But of course he does, and to hair-raising effect. My instant reaction on pushing ‘play’ and hearing the first bars was ‘Ah – this is going to be good’. The finale opens with an exhalation from Currentzis, translated by the strings into a memorial of overlapping sighs and then punctuated by what sounds like the bass drum from the march. 1. While Eugene Onegin is Tchaikovsky’s most popular opera, there’s a fair argument that The Queen of Spades is his best. No doubt the reason these early symphonies sound so fresh is because the Berlin orchestra was not over-familiar with them and clearly enjoyed playing them. Bergreich, Martha [*] (piano) / Philharmonic Festival Orchestra [*] / Petroschoff, Vladimir [*] (conductor). Chelikov, Alexander [*] (piano) / Rome Symphony Orchestra [*] / Scotti, Leonardo [*] (conductor). Olga Borodina is a perfect Olga, spirited, a touch sensual, wholly idiomatic with the text – as, of course, is the revered veteran Russian mezzo Arkhipova as Filipyevna, an inspired piece of casting. Introduction only. Ousset, Cécile (piano) / London Philharmonic Orchestra / Masur, Kurt (conductor)Recorded 1990.02.07-08 in London, Abbey Road, Studio No.1. His first recording on returning to the US is the same Tchaikovsky Piano Concerto no.1 with Kirill Kondrashin, the same conductor as for the competition. Argerich, Martha (piano) / Bavarian Radio Symphony Orchestra / Kondrashin, Kirill (conductor)Recorded 1980.02.07-08 live in Munich, Herkulesaal. Nikolayeva, Tatyana (piano) / Leipzig Gewandhaus Orchestra / Masur, Kurt (conductor)Recorded 1959.04.22-23 in Leipzig, Bethanienkirche. Royal Liverpool Philharmonic Orchestra / Vasily Petrenko. Rubinstein, Artur (piano) / Minneapolis Symphony Orchestra / Mitropoulos, Dimitri (conductor)Recorded 1946.11.16 in Minneapolis, Northrop Auditorium. Hearing is believing in the coda as the trombones and trumpets tumble into the abyss. I only, abridged. Osorio, Jorge Federico (piano) / Mineria Symphony Orchestra / Fuente, Luis Herrera de la (conductor)Recording date unknown (1982 or earlier). 1. Vondracek, Lukas (piano) / Janacek Philharmonic Orchestra / Macura, Stanislav (conductor) Recorded 2001.09.13-14 live in Ostrava, Vitkovice House of Culture. Gilels, Emil (piano) / Portuguese Radio Symphony Orchestra / Freitas Branco, Pedro de (conductor)Recorded 1961.04.27 live in Lisbon, Tivoli. Raphael Wallfisch vc English Chamber Orchestra / Geoffrey Simon (Chandos). Parker, Jon Kimura (piano) / Royal Philharmonic Orchestra / Previn, André (conductor)Recorded 1985.12.02-03 in London, Watford Town Hall. Wührer, Friedrich (piano) / Vienna Pro Musica Orchestra [* = Vienna Symphony] / Hollreiser, Heinrich (conductor)Recorded 1955. Matrix 2RA-4608/12 & 4615/17. 2 SERGEI PROKOFIEV - Piano Concerto No. The electrifying pace Hough injects into the codas of No 1 and the Concert Fantasia are suitably exciting, though these are nothing compared to the tumultuous final pages of No 2 (a tremendous performance). Weissenberg, Alexis (piano) / Paris Orchestra / Karajan, Herbert von (conductor)Recorded 1970.02.09-11 in Paris, Salle Wagram. is his best. Tokarev, Nikolay (piano) / National Philharmonic Orchestra of Russia / Spivakov, Vladimir (conductor)Recorded 2010.05.22-25 in Moscow, Mosfilm-Studios. Bernhard, Karl [*] (piano) / York Symphony [*] / [unidentified conductor] (conductor). Kozhukhin, Denis (piano) / Berlin Radio Symphony Orchestra (East Berlin) / Sinaisky, Vasily (conductor)Recorded 2015.10 in Berlin, Funkhaus Nalepastraße. Matrix 2B-1910/5. Petrenko’s Byronic petulance makes something really stirring of the self-loathing – Tchaikovsky’s as much as that of Byron’s anti-hero. His approach is warmer, less detailed, more classical, and in its way very satisfying. This is impressive – and, at Naxos’s pricing, not to be missed. Hyperion also includes as extra tracks Siloti’s brutally cut version of No 2’s Andante, followed by Hough’s own solution to the movement’s structure (how Tchaikovsky must be kicking himself not to have thought of this) as well as two delectable Tchaikovsky song transcriptions by Hough. The piano parts are superbly done: in every sense these songs are duets. Magaloff, Nikita (piano) / Hague Residentie Orchestra / Otterloo, Willem van (conductor)Recorded 1964.09.26. Tedeschi, Simon (piano) / Queensland Orchestra / Bonynge, Richard (conductor)Recorded 2005.02.08-11 in Brisbane, ABC Studio 420. Douglas, Barry (piano) / London Symphony Orchestra / Slatkin, Leonard (conductor)Recorded 1986.08.30-31 in London, Henry Wood Hall. Jurowski savours the differences and makes capital of the anomalies. Richter, Svyatoslav (piano) / Brno Radio Symphony Orchestra / Ivanov, Konstantin (conductor)Recorded 1950.05.25 live in Brno, Community Hall. 1: Recordings: Andantino. Cliburn, Van (piano) / New York Philharmonic Orchestra / Mitropoulos, Dimitri (conductor)Recorded 1954.11.14 live. Istomin, Eugene (piano) / Philadelphia Orchestra / Ormandy, Eugene (conductor)Recorded 1959.04.12-19 in Philadelphia, Broadwood Hotel. 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. The real joy in this set comes via the Third Symphony, dubiously nicknamed the Polish on account of its polacca finale. 1 is an extraordinary recording and significant in its own way. This is hardly the first recording to bring Mendelssohnian deftness to the Scherzo and the waltz-Trio (and to imagine the influence working spookily in reverse, listen to the second movement of Mendelssohn’s Lobgesang in Heras-Casado’s recording with the Freiburg Baroque Orchestra), but the thinning out of the Scherzo to a few solo voices – like guests drifting away from the Act 3 ball of Eugene Onegin – is so characteristic of both composers. He uses the edition published in Moscow in 1952 (and soon to be available as an Eulenburg miniature score) and there are no cuts. Hey, I’m new to reddit and I’ve seen a lot of posts around asking for recommendations on certain pieces. Matrix 2LA-5984/91.
07:04. Please Subscribe to our New channel @PAINTED. Listen to many of the recordings in our Tchaikovsky: Great Recordings playlist on Apple Music... Denis Matsuev pf Mariinsky Orchestra / Valery Gergiev (Mariinsky). 1: Recordings: Pseudonyms, Piano Concerto No. The Scherzo eschews flashy thrills and spills in favour of some delightful rhythmic interplay and a thrilling sense of mounting excitement. is Tchaikovsky’s most popular opera, there’s a fair argument that. 'Rosel, Peter [*] (piano) / Leipzig Gewandhaus Orchestra / Masur, Kurt [*] (conductor)Recording date unknown. Matrix 2EA 13878/85. Pianist Mikhail Pletnev formed this orchestra in 1990 from the front ranks of the major Soviet orchestras, and the result here is now regarded as a classic. Bellucci, Giovanni (piano) / Liège Royal Philharmonic Orchestra / Bartholomee, Pierre (conductor)Recorded 1995 live. Feltsman, Vladimir (piano) / National Symphony Orchestra of Washington / Rostropovich, Mstislav (conductor)Recorded 1989 in Washington, Kennedy Center for the Performing Arts. Cherkassky, Shura (piano) / Berlin Philharmonic / Ludwig, Leopold (conductor)Recorded 1951.11.13 in Berlin, Jesus-Christus-Kirche. Li, George (piano) / London Philharmonic Orchestra / Petrenko, Vasily (conductor)Recorded 2019.03.27 live in London, Southbank Centre, Royal Festival Hall. But Ophelia is more than ever at the heart of the piece, her plaintive oboe melody very much dominating this version and exquisitely played – as is everything – by the Russian National Orchestra, whose refinement has opened a new chapter in Russian orchestral playing. 23" and Rachmaninoff's "Concerto No. Names of solo performers, with their instruments or stage roles given in parentheses. That inspired by Ostrovsky’s play The Storm is by far the most inspired and is given a powerful performance. The second movement’s variations open gently but soon develop the widest range of style, moving through Tchaikovsky’s kaleidoscopic mood-changes like quicksilver and often with elegiac lyrical feeling. They are joined by this resplendent account from Mariss Jansons and the Bavarian Radio Symphony Orchestra, recorded in concert. Focile offers keen-edged yet warm tone and total immersion in Tatyana’s character. The first-movement cadenza is a story within a story for her, an opportunity to muse on that which is at the heart of the work. Antenelli, Frederick [*] (piano) / unidentified orchestra / unidentified (conductor). Here, amazingly, is one of the most familiar of all concertos rekindled in all its first glory, brimming over with zest and shorn of all the clichés that have adhered to it over the years. / Schwieger, Hans ( conductor ) Recorded 1987.10.27-31 in Bamberg, Dominikanerbau recommended on all counts brass and Soviet. 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