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Boris Tchaikovsky: Chamber Symphony CD

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£14.70 & FREE Delivery in the UK. Details Only 1 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

Product details

  • Conductor: Alexander Rudin
  • Composer: Boris Tchaikovsky
  • Audio CD (21 May 2004)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: CD
  • Label: Hyperion
  • ASIN: B00026W63Q
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 271,404 in Music (See Top 100 in Music)

Product Description

HYP 67413; HYPERION - Inghilterra;

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Most Helpful Customer Reviews

2 of 3 people found the following review helpful By Jens Carl Sanderhoff on 5 Aug. 2008
Format: Audio CD
This disc is one of my all time favorites! The Music is beautyful and powerful in the conception, and even though the performance is not perfect(but allmost), I have no trouble in recommending it as if...
It is a sort of minimalism, but with a pure russian touch. It sometimes sounds a bit like Prokofiev or Shostakovich or one of the other guys from the first half of the 20th century, but he is outstandingly himself most of the time. Try this!!!
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Amazon.com: 3 reviews
5 of 5 people found the following review helpful
Fine touches of Imagination from a very enterprising persona 21 July 2004
By David Anthony Hollingsworth - Published on Amazon.com
Format: Audio CD
My interest of and admiration for Boris Alexandrovich Tchaikovsky (1925-1996) had truly blossomed over the years. My first acquaintance with his music was made with his Second Symphony (1967). Reissued by Russian Disc from the original Melodiya, it's the Symphony that struck me (even to this day) as a piece of considerable originality and keen structuralness (and how ingeniously was he in quoting briefly Bach, Beethoven, Mozart, and Schumann towards the end of the first movement without doing an injustice to its structural coherence). Upon hearing the Symphony, I've took notice of how his melodic language did, at least to some extent, belie both the conservative and the avant garde tendencies of that period; the latter tendencies that Schnitttke, Denisov, Tishchenko, Knipper, et al. championed relentlessly.

Yet Boris Tchaikovsky absorbed the traditionalism of his teachers Myaskovsky, Shostakovich, and Shebalin, while remaining refreshingly enterprising. Anyone who is familiar with his Partita for Harpsichord, Cello, Piano, Percussion, and Electric Guitar (1965), for example, can attest to his yearning to try new things, to vary his expressionistic devices while maintaining his idiom within the principle of accessibility. The additional recordings I?ve acquired later, thanks in part to the Boris Tchaikovsky Society, confirm my belief that this composer ought to be much better known. He's a reminder of how to mold music in various ways that are progressive, yet not necessarily to radicalize music according to the anti-nomenklatura norms of the 1960s and beyond. Only his later works like the Sextet for Winds and Harp (1990) and Symphony with Harp (1993) did Tchaikovsky looked back with some nostalgia. But his formula remained his, and artists like Kondrashin, Fedoseyev, Barshai, Rostropovich, and Emilia Moskvitina showed some real feel, appreciation, and advocacy of his true talent. Thus, ample credit and gratitude shall be given to the Boris Tchaikovsky Society as well, whose tireless efforts in bringing his music to the fore of recognition and appreciation give the composer his honor he richly deserves. Likewise, the Hyperion label and all involved must be gratefully acknowledge for their courage, intuition, and sheer enterprise.

Having been blowned away by his masterpiece, the Trio for Piano, Violin, and Cello (1953) and his Capriccio on English Themes (1954), I found myself very warmed to his Sinfonietta for Strings. Likewise composed in 1953, this work brings about a more subtle side of the composer. As in his Trio, the Sinfonietta is very traditional structurally, therefore a rather atypical Soviet musical product (as David Fanning aptly points out in his booklet essay). It's a very novel piece, and while his musical identity was not fully formed shortly after his fairly formative years, there's some idiomatic touches throughout. The Sonatina movement have a Parisienne feel to it; its also a tad witty Shostakovich would have approved (even would Myaskovsky for that matter). But the middle movements brings to mind Piotr Illyich Tchaikovsky, particularly the Waltz (yet even here, my mind rested briefly on Myaskovsky). Yet one cannot simply call them derivations, for the modernity Tchaikovsky espouses brings about its own individuality. The slow movement is a good case in point, reflective and beguiling, yet a striking foretaste to his styles of his later years. The Rondo is an appealing close; its more satirical than the Sonatina and has that refreshingly Mozartian neoclassical eloquence.

Tchaikovsky's Chamber Symphony (1967), written three years after his Cello Concerto is quite reflective also, not as extroverted as the Concerto, but serene in character. The Sonata first movement is a fine example of this as is the Chorale Music (third movement). It's a movement longing in nature and Rudin and his Musica Viva Chamber Orchestra brings out its melancholy with quiet poise and compelling concentration and verve. The effective harpsichord writing in this movement becomes more so in the next, where the mood is more outgoing (with Tchaikovsky fond of his neoclassical leanings). The March Motifs is rhetorically very Boris Tchaikovskian. Evoking the first movement of his Second Symphony, also written in 1967, this movement enjoys a more sustained musical development. The Serenade is Bachian is in a sense, and while its reflective qualities serve as a closure to this piece, it may be quite as contemplative as well, as though Tchaikovsky have more to say.

The Six Etudes for Organ and Strings (1976) begins strikingly on a serious yet on a muted note (the organ comes up decisively here). And while the Allegro non troppo is more lively, its ends on a fairly grim note. But majesty pervades in the Moderato con moto, only to become climactic @ 2'36". The fifth study is, as Fanning points out, a 'failed toccata' thanks to the organ. I confessed having laughed to this movement at first, partially because its sounds comical yet defiantly mocking (organist Ludmila Golub is rewardingly satirical here). But the final two studies are dignified in their own rights (the fifth is especially memorable and cogitating and I love the way the sixth etude closes this work). The Prelude "The Bells" (realistically yet imaginatively orchestrated by Pyotr Klimov) as composed in 1996, and as I've alluded before, the sense of nostalgia remained with Tchaikovsky in the remaining years of his life. It's an alluring miniature, and an elegant ending point to one of Russia's most creative persona.

While I'll hold firm my Melodiya recordings of these works, this Hyperion disc is a very warm welcome. Alexander Rudin paced the works admirably and the Musica Viva Chamber Orchestra responds with flair and elegance (though the strings are not as illuminating and nourished as those of Fedoseyev's reverberant USSR Radio & TV Symphony). Moreover, I lean more towards the great maestro's way with the Sinfonietta; he adds a bit more of a touch of sentimentality and poetry in the middle movements that takes the piece above its naivete. Nevertheless, a great disc and a promising start in a rediscovery phase of Boris Tchaikovsky?s musical art.

More installments please.
1 of 1 people found the following review helpful
A challenging but ultimately rewarding disc 30 July 2011
By G.D. - Published on Amazon.com
Format: Audio CD
The music of Boris Tchaikovsky (1925-1996 - no relation to Peter) has experienced a rather intense revival the last couple of years, and has indeed managed to achieve a status as possibly the most important (after Schnittke) output of Soviet music in the generations following Shostakovich and Weinberg. This Hyperion disc belongs to the vanguard of that revival, and reveals a composer with a rather personal musical language, indebted to Prokofiev and Shostakovich to be sure, but having little in common with the music of Schnittke except a certain acerbic sense of irony (wonder if any company would dare look into the music of some of his still rather obscure contemporaries - anyone who knows the music of, say, Askold Murov?) Apparently he did use quotations in a manner reminiscent of Schnittke, but not (as far as I hear) in the music given here, but his apparent fondness of parodic takes on classical forms is definitely exemplified, especially in the Etudes.

The Sinfonietta for String Orchestra is cast in four movements and is probably the work here most obviously indebted to Shostakovich and Prokofiev, most clearly in the rhythmic patterns and certain harmonic solutions. It is nevertheless a very fine work, even though it reveals a composer who is still searching for his own language. No such uncertainty can be traced in the Chamber Symphony (1967). As opposed to the Sinfonietta, the Chamber symphony is a rather forbidding work, toying with atonal elements and not displaying a very elusive musical core. It is nevertheless a rather striking work, and is well worth coming to terms with.

The Six Etudes for Strings and Organs are studies in sonority, and are generally subdued, slow and introverted (despite a lively, sarcastic final movement). Despite some defiantly diatonic passages this is rather tough music. It sounds like no one else, but will probably appeal to those who appreciate Schnittke and Gubaidulina more than to Prokofiev fans. Still, they conjure up a rather mesmerizing, weirdly desolately calm sound world - at times I would call it almost frighteningly conciliatory. The very late Prelude `The Bells' (orchestrated by Pyotr Klimov) is a more tangible and backward-looking epilogue to a challenging but rewarding disc. The performances sound thoughtful and convincing throughout, though it is hard to judge how well they capture a composer I don't know better than I do (the other reviewer here, David Hollingsworth, seems to be more familiar with the style). There are informative notes and the recorded sound is splendid. Firmly recommended, even though it requires some work on the part of the listener.
Mostly Unknown, Underrated Composer With Some Gems 24 May 2013
By Virginia music lover - Published on Amazon.com
Format: Audio CD Verified Purchase
Two other reviewers have written extensively on this disc, and I want to second what they said. I wanted to emphasize that his Sinfonietta is a must-hear, especially the Variations movement. It is a very emotional, evocative piece, and repeated playings only deepen my love for it.
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