Manfred dies at the end of Lord Byron's poem after refusing to renounce his life of sin, apparently doomed to hell.
Tchaikovsky gave it a happy ending.
In the coda, he interrupts Manfred's death agonies with a majestic organ chorale, brass fanfares and a quiet fade to the end.
Seemingly Manfred has repented and is welcomed into Heaven.
I love Tchaikovsky's Manfred, but have always found this ending a disappointment.
And a bit silly.
Temirkanov throws out the happy ending, and instead splices the end of the first movement coda onto the fourth movement, which prolongs Manfred's death agony to a desperate and final conclusion.
This is more than a matter of a few cuts, such as you get with Toscanini.
What Temirkanov did was morally indefensible, but I find it a great deal more satisfying, and fun to listen to.
He betrayed Tchaikovsky, but he was true to Byron.
Yevgeny Svetlanov also used this revised ending in a 1989 CD performance of Manfred with the Berlin Philharmonic: Overture Leonore/Manfred
(three years before Temirkanov).
(Svetlanov's 1967 USSR Symphony recording was the first recording released in the west of Tchaikovsky's uncut original).
I wonder who gets the credit / blame for this idea: Svetlanov or Temirkanov?