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Classical - Released April 7, 2015 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Classical - Released December 22, 2014 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Symphonies - Released May 10, 2019 | Berlin Philharmonic Orchestra

Hi-Res Booklet Distinctions Gramophone Editor's Choice
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Classical - Released October 18, 2019 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 5 de Diapason
Don't be fooled: this youthful face belongs to an 18 year old violinist with a wealth of knowledge and a tried-and-tested technique. For proof, just look at his Bach record, which came out before this Tchaikovsky Concerto, also on Deutsche Grammophon. With every new outing, Daniel Lozakovich surrounds himself with famous formations: for Bach, the Bavarian Radio Chamber Orchestra; for Tchaikovsky, the Russian National Philharmonic under Vladimir Spivakov (himself a great violinist who conducted his first recital in 2010). This gutsy concerto is addressed by a musician with an ample, sparkling sound, capable of an intense virtuosity and a very tender melancholy. Alongside Spivakov, who also recorded this score, he is quite at home. The hands-on sound recording seeks out the fullness of lyricism here, without robbing the strings of their bite. Note that the young soloist learned his scales under Eduard Wulfson in Karlsruhe. This student of giants like Henryk Szeryng, Nathan Milstein and Yehudi Menuhin (no less) taught his young disciple the violin of the Russian school. This young artist's voracious curiosity did the rest. And so, the second part of his programme here offers passages where pure melancholy has been distilled into music, as in Lensky's aria from Eugene Onegin, an opera that the violinist adores and knows by heart. His performance is inspired by previous interpretations by Fritz Wunderlich and Ivan Kozlovsky. And no-one could deny it: Daniel Lozakovich's violin sings! © Elsa Siffert/Qobuz
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Symphonies - Released October 27, 2017 | Sony Classical

Hi-Res Booklet Distinctions Gramophone Record of the Month - Diapason d'or / Arte - Choc de Classica - 5 Sterne Fono Forum Klassik
An album, a symphony: you would think that we had returned to the days of the Long Play, and the era of Mravinsky, Doráti, Markevitch, Karajan as well as many other performers and interpreters who have marked the discographic history of the last symphony from Piotr Ilitch Tchaikovsky. The album cover also seems to confirm it: it brings to mind the old RCA covers from the 50s and 60s. Sony Classical, being very supportive of the artistic endeavours of the Greco-Russian master, didn't hesitate to bring out a roughly 45-minute album - they had done better with the Rites of Spring (2015), which was feted in the press. Here, Teodor Currentzis continues his exploration of Tchaikovsky's world, with the Pathétique, putting the accent on the dynamic contrasts, sometimes naturally, sometimes by technical means (adagio lamentoso), and bringing to bear some methods that are normally specific to pop music. He exploits the sombre tone of the work, even above its rhythmic energy, and looks to create atmospheres that one could often call morbid. For record-lovers, this release is a great opportunity to revisit his discography, and for all other ardent Qobuz users it is an opportunity to rediscover this true emblem of the orchestral repertoire. © TG/Qobuz
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Classical - Released April 8, 2016 | Decca Music Group Ltd.

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Classical - Released August 2, 2011 | PentaTone

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
Had this been a conventional CD release, Mikhail Pletnev's studio recording of Pyotr Il'yich Tchaikovsky's Symphony No. 6 in B minor, "Pathétique," might have stood out as an excellent rendition of this extremely popular work, but like too many comparable recordings on the glutted market, it might have been lost in the shuffle. What makes it considerably more noticeable and desirable is the DSD recording and the hybrid-SACD format, which make it a stunner. The "Pathétique" is so familiar and beloved of audiences that it is easy to treat it casually, like aural wallpaper. But this 2011 PentaTone release makes the symphony sound utterly revitalized and refreshed, so listening to all the details and dimensions of the Russian National Orchestra's playing is a pleasure, and not an obligation. A work as perennial and, yes, timeworn as this piece can only benefit from the audiophile treatment, and the multichannel reproduction is as spacious, lush, and visceral as any live performance, bringing across full sonorities, vibrant bass lines, rich timbres, and cutting attacks. Pletnev also includes the Capriccio Italien as filler, a sunny piece that brightens the mood after the dark depression of the symphony, so this is a well-balanced program, in addition to being a sonic spectacular. © TiVo
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Classical - Released June 5, 2012 | PentaTone

Hi-Res Booklet Distinctions Diapason d'or
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Classical - Released October 13, 2009 | Mariinsky

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Choral Music (Choirs) - Released May 1, 2020 | Ondine

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This album presents a sequel for the album of Tchaikovskys sacred choral works by the Latvian Radio Choir and conductor Sigvards Kava. These two albums together form the composer's complete sacred works for the choir. The All-Night Vigil, Op. 52 for mixed choir, also known as the "Vesper Service", was written between May 1881 and March 1882. It was first performed by the Chudovsky Chorus conducted by Pyotr Sakharov in Moscow at the concert hall of the All-Russian Industrial and Art Exhibition on 27 June 1882. Tchaikovsky described the work as "An essay in harmonisation of liturgical chants". For this work the composer carefully studied the tradition of musical practice in the Russian Orthodox Church, which could vary considerably from one region to another. This beautiful, yet rarely recorded work is accompanied by four other choral works all written during the same decade: Hymn in Honour of Saints Cyril and Methodius as part of commemorations of the 1000th anniversary of the death of Saint Methodius, A Legend, originally coming from the collection "Sixteen Songs for Children", Jurists Song, for the 50th anniversary of the founding of the Imperial School of Jurisprudence in St Petersburg, and The Angel Cried Out, a beautiful traditional Russian Orthodox Easter hymn and Tchaikovskys final choral work. © Ondine
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Classical - Released October 19, 2018 | PentaTone

Hi-Res Booklet Distinctions Gramophone Editor's Choice
Russian conductor Vladimir Jurowski gets most of his press from his association with the London Philharmonic Orchestra (and later, the Bavarian State Opera Orchestra), but he has also served since 2011 as chief conductor of the cumbersomely named State Academic Symphony of Russia "Evgeny Svetlanov" and knows its players well. That bodes well for this entry in the crowded marketplace of recordings of Tchaikovsky's Swan Lake, and indeed everyone involved delivers handsomely. For one thing, the recording represents a fine confluence of the talents of musicians and engineers; the precise instrumental work of the orchestra is matched by clean transparency from the audiophile PentaTone label, working (at two sessions, a year apart, it should be noted) at Moscow's Rachmaninov Hall. And it's hard to avoid the feeling that this music is Jurowski's bread and butter, for all his forays into Western music. He is brisk but elegant, never too fast, and making you feel like he's rushing you through the big tunes (all of which are here in this 1877 original version, just in a slightly different order from what you may be used to). And he seems to have singlehandedly brought the brasses of the ensemble formerly known as the USSR State Symphony Orchestra up to the international A-list. Sample the sequence of ethnic dances in Act 3 for numerous demonstrations of how he gets the elusive clean but gentle sound out of his brasses. Everything's just delightful, down to the packaging of the CD version, which includes, charmingly, a foldable swan. Highly recommended. © TiVo
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Chamber Music - Released November 29, 2019 | Signum Classics

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Classical - Released March 4, 2014 | PentaTone

Hi-Res Booklet Distinctions Hi-Res Audio
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Classical - Released January 20, 2017 | Onyx Classics

Hi-Res Booklet Distinctions Gramophone Record of the Month
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Classical - Released October 28, 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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Opera - Released September 4, 2015 | BR-Klassik

Hi-Res Booklet Distinctions 5 de Diapason
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Chamber Music - Released September 6, 2019 | CPO

Booklet Distinctions 5 de Diapason - Choc de Classica
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Symphonic Music - Released August 28, 2015 | Live from Orchestra Hall

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Classical - Released June 10, 2016 | Onyx Classics

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The first volume of a survey of Pyotr Il'yich Tchaikovsky's symphonies, this two-fer from Onyx presents the Symphony No. 1 in G minor, "Winter Dreams," the Symphony No. 2 in C minor, "Little Russian," and the Symphony No. 5 in E minor, in thrilling performances by Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra. This package follows their 2015 release of The Tchaikovsky Album on the Classic FM label, and noting their 2014 release of Tchaikovsky's first two piano concertos on Onyx, it appears that they have made a special commitment to the composer. This is an auspicious beginning for a Tchaikovsky cycle, with atmospheric and expressive interpretations that Petrenko makes his own, and the vibrant and passionate playing of the Liverpool musicians is convincingly Russian in its rich sonorities and weighty emotional depth. Even though the first two symphonies are less familiar to listeners than the Symphony No. 5, which is one of the most popular works in the repertoire, they are just as rewarding and exciting in these spontaneous performances, and Petrenko adds a fiery intensity that is seldom heard in the early works. This series warrants serious attention, and admirers of Petrenko will want to hear all of these superb recordings. © TiVo
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Classical - Released May 19, 2017 | naïve classique

Hi-Res Booklet Distinctions 5 de Diapason
Though less well-known than his operas, his symphonies and concertos, Tchaikovsky’s piano music nonetheless contains at least essential works of his, i.e. the cycle The Seasons Op. 37b, and the Grand Sonata Op. 37. Composed at a period of crisis in the composer’s personal life, they illustrate two quite different aspects of his style: on the one hand we have the fashionable worldliness of The Seasons, pieces that almost belong to the genre of salon music; on the other hand, we see him ambitiously grappling with the large format of the classical sonata, in the tradition of his illustrious predecessors. Composed between December 1875 and May 1876, the cycle of The Seasons was written like some kind of musical calendar for the year 1876, to a commission by the publisher of the monthly review Le Nouvelliste, the idea being to issue a piano piece every month. Composed in 1878 when the classical sonata – which composers deemed to be too restrictive – was largely abandoned in favour of free-form pieces, Tchaikovsky’s Grand Sonata in G major upheld the ancient four-movement structure. The pianistic writing of the Grand Sonata conveys a sense of forceful power that seems to go beyond the tonal dimensions of the piano and conjure up the multiple sound resources of a symphony orchestra, as might be expected from someone of the composer’s power. In a letter to his younger brother, Tchaikovsky complained about the difficulties he faced in writing his sonata: “I'm working on a sonata for piano... [and its composition] does not come easily. I worked unsuccessfully, with little progress. I'm again having to force myself to work, without much enthusiasm. I can't understand why it should be the case that, in spite of so many favourable circumstances, I’m not in the mood for work. I'm having to squeeze out of myself weak and feeble ideas, and ruminate over each bar. But I keep at it, and hope that inspiration will suddenly strike.” Tchaikovsky isn’t particularly a piano composer; and the only recording of him that Nikolai Lugansky had made up till now was of the First Piano Concerto; even though the pianist had played several of his works for the Tchaikovsky Competition in 1994. He has been described by Gramophone as ‘the most trailblazing and meteoric performer of all’ for his extraordinary depth and versatility. © SM/Qobuz