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Tchaikovsky: Serenade for String Orchestra Op. 48 & Suite for Orchestra No. 3, Op. 55
Kirill Kondrashin, Moscow Philharmonic Symphony Orchestra
Classical - Released January 1, 2005 | JSC Firma Melodiya
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Tchaikovsky: Suite No. 3 in G major, Op. 55
USSR State Symphony Orchestra
Classical - Released May 17, 2010 | Red Note OMP
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Tchaikovsky: Serenade for Strings in C Major, Op. 48, TH 48 & Suite No. 3 in G Major, Op. 55, TH 33 (Live)
Kirill Kondrashin
Classical - Released October 15, 2021 | Urania Records
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Tchaikovsky: Orchestral Suite No. 3 in G Major, Op. 55 (Digitally Remastered)
Pyotr Illitch Tchaïkovski
Classical - Released August 21, 2015 | EMG Classical
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Tchaikovsky: Orchestral Suite No. 3 in G Major, Op. 55 (Digitally Remastered)
Pyotr Illitch Tchaïkovski
Classical - Released August 21, 2015 | EMG Classical
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Après un rêve (Belle Époque: Nights at the Piano)
Emmanuel Despax
Classical - Released June 16, 2023 | Signum Records
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It is hard to figure out what pianist Emmanuel Despax had in mind for the concept of this album. Its various titles offer three ideas: Après un rêve comes from the title of a Fauré song Despax transcribes for his program opener, plus there is "Belle Époque: Nights at the Piano." None of these is of much use; few pieces other than the Fauré are particularly dreamy, and the largest piece, Poulenc's Soirées de Nazelles, is from the nervous 1930s and nowhere near the Belle Époque in time or mood. As for "Nights at the Piano," that fits the Poulenc nicely but not the concluding Gaspard de la Nuit of Ravel, which is an imposing virtuoso concert work carrying none of the connotations of "Nights at the Piano." Really, Despax excels in none of these three ways but rather in a fourth: he hits on an intriguing mix of familiar standards and unusual works. Among the latter group are the Soirées de Nazelles, which Poulenc disclaimed and, perhaps for that reason, have been seldom heard. They are delightful pieces that bear titles describing qualities, like the numbers of a Baroque French suite, but actually seem to have been devised by Poulenc to describe members of a group of his friends, like Elgar's Enigma Variations. The result is a work that distills the hint of improvisation that pervades some of Poulenc's keyboard music and songs, and Despax gives it the right lively, spontaneous feel. The Nocturne, Op. 165, of Cécile Chaminade and the keyboard version of Henri Duparc's Aux étoiles are also nice finds. As for the more heavily trodden works, Debussy's Clair de lune is pleasantly moody, although no one would select this album for the rote Gaspard de la Nuit or the rather un-macabre Danse Macabre, Op. 40, of Saint-Saëns. For Poulenc lovers, however, this is an important find.
© James Manheim /TiVo
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Beethoven: Symphony No. 3, Op. 55 "Eroica" - Strauss: Horn Concerto No. 1, Op. 11 (Live)
Pittsburgh Symphony Orchestra
Classical - Released September 21, 2018 | Reference Recordings
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5 Sterne Fono Forum Klassik
Returning to the symphonies of Ludwig van Beethoven in his Pittsburgh Live series on Reference Recordings, Manfred Honeck rigorously explores the Symphony No. 3 in E flat major, "Eroica," paired with Richard Strauss' Horn Concerto No. 1 in E flat major. Honeck's 2015 release of the Symphony No. 5 in C minor and the Symphony No. 7 in A major demonstrated his in-depth analyses of the scores and his careful consideration of evidence about performances in Beethoven's time, including documents and original sketches that revealed much about early Romantic practices. By observing the historical method and avoiding conventional approaches, Honeck has adjusted the Pittsburgh Symphony Orchestra's sound and brought out details and sonorities that have often been buried in mainstream performances. Honeck also calls for brisk tempos, crisp articulation, and spry, dance-like rhythms, which alleviate some of this heavyweight symphony's pugnaciousness and brings a somewhat lighter touch to the "Eroica." Strauss' Horn Concerto No. 1, featuring a polished solo part by William Caballero, is suitable filler, matching the key and moods of the "Eroica" and sharing its robust energy, though by the time Strauss composed it, the influence of Beethoven had been filtered through Schumann and Brahms, so the work shows a conservative side in youthful reaction against Wagner. Reference Recordings' sound is as clean and focused as could be desired, and this hybrid SACD gives great presence to the players and leaves a vibrant impression.
© TiVo
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Beethoven: Symphonies Nos. 1-9
Bernard Haitink
Classical - Released September 12, 2006 | LSO Live
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Beethoven's nine symphonies -- what can one say? The greatest body of orchestral works ever composed? Probably. The most performed body of orchestral works ever composed? Certainly. The most recorded body of orchestral works ever composed? Absolutely. Not only has virtually every conductor recorded a Beethoven cycle, some of them have gotten to record it multiple times: Abbado, Bernstein, Solti, Karajan, and Haitink, among others. What does this proliferation tell us? Usually nothing about the music that hasn't been heard before, but sometimes something about what the conductor thinks about the music. These performances with the London Symphony Orchestra recorded in 2005 and 2006 tell what Bernard Haitink thinks about the greatest body of orchestral works ever composed. And what does Haitink think? Pretty much nothing that hasn't been thought before. His tempos are neither too fast nor too slow, but straight down the moderato. His dynamics are neither too loud nor too quiet, but right in the mezzo. His textures are clear and lucid. His colors are blended and smooth. His interpretations are solid and sincere. But what does Haitink tell us about what he thinks about Beethoven's symphonies? Pretty much nothing except that he is an experienced conductor with a superb baton technique who keeps his opinions to himself. The London Symphony's playing is enthusiastic but too often ragged around the edges for comfort. LSO Live's recording is transparent but the perspective seems to shift from work to work -- sometimes the strings are too far away, other times the brass are too close.© TiVo
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Beethoven Complete Symphonies
Staatskapelle Dresden
Classical - Released May 28, 2021 | Brilliant Classics
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50 Masterworks - Arthur Rubinstein
Arthur Rubinstein
Classical - Released November 11, 2016 | Sony Classical
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Chopin: Nocturnes, Mazurkas, Berceuse, Sonata, Opp. 55-58
Maurizio Pollini
Solo Piano - Released January 25, 2019 | Deutsche Grammophon (DG)
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Beethoven: Symphonies Nos 1 & 3
National Symphony Orchestra, Kennedy Center
Symphonies - Released September 16, 2022 | National Symphony Orchestra
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This live release is the first in a digital series, eventually to culminate in a physical box set, including all nine of Beethoven's symphonies. Each release will feature an illustration by Mo Willems; these were also displayed at Washington's Kennedy Center, where the music was recorded, and the graphics are reproduced on the digital (and eventual physical) releases. Conductor Gianandrea Noseda does not exactly break new ground with these interpretations, but they are vigorous works with a consistent perspective, well executed by the National Symphony Orchestra. Noseda emphasizes the brashness of the young Beethoven in both the Symphony No. 1 in C major, Op. 21, and Symphony No. 3 in E flat major, Op. 55 ("Eroica"). His tempos are brisk, and he observes the Allegro molto e vivace label on the Menuetto of the Symphony No. 1 where many conductors opt for a more graceful Mozartian quality. Surrounding the funeral march of the Symphony No. 3 with urgent, fast playing emphasizes its somber quality, and here, Noseda does not rush. The album is nicely recorded by the engineers from the National Symphony's own new label, and though applause is not retained, one imagines there was quite a bit (if it was allowed). One awaits the rest of Noseda's series with interest.
© James Manheim /TiVo
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Tchaikovsky: Symphony No. 3, Polonaise & Coronation March
Tonhalle-Orchester Zürich
Classical - Released October 8, 2021 | Alpha Classics
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Kocsis Plays Bartok
Zoltán Kocsis
Classical - Released February 15, 1987 | Denon
Distinctions
The Qobuz Ideal Discography
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American and English Orchestral Music
Joshua Weilerstein
Classical - Released January 24, 2024 | Claves Records
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Beethoven: Symphony No. 3 - Brahms: Variations on a Theme by Haydn
Maxim Emelyanychev
Symphonic Music - Released October 19, 2018 | Aparté
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Beethoven Septet & Eroica
Claire Huangci
Classical - Released March 3, 2023 | Berlin Classics
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Tchaikovsky : The Complete Solo Piano Works
Valentina Lisitsa
Classical - Released March 15, 2019 | Decca Music Group Ltd.
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5 de Diapason
Whatever one thinks of her playing, it's clear pianist Valentina Lisitsa deserves everyone's thanks for showing that there is nothing wrong with the state of classical music, only with the way it is presented: views of her YouTube performance videos number in the tens of millions. Lisitsa has been able to parlay that popularity into a more conventional career, but for a pianist who has built her reputation on internet moments to essay something like the complete solo piano works of Tchaikovsky, covering ten CDs (about 11 hours of music in total) is unorthodox, or gutsy perhaps. As it happens, Lisitsa will probably find buyers. She records every scrap of music Tchaikovsky ever wrote for the piano, including an unfinished student work, a set of 50 folk song arrangements for piano four hands (recorded with Lisitsa's personal and artistic partner Alexei Kuznetsoff), an operatic potpourri, juvenilia, and a huge assortment of occasional short pieces. These are, as annotator Philip Ross Bullock concedes, of varying quality, but there is something catchy about them more often than not. Sample, for instance, the Volunteer Fleet March, from the "Works Without Opus Numbers" disc (the album is organized thematically rather than chronologically, which makes sense). Lisitsa in the main keeps to the rather restrained style she cultivated on YouTube. You might find that a Pletnev would offer more flair and oomph in the Grand Sonata, Op. 37, and her tempi in a piece like the "June: Barcarole" can be uncomfortably slow. However, one must note that Lisitsa has learned a great deal of music, recorded almost all of it at least intelligently, and cast a valuable light on a neglected segment of Tchaikovsky's output.© TiVo
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Tchaikovsky: Violin Concerto
Julia Fischer
Concertos - Released October 1, 2006 | PentaTone
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The Tchaikovsky Violin Concerto, though not widely appreciated in its time, has come to be one of the crown jewels of the violin concerto repertoire. As such, it has been recorded hundreds of times by as many violinists and various orchestras. In contrast, the miniatures also included on this album are rarely heard; this is truly a shame as they were written before (with the exception of the Op. 42 Souvenir) the concerto and allow listeners to listen in on Tchaikovsky's experimentation and exploration of the instrument before he began writing the concerto. Equally interesting, the Meditation movement of the Op. 42 Souvenir was originally written as the slow movement of the concerto but was later pulled and made into the first movement of the three miniatures.Violinist Julia Fischer has received extensive accolades and keeps musical company with some of the most prominent performers and conductors of our day. She does not fail to live up to her reputation in this recording. Her sound is deep and throaty, a wonderful quality for this concerto. Fischer's technique and intonation are seamless, and her musical passions shine through in each risk-taking track. For the oft-recorded concerto, however, she does not bring anything new or revolutionary to the table. So while this album is highly recommended for its collection of miniatures and suitable as a first recording of the concerto, listeners who may be seeking something a little fresher may wish to check out Joshua Bell's recording with Michael Tilson Thomas and the Berlin Philharmonic.© TiVo
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Sibelius: Symphonies Nos. 1-7, Tapiola, Karelia Suite, Finlandia, The Bard, The Swan of Tuonela
Paavo Berglund
Classical - Released January 7, 2005 | Warner Classics
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5 de Diapason -
The Qobuz Ideal Discography
Paavo Berglund and the Bournemouth Symphony Orchestra recorded this cycle of the symphonies of Jean Sibelius between 1972 and 1978, with additional recordings of the tone poems dating from the same period. These analog recordings have held up remarkably well over the years, and the sound, which is surprisingly warm and vibrant, has lost little in the digital transfer. Berglund's Sibelius interpretations have been honored for years, not only for the achievements in this important set, but also for his later recordings with the Helsinki Philharmonic Orchestra and the Chamber Orchestra of Europe, chiefly because of his profound understanding of the composer's methods and expressive modes. In order to bring across the coherence of the symphonies, Berglund treats the music as an organic process, accepting the fluidity of tempos, idiosyncratic use of motives, and shifting moods as something more than just a rhapsodic stringing-together of ideas. Because the music evolves audibly and communicates authentic emotion along the way, the performances are extremely compelling and deeply enjoyable. The recordings of the Karelia Suite, Valse triste, Finlandia, and the other tone poems are more than filler, though the real substance of this legendary set is found in the symphonies, and they are recommended as essential listening.© TiVo
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