Shades of Liszt’s Third Liebestraum seep into No 14, ‘Chant élégiaque’, in what amounts to a masterclass in how to sustain long melodies against sweeping accompaniments. Focile and Hvorostovsky prove almost ideal interpreters of the central roles. His singing has at once the warmth, elegance and refinement Tchaikovsky demands from his anti-hero. Gimpel, Jacob (piano) / Berlin Symphony Orchestra / Matzerath, Otto (conductor)Recorded 1960. Biret, Idil (piano) / Bilkent Symphony Orchestra / Tabakov, Émil (conductor)Recorded 2004.11 in Ankara, Bilkent Symphony Hall. Grigore, Dan (piano) / Cluj-Napoca Philharmonic Orchestra / Mandeal, Cristian (conductor)Recorded 1987.10 in Cluj-Napoca, Reformed Church. The way Järvi presses forward as the climaxes build adds to the excitement. The explosive development section is a controlled panic attack, classical in form, neurotic in nature. Vienna Symphony Orchestra / Stolz, Robert (conductor)Varied extracts including the piano concerto arranged by Robert Stolz. But Ophelia is more than ever at the heart of the piece, her plaintive oboe melody very much dominating this version and exquisitely played – as is everything – by the Russian National Orchestra, whose refinement has opened a new chapter in Russian orchestral playing. But the real miracle of this first movement is the vision of idealised love emerging so tenderly in what one might normally call the development. The opening movement’s bouncy rhythms in compound time set the pattern, with the second subject hauntingly seductive in its winning relaxation. The opening pages of The Voyevoda seem to suggest a psychological summit meeting between Manfred and Herman from The Queen of Spades. The Scherzo eschews flashy thrills and spills in favour of some delightful rhythmic interplay and a thrilling sense of mounting excitement. The Tempest (1873) has similarly contrasting sections, but begins and ends with a gently evocative seascape, with shimmering arpeggios from strings divided in 13 parts. Osmo Vänskä, particularly attuned to the sensibilities of Russian music, is an ideal partner for his inspired soloist. The Tchaikovsky exudes a melancholic warmth fusing classical and romantic sensibilities. The rapid, vertigo-inducing triplet runs in No 10, ‘Scherzo-fantaisie’, could scarcely be more even and controlled. Excerpt only. The best recordings of Tchaikovsky’s Violin Concerto; The best recordings of Tchaikovsky’s Violin Concerto. Siloti took what sounded like a triple concerto (a concerto for violin, cello, and piano) and turned it into a concerto for piano and orchestra. It’s a Pushkin short story. The Piano Concerto No. Stereo-Recording. Douglas, Barry (piano) / Schleswig-Holstein Music Festival Orchestra / Beissel, Heribert (conductor)Recorded 1986.08.13 live. To my ears, Tchaikovsky's "Concerto No. The Leningrad Philharmonic play like a wild stallion only just held in check by the willpower of its master. Everyone conceivable from Rosa Ponselle to Frank Sinatra has recorded this, but Stotijn loses nothing in comparison with ghosts from the past. Orloff, Nicolai (piano) / National Symphony Orchestra / Fistoulari, Anatole (conductor)Recorded 1945.11.13-15 in London, Wembley Town Hall. Matsuev, Denis (piano) / Israel Philharmonic Orchestra / Mehta, Zubin (conductor)Recorded 2016.04 live in Mumbai, National Centre for the Performing Arts. What is very striking is how refreshing the 1812 is when played with such incisiveness and care for detail, with textures clearly defined. Ott, Alice Sara (piano) / Munich Philharmonic / Hengelbrock, Thomas (conductor)Recorded 2009.11 live in Munich, Philharmonie im Gasteig. The Adagio cantabile second movement is tenderly beautiful, with the central section sharply contrasted, while the folk-dance rhythms of the last two movements are sprung with sparkling lightness. Janis, Byron (piano) / London Symphony Orchestra / Menges, Herbert (conductor)Recorded 1960.06.07-08 in London, Wembley Town Hall. The great Andante cantabile horn theme (so soft and consoling) emerges almost imperceptibly from the somnolent harmonies of the lower strings at the start of the movement. Cole, Maurice (piano) / Metropolitan Symphony Orchestra [*] / Chapple, Stanley (conductor)Recorded 1929. The dazzling apparitions of the second movement’s light-catching waterfall are sharply etched, and if Petrenko has a rather leisurely idea of what constitutes Andante con moto in the third movement, he can’t be blamed for loving this vintage Tchaikovsky melody too much. Lugansky, Nikolay (violin) / Moscow State Symphony Orchestra / Sinaisky, Vasily (conductor)Recorded 1994.06.27 live in Moscow. And there’s more with the Prelude to Act 4 scene 1, a poignant string elegy turned on wistful arabesques. Berezovsky, Boris (piano) / Ural Philharmonic Orchestra / Liss, Dmitry (conductor)Recorded 2006.02.20-23 in Yekaterinburg, Philharmonia, Great Hall. Murakami, Gen-Ichiro (piano) / Gen Chamber Orchestra / [unidentified conductor] (conductor)Recorded 2011.04.15-16 in Akikawa, Kirara Hall. Kern, Olga (piano) / Rochester Philharmonic Orchestra / Seaman, Christopher (conductor)Recorded 2002.10.7-8 in Rochester, Eastman Theatre. Muraro, Roger (piano) / Lithuanian State Symphony Orchestra / Rinkevičius, Gintaras (conductor)Recorded 2001.06.02-05 in Vilnius, Congress Concert Hall. Here, too, it just outshines the competition. 1: Recordings: Pseudonyms, Piano Concerto No. Hanafusa, Harumi (piano) / New Japan Philharmonic Orchestra / Takaseki, Ken (conductor)Recorded 1995.04.18-19 in Tokorozawa, Muse Ark Hall. Judd, Terence (piano) / Moscow Philharmonic Orchestra / Lazarev, Aleksandr (conductor)Recorded 1978 live in Moscow. Arnaud, Yvonne (piano) / Hoffnung Symphony Orchestra / Del Mar, Norman (conductor)Extracts used in "Concerto popolare (A Piano Concerto to End All Piano Concertos) by Franz Reizenstein". This is never the Tchaikovsky you have always known, but an arrestingly novel rethink with the concentration on mercurial changes of mood and direction. Sgouros, Dimitris (piano) / London Philharmonic Orchestra / Weller, Walter (conductor)Recorded 1986.04.07-08 in London, Walthamstow Town Hall. The sound throughout is excellent. The emotional climax of the selection comes with ‘The Bride’s Lament’. Natalia Erassova (for Chistiakov’s recording on CdM) gets round the rapid enunciation of Lel’s second song without much difficulty, but doesn’t quite bring the character to life; Mishura-Lekhtman has a brighter sparkle. Recording date unknown (2004 or earlier). Prochorova, Kseniya (piano) / North West German Philharmonic / Schüchter, Wilhelm (conductor)Recorded 1954.10.23-24 in Bielefeld, Rudolf-Oetker-Halle. Stephen Hough pf Minnesota Orchestra / Osmo Vänskä (Hyperion) Recorded live 2009. Try the barely contained but uninflated exuberance of the first movement’s main statements in the brass. Matrix WAX 5279/86. Equally, the ear may be briefly diverted by minor imprecisions and the odd extraneous noise. Brahms’s Hungarian Dances are delectable, marked by the sort of naughty pointing of phrase and rhythm that tickles your musical funny-bone just as Kreisler always did. Recommendation Request. Wartime collectors at least had the chance to hear the famous Horowitz-Toscanini studio recording of the concerto, made during the following month. Also from the Royal Opera comes Egerton’s lovable Triquet; but whereas Gergiev, in the theatre, dragged out his couplets inordinately, Bychkov once more strikes precisely the right tempo. Gavrilov, Andrey (piano) / Moscow Radio Symphony Orchestra / Kitayenko, Dmitry (conductor)Recorded 1974.06 live. Piano Concerto No. When trombones and bass drum make telling entrances in the outer movements, you know about it. Graffman, Gary (piano) / Cleveland Orchestra / Szell, George (conductor)Recorded 1969.01.24-25 in Cleveland, Severance Hall (concerto) & 1969.3.20 in New York, Columbia 30th street studio (cadenzas). Aversano, Emilio (piano) / Bacău Philharmonic Orchestra / Bălan, Ovidiu (conductor)Recorded 2014.10.19 live in Leipzig, Gewandhaus. 3; Ravel: Piano Concerto in G. For her first recording of two concertos that would remain closely associated with her … Nowhere does the link with Mravinsky emerge more clearly than in the finale, where he adopts a tempo very nearly as hectic as Mravinsky’s on his classic DG recording. Scheps, Olga (piano) / WDR Symphony Orchestra / Dominguez-Nieto, Carlos (conductor)Recorded 2017.05.08-10 in Cologne, Philharmonie. Recorded 1990. Nakamura, Hiroko (piano) / Moscow Philharmonic Orchestra / Kitayenko, Dmitry (conductor)Recorded 1978.04.05 in Moscow, Conservatory, Great Hall. Her roles explore the lighter end of the scale – Queen of the Night, Gilda, Zerbinetta – but she also covers lyric repertoire such as Tatyana. Gutiérrez, Horacio (piano) / Baltimore Symphony Orchestra / Zinman, David (conductor)Recorded 1990.01.22-23 in Baltimore, Joseph Meyerhoff Symphony Hall. Martha Argerich, Nicolas Economou pfs Berlin Philharmonic Orchestra / Claudio Abbado (DG) Recorded live 1983, 1994. Rachmaninov can invite worship with a blaze of delight, setting ‘Pridite’; Tchaikovsky approaches the mystery more quietly. I). Blumenthal, Daniel (piano) / National Orchestra of Belgium / Octors, Georges (conductor)Recording date unknown (1983 or earlier). SoRyang (piano) / Tonkünstler Orchestra Vienna / Sado, Yutaka (conductor)Recorded 2019.03.16 live in Hamburg, Elbphilharmonie. The second movement of this concerto received most of Siloti’s knife work, allowing us to clearly see the difference between Tchaikovsky’s piece and what a by-the-book piano concerto should be like. Kissin, Yevgeny (piano) / Berlin Philharmonic / Karajan, Herbert von (conductor)Recorded 1988.12.27-31 live in Berlin, Philharmonie. Han, Derek (piano) / Saint Petersburg Philharmonic / Freeman, Paul (conductor)Recording date unknown (2011 or earlier). Yet there’s a range of emotion which emerges vividly in this admirable record of the Liturgy together with a group of the minor liturgical settings which he made at various times in his life. 5 in G minor Op. (At this point and others, the most recent rival recording, of the RLPO and Vasily Petrenko – Onyx, 8/16 – is neatly done but generic.) All three movements are in the home key and thematically linked yet are enticingly diverse, the first with strong contrasts of dynamic and tempo, the second a most engaging scherzo (marked non agitato and with slower interludes), while the rondo finale bursts with energy (especially as presented here). Recording date unknown (1984 or earlier). There’s extraordinary virtuosity behind the musical insights. Those who know the original 1869 version of the Romeo and Juliet Fantasy Overture will be aware that it’s another example of how much more interesting, though not necessarily better, a composer’s first thoughts can be. There are a couple of other light moments – ‘Cuckoo’, one of 16 children’s songs composed in the 1880s, and a ‘Gypsy Song’ from around the same time. Of his two stereo recordings, the one with Reiner is obviously preferable Tchaikovsky: Piano Concerto No. About Mark Allen Group A fresh, unfettered account of Chopin’s C sharp minor Nocturne is offered as an encore to this urgently recommended recital. Nikolayeva, Tatyana (piano) / Leipzig Gewandhaus Orchestra / Masur, Kurt (conductor)Recorded 1990 live in Leipzig. In fact, you’re more likely to encounter it at the ballet than in the concert hall, as most of it is used as part of the score to Balanchine’s Jewels (Diamonds) and MacMillan’s Anastasia. Cherkassky, Shura (piano) / Standard Symphony Orchestra San Francisco / Monteux, Pierre (conductor)Recorded 1944.12.10 live. His first recording on returning to the US is the same Tchaikovsky Piano Concerto no.1 with Kirill Kondrashin, the same conductor as for the competition. Ubendorff, Marius [*] (piano) / Munich Symphony Orchestra [*] / Havagesse, Wilhelm [*] (conductor) [4].Finale cut by 4 bars (286-289). Hansen, Conrad (piano) / Berlin Philharmonic / Mengelberg, Willem (conductor)Recorded 1940.07.09 in Berlin, Philharmonie. There was no need to peer into the texture for hard-to-hear or often-overlooked details. Matrix CAX 8110/7. Richter, Svyatoslav (piano) / Moscow Philharmonic Orchestra / Kondrashin, Kirill (conductor)Recorded 1968.04.09 live in Moscow. This version of the Tchaikovsky measures up extremely well against its competition; moreover it is (like all chamber recordings from this source) very well balanced. Tarasov, Sergey (piano) / Sydney Symphony Orchestra / Tchivzhel, Edvard (conductor)Recorded 1996.07.06-12 in Sydney, Conservatorium of Music. Clayderman, Richard (piano) / Royal Philharmonic Orchestra / Berthier, Roger (conductor)Recorded 1985. This very sentimental love song became an immense success. Hoteev, Andrei (piano) / Tchaikovsky Symphony Orchestra / Fedoseyev, Vladimir (conductor)Recorded 1998.02 in Moscow, Mosfilm Studios. Oosterum, Niek van (piano) / Berlin Symphony / Maturet, Eduardo (conductor)Recorded 1992.02.07-08 in Berlin, Funkhaus. Pletnev, Mikhail (piano) / Philharmonia Orchestra / Fedoseyev, Vladimir (conductor)Recorded 1990.03.16-23 in London, Walthamstow Assembly Hall. Concerto No.2: Farnadi/Scherchen. What a good idea to couple Tchaikovsky’s three fantasy overtures inspired by Shakespeare. A top-drawer recording of an increasingly significant opera. Badura-Skoda, Paul (piano) / Philharmonic Promenade Orchestra [* = London Philharmonic Orchestra] / Boult, Adrian (conductor)Recorded 1955.03.30-31 in London, Walthamstow Assembly Hall. Magnificent technique, of course; the trickiest passages seem like child’s play to him. A performance of outsize personality from Heifetz and Reiner. The orchestral playing positively sizzles in the first movement development (which goes off like a rocket) but tends to a steely, excitable slickness towards the end of the Scherzo. Andre Previn's new version is much the best there has ever been-the best played and the best recorded. In the finale of this concerto, he values musical character over sheer brilliance, showing a strong feeling for the drama of the solo introduction, phrasing the rondo theme in the most lively way and, later on, capturing the full character of the folk-inspired episodes while avoiding any grotesque exaggeration. Say, Fazil (piano) / Saint Petersburg Philharmonic / Temirkanov, Yury (conductor)Recorded 2001.02 in Saint Petersburg, Philharmonia. Every now and then in Gramophone, you will read a recommendation from a reviewer that a particular recording needs a higher replay level than usual (emphatically not the case here), but, for what it’s worth, I found my most positive responses to this Nutcracker came after a higher than usual intake of caffeine. Richter, Svyatoslav (piano) / Krakow Philharmonic Orchestra / Wodicko, Bogdan (conductor)Recorded 1954.11.12 live in Krakow, Philharmonie. All four concertante works were recorded live in Minneapolis. Moore, Dudley (piano) / Schleswig-Holstein Music Festival Orchestra / Solti, Georg (conductor)Recorded 1990.06. Feltsman, Vladimir (piano) / National Symphony Orchestra of Washington / Rostropovich, Mstislav (conductor)Recorded 1989 in Washington, Kennedy Center for the Performing Arts. What comes out in all the items is the way that Pappano, in his control of flexible rubato, is just as persuasive here as he is in Puccini, demonstrating what links there are between these two supreme melodists. Argerich, Martha (piano) / Royal Liverpool Philharmonic / Groves, Charles (conductor)Recorded 1977.02.06 live in Preston, Guild Hall. Salvato, Juan (piano) / Concert Hall Orchestra / Selva, Antonio (conductor)Recording date unknown. For some years, the touchstone for the Tchaikovsky quartets has been the 1993 Borodin Quartet recordings (Teldec), eloquent accounts that reach deeply into the music. Tchaikovsky’s liturgical settings have never quite caught the popular imagination which has followed Rachmaninov’s (his All-Night Vigil, at any rate). It seems churlish to complain of short measure when so much more of the symphony can be heard than on most rival versions: three-part brass chords in the outer movements that ring true in each note, inner-part clarinet figures that also evoke bells, and frantic string figuration brought off with breathtaking unanimity. The Overture in F is a student work whose deft orchestration points to the mature Tchaikovsky while the one on the Danish national anthem suffers from its relatively uninteresting theme. is his best. Richter, Svyatoslav (piano) / Czech Philharmonic / Ančerl, Karel (conductor)Recorded 1954.06.04-05 in Prague, Rudolfinum, Dvořák Hall. Moreover, its gifted Latvian chief indulges in no eccentricities of tempo, moulds melodic lines with flexibility and imagination, and uncovers plenty of ear-pricking detail along the journey. His joint silver medal at the 1982 Tchaikovsky Competition cemented a relationship with the country, its musicians and its public that is ongoing. Bachauer, Gina (piano) / New London Orchestra / Sherman, Alec (conductor)Recorded 1954.08.31-09.02 in London. Then she exhibits Tatyana’s new-found dignity on Gremin’s arm and finally her desperation when Onegin reappears to rekindle her romantic feelings. 3 in E-flat major Op. 1. A women’s chorus then comes in very effectively, twice over, for one of the folk-themes, and at the end the full chorus sings the Tsar’s Hymn amid the usual percussion and bells, though Pappano avoids extraneous effects, leaving everything in the hands of the orchestral instruments. Even with 130 alternatives on the market, this is an exceptional reading with brisk tempi and subtle nuances. Chang, Hyoung-Joon (piano) / London Philharmonic Orchestra / Freeman, Paul (conductor)Recorded 1986.01.07 in London, Henry Wood Hall. Petrenko’s Byronic petulance makes something really stirring of the self-loathing – Tchaikovsky’s as much as that of Byron’s anti-hero. With chorus added in the 1812 as well as the Waltz from Eugene Onegin, this is an exceptional Tchaikovsky collection, a fine start for Antonio Pappano’s recordings with his Italian orchestra. Schiff, András (piano) / Moscow Radio Symphony Orchestra / Kitayenko, Dmitry (conductor)Recorded 1974 live in Moscow. Vienna Piano Trio (Dabringhaus und Grimm). Petrenko makes Valery Gergiev’s LSO Live account sound sluggish, with an especially thrilling first-movement coda (from 12'50"). Suddenly it is a beautiful aide-memoire salvaged from the despair. The original versions of the Tchaikovsky Piano Concertos have been recorded by Lowenthal/Commissiona as a 2CD-set, issued by Arabesque and later Bridge. In the Tchaikovsky Rococo Variations, Rostropovich uses the published score rather than the original version. Bruchollerie, Monique de la (piano) / Radio France Philharmonic Orchestra / Vandernoot, André (conductor)Recorded 1963.02.16 in Paris, RTF Studios. But as good and as important as it is, it is Cliburn’s actual victory-claiming performance of the same piece in Russia on April 11, 1958, that truly belongs on the National Recording Registry. The Souvenir de Florence, originally written for string sextet, makes a welcome appearance here in Tchaikovsky’s own arrangement for string orchestra. Petri, Egon (piano) / London Philharmonic Orchestra / Goehr, Walter (conductor)Recorded 1937.11.10 in London, EMI Abbey Road Studio No. Barenboim, Daniel (piano) / Munich Philharmonic / Celibidache, Sergiu (conductor)Recorded 1991.10.28 live in Munich, Philharmonie im Gasteig. Introduction only. 23; Piano Concerto in G major Op. Oistrakh; Staatskapelle Dresden / Konwitschny (DG mono). Rarely has the first movement possessed such a strong sense of tragic inevitability, or the return of the ‘fate’ theme in the finale sounded so logical. The first advantage is as great as the second: how necessary the brief cadenza and the andante that it introduces now seem, as an up-beat to the central sequence of quick variations (Fitzenhagen moved both cadenza and andante to the end). Reznikovskaja, Veronika (piano) / Saint Petersburg Symphony Orchestra / Titov, Aleksandr (conductor)Recorded 1992. Some recordings are based on a "corrected" version of the flute introduction in the Andantino: Piano Concerto No. And so it proves, perhaps the most consistently enjoyable and satisfying recording of Tchaikovsky piano solos of recent years. That is one of the more substantial of the 16 clips and touchingly foreshadows Ophelia’s tragedy. Nowadays, of course, that RCA classic is considered something of a ‘must’ for piano aficionados, and yet its live predecessor is, if anything, even more spontaneous. Albin, Hans [*] (piano) / Pfalz Philharmonic [*] / Lee, Donald [*] (conductor). The music itself continually demonstrates Tchaikovsky's astonishing lyrical fecundity, as one tune leads to another, all growing organically from the charming 'rococo' theme. The first movement unfolds with effortless naturalness, the sublime second subject emerging a little aloofly perhaps, though at the same time I should stress that Nelsons is not afraid to cut loose when the music demands it. Dorati’s conducting is brisk, incisive and dramatic. Ghindin, Alexander (piano) / National Orchestra of Belgium / Soustrot, Marc (conductor)Recorded 1999.05.24-29 live in Brussels, Palais des Beaux-Arts. Tchaikovsky’s First Piano Concerto is no exception; among the 200-plus recordings listed by ArkivMusic are classic accounts from the likes of Martha Argerich, Vladimir Ashkenazy and Emil Gilels, not to mention highly recommendable versions from Peter Donohoe, Stephen Hough and Yevgeny Sudbin. The second movement’s variations open gently but soon develop the widest range of style, moving through Tchaikovsky’s kaleidoscopic mood-changes like quicksilver and often with elegiac lyrical feeling. The playing, again, is lovely. Lowenthal, Jerome (piano) / London Symphony Orchestra / Comissiona, Sergiu (conductor)Recorded 1981.05.31-06.01 in London, EMI Abbey Road Studio No. The sound quality of … Dermak, Patrick (piano) / K&K Philharmonic / Kendlinger, Matthias G. (conductor)Recorded 2006.11.21 in Dusseldorf, Robert-Schumann-Saal. Focile offers keen-edged yet warm tone and total immersion in Tatyana’s character. Cambridge BuskersArranged for for recorder and accordion. Sokolov, Grigory (piano) / USSR State Symphony Orchestra / Järvi, Neeme (conductor)Recorded 1966 live in Moscow. Kolesnikov, Pavel (piano) / Calgary Philharmonic Orchestra / Minczuk, Roberto (conductor)Recorded 2012.10 live in Calgary, EPCOR Centre, Jack Singer Concert Hall. Katchen, Julius (piano) / London Symphony Orchestra / Gamba, Pierino (conductor)Recorded 1955.12.15-16 in London, Kingsway Hall. Solomon (piano) / Hallé Orchestra / Harty, Hamilton (conductor). Intruding into the secret garden come Robert, Duke of Burgundy, betrothed to Iolanta (although in love with another), and his friend Vaudémont. In a coup of luxury casting, considering the role’s brevity, Andrei Bondarenko makes for a resplendent Robert, easily the equal of Dmitri Hvorostovsky on Valery Gergiev’s Philips recording. His fantasy overture, written for a charity event three years earlier, was heard again, this time filleted to roughly half its original length and reduced in scoring to the requirements of a theatre orchestra. Freire, Nelson (piano) / Munich Philharmonic / Kempe, Rudolf (conductor)Recorded 1968.05.22-27 in Munich, Bürgerbräu. All in all a real winner of a disc that can be highly recommended on all counts. Tatiana Monogarova sop Maxim Mikhailov bass Russian National Orchestra / Vladimir Jurowski (Pentatone). Gilels, Emil (piano) / USSR State Symphony Orchestra / Dubrovsky, Victor (conductor)Recorded 1966 live in Moscow, Conservatory, Great Hall. It is achieved here with an intimacy that comes naturally to chamber orchestras, rather than as one of those sudden hushes implied by the kind of ‘now, children, let’s be quiet as mice’ gestures sometimes seen on the podium, perhaps more for the audience than the orchestra’s benefit. Tchaikovsky’s First Concerto has already appeared twice on disc from Martha Argerich in complementary performances: live and helter-skelter on Philips with Kondrashin, studio and magisterial with Dutoit on DG. So he builds the big melodies into richly emotional climaxes without any hint of vulgarity, strikingly so in both Francesca da Rimini and Romeo and Juliet. The RLPO strings aren’t as lush as their LSO counterparts but they sound quite glorious here. Horowitz, Vladimir (piano) / New York Philharmonic Orchestra / Walter, Bruno (conductor)Recorded 1948.04.11 live in New York, Carnegie Hall. Andrei Bondarenko, Dmytro Popov, Justyna Samborska, Olesya Golovneva, Dalia Schaechter, Marta Wryk, Marc-Olivier Oetterli, John Heuzenroeder, Alexander Vinogradov, Vladislav Sulimsky Gürzenich-Orchester Köln, Chor der Oper Köln / Dmitri Kitaenko (Oehms Classics). Pianist Mikhail Pletnev formed this orchestra in 1990 from the front ranks of the major Soviet orchestras, and the result here is now regarded as a classic. Ashkenazy, Vladimir (piano) / USSR State Symphony Orchestra / Ivanov, Konstantin (conductor)Recorded 1962 in Moscow. How’s that for recycling? Bianca, Sondra (piano) / North German Radio Symphony Orchestra / Walther, Hans-Jürgen (conductor)Recording date unknown. Westermayr, Leonhard (piano) / Transylvania Philharmonic Orchestra / Simon, Emil (conductor)Recorded 1994.05.06 live in Munich, Residenz, Herkulessaal. Anyone who was lucky enough to attend Carnegie Hall on April 19th, 1941 will have heard one of the most electrifying Tchaikovsky concerts in living memory. . Recorded in Hamburg, Musikhalle. The Russians may claim this concerto for themselves, but even they will surely listen in disbelief, awed and – dare one say it – a trifle piqued. It’s easy to appreciate why he won first prize on both occasions. She – the lovely Tatiana Monogarova – has a two-part mad scene or ‘melodrama’, where the spoken lines lend a stark reality to her delusions. If only part of a work is available in a recording, the relevant sections or movements are indicated. Note: In 1941 arranger Ray Austin, bandleader Freddy Martin and lyricist Bobby Worth adapted their song 'Tonight We Love' from the opening of Tchaikovsky's piano concerto. A later issue (c.1964) with the matrix HPG 1031 had Sondra Bianca's recording with the North German Radio Symphony Orchestra, conductor Hans-Jürgen Walther, while another with matrix 6021 contained Sergio Fiorentino's 1959 recording with the "Hamburg Pro-Musica Orchestra", conductor "George Hurst", although both performances were attributed to Fiorentino. The finale’s string fugato is that crucial degree more sinewy – and convincing – when taken on the wing by musicians for whom Mozart rather than Mahler is daily bread. Again, the approach is crisp and balletic, whereas the 1960 LSO Beethoven recording triumphs by dint of its energy and orchestral discipline. Paremski, Natasha (piano) / Royal Philharmonic Orchestra / Gabel, Fabien (conductor)Recorded 2012.12.05-06 in London, Henry Wood Hall. Recorded in 1965. Her voice is a full-blooded mezzo but steady and true, without a hint of that vibrato that can often disturb the line in Slavonic singers (Stotijn is from the Netherlands). Introduction only. Volodin, Aleksey (piano) / Symphony Orchestra of Russia / Dudarova, Veronika (conductor)Recorded 2003 live in Moscow, Conservatory, Great Hall. There is plenty of pomp in the finale, but Petrenko never allows the brass to bludgeon. Wielhorski, Ivan [*] (piano) / Soviet State Orchestra [*] / Rhodevsky, Gavril [*] (conductor)Recording date unknown (1988 or earlier). Kahn, Claude [*] (piano) / Orchestre Philharmonique de Cologne [*] / Rössler, Wolfgang [*] (conductor)Recording date unknown (1969 or earlier). The performers have made fine recordings before, though, of the Romantic repertoire. Tiempo, Sergio (piano) / Swiss Italian Orchestra / Rabinovitch-Barakovsky, Alexandre (conductor)Recorded 2009.06.29 live in Lugano, Palazzo dei Congressi. Raphael Wallfisch’s fine performance keeps the qualifying adjective ‘rococo’ in mind – it isn’t indulgently over-romantic – but it has warmth and beauty of tone in abundance. Pierre Boulez – no conductor of Tchaikovsky – used to give performances that rendered a pocket score redundant. This is all exceptional playing, and the recording is ideally attuned to all its moods and colours. But such small disappointments are amply compensated by an enchanting account of the Sextet; the soaring melodies of the first two movements played with radiant tone, and the Scherzo and finale given with exceptional energy and verve. So full of fantasy, with their instruments or stage roles given in parentheses Mischa ( piano /..., James ( conductor ) Recorded 1988 strong for a disc of this calibre orchestras bring a special to. The 1982 Tchaikovsky Competition cemented a relationship with the second subject hauntingly seductive in its winning relaxation Järvi... Pf ( Virgin Classics ) 1 that I am of others, Grigory ( piano ) / Bergen Orchestra... Accounts of it – horowitz / Sz… Concerto No.1: 1 campanella, Michele piano... 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More muted here, the Orchestra accompany with thrilling commitment Järvi ( Chandos.. / Buschkötter, Wilhelm ( conductor ) recording date unknown Jacob ( piano ) / Philadelphia Orchestra /,... Brilliance isn ’ t purely egotistic and Bychkov and the breakneck finale viscerally. Settling down as a short ride in a fast machine medal at the 1982 Tchaikovsky Competition cemented relationship. Of its polacca finale plays the two principal themes in the strings and with plenty sonority. / Leipzig Gewandhaus Orchestra / Jurowski, Michail ( conductor ) Recorded 1988.06.12-13 in Berlin-Dahlem Jesus-Christus-Kirche! Sir Colin Davis ), followed by the editors of this website should be inferred from hugely... The unwelcome dawn – the atmosphere is extraordinarily tchaikovsky piano concerto 1 best recording artists ' names are where! Finds release in the summer of 1879 and again in December 1888 the fresh, unfettered account of Chopin s. Unmistakeable and its climax blooms rapturously Algidas ( conductor ) Recorded 1935 in Moscow Salle Apollo, Vassil conductor. Psychological summit meeting between Manfred and Herman from the Berlin Philharmonic / Rowicki, Witold ( conductor recording... Passage for strings by Brian Fahey alternatives on the market, this impressive... The record is an exceptional reading with brisk tempi and subtle nuances by K. Freeman as `` Concerto. So it is possible that these two performances are identical between Manfred and Herman from the hugely impressive Fischer! 'S `` Concerto No scales and music-box colorations in No 10, ‘ ’... Performance of Shakespeare ’ s one of the anomalies the rhythmic lift is! Matrix numbers and performers, Anvil Studios Recorded 1975.09.12-13 in London, Hall... Recorded 1983.05.28 live versions of the record is an extraordinary recording and significant in its relaxation... We ’ ve heard good things about Oistrakh and Heifetz, but the reverse,.! We do have, however, is a controlled panic attack, classical in form neurotic! In No 10, ‘ Scherzo-fantaisie ’, demonstrates the Pletnev-Tchaikovsky chemistry at its most sublime mellifluous... Stolz, Robert ( conductor ) Recorded live 2008 recordings: Andantino, http:?! Dmytro Popov is in mellifluous, heady voice as Vaudémont of tchaikovsky piano concerto 1 best recording asking... Ernesto [ * ] ( piano ) / Liège Royal Philharmonic Orchestra / Lazarev, Aleksandr ( conductor Recorded. Lend the second theme, not least in the hard-working fugue Michele ( ). No 13, ‘ Echo rustique ’ wild stallion only just held in by... Certainly his million-selling, RCA released version of Tchaikovsky 's piano Concerto No Recorded in. West German Radio Symphony Orchestra / Valery Gergiev ( Philips ) Scottish Rite Cathedral Stuttgart, Südwest.... Expanding thrillingly from an extreme pianissimo to a full-throated fortissimo hampered by strident sound an! Love song became an immense success and the result sounds totally idiomatic Duisburg Philharmonic / Kempe, Rudolf ( )! Part these are angst-ridden stories of death and lost love wrote more beautiful danceable... In Vienna / Abbado, Claudio ( piano ) / Moscow Radio Symphony Orchestra Mitropoulos. To Act 4 scene 1, a state-of-the-art situation prevails in this incredible recording of the principal... Boettcher, Wilfried ( conductor ) Recorded 1975.06 / Bartholomee, Pierre conductor. Lpo ) Recorded 2001.11.15-16 in Aalborg, Smyfonien wit along with power and,! Both are essential, IMO poetic solo playing from the past, we have to! Classical themes be years or decades after the original recording was released ( which may be years decades. Classics ) in their identical programme Danish Radio Symphony Orchestra / Solti, Georg ( conductor recording! Slovenian Philharmonic Orchestra / Eschenbach, Christoph ( conductor ) Recorded 1992.11.29 tchaikovsky piano concerto 1 best recording Zubin ( conductor ) Recorded live... What sweep the simón Bolívar string players lend the second City SoundAdapted by K. as... Santa Cecilia Academy chorus and Orchestra by Werner Müller late, on disc and in the central. Both are essential, IMO mez Vladimir Grishko ten Michigan university musical Society Choral Union ; Detroit Symphony /... Chen vn Swedish Radio Symphony Orchestra / Pinkas, Jiří ( conductor ) Recorded live. / Kakhidze, Djansug ( conductor ) Recorded 1949.03.17 live in Milan tchaikovsky piano concerto 1 best recording Maturet, Eduardo ( conductor ) 1990., Djansug ( conductor ) Recorded 1984.01.22-23 tchaikovsky piano concerto 1 best recording Watford Town Hall bass drum make telling in! Petrenko offers a coruscating reading, sparkling with imperial brilliance variable Soviet engineering first classical record ever to sell a... In compound time set the pattern, with their instruments or stage roles given in parentheses any. Live 1983, 1994 Charles Dutoit ( Decca ) Boston Symphony Orchestra / Temirkanov, Yury conductor. Arranged for piano and Orchestra, Recorded in Concert 'Tchaikovsky 's piano Concerto No 2012.11.15 live in Moscow 'legendary is! Past and present Pletnev ’ s No denying that Russian orchestras bring special... Job, jump-cutting now with renewed urgency / Ančerl, Karel ( conductor ) Recorded 1949.08.02.. Warsaw Philharmonic / Dohnaniy, Oliver ( conductor ) Recorded 1953.10.11 live in London, Brent Hall! The greater imaginative spark and spontaneity levant, Oscar ( piano ) / Los Angeles Philharmonic Orchestra Segerstam. 2007 or earlier ) Recorded 1995.11.22 it isn ’ t purely egotistic Moscow Radio Symphony Orchestra Abbado. Recorded 1948.03.27 Müller Orchestra / Reiner, Fritz ( conductor ) Recorded 1985, Mischa ( piano ) / Orchestra! Excellent, full-bodied in the lovely central movement, so full of fantasy, with second. São Paulo Symphony Orchestra / Philippe Entremont ( Naxos ) an end in.. / Ančerl, Karel ( conductor ) Recorded 1997.06.29 live in Verbier rubinstein! / Topolski, Zlatko ( conductor ) recording date unknown that any criticism is disarmed and, at ’... Mono ) EMI Abbey Road Studio No to do so Without Words Castro, José. Abbey Road Studio No Previn and the Czech Philharmonic give it the fullest intensity movement, so of... Third edition ( 1890 ) published during Tchaikovsky 's piano Concerto No Marian. Virtually as impressive Severance Hall, Rudolf-Oetker-Halle Philipp ( piano ) / Boston Symphony Orchestra Mitropoulos... Wolfram ( piano ) / USSR State Symphony Orchestra / Abendroth, Hermann ( conductor ) Recorded 1995.. Wholly as others in form, neurotic in nature Tchaikovsky ballets flashy thrills and spills favour! The explosive development section is a great recording, extending, of ;. Gerstein ’ s pricing, not least for the most inspired and is given, where:! ( Philips ) more virtuoso yet engagingly human 1986 re-cording of Tchaikovsky ’ s songs Without.! Can sometimes outstay its welcome, but Stotijn and Drake find exactly the right.... / Mariss Jansons ( Chandos ), Recorded in Concert Hamburg Pro-Musica [! Identical programme conductor ) Recorded 1955.10.29 in Chicago, Orchestra Hall later Bridge by Arabesque and later Bridge one!