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LP, Reissue, Stereo. Explore the tracklist, credits, statistics, and more for Piano Concertos Nos. 2 And 3 by Tchaikovsky - Gary Graffman, Eugene Ormandy, Philadelphia Orchestra. Compare versions and buy on Discogs.
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26 de ago. de 2012 · Discover Tchaikovsky, Schumann: Piano Concertos by Alfred Cortot, Oscar Levant, Ferenc Fricsay, Eugene Ormandy released in 2012. Find album reviews, track lists, credits, awards and more at AllMusic.
フィルター. フォーマット. Labels & Companies. 国. 年. 5件のバージョン. ほしい物リストへ追加. おすすめ. レビュー. Gary Graffman ♦ Eugene Ormandy ♦ George Szell, Philadelphia Orchestra ♦ Cleveland Orchestra - TchaikovskyによるThe Three Tchaikovsky Piano Concertosの収録曲、クレジット、統計などを検索しましょう。 Discogsでバージョンを比較して購入できます.
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Tchaikovsky - Gary Graffman, Eugene Ormandy, Philadelphia Orchestra – Piano Concertos Nos. 2 And 3 (1965, Vinyl) - Discogs.
19 de mar. de 2021 · There are Brahms Violin Concertos with Joseph Szigeti (1945) and Zino Francescatti (1956), the Violin Concertos of Tchaikovsky (1949) and Mendelssohn (1950) with Isaac Stern, the Dvořák Cello Concerto (1946) with Gregor Piatigorsky, and so much more.
Pyotr Ilyich Tchaikovsky (1840-1893)Piano Concerto No. 3 in E-flat major, Op.Posth. 75Allegro brillanteGary Graffman pianoEugene OrmandyThe Philadelphia Orch...
- Piano Concertos
- Violin Concerto in D, Op 35
- Symphonies
- Ballets
- 1812 Overture
- Fantasy Overtures
- Chamber Works
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Piano Concertos Nos 1 & 2
Denis Matsuev pf Mariinsky Orchestra / Valery Gergiev (Mariinsky) The B flat minor Concerto has been recorded so many times that you may justifiably ask if we really need another. For an answer, listen to this newcomer. 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. Listening to Matsuev and Gergiev is the aural equivalent of wa...
Piano Concertos Nos 1, 2 & 3. Concert Fantasia in G, Op 56. Andante non troppo
Stephen Hough pf Minnesota Orchestra / Osmo Vänskä (Hyperion) Recorded live 2009 Stephen Hough’s contribution to the Romantic piano concertos series has been one of its outstanding successes and it is to him that Hyperion gives the honour of the milestone Vol 50 containing, as it does, the quintessence of this series: Tchaikovsky’s First Concerto. All four concertante works were recorded live in Minneapolis. These, you can hear, are not performances made with the safety net of a studio but on...
Piano Concerto No 1
Yevgeny Sudbin pf São Paulo Symphony Orchestra / John Neschling Sudbin gives us a Tchaikovsky First of spine-tingling brilliance, poetry and vivacity. This is never the Tchaikovsky you have always known, but an arrestingly novel rethink with the concentration on mercurial changes of mood and direction. 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. In t...
Violin Concerto
Lisa Batiashvili vn Staatskapelle Berlin / Daniel Barenboim (DG) The Tchaikovsky exudes a melancholic warmth fusing classical and romantic sensibilities. That’s a crucial balance in performing this music. The first statement of the first subject is tender and understated, the second a little more persuasive, but never is the poise and purity of Tchaikovsky’s innate classicism compromised. There is undeniable relish for the expressive opportunities that the piece throws up at every turn but fo...
Complete Symphonies
Berlin Philharmonic Orchestra/ Herbert von Karajan (DG) Karajan was unquestionably a great Tchaikovsky conductor. Yet although he recorded the last three symphonies many times, he did not turn to the first three until the end of the 1970s, and then proved an outstanding advocate. In the Mendelssohnian opening movement of the First, the tempo may be brisk, but the music’s full charm is displayed and the melancholy of the Andante is touchingly caught. Again at the opening of the Little Russian...
Symphony No 1 'Winter Dreams' & The Tempest
The Orchestra of St Luke's / Pablo Heras-Casado 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’sLobgesangin 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 ofEugene Onegin– is so characteristic of both composers. It is...
Symphonies Nos 1, ‘Winter Daydreams’, and 6, ‘Pathétique’
London Philharmonic Orchestra / Vladimir Jurowski (LPO) Recorded live 2008 Of the two performances, it’s that of Winter Daydreamswhich conveys the greater imaginative spark and spontaneity. Jurowski steers a marvellously lithe and clear-sighted course through this youthful canvas, with springy bass-lines, luminous textures and bracing contrapuntal vigour the keynotes (the antiphonally divided first and second fiddles are a boon, as is the LPO’s personable woodwind roster). There’s genuine aff...
Swan Lake, Op 20
Montreal Symphony Orchestra / Charles Dutoit (Decca) No one wrote more beautiful and danceable ballet music than Tchaikovsky, and this account of Swan Lake isa delight throughout. This isn’t only because of the quality of the music, which is here played including additions the composer made after the premiere, but also thanks to the richly idiomatic playing of Charles Dutoit and his Montreal orchestra in the superb and celebrated location of St Eustache’s Church in that city. Maybe some condu...
The Sleeping Beauty
London Symphony Orchestra / André Previn (EMI / Warner Classics) Back in the 1950s there was quite a spate of complete-ballet recordings, but in recent years there have been very few, and this is the first of The Sleeping Beautysince Ansermet's slightly cut version of 1959. Earlier still in 1957 Dorati recorded every note with the Minneapolis orchestra but these discs have been out of the British record catalogue for some years, and the sound never quite did the music justice. Andre Previn's...
The Nutcracker
Kirov Opera Chorus and Orchestra / Valery Gergiev (Philips) The Nutcracker as a short ride in a fast machine. Every now and then in Gramophone, you will read a recommendation from a reviewer that a particular recording needs a higher replay level than usual (emphatically not the case here), but, for what it’s worth, I found my most positive responses to thisNutcrackercame after a higher than usual intake of caffeine. Obviously, a fair measure of Tchaikovsky’s score is meant to be continuous,...
1812 Overture. Capriccio italien, Op 45 Beethoven Wellingtons Sieg, ‘Die Schlacht bei Vittoria’, Op 91
University of Minnesota Brass Band; Minneapolis Symphony Orchestra; London Symphony Orchestra / Antál Dorati (Mercury) Both battle pieces incorporate cannon fire recorded at West Point, with Wellington’s Victory adding antiphonal muskets, the 1812 the University of Minnesota Brass Band and the bells of the Laura Spelman Rockefeller carillon. 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. The...
Francesca da Rimini. Romeo and Juliet. 1812 Overture. Eugene Onegin – Waltz; Polonaise
Santa Cecilia Academy Chorus and Orchestra, Rome / Antonio Pappano (EMI / Warner Classics) With chorus added in the 1812 as well as the Waltz from Eugene Onegin, this is an exceptional Tchaikovsky collection, a fine start for Antonio Pappano’s recordings with his Italian orchestra. What is very striking is how refreshing the 1812 is when played with such incisiveness and care for detail, with textures clearly defined. It starts with the chorus singing the opening hymn, expanding thrillingly f...
Hamlet, Op 67. The Tempest, Op 18. Romeo and Juliet
Bamberg Symphony Orchestra / José Serebrier (BIS) What a good idea to couple Tchaikovsky’s three fantasy overtures inspired by Shakespeare. José Serebrier writes an illuminating note on the genesis of each of the three, together with an analysis of their structure. He notes that once Tchaikovsky had established his concept of the fantasy overture in the first version of Romeo and Juliet in 1869 – slow introduction leading to alternating fast and slow sections, with slow coda – he used it agai...
Hamlet, Op 67a – Overture and Incidental Music. Romeo and Juliet
Tatiana Monogarova sop Maxim Mikhailov bass Russian National Orchestra / Vladimir Jurowski (Pentatone) At first glance this might look like the traditional pairing of Tchaikovsky’s two fantasy overtures – but you might have known that Vladimir Jurowski was likely to be more inquisitive than that. In 1891 a complete stage performance of Shakespeare’s Hamlet took place in St Petersburg with music by Tchaikovsky. His fantasy overture, written for a charity event three years earlier, was heard ag...
Variations on a Rococo Theme. Nocturne, Op 19 No 4. Pezzo capriccioso, Op 62. When Jesus Christ was but a child, Op 54 No 5. Was I not a little blade of grass?, Op 47 No 7. Andante cantabile, Op 11
Raphael Wallfisch vc English Chamber Orchestra / Geoffrey Simon (Chandos) This account of the Rococo Variations is the one to have: it presents Tchaikovsky’s variations as he wrote them, in the order he devised, and including the allegretto moderato con anima that the work’s first interpreter, ‘loathsome Fitzenhagen’, so high-handedly jettisoned. (See also the review under Dvořák where Rostropovich uses the published score rather than the original version.) The first advantage is as great as...
String Quartets Nos 1-3. String Quartet Movement (1865). Souvenir de Florence
Klenke Quartet with Harald Schoneweg va Klaus Kämper vc (Berlin Classics) 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. The Klenke Quartet immediately invite comparison, with an identical programme and, with one or two exceptions, timings for the individual movements within a few seconds of each other. Annegret Klenke and her colleagues have achieved a remarkable unity of t...
Piano Trio
Vienna Piano Trio (Dabringhaus und Grimm) This version of the Tchaikovsky measures up extremely well against its competition; moreover it is (like all chamber recordings from this source) very well balanced. Pianist Stefan Mendl is able to dominate yet become a full member of the partnership throughout. 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...
18 Morceaux, Op 72
Mikhail Pletnev pf (DG) Recorded live 2004 Mikhail Pletnev’s persuasive 1986 re-cording of Tchaikovsky’s 18 Morceaux for Melodiya was hampered by strident sound and an ill-tuned piano. Happily, a state-of-the-art situation prevails in this new live recording, extending, of course, to Pletnev’s own contributions. His caring, characterful and technically transcendent way with this cycle casts each piece in a three-dimensional perspective that honours the composer’s letter and spirit beyond the...
Solo Piano Works
Peter Donohoe pf(Signum Classics) Russian and Soviet music and culture run like a river through Peter Donohoe’s distinguished career. His joint silver medal at the 1982 Tchaikovsky Competition cemented a relationship with the country, its musicians and its public that is ongoing. My instant reaction on pushing ‘play’ and hearing the first bars was ‘Ah – this is going to be good’. And so it proves, perhaps the most consistently enjoyable and satisfying recording of Tchaikovsky piano solos of r...
Liturgy of St John Chrysostom. Nine Sacred Choruses. An Angel Crying
Corydon Singers / Matthew Best (Hyperion) Tchaikovsky’s liturgical settings have never quite caught the popular imagination which has followed Rachmaninov’s (his All-Night Vigil, at any rate). They are generally more inward, less concerned with the drama that marks Orthodox celebration than with the reflective centre which is another aspect. Rachmaninov can invite worship with a blaze of delight, setting ‘Pridite’; Tchaikovsky approaches the mystery more quietly. Yet there’s a range of emotio...
‘Romances’
Christianne Stotijn mez Julius Drake pf (Onyx Classics) For the most part these are angst-ridden stories of death and lost love. The two best-known songs open proceedings: ‘At the Ball’, with its reminiscence of unrequited passion to the lilt of a sad waltz, and then ‘None but the lonely heart’. Everyone conceivable from Rosa Ponselle to Frank Sinatra has recorded this, but Stotijn loses nothing in comparison with ghosts from the past. Her voice is a full-blooded mezzo but steady and true, wi...
The Snow Maiden
Irina Mishura-Lekhtman mez Vladimir Grishko ten Michigan University Musical Society Choral Union; Detroit Symphony Orchestra / Neeme Järvi (Chandos) Tchaikovsky wrote his incidental music for Ostrovsky’s Snow Maiden in 1873, and though he accepted it was not his best, he retained an affection for it and was upset when Rimsky-Korsakov came along with his full-length opera on the subject. The tale of love frustrated had its appeal for Tchaikovsky, even though he was not to make as much as Rimsk...
