Tchaikovsky

Anyone who has been searching for a powerful rendition of Pyotr Il'yich Tchaikovsky's Swan Lake, Op. 20, should consider this dynamic performance by Valery Gergiev and the Orchestra of the Mariinsky Theatre, undoubtedly one of the most forceful available, and perhaps one of the very best, notwithstanding one idiosyncrasy that must be directly addressed.

There is a tradition among Russian composers to write an elegiac trio in memory of a departed friend. It is Tchaikovsky who first introduced this tradition with his grandiose trio in A minor dedicated to Nikolay Rubinstein. Dmitry Shostakovich carried this tradition into the twentieth century with his Trio No. 2 in E minor, Op. 67, dedicated to the memory of his closest friend the musicologist Ivan Sollertinsky. These are the two telling works performed here in their premiere recording by the Rachmaninoff Trio de Montréal

This is an excellent disc from one of the best mezzosopranos working during the last couple of decades. It does also, I suppose, present a nice survey of Tchaikovsky’s songs (of which there is quite a number, few of which are well-known) and includes at least the two most famous ones, “None but the lonely heart” and “Once Again, Alone” – and the selection consists of songs from both early in his career (the 1869 set including “None but the lonely heart”) and late ones. However, I would warn against listening through this disc in one go – these songs are pretty much all rather dark and sad and slow, focusing on loneliness, regret, sorrow and longing. Taken a few at a time, on the other hand, virtually every single one comes across as a marvelous gem.

Ideally, a piano trio should be balanced in its voices and the parts more or less equally matched in expression, but it sometimes happens in late Romantic chamber music that an overwrought piano part can create the opposite conditions. In the Trio élégiaque No. 1 in G minor by Sergey Rachmaninov and the Piano Trio in A minor by Pyotr Il'yich Tchaikovsky, the piano is clearly the dominant force, because it carries most of the thematic material, harmonic textures, and dramatic gestures, and thereby reduces the violin and cello to subsidiary roles.

Classic recordings of Tchaikovsky's orchestral music, focused around the symphonies, ballet suites, concertos and overtures. Recordings from 1962-1992, from Moscow Philharmonic Orchestra, Pentatone, Musical Concepts, Melodiya and Mercury.

Tchaikovsky only wrote one "official" piano sonata, the Grande Sonate in G major, Op. 37, but when he was a student at the St. Petersburg Conservatory, he began an Allegro in F minor and completed a full sonata in C sharp minor, published posthumously as Op. 80. Leslie Howard, in the midst of his enormous Franz Liszt project, recorded all three works for Hyperion. Howard fleshed out the Allegro into a complete sonata allegro movement. The result is a movement that is solid, structurally and musically, much meatier than the Tchaikovsky character pieces that are more often heard, but still an immature work for the composer.

Classic recordings of Tchaikovsky's orchestral music, focused around the symphonies, ballet suites, concertos and overtures. Recordings from 1962-1992, from Moscow Philharmonic Orchestra, Pentatone, Musical Concepts, Melodiya and Mercury.