Thursday, June 29, 2017

Tchaikovsky, Pyotr Ilyich. (1840-1893) Symphony No. 3 in D major. "Polish", opus 29. (1875) and other works.

Pyotr Ilyich Tchaikovsky.

New acquisition.
Bought in June 2017.
First listen: 29-6-2017.
Label: BIS
CD 3 from 6.
Recording dates: December 2002, August 2004, March 2005.
Recording venue: Gothenburg Concert Hall, Sweden.
Recording engineer: Michael Bergek.
Running time: 76:53.
Relevance to me: Essential.

Works performed:
Symphony No. 3 in D major opus 29.
From the opera: The Voyevoda, opus 3, Entr'acte and Dances of the Chambermaids. (1867-68).
Dmitri the pretender and Vassily Shuisky (1866-67) Incidental music for Ostrovsky's dramatic chronicle.
Serenade for Nikolai Rubinstein's Name Day. (1872)
From: Eugene Onegin, opus 24. (1879) Entr'acte and Waltz.

Performed by: 
Gothenburg SO, Neeme Järvi.

Another pearl in the crown Of Järvi's take on Tchaikovsky's symphonies and incidental music. It has so far been an extreme pleasure to listen to it. The third symphony is a real powerhouse of a work, in which dynamic contrasts are relieved by deeply poetic melodies with a serenity only Tchaikovsky could write. With a dancing almost balletic Scherzo, in which the strings gets all the compositorial compliments. And an almost explosive Finale, in which the brass shines like the full moon and as bright as daylight. Järvi has all the tempi in the right place, and knows how to handle the many accents. He truly understands the genius of this composer. It all seems right in his hands. A glorious performance. From all the added incidental works I only knew Eugen Onegin, which is done brilliantly. Highly responsive musicians revel in this piece, and convey the emotional intensity admirable. The Dances of the Chambermaids sounds more like the dance of giant chambermaids. There is a lot of muscle and punch in this piece which is brilliantly scored. The brass has pride of place and the timpani are like virtual hammer blows, well aimed. These chambermaids are very much to my liking. A well conceived composition. The Serenade is a delightful but short hommage to Rubinstein's name day, with some fine tonal colouring in it. Dmitri the pretender was as the other pieces totally unknown to me, but it bears the mark of excellence. Contrapuntal virtuosity is admirable, and the vivid contrasts makes it very worthwhile to listen to. Järvi offers a lucid insight into this composer by using good source material. A performance that combines sensitivity, agility and brilliance, and gives us a grand recording.

My playlist for 25-4-2018.

If by any chance you might be interested in my thoughts or feelings about the recordings of today, please let me know, and I will provide ad...