Menu
Your guide to classical music online
Menu
Menu
Your guide to classical music online
Eugene Ormandy’s disc of Nutcracker excerpts, including the entire “suite” plus a good bit of additional music (Act 1’s journey through the snow and Waltz
Decca’s promotional copy notwithstanding, it’s The Sleeping Beauty and not Swan Lake that is “Tchaikovsky’s Greatest Ballet”. The composer’s first balletic effort draws liberally on
Paavo Järvi’s remarkably fresh-sounding Tchaikovsky Pathétique emphasizes the music’s lyricism and singing line, with flowing tempos and unforced, natural phrasing throughout. Accordingly the strings predominate
Telarc calls this album “Favorite Selections”, but a more appropriate labeling would be “Almost the Nutcracker”, for it contains all but two numbers (and half
The Bolshoi Theater Orchestra’s strong Tchaikovsky tradition dates back to the 19th century, thus you’d expect its playing of his ballets to project a certain
Itzhak Perlman’s late-1960s RCA recordings, made with an ever supportive Erich Leinsdorf, capture the violinist at the beginning of his career, when his confidence, bravura,
To say that Thomas Sanderling’s new Prokofiev Symphony No. 5 recording is totally unnecessary would be an understatement–it’s so frustrating that it borders on effrontery.
Rafael Kubelik recorded a good if not spectacular Tchaikovsky Fourth for EMI with the Vienna Philharmonic, and this one is even better. The high points
Recorded hot on the heels of his landmark Gold Medal victory in the first Moscow Tchaikovsky Competition, the 23-year-old Van Cliburn’s million-selling 1958 Tchaikovsky First
Christoph Eschenbach presents the Tchaikovsky Fourth’s opening fanfare in a grand, stately manner that brings to mind the triumphal march from Verdi’s Aida. It’s impressive,
