Tchaikovsky: Symphony No. 4 Completed in the winter of 1877 in Venice (can be a combination more decadent than inverno nella Serenissima ?) Symphony No. 4 in F minor dates from the most critical year in the life of Tchaikovsky (1848 -1893), his ill-fated wedding, her suicide attempt, the beginning of friendship (only letters) to his patron Nadezhda von Meck. At his request, and post-premiere, Tchaikovsky provided a program to your symphony, a private literary attempt has unnecessarily tainted the work (in the same letter states: " by its very nature does not lend itself to this kind of interpretation "). Instead of transcribing the program forced attempt to indicate the musical structure. What keeps us from enjoying the music of Tchaikovsky while ignoring the famous letter to von Meck?
Work
unstable, violent contrasts, both within movements and between them; of imaginative and skillful instrumentation timbral color harmony that is of modernity. The balance between structure and distinctive personal style, which always floats lyricism of architecture, any cracks in the thick of the symphonic fabric (a rate of ballet) that reveal the late romantic, shy and yet profound was Tchaikovsky.
1 Andante sostenuto-Moderato with animals Moderato assai, quasi andante-Allegro vivo . The first movement, complex and innovative, is as long as the other three together, creating a long shadow in the atmosphere and themes. Although the conceptual basis is the 5th symphony of Beethoven, his bewildering wealth of ideas, colors, development and relationships, are integrated into a novel scheme sonata. Oracular call involving the initial fanfare of abrupt orchestration (horns and bassoons), is the core of the work, not only thematically but also in dramatic terms. His burst cyclic creates an atmosphere gets obsessive and great strength structure, separating each section of the sonata. The moderato with animals presents the first theme (dream, chromatic and syncopated accent) "in movimento di waltz, led alternately by woods and strings over a waltz rhythm sad moan, which is the lilting second theme clarinet, a simple four-note descending scale (usually fa to do, and they appear more or less muffled by all the symphony), with echoes for the rest of the winds, which in turn is replaced by gentle strings answered by a calm development of the first item in the woods. Subsequent entries and summation (thematic developments are replaced by contrast harmonics) are inevitably swept away by sudden reappearance of the theme-fanfare: Due to the fragmentation of discourse and the continuous changes in tempo , how can not stand the underlying turmoil and cracks (and definitely shipwrecked Mahlerian waters). All the effort in the movement of epic proportions does not lead anywhere, or melodic, harmonic, structural, emotional ... A bridge to nowhere? Gustave von Aschenbach is wondering, no, bridge between Beethoven and Mahler.
maintain harmony and texture, the scene changes Tchaikovsky: 2 Andantino in modo di canzona . A long-drawn melody unstable by the oboe in eighth and free joint ("semplice ma grazioso ") on pizzicati string, and then collected by them in a more urgent response. A second issue of strong but flexible rhythm (four-note scale is ascending on this occasion), precedes the return to the first issue, sadly wandering from one instrument to another, clarinet, oboe, flute, violins, cellos, to vanish in a final and extravagant presentation by the bassoon. Melancholy and nostalgia go hand in using voice, almost operatic, woods.
3 Scherzo: Pizzicato ostinato-Allegro . In the scherzo, formally ABA, three fickle unrelated ideas: a) The fast and playful pizzicato unprecedented in length (97 notes), which "uses an innovative orchestral effect, which I designed myself " passing the issue around the groups, as a dialogue funny, frivolous and exciting ( mean joke scherzo), b) A trio for wind on a popular topic danceable, variable and iridescent, which includes a flute solo piccolo a nightmare technical level (21 notes in three seconds!); c) In the distance, a parade (which is also based on the figure of four descending notes) rhythmic by metals, paving the way for shostakovichiana compulsion.
4 Finale: Allegro con fuoco . On a Russian background, fatalistic type or futile Dostoyesky Chekhov's characters, is displayed sharply by banal cosmopolitan and cheerful costume. Based on a popular song, symphonic Tchaikovsky folckóricas reaches its climax here in this march out of control that starts at full speed through the clutter, and it finally speared narrative loop (fanfare), who returns to prevail in catharsis but as dramatic effect rather than organic development. The strident percussion comes to the flat in the coda, which dramatizes an extrovert, noisy (and false) conclusion triumphantly, like grand opera scene.
À la recherche du temps perdu Willem Mengelberg is likely to see direct the Tchaikovsky himself in one of the many tours he made through the territory of the German Empire, thus becoming a unique link to the composer's interpretive style. Despite the kind assistance of Tchaikovsky
web-site Research and Willem Mengelberg Society of America, I could not test this intuition
, however, Modest, the composer's brother, admitted to hear Mengelberg: "
them in order temps de mon frère." His orchestral sound combines rhythmic precision tempi
flexible and continually changing, requiring a critical timing in the attacks. If we add a custom dynamic orchestration, supposedly spontaneous, printing of interpretive freedom is almost a whimsical improvisation. Nothing could be farther from the truth: and on the date of recording (1929) Mengelberg amounted to the front of the Concertgebouw Orchestra 36 years uninterrupted, of perverse attention to detail and calculated the endless construction trials (in the run-half hour concert tuning required for teachers). This virtuosic
infidelity to the score (eg explosive or dramatic phrasing
portamenti in agonizing pace to get hysterical intensity) may seem strange to listeners today, but was common interpretive technique in early twentieth century . Despite his eighty years, this audio document (Fono Enterprise) still sound very valid, with appropriate separation and instrumental light saturation in
fff.
Какие русские! In the fall of 1960 Evgeny Mravinsky was authorized to make a long tour of western Europe. Seizing the opportunity, Deutsche Grammophon recordings conducted some ad hoc they collected for the history of the recording the sculptural concept, sharp edges and sharp that destroy the velvet romantic. Fanatic thorough testing, Mravinsky combines a fiery dramatic tension with one end exhibition balance between sections, a manic rhythmic fervor does not contravene a continuous rubato management. Literally this is a merciless execution of nervous and passionate phrasing, where development is of inevitability: if the fanfare acquires a sense of punishment, following the tireless virtuosity of the strings in the scherzo , fueling a frantic and furious flogging the finale. Read concise, rigorous, ascetic, whose stoical refinement of dynamic and expressive nuances give a sense of idiomatic authenticity. The large metal vibrato of the Leningrad Philharmonic Orchestra features the Russian rough, so far from the brilliance of the flag width instruments common in American orchestras. Powerful recording, wide dynamic range, contains a powerful reverberation envelope. "Lyric? Militant!
The aristocratic Igor Markevitch (Philips, 1964) is characterized by a transparency of texture and Mozart shows different facets in a cold Cubism distinction, refined and elegant. For example, a new bright remote Slavic pathos, without insisting on the expressive indulgences, preventing the personal tragedy lead to morbid sentimentality. Although the initial fanfare of trombones display an unparalleled volcanism in the discography, Markevitch provides a sibilant and seductive charm: the constant rubato game, contrasting the tempi , warmth and poetry when necessary and in the lyricism resounding second movement. This is without prejudice to the uncompromising attention to the instructions of the composer. Breathtaking panorama of sound, resonant and glorious London Symphony Orchestra, which highlights the immediacy of the metals and the proximity of the lower strings especially in the pizzicato .
course directors have been legion Russians who have come to work: Gennady Rozhdestvensky Orchestra Radio Orchestra of the USSR (Le Chant du Monde, 1969), clarifies unambiguously emotional expression, with brutal frankness.
Perhaps not as uniform attack, the London Philharmonic Orchestra provides the inspiration idiosyncratic Mstislav Rostropovich (EMI, 1976) a rough steppe, a spicy flavor and a colorful textures. The unusually relaxed tempi in the outer movements, recalling his inspiration in the ballet stage, spontaneous sound, with great transparency in the delimitation of planes and textures, drawing new details on instrumental and voice lines means, without deterioration of the overall structure. The game accelerandi rallentandi and can cause minor inaccuracies. Making distant sound, especially in the case of the dark woods.
In a drop falls Evgeny Svetlanov on their Japanese tour, which, despite the local color that gives the State Symphony Orchestra of the USSR (Canyon live , 1990), seems to have more force at the time he recorded for Melodiya version, I confess (and sorry) I have not had the opportunity to listen. When Mikhail Pletnev
leads ultimately to the Russian National Orchestra (DG, 1995) follows the trend of the century of racial violence and overwrought timbales. Take warm and powerful sound, with rigorous attention to a position where half of the orchestra.
Industrial Revolution "This Will Be released over my dead body" and sure enough, this recording was released posthumously at a later date, 1978, as George Szell refused to broadcast because a trivial slip in the clarinet (m. 315) as some of the professors of the London Symphony Orchestra sent their deputies to the session recording (Decca, 1962). And is that Szell exercised absolute control of the instrumentalists, who prescribed even articulation and fingerings. Trumpets and fanfare cause effects would say to a mechanical power, industrial rivets that throughout the first movement of the sections are welded in a calibration assembly that allows tight tolerances, if the rhythm is steely force and abrasive, the dialogues are masters rope and wood, and metals trigger off severe arcing. Depending on the height of the power of the drum, Szell leads to breaking point in a line of great forcefulness, concluding with a menacing growl huge final. The tempo transmitted light to andantino stresses the popular sense of the melody, in this way, not only vary the speed, passes to the second issue and its climax. Passionate sense, unstoppable emotional power without resorting to hysteria, intelligent construction and clarification of internal plans, and finally triumphant splendor, exultant, in the conclusion. The tape was billed by the legendary John Culshaw, who in reviewing the first shot volume remained low in the control room, which angered Szell, leading to a furious and massive deployment of energy in the second and final of pinpoint clarity, spatial separation prodigious and amazing presence of the lower strings.
Objectives Despite the great strings of the Wiener Philharmoniker, Lorin Maazel (Decca, 1964) not the ultimate degree of refinement in the phrasing and the sense of spontaneity required (can you imagine?). Incorporates the concept of the waltz in the second theme of the first movement, but ignores several dynamic dimensions prescribed by the author, for example, in the pizzicato . Fluency and spontaneity in the target area, without sentimentality in the initial movements (power and rest), or shiny effects in tempi the last. Great recording, bright and immediate, which reflects the phenomenal rush prompts required, however betrayed by a reverberating sound becomes strident in the climax. Less imaginative displays with Bernard Haitink conducting the Royal Concertgebouw innocent face Orchestra (Philips, 1970), too controlled and rigorous.
But the Russian is not a temperate climate.
Wiener Straße By
circulate via Germanic Wilhelm Furtwängler, attracted to the (large) scale symphonic Central, one of his few records in the studio with the Philharmonic Vienna (ARP, 1951). Stylistically, the Russian section, controls the usual fire, and marked with stiffness, an exercise in restrained and moderate stress (perhaps his relative lack of involvement is due to the lack of live audience), Karl Böhm, who registered at the Festival Salzburg 1971, leading the Czech Philharmonic Orchestra (Orfeo d'Or) a powerful representation but rather straitjacket Vienna, and Kurt Masur, a formidable virtuoso demonstration of the Leipzig Gewandhaus Orchestra (Warner, 1987), but the mostar febrile barbarism necessary. Herbert von Karajan
recorded this work in no less than six (6) occasions and its general vision very consistent, out of risky confrontations (identified?) personal. Until the last minute I have not ruled out the sumptuous version, chocolate brahmsiana, played by the Vienna Philharmonic (DG, 1984) in favor of Berlin (DG, 1976), more dramatic angst, raging nearby presence of metals, always polished . The compelling force in the complex rhythmic first movement is illustrated by the Germanic symphonic, overlooking a silky classical past, harmonic stiffness, however depriving him of the rugged Slavic accents, displaying the most prim legato in his quest for excellence orchestra (the authenticity Karajan). A highlight fruity expressive oboe in the second movement, the landslide dynamics plucked in the third. Making sound brilliant, detailed, wide dynamic range.
Grand Jete away from the drama and tragedy, the versions of Claudio Abbado (DG, 1975) and Mariss Jansons (Chandos, 1984) which are graceful and flowing dance steps, which gives the composer in symphonic sense scoop. The first shows precise and energetic, combining a voltage supreme power with a naturalness in the choice of music, for example in the phrasing of the woods alive. Perhaps lacking a bit of expressiveness andantino (the author claims in the score "in modo di canzone " but the cough plaintive oboe). Freshness, delicacy and technical perfection in the pizzicato . His last attempt with the Chicago symphony orchestra (Sony, 1989) is distorted in a gentrified relaxation. Mariss Jansons
was a long time assistant Mravinsky in Leningrad, but is more warm and less analytical, dynamic range and smooths, naturally combines the power and poetry, keeping the game from the wind and the sea far from the storm, without allowing the structure at risk of founder. The escape into the magical world of ballet illusory favorable deployment of fantasy, humor and tenderness that the agile mind of Jansons has captured to perfection. However, I need a point of sadness that permeates teenage symphony. Prominently the addition of an effect somewhat artificial to the meticulous dynamic indications in the score. Since taking is not particularly clear sound in the instrumental resolution Philarmoniker Wiener, choose here the most modern recording (sharp, deep, broad reverberation) of the Philharmonic Oslo, defending an equal footing with the most famous orchestras (the wide metal vibrato gives adequate Slavic flavor).
תיאטרון בעבוע the footsteps of his mentor Sergei Koussevitzky's interpretation that there is a great charisma with the Boston Symphony Orchestra (TIM, 1936), Leonard Bernstein came to identify personally with Tchaikovsky (his latent sexual status). Overly intense tingling in his emotional expression, the subtleties of tempi wander wandering nomadic-wide phrases, independent-by bohemian rubatos. The composer Bernstein speech, gloss on the composer (Tchaikovsky), drift at the mercy of unruly streams, excessive breaks in the initial fanfare, the ambiguous and reflective pace in the first song (lonely, dispossessed, alienated), the ellipses shown dynamics, citing and linking past echoes (Verdi) and hysteria future (Shostakovich). After a pizzicato something messy the noise is enlarged and finally flows into the wild accelerando the conclusion that impending agony, rugged and decadent (like when life is slipping the Prince of Salina in spurts) and finally running this theater and risky way of interpretation. Aromatic and some evening recording live New York Philharmonic (DG, 1989) that ultimately leaves a sense spring in the antipodes of Mravinsky metal.
Other versions that have passed through consultation (and are available to the collector discófago) have been those of Erich Kleiber with the Orchestre de la Societe des Concerts du Conservatoire (Decca / Testament, 1949) anxious and exciting, enthusiastic, dynamic,
Guido Cantelli
the hot, bright and distinguished disciple of the objectivist school, this time at the helm of the NBC Symphony Orchestra (Music & Arts, live , 1949) The
Hague Philharmonic Orchestra under the direction of Willemm van Otterloo (Decca / Philips, 1950) with his oboe insecure and aspen;
inflexible rhythms Ferenc Fricsay reading the RIAS Symphonie-Orchester Berlin (DG, 1952);
John Barbirolli in charge of the Hallé Orchestra (EMI, 1957) combining firmness and kindness,
the London Symphony conducted by Antal Dorati (Mercury, 1960) at the edge of decadence poetic, evocative of nostalgia and dissatisfaction;
Alexander Gibson to the kitchens of the Scottish National Orchestra (EMI, 1976) won the agility of a spotted dog (suet pudding )
who have watched the full moon through a telescope knows that no excessive glare allows terrain: Georg Solti with the Chicago Symphony (Decca, 1984);
The believers in Sergiu Celibidache know the general range of tempi (here is 54 minutes). However, this freedom in their choice in different sections of the first movement may seem arbitrary (or eccentric). But this is a psychedelic trip Bowman commander style to meet his own self. Despite (or by) the elongated phrasing highlights the firm. Sweet attack, timbre and dynamic stresses (many new details appear, suspended in time and harmony) rather than the rhythmic rigor. Bright takes sound that does justice to both the superb work of clarifying textures (Again the result of endless testing, why is that?) By the Munich Philharmonic (EMI, 1993) as excellent orchestration;
Daniel Barenboim, in his American affair, New York Philharmonic (Sony, 1971) and Chicago Symphony Orchestra (Teldec, 1997) quieter than tragic;
historicist
The consort led by Anima Eterna Jos van Immerseel (Zig Zag, 2003) Tchaikovsky "real instruments? Polyphonic clarity, sharpness harmonic tempi alla brief, ma ... lacks dramatic depth;
guide to Daniele Gatti Royal Philharmonic Orchestra (HM 2005) for a extreme and contrasting tempi: while the initial walking led to a hectic pace much alive, the moderato calms down, giving time to the woods to stamp designs beautiful expressive in a tapestry of sound preciousness. The interplay of rubato has all the aroma of stale Mengelberg recording, closing the circle of interpretation. Making distant sound;
and finally, Michael Tilson Thomas to entertaining DVD starring Keeping Score with the San Francisco Symphony (San Francisco Sym, 2005). In
BBC Discovering Music series, Charles Hazlewood explore this in great detail with the BBC Symphony Philharmonic, based on the letter by Tchaikovsky to Nadezhda von Meck.
