A shame about the Tchaikovsky, especially considering we have so many recordings of 1 and so few of 2. I haven't heard 2 myself in quite awhile, so I plan to check out a few recordings of it soon, Cherkassky and Gekic.
It's not often I get to listen to classical music in the morning, but had a chance today and really enjoyed this one.
What didn't you like--performance, or music? See below. This recording claims to be the "original version," which I take it means it isn't the truncated edition usually heard. Tchaikowsky wrote the piece with a novel compositional choice in the second mvt., but not much use for showing off the soloist. Pianist Alexander Siloti, who had studied harmony under Tchaikowsky, prepared an edition that excises that feature, and that's the one that nearly everyone plays; in the words of Wikipedia: "The second movement contains prominent solos for the violin and cello, making the work in effect a concerto for piano trio and orchestra briefly, though a once-popular edition by Alexander Siloti removed large sections of the work, including those solos. Siloti initially proposed a number of changes to the score, but Tchaikovsky resisted these ideas. As time progressed, however, he did agree to certain changes. However, the version that Siloti published in 1897, four years after Tchaikovsky's death, included cuts and transpositions with which Tchaikovsky had strongly disagreed. Nevertheless, the Siloti version became the standard version for many years." I'm sure Cherkassky will have played the Siloti edition in all his recordings (I have at least three, going back into the 78 era, and for all I know he did the piece a time or two more); dunno about Gekic.
It was the performance not the music. I am going to listen again a few times this week. There have been times that a performance has grown on me. This performance of the original clocks in at 42:03. The notes writer, David Nice, says: "The pianist who prompted the long-lasting mutilation of the Second Concerto was not Nikolay Rubinstein, who had poured critical scorn on its much more famous predecessor, but Sergey Taneyev, who gave the Moscow premiere in 1882. Like many impatient soloists, he seems to have especially disliked too much spotlight on other individual instruments, which is why the second movement--not so much a triple concerto as a duet, for violin and cello alternating with piano--has been a special casualty. On this recording we hear the work absolutely complete." And again, "the main idea sees a meeting of all three soloists in what is more a chamber trio, with the most minimal of pizzacato accompaniments, than a Triple Concerto, and they are followed by a leisurely, atmospheric coda."
I will be doing the same here. On order is the the complete concertos and symphonies from Kirill Gerstein and Semyon Bychkov. (from 2019 on Decca)
Brahms' Violin Concerto got similar pushback from violinists when it was first written because of the substantial oboe part in the adagio.
Gekic recorded the original version. It's about 43 min long. The disc is OOP. https://www.amazon.com/TCHAIKOVSKY-...kemal+concertos&qid=1623784045&s=music&sr=1-2
Marin Marais Viol Music for the Sun King (1995, Naxos) YouTube playlist Le Spectre de la Rose Marie Knight - Baroque Violin Alison Crum - Treble and Bass Viols Susanna Pell - Treble and Bass Viols Elizabeth Liddle - Bass Viol Paula Chateauneuf - Theorbo and Baroque Guitar Timothy Roberts - Harpsichord
Listened to his Tchaikovsky PC 2 (original version) and thought he played superbly. Lots of power and beauty in his playing, as usual. The sound was quite good too.
Hard to find (streaming). And the prices for copies online . I'll have to take your word on this one.
Francesco Onorio Manfredini Concerti Grosi Op. 3 Italian Baroque CD 24 Ludger Rémy, harpsichordist/pianist, conductor Orchestra Les Amis de Philippe Francesco Onofrio Manfredini (22 June 1684 – 6 October 1762), composer, violinist and church musician, was born at Pistoia to a trombonist. He studied violin with Giuseppe Torelli in Bologna, then a part of the Papal States, a leading figure in the development of the concerto grosso. He also took instruction in composition from Giacomo Antonio Perti, maestro di capella of the Basilica of San Petronio from 1696 when the orchestra was temporarily disbanded. Although he composed oratorios, only his secular works remain in the repertoire. A contemporary of Johann Sebastian Bach and Antonio Vivaldi; his extant work shows the [rather obvious] influence of the latter. - lastfm.com
Andre Previn London Symphony Orchestra Tchaikovsky: Manfred Symphony Warner box 2021 cd 26 recorded in 1973 I enjoyed this interpretation. One can hear into the composition because of the engineering and the remastering in 2019 by Warner Japan.
Talich Quartet Borodin: String Quartet No. 2 Tchaikovsky: String Quartet No. 1 La Dolce Vita, 1986 Very enjoyable.
Well, I finished copying the Time Life Mozart late concerti set, and I've moved on to the companion late string quartets box. That's actually a category that is underrepresented both on my server and in my listening, and much of what I've heard has been from quartets active on 78s, not from the stereo era. Anybody have any thoughts about how the Alban Berg Quartet (T-L licensed from London) and the Musikverein Quartet (T-L licensed from Telefunken) stack up in the universe of options?
Hey David, happy weekend! I bought this set a few years back, based on very high recommendations from people I trust, but I can't say I liked it one bit: I then sampled the Italiano and Talich sets extensively. I liked both, but found the Talich a bit more to my liking. Sorry I can't say more specific things about the reasons for my choices. I think the Berg was too cold, too modern, the Italiano more old school, warmer, but the Talich has that light, classical touch that is perfect for this music. The Talich set is still available: https://www.amazon.com/Mozart-Compl...s=Talich+mozart&qid=1624118853&s=music&sr=1-1 Their Quintet seems to be OOP, but well worth looking out for.
Hi, George, Thanks for the lowdown! I got it backwards, of course--Berg Qtt licensed from Telefunken, Musikverein from London. I've played a couple of quartets by the former and one by the latter at this point, and I'll add to what you wrote that the acoustic for the Musikvereins is quite "live"; not, on the evidence of that one side, a good choice for those who like their chamber music recordings to have an "intimate" sound. I'm getting the impression these Time Life sets offer eminently respectable, even highly recommended, recordings, ones with which the listener can't really go wrong, that nonetheless aren't quite first choice selections--at least for my taste. In the concerto box, for instance, we had the likes of Clifford Curzon and Alicia de Larrocha, certainly subject to no cavil--except that I found the overall "feel" to be more "Dresden china" than I prefer. Katchen's account of no. 20 particularly struck me that way; that's a big, dramatic piece, and I didn't get the vibe from him, at least on one hearing. I suppose I should give him another go and also go back to my mono Rudolf Serkin recordings in connection with the exercise. [edit] That "cold, modern" thing--gotcha. I have the same feeling about the Kontarsky brothers in Schubert.
This seems to have just gotten a repress on vinyl, finally was able to score a double LP for $25. One of my hands-down favorite releases of this century.
Great I only see a 2014 European release on Deutsche Grammophone. Were you referring to that? I don't see a newer reissue on Discogs.
I’m assuming? It’s funny, I had asked my buddy at the local record shop several months ago if he could find me a copy. To my suspense, he called me the other day and said he got me a sealed copy. Then I saw it’s back in stock Amazon for the same price.
Oh ok. There are copies on Discogs and Amazon of the 2014 D.G. repress. I'll check AMZ too. I'll look into snagging 1 of them. Thanks.
Ferdinand Ries, Franz Danzi, Jürgen Brüggebors, Cord Garben – Sonate Sentimental (Vinyl) This is lovely! I love digital recordings on lp they just sound great to my ears, very enjoyable music and no igd, a rarity on a flute record, mind you that is probably because there are no inner grooves to destort I swear these are 10 minute long sides, more space than music at the ends of them!
I have yet to really "connect" with #2. I need to listen to it again myself and re figure why it does not bowl me over.
