this recording since many years and have recording... 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