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Tchaikovsky: The Tempest, Francesca da Rimini, The Voyevoda, Overture and Polonaise from 'Cherevichki'
BBC Scottish Symphony Orchestra
Symphonies - Released May 19, 2023 | Chandos
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Booklet
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Qobuzissime
The first album from the young British conductor Alpesh Chauhan is an instant Qobuzissime! When the Chandos stable signs an emerging artist, we already know that their first release will be full of pleasant surprises. Here, the Birmingham-born conductor and an ardent defender of Russian music chooses Tchaikovsky’s most beautiful pages, skilfully avoiding the overplayed The Nutcracker, Eugene Onegin and Sleeping Beauty. It goes without saying they are classics for a reason, but the rest of Tchaikovsky's repertoire is well worth a deeper look. At the head of the BBC Scottish Symphony Orchestra, Alpesh Chauhan dwells at generous length on the more expressive side of the Russian composer, who excelled in the projection of heart-rending pathos. From the Overture and Polonaise from the opera Cherevichki to the fantasy The Tempest and the Francesca da Rimini suite, Chauhan displays a visionary and circumspect intelligence of the different sections of the orchestra and the sudden diegetic changes, always executed with a hallucinating fluidity. Even more fascinating is the perfect legibility of the different timbres, impeccably individualised while they maintain great coherence within the ensemble. One leaves this disc with the feeling they’ve returned from a long journey, and with the conviction that one has witnessed the birth of a tremendous conductor. Rarely has Tchaikovsky resounded with such a sense of drama or with such inflections of immensity. Alpesh Chauhan will be creating dreams for much time to come. © Pierre Lamy/Qobuz
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TCHAIKOVSKY, P.I.: Manfred Symphony / Voyevoda (Royal Liverpool Philharmonic, Petrenko)
Royal Liverpool Philharmonic Orchestra
Classical - Released September 29, 2008 | Naxos
Booklet
Distinctions
Gramophone Award
If after hearing this superb 2008 Naxos disc some obstinate listeners insist on maintaining that the Manfred Symphony and the symphonic ballad The Voyevoda are lesser Tchaikovsky, it's not the fault of the performers. Vasily Petrenko is a talented conductor who knows how to get the best out of a score and an orchestra and his honest fondness for the repertoire cannot be doubted. The Royal Liverpool Philharmonic is likewise a skillful orchestra with a polished sound, a tight ensemble, and excellent soloists. But though Petrenko keeps things moving and the Liverpool musicians keep things taut, Manfred and Voyevoda refuse to become more than what they are: evocative but episodic scores filled with banal themes, garish orchestrations, and turgid rhythms. So while those stubborn listeners might concede few earlier recordings of Manfred and the Voyevoda have surpassed this one, they might also acknowledge Petrenko and the Royal Liverpool cannot redeem these two lugubrious works from their less than exalted status in Tchaikovsky's oeuvre. Naxos' digital sound is clear and colorful, if a bit distant.
© TiVo
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Tchaikovsky: Symphony No. 5 in E Minor, Op. 64 & The Voyevoda, Op. 78
Claudio Abbado
Classical - Released August 10, 2004 | Sony Classical
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Tchaikovsky: Symphony No. 4, Op. 36 & Fatum, Op. 77 & Voyevoda, Op. 78
Leonard Slatkin
Classical - Released November 17, 2023 | RCA Red Seal
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Tchaikovsky: Symphony No. 5 in E Minor, Op. 64 & The Voyevoda, Op. 78
Claudio Abbado, Chicago Symphony Orchestra
Classical - Released August 10, 2004 | Sony Classical
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Tchaikovsky, P.I.: Symphony No. 5 / The Voyevoda, Op. 78 / Capriccio Italien
Neeme Järvi
Classical - Released January 1, 2005 | BIS
Booklet
BIS's super audio sound really is better than its standard digital sound, and, considering that BIS' standard digital has been at the apex of digital technology for 20 years, that is quite an achievement. As embodied in this recording of Tchaikovsky's Symphony No. 5 with the Gothenburg Symphony under Neeme Järvi, BIS' super audio sound is clearer, more immediate, more present, more real than virtually any other digital sound in the world. It is truly a marvel of technical progress.So, too, is the conducting by Järvi a marvel of progress. While the severely limited Järvi has always been at his best with the Gothenburg -- think of his 1985 recording of Berwald's Symphonies on DG -- his Tchaikovsky recordings with them have been far better than the best recordings Järvi has ever made. The Gothenburg's warm colors and cool intensity bring out the best in Järvi, his fascination with colors and his relaxed enthusiasm. More importantly, the Gothenburg's accomplished virtuosity nearly covers for Järvi's many technical deficiencies, his difficulty keeping to a tempo, his disinclination to attend to balances, his tendency to over-drive rhythms. While it is by no means in the same exalted class as Mravinsky's or Svetlanov's, much less Gergiev's or Temirkanov's, Järvi's Fifth does have a sense of the work's hysterical energy and histrionic drama. For the fillers, Järvi's Voyevoda is a darkly colored, dourly gloomy, and certainly the best recording of this rarely recorded work, and his Capriccio Italien is brilliantly colored, irresistibly rhythmic, and possibly one of the better recordings of this often recorded work.© TiVo
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Tchaikovsky: The Voyevoda, Op. 78 (Digitally Remastered)
Pyotr Illitch Tchaïkovski
Symphonic Music - Released August 21, 2015 | EMG Classical
Tchaikovsky: The Voyevoda - Symphonic Ballad, Op. 78
American Symphony Orchestra
Classical - Released July 23, 2010 | American Symphony Orchestra
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Saint-Saëns : Symphonie No. 3 - Œuvres de Chabrier, Bizet & Lalo (Diapason n°586)
Orchestre Symphonique de Détroit
Symphonic Music - Released October 25, 2009 | Les Indispensables de Diapason
Booklet
Distinctions
Diapason d'or
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Tchaikovsky: Piano Concerto No. 1 in B-Flat Minor; The Seasons - Fauré: Ballade, Op. 19
Pyotr Illitch Tchaïkovski
Classical - Released October 11, 2013 | Reader's Digest
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Paris Memories
Alain Lefèvre
Classical - Released March 10, 2023 | Warner Classics
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Sibelius: Works for Violin & Piano
Fenella Humphreys
Chamber Music - Released January 7, 2022 | Resonus Classics
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Booklet
As both musician and composer the violin was central to Sibelius’s career, and his output for the instrument spans much of his long life. Acclaimed violinist Fenella Humphreys and celebrated pianist Joseph Tong explore a tantalising programme of Sibelius’s music, from the youthful Andante cantabile in G major composed in 1887, through Op. 78 and Op. 81, written in the midst of the First World War, to his last works for the instrument – Four Pieces, Op. 115 and 3 Pieces, Op. 116 both penned in 1929. Completing the programme are the five Danses champêtres, Op. 106 from 1924–5. © Resonus Classics
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Tiersen Meets Chopin
Ieva Dudaite
Classical - Released January 3, 2020 | Ars Produktion
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Apprentis sorciers (L'esprit symphonique français)
Olivier Vernet
Classical - Released June 11, 2021 | Ligia
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Tchaikovsky: The Voyevode, Op. 78, TH 54 & Manfred Symphony in B Minor, Op. 58, TH 28
Minsk Philharmonic Orchestra
Classical - Released July 3, 2020 | Musicaphon
Booklet
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Glazunov: Symphony No. 3, Op. 33 / Ballade, Op. 78
BBC National Orchestra Of Wales
Classical - Released November 1, 2002 | BIS
Booklet
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Glazunov: Ballade in F Major, Op. 78 (Digitally Remastered)
Moscow RTV Symphony Orchestra
Classical - Released July 30, 2013 | EMG Classical
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Fauré: Complete Music for Solo Piano
Lucas Debargue
Classical - Released March 22, 2024 | Sony Classical
Hi-Res
Booklet
Distinctions
Choc de Classica -
Qobuz Album of the Week
Pianist, thinker, and author Lucas Debargue explains having wanted to inflect “an experimental accent” onto this album which compiles the complete solo piano works of Gabriel Fauré. Indeed, his intentions encompass both the music itself as well as its highly polished sound production, featuring the use of the now infamous Opus 102 piano, conceived and fabricated by French manufacturer Stephen Paulello. This innovative instrument features 102 keys instead of the typical 88, along with highly reactive mechanics which give it an exceptional sound identity and incomparable variability. Lucas Debargue puts his fluid and inspired technique at the service of music that he first approached quite late, at the end of his music education, upon hearing another student play the “Barcarolle N° 1.” For him, this was a sort of paradigm shift, the discovery of a world that he previously wasn’t aware of. The first major confinement of the COVID 19 crisis ended up being beneficial for him, as it allowed him to return to the long practice sessions that the explosive international success of his career prevented him from enjoying. Casting aside the idea of grouping the tracks together by title, as Fauré himself had given them titles merely for his editors’ convenience, Lucas Debargue follows the thread of this pure music by carefully adhering to the opus numbers. This gives listeners a measure of the composer’s evolution as he slowly distanced himself from his mentors in order to find his own harmonic richness, which also happens to resonate with Lucas Debargue’s own artistic concerns as a composer evolving within a tonal perspective. © François Hudry/Qobuz
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Tchaikovsky: Symphony No. 6 "Pathétique"
Kirill Petrenko
Symphonies - Released May 10, 2019 | Berlin Philharmonic Orchestra
Hi-Res
Booklet
Distinctions
Gramophone Editor's Choice
Conductor Kirill Petrenko emerged as something of a dark horse to become conductor of the Berlin Philharmonic, and this live performance of Tchaikovsky's Symphony No. 6 in B minor, Op. 74 ("Pathétique"), suggests why. It is a testimony to the art of musicians and their conductor, shaped in entirely original ways, who demands and gets precise responses from the players. Petrenko's performance makes an interesting pairing with the intense one from the Mariinsky Orchestra under Valery Gergiev, also released in 2019: where Gergiev's reading of the work is emotionally raw and even seems to depict a personality in the process of fragmentation, Petrenko is delicate and detailed. His opening movement holds the music's many rhythmic strands together and reveals many interior lines. In his Allegro con grazia, the emphasis is on the grazia; the movement loses some of its dancelike character in favor of subtlety and a floating feeling. The third movement, Allegro molto vivace, might not make audiences stand up and cheer in the conventional way, but it is uniquely thought through and has a kind of jolly quality. Which leaves the finale, where there is no getting away from the despair. Even here, Petrenko smooths out the dotted rhythms some at the end, where the music descends into what turned out to be suicidal depths. For the common run of listeners who seek out Tchaikovsky for maximal emotional impact, this may not be the way to go. However, it bodes well for Petrenko's tenure in Berlin, for it is a technically masterful reading. The performance was recorded live at the Berlin Philharmonie in 2017, and the sound is pretty extraordinary: there is no audience noise and everything is so clean you might have been in a studio, except that you weren't. It's strong enough that the included audiophile downloads may be superfluous for all but audiophiles.© TiVo
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Tchaikovsky Orchestral Works Vol. 2
BBC Scottish Symphony Orchestra
Symphonies - Released March 15, 2024 | Chandos
Hi-Res
Booklet
This is the second of a pair of Tchaikovsky albums by the BBC Scottish Symphony Orchestra and its new conductor, Alpesh Chauhan; both are impressively recorded at the City Halls in Glasgow. For Tchaikovsky buffs, the attraction here is that most of the music is infrequently played. The exception is the Capriccio Italien, Op. 45, and here, the listener may prefer other choices, but there are not so many other choices for the likes of the tone poem Fatum (Fate), Op. posth. 77, an early Tchaikovsky work that was assembled from orchestral parts and published after his death. It was dedicated to Mily Balakirev (who turned around and criticized it severely) and owes a lot to Borodin as well, but for all this, it contains Tchaikovsky's own voice, especially in the trenchant orchestration and has thematic links to the composer's symphonies. Hamlet, Op. 67, a "fantasy overture after Shakespeare," conveys the subject matter of the play effectively, and the Movements from "The Snow Maiden," Op. 12, from incidental music from a play by Ostrovsky, is a neglected example of Tchaikovsky's lighter side and ends the program on a lively note. Opinions will differ on Chauhan's style in the larger pieces; he is definitely an exponent of restrained Tchaikovsky rather than the blood-and-guts stuff, and that will be a matter of taste. His sense for orchestral balance is very strong, and the scores reveal many small details. Perhaps an album primarily for Tchaikovsky fans, but of course, there were enough of them to put the album on classical best-seller charts in the spring of 2024.© James Manheim /TiVo
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