Tchaikovsky

Started by tjguitar, April 16, 2007, 01:54:11 PM

Previous topic - Next topic

0 Members and 1 Guest are viewing this topic.

Drasko

Quote from: Que on October 31, 2015, 12:12:04 PM
Quite so,  thank you for that observation. :)  For some reason I assumed those would be Melodiya recordings...

Q

I believe those were originally released on two Melodiya LPs, but was there a Melodiya CD or it went straight to Olympia I don't know.

Brahmsian

Is there a related theme showing in these two Tchaikovsky works, composed fairly close to one another?

Symphony No. 5, Op. 64 and The Sleeping Beauty, Op. 66

Theme from the 2nd movement from Symphony No. 5 and theme in Sleeping Beauty (Act II, Scene I, No.15 a. Pas d'action:  Aurore et Desire)

Brian

I just got a sneak peak at Manfred Honeck's liner notes for his newest Pittsburgh SO SACD. (Tchaikovsky Symphony 6 + an orchestral fantasy on Dvorak's Rusalka, arranged by Honeck and Tomas Ille)

It gives insights on what to expect from the recording, which arrives next month:

"When interpreting Tchaikovsky, I am aware of three potential dangers: first, exaggeration; second, excessiveness; and third, impatience. Examining each of these in more depth and starting with the first, it is important to note that Tchaikovsky's music in itself is deeply emotional. Therefore, it is not only unnecessary, but actually dangerous to boost that which is already there. This could lead to distortion of the general mood and music that is potentially unbalanced. My predecessor at the Pittsburgh Symphony Orchestra, former Music Director Mariss Jansons, for whom I hold great esteem once said, "It is not necessary to add sugar to honey"—and I likewise believe this to be very true."

"I did, for example, ask for variety in the endless lines in the third movement, all indicated in a continuous fff. Instead, I reduce the volume at the beginning in an effort to make the rising dynamics possible and audible (bar 267 or 6:48")."

"Here, it is interesting to also note that all of [the markings of fff begin] on the fourth beat, i.e. a syncopation. These syncopations must be clearly perceived as distinctive elements, thus accentuated, although this is not explicitly written in the music."

[third movement]
"Here, Tchaikovsky composes a virtual Shakespearean world: everything is in motion and the spirits move. Shreds of motives can be heard and eighth notes march continuously (there is no single moment within the first 76 bars where there is not the motion of eighth notes). Ease, fluency and litheness are essential, although small markings such as the horns' crescendo (bar 22 or 0:38") are important to further the flowing energy. Extreme attention to detail helps here, for example, highlighting the third and fourth horns to make them more audible (bar 74 or 1:50"). In this instance, it is necessary for them to play louder than the pp indicated. As mentioned above, I have asked for a drop in dynamic, (bars 267 or 6:48" and 304 or 7:45") even if it is not overtly indicated by Tchaikovsky, as it is important for each wave to continually build. In bar 279 (7:06"), there is the half-tone interval of the main theme hidden in the horns which signifies the lamentoso (plaintive cry) and general mood of the Symphony—and here Tchaikovsky writes marcato assai (very marked), to bring forth this small detail which serves to cast an almost invisible shadow of doom on this otherwise triumphant movement."


Bonus note on the Dvorak:
"The most famous piece, Rusalka's "Song to the Moon" (bar 288 or 11:49"), is interpreted by Concertmaster Noah Bendix-Balgley who plays the sung melody as a violin solo. This recording marks Noah's last with the Pittsburgh Symphony Orchestra before he became First Concertmaster of the Berlin Philharmonic."

Karl Henning

Quote from: Brian on April 13, 2016, 01:27:06 PM
"When interpreting Tchaikovsky, I am aware of three potential dangers: first, exaggeration; second, excessiveness; and third, impatience. Examining each of these in more depth and starting with the first, it is important to note that Tchaikovsky’s music in itself is deeply emotional. Therefore, it is not only unnecessary, but actually dangerous to boost that which is already there. This could lead to distortion of the general mood and music that is potentially unbalanced. My predecessor at the Pittsburgh Symphony Orchestra, former Music Director Mariss Jansons, for whom I hold great esteem once said, “It is not necessary to add sugar to honey”—and I likewise believe this to be very true."

Игорь Фëдорович made a similar comment when coaching (I think it was) the chorus for a performance of Perséphone.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Marcel

There was recently released 2nd Piano Concerto in original (uncut) version with Wang as soloist. I like it a lot.

Here:

http://www.musicweb-international.com/classrev/2016/Mar/Tchaikovsky_PC2_CHSA5167.htm


relm1

What is your favorite recording of Francesca da Rimini?  I'm looking for one with a truly fiery ending.

Brian

#346
Mighta found the fastest Pathétique ever!



16:17
7:42
9:01
8:27
------
41:27

(Mravinsky - 43:52)

Listening now, obviously.

EDIT: Booklet contains a note from the conductor:

Since childhood, even before I played an instrument, I was obsessed by the symphonies of Tchaikovsky and I bought all the recordings I could lay my hands on. I was always puzzled by the fact that tempi differed from conductor to conductor, frequently extremely so. It seemed to me as if the different versions of the symphonies were completely different pieces!

Later, when reading the scores for the first time, I was amazed to find that Tchaikovsky had supplied absolutely clear metronome markings and I noted particularly that the rubati indulged in by conductors more often than not contradicted the composer's precise intentions.

We know from both Tchaikovsky's letters and his biographers that the question of tempo was of utmost importance to him, yet it seems that the vast majority of conductors deviate from his metronome markings and this practice has over time become the accepted performance tradition. Thus, my recordings, in which I do stay close to the original metronome markings, will probably be categorized as being 'different'. I hope, therefore, that you will listen with open ears as I truly believe that every metronome marking is there for a reason.

Further note: the cover photo is NOT a selfie. But it is on Svalbard!

Karl Henning

Женя! Что там с тобой!?
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Brian

It was pretty good! Convincing interpretation; still emotional without any hysterics. Will listen a few more times to process fully.

Brian

Did someone on GMG recommend Svetlanov's "live in Japan" symphony cycle to me? I seem to remember hearing a rave review somewhere.


mc ukrneal

Quote from: Brian on November 28, 2016, 07:53:53 AM
Did someone on GMG recommend Svetlanov's "live in Japan" symphony cycle to me? I seem to remember hearing a rave review somewhere.


I think that one is the same as the set here:
[asin]B001DETD8W[/asin]

Svetlanov issues are quite confusing. Anyway, a pretty good group of performance - not always the greatest sonics or playing, but you wouldn't be bored. In #5, (at least in the one I linked to) the timing is actually off due to clapping at times. For example, the last movement of #5 is actually 11 minutes 35 seconds (not the nearly full minute faster listed on the track). And then, in reality, he is so slow in some sections that it disguises just how fast he sometimes goes. Anyway, I suspect you'd at least like it. On the other hand, if you strongly prefer the speeds to be as marked, you may be a bit frustrated (at least at times). He does what he wants. And it is pretty exciting for the most part...
Be kind to your fellow posters!!

Drasko

I also believe it's the same set as the Warner, originally released on Canyon Classics (as I have it). I haven't listened to it in quite a while but remember performances as warm, dark, flexible, occasionally broad, well played and recorded. Wouldn't rave about it but definitely would recommend it. Don't know about GMG, I seem to recall Hurwitz raving about it (could be wrong).

SurprisedByBeauty

German speakers might find this Roth vs. Batiashvili in the Tchaik VC comparsion on WDR 3 TonArt interesting:

http://www1.wdr.de/mediathek/audio/wdr3/wdr3-tonart/audio-cd-vergleich-tschaikowskys-violinkonzert-100.html

QuoteGleich zwei Aufnahmen von Tschaikowskys Violinkonzert sind gerade erschienen; beide mit jungen Solisten, beide dirigiert von Altmeistern. Nur eine der Aufnahmen aber ist der historischen Aufführungspraxis verpflichtet. Ist der Unterschied spürbar? Jörg Lengersdorf hört hin.

snyprrr

So, in my IgorMania I was at the library and thought I'd have to look for some Tchaikovsky. Ah, there's Previn's 'Swan Lake', which I'd been hearing was a TopChoice, so, no brainer.


Ten minutes in and I'm in a rage, hearing the worst awful bombastic beat me over the head stereotypical poofty blue hair music I've ever heard. Surely, if this was allowed to go on I would go mad quickly. The bombing starts and never stops!!! It's just awful

awful

awful "music"... if this is what the elite in Russia were listening to, then, I suppose... no, nevermind, I won't go there...

Anyhow, seriously?... I couldn't make it passed a few numbers... I couldn't really tell much anyway, it was all starting to sound so heavy handed. I mean, you all love Previn, right?, so, it can't be his fault?? Right????


AAAAAAAAHAHHHHHHHH >:D >:D >:D >:D >:D >:D >:D >:D

Seriously, I wasn't ready for something so damaging to my delicate sensibilities... ack ???

Karl Henning

You might want to try Doráti, instead . . .

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Tsaraslondon

Quote from: k a rl h e nn i ng on April 06, 2017, 04:37:47 AM
You might want to try Doráti, instead . . .



I agree with your choice, but I fear snyprr might be beyond help.

\"A beautiful voice is not enough.\" Maria Callas

Karl Henning

Quote from: Tsaraslondon on April 06, 2017, 08:21:48 AM
I agree with your choice, but I fear snyprr might be beyond help.


That is a risk  8)
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

PerfectWagnerite

Quote from: k a rl h e nn i ng on April 06, 2017, 04:37:47 AM
You might want to try Doráti, instead . . .


Good choice except that the recording is in mono.

Karl Henning

For whoever may wish:  the Melodiya 6-CD complete (?) романсы is available at BRO
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

(poco) Sforzando

Can anyone recommend an outstanding biography of Tchaikovsky, especially one that covers the controversy surrounding his death in detail?
"I don't know what sforzando means, though it clearly means something."