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Duo ardere, contes et danses à 4 mains

Julien Gaudinière

Classical - Released August 27, 2016 | Anima Nostra

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Prokofiev: Peter and the Wolf, Op. 67 - Tchaikovsky: The Nutcracker Suite, Op. 71a

Leonard Bernstein

Classical - Released November 17, 2017 | Sony Classical

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Rachmaninov: Symphonic Dances, Op.45 / Tchaikovsky: Nutcracker Suite, Op.71a, TH.35

Martha Argerich

Classical - Released July 1, 1983 | Deutsche Grammophon (DG)

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Tchaïkovsky: Casse-Noisette (Les Etoiles du Bolchoï)

L'Orchestre National du Bolchoï

Ballets - Released November 15, 2007 | Via Classic

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Tchaikovsky: Piano Concerto No. 1; The Nutcracker Suite

Martha Argerich

Classical - Released October 15, 1996 | Deutsche Grammophon (DG)

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Tchaikovsky: Swan Lake, The Sleeping Beauty, The Nutcracker (Excerpts)

Pyotr Illitch Tchaïkovski

Classical - Released November 26, 2007 | Avie Records

Booklet
Like much of Tchaikovsky's musical output, his ballet scores were often subject to criticism. This is certainly true of his first attempt at ballet, Swan Lake. Although still firmly rooted in the traditions of the day, Tchaikovsky certainly tried to move out on his own by making the score much more orchestra-based than most of his predecessors. This, of course, drew the ire of dancers and theater directors alike as the attention was taken away from the dancers and placed on the musicians. History shines more favorably on Tchaikovsky's independent streak, making him the first Russian composer whose ballet scores are played as stand-alone orchestral works, not to mention the fact that Tchaikovsky was unknowingly paving the way for a string of subsequent Russian ballet composers like Stravinsky and Prokofiev. Excerpts from Swan Lake, Sleeping Beauty, and the perennial holiday favorite the Nutcracker are featured on this album by the Royal Liverpool Philharmonic Orchestra. Russian conductor Vasily Petrenko, who, at the rather young age of 29, became the orchestra's principal conductor in 2006, leads the orchestra in an extremely energetic and lively reading of these works. Most of the numbers are performed much more quickly than would ever be heard with a dance company, but the sprightly tempos make for especially exciting listening. Petrenko combines the orchestra's brilliant sound and exceptional technical precision with his own knowledge of the Russian master to create this enjoyable, appealing album. © TiVo
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Tchaikovsky: The Nutcracker, Hamlet, The Tempest...

Antal Doráti

Symphonic Music - Released December 23, 2015 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or
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Martha Argerich - Solo Works & Works for Piano Duo

Martha Argerich

Classical - Released January 1, 1983 | Deutsche Grammophon (DG)

Argerich plays Tchaikovsky

Martha Argerich

Classical - Released May 27, 2023 | UME - Global Clearing House

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Tchaikovsky: The Nutcracker

Martha Argerich

Classical - Released November 20, 2020 | Deutsche Grammophon (DG)

Tchaikovsky for reading

Pyotr Illitch Tchaïkovski

Classical - Released September 18, 2020 | UME - Global Clearing House

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Tchaikovsky: Ballet Suites

Berliner Philharmoniker

Classical - Released January 1, 1986 | Deutsche Grammophon (DG)

Karajan & Berliner Philharmoniker - Tchaikovsky

Herbert von Karajan

Classical - Released May 22, 2021 | UME - Global Clearing House

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Danse de la fée Dragée

Pyotr Illitch Tchaïkovski

Classical - Released June 29, 2020 | Romance Period Music

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Casse-Noisette

Valérie Karsenti

Stories and Nursery Rhymes - Released October 6, 2015 | Didier Jeunesse

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Les classiques de la pub

L'Orchestre National du Bolchoï

Film Soundtracks - Released May 15, 2010 | Via Classic

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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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French Duets - Fauré: Dolly Suite; Ravel, Debussy, Poulenc etc.

Steven Osborne

Classical - Released March 5, 2021 | Hyperion

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Bacchanale: Saint-Saëns et la Méditerranée

Orchestre Divertimento

Classical - Released March 24, 2023 | harmonia mundi

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The Orchestre Divertimento and its conductor, Zahia Ziouani, often juxtapose European repertory with music from other parts of the world. Ziouani, who is of Algerian background, has a particular interest in the music of that country. She could not have found a composer whose works were more congenial to such a project than Camille Saint-Saëns, who visited Algeria no fewer than 18 times and composed a Suite algérienne, Op. 60, that is heard here, broken up and interspersed with Arabic music. What makes Ziouani's project unique is that there are not two types of music here but three. Many of the Saint-Saëns works are preceded by improvisations in the classical Arabic idiom, on oud, qanun, a traditional viol, derbouka, and the riqq drum. These are quite a musical distance from Saint-Saëns, but Ziouani introduces contemporary Arabic songs, of a semi-popular nature, as an intermediate step. The sets are mostly in related tonalities. This is an ingenious idea that sheds light on both Saint-Saëns, on what he heard when he heard Algerian music, and on the nature of contemporary popular traditions that are rooted in the classical music of the world. The Saint-Saëns performances themselves are entirely creditable, and the album is well recorded at a couple of different locations. A unique release that makes one want to hear more from this distinctive ensemble. © James Manheim /TiVo
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Tchaikovsky: Eugène Onéguine (Diapason n°598)

Galina Vichnievskaia

Full Operas - Released September 25, 2010 | Les Indispensables de Diapason

Booklet Distinctions Diapason d'or